
Spring is Aspen’s forgotten season: summer has perfect warm weather, winter has snow, and fall has the colours. But spring is short in Aspen and many businesses close to give their staff a break and the premises some maintenance. It is the off-season, and for many locals it is their favourite time of year; some serenity and peace return to the town. This makes it an ideal time to film - roads are quiet, hotels are less busy and restaurants are easier to book. From a visual perspective, spring also offers great opportunity as there will be snow at a higher elevation and fresh greens in the valleys below. If the intent is to look for a wide tonal range in a photograph, spring is a good choice. Ansel Adams loved the diffused light of spring and the rich tonal range it offered. He often chose this period to film in Yosemite; melting snow can be used to the photographer’s advantage - it is not always about mud. We have filmed on this road before but never looking back down the valley and past Aspen itself. The 1966 Cadillac is a strong addition to any set and Kate Bock is styled perfectly for that era. It is a timeless picture which was, of course, the intent.
Artwork Details


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Spring in Aspen (Colour)
Mille Miglia (Colour)
The Breakdown (Colour)
Ferrari 1955 (Colour)
Cafe Espresso (B&W)
Italia (B&W)
The Italians (B&W)
Bond (B&W)
Code Red
The Road to Yellowstone (B&W)
The Grand Tetons (B&W)
No Boundaries (B&W)
The Breakdown (B&W)
The Ferrari Kids (B&W)
Portofino (Colour)
Kochevars, Crested Butte
Age is Just a Number (B&W)
Gondola
The Lodge at Vail
Drill, Baby, Drill (B&W)
White Chicks
The Lady of the Lake (Colour)
The Million Dollar Cowboy Bar (B&W)
The Road to Yellowstone (Colour)