The red imprint on the model’s neck, alluding to discomfort, was not actually caused by the bow, Callis explained, but was rather an illusion thanks to makeup. It’s just one of the many nuances in her color work that she would not have been able to pull off in black and white. At the time, however, color photography was still seen as gauche in fine art circles, with William Eggleston’s landmark exhibition at the Museum of Modern Art, “Photographs” stirring controversy for its snapshot-like color scenes the year prior.
