Joel Tretin calls himself a Photo Humorist and that description seems perfectly apt. His photo series Stranger in Paradox “looks at what’s true and totally screws with it.” At first glance, the pictures seem deceptively straightforward—portraits of the city shot in a somewhat generic ad-agency aesthetic. Hidden in plain sight are the visual jokes: a parking ticket on the windshield on a sports car in a building height ad; a carousel over a revolving door; an elephant walking though the green murkiness of a subway. The Photoshop manipulations are mostly seamless—it really looks like that woman is pushing an eight-seat stroller, and that sporty yellow cab looks real next to its stodgier brother. A stack of cars make the most of a lone parking space.
The subtlest images make you work for them. A lit Wall Street façade, American flags… oh, there. The don’t walk sign is flipping the bird. The traffic sign points to the “Road Most Taken” an apparent play on Robert Frost’s Road Less Taken.
Photo manipulation in art is often used to create surreal imagery. And these pictures are surreal in that they portray things that are unreal and often fantastic, but the photos lack the intention and technique that transform pictures into fine art. Which seems to be just fine with Trentin, who says:
I am a failed stand up comedian, who now tries to make people laugh through photography.