Michael - that you "like" Shore's work simply demonstrates how skilled he was in proportionately balancing severely unrealistic hues and making
this interesting. Everybody knew this at the time. If you wanted clean color you went to chrome and dye transfer. Just like looking at the difference between a chromogenic movie back then and Technicolor. Some of these 70's art types deliberately chose color neg for its muted
muddy off color, in contrast to the clean saturation of the previous generation like Eliot Porter and other dye printers. Shore and several others (like Meyerowitz and Misrach etc) learned to exploit the reproduction errors in these films for artistic effect. To say these colors weren't muddy (in the sense of having the dye curves cross-contaminated) is utter nonsense.