Coming out from under the bed, Alan?
Ciao,
Graywolf
http://pages.prodigy.net/graywolfphoto
No, more a case of this list is to busy without my ramblingsas well!
I agree with what you say, but it was an interesting experiment that for
this one time worked.
I love photography but I do not think
Thanks, the paper we gonna try out is called Kodak Endura Metallic, lasts a
100 years on display 200 in an album and its a RA4 colour print paper
Feroze
- Original Message -
From: Bruce Rubenstein [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Tuesday, January 14, 2003 9:40 PM
Subject:
Coming out from under the bed, Alan? (Alan is a wonderful person who has
been lurking on the list for quite a while)
I did not say you could not get a nice BW picture from a color negative. I
said that to get the best possible BW print from a color negative it has to
be exposed differently than
IMHO, a negative that will make a supurb BW print will only make a mediocre
Color print, and one that will make a good Color print will only make a
mediocre BW one. This is because you need higher contrast to get a dramatic
BW print, and lower contrast to get a good Color print. The above presumes
Doe aka Marnie (alright if I call you Aka for short?) writes:
But I find BW boring. Put some color photos next to BW photos and my eye
will skip right over the BW to the color
This led me to do some thinking relating to digital.
When shooting film, one makes a cognitive decision to load either
Cotty,
I think you can add more fuel to the fire. A while back I was
requested to shoot BW for a client and so I went to my lab (Agfa
D-Labs) to see what BW film they work best with. They told me to
shoot color and the D-Lab would de-saturate. So I brought in a bunch
of negatives of different
Indeed you gain flexibility, decide later if it has to be B+W or colour. And
also the kind of filtering: if you take a colour shot with the intention to
get finally B+W, you decide on the filtering in the digital darkroom. This
will work for most filters except ofcourse for pola filters and
In a message dated 1/13/2003 12:58:56 PM Eastern Standard Time, [EMAIL PROTECTED]
writes:
This led me to do some thinking relating to digital.
When shooting film, one makes a cognitive decision to load either colour
or black and white film into the camera, usually based on anticipation of
In PS, using Channel Mixer, output to Gray, you can get any typical BW
filter effect you want. A little work with Curves and you can get just
about any look. There will always reasons to shoot BW film, but they
won't necessarily be to just get a BW image.
BR
[EMAIL PROTECTED] wrote:
Cotty,
Message text written by INTERNET:[EMAIL PROTECTED]
With digital, this decision is made after the shots are made. This
invites a whole new way of thinking. Framing for colour and framing for
mono can be totally different. Seeing a result in glorious colour can
easily dissuade removing the colour
Message text written by INTERNET:[EMAIL PROTECTED]
I like the flexibility: now I go out sometimes with three bodies, one
filled
with B+W, one with IR and one with colour or slide!
What you lose in the process is typical grain. Who said that grain is the
brushstroke of the photographer?
Greetings,
Your right Herb, and I'm quite sure that in future digital camaras will have
a switch to select infra red modes I hope that it will show the
beautifull combination of infra red sensitivity plus grain and the halos as
is given now by the Kodak infra red film.
Greetings, Jos
-Oorspronkelijk
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