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Why are hardware-based manipulations, like black and white photography (traditionally using black-and-white film), long exposure, etc., which also result in an "unnatural" image, acceptable while software-based manipulation (like HDR) is frowned upon by the photography community?
Differences from human perception that are due to limitations of the medium ...
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If your goal is to practice composition and work with shadows and lighting cheaply and efficiently, then you should shoot digital, not film. You will get more immediate results, and the ability to make changes at the time of shooting. As far as color vs. B/W is concerned, you can make changes in post with color filtering to understand how different color ...
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The sale price of film is going up because of “economy of scale”. In other words, the more you make of any particular article, the lower the cost to make that article. Digital imaging has overtaken film imaging and this movement continues at a rapid pace. Thus as film sales drop, the cost to manufacture goes up. It is as simple as that!
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The story goes that Ansel Adams came up with the "18% gray" figure. Back in the hay day of film photography he was developing the zone system and needed to define a "middle gray". It was a judgment call. Eventually, the idea caught on, but film and camera companies picked their own middle gray. It is a fun fact that your digital camera probably uses ...
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Pardon me while I get a little metaphysical for a bit. "Color" as we understand it isn't a real property of anything in the universe. It's something created by our vision system — a complicated interaction in our eyes and brains. It's useful for things like "don't eat the poison berries",
"look at that tiger over in the grass", and, more recently, "stopping ...
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Upon viewing his portfolio at the link you provided, my first thought was push processing. In push processing, one typically underexposes the shot (that is, meters and set exposure as if the the film were a higher ISO than it really is), then compensate in the darkroom by overdeveloping the film to account for the underexposed shot.
Push processing tends to ...
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If you want to achieve this digitally note how the whites aren't full white and the blacks aren't full black.
You can do that e.g. in Lightroom or any other editing tool by pulling the endpoints for the highlights and shadows towards the middle.
To get a creamy tint, select the RGB Blue-Channel and reduce the Highlights-max Point. This bumps up the yellow:...
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Is it frowned upon? Photography has always made use of whatever technology was available, whether in the camera, the darkroom or, now, the computer.
It's a long time since other forms of art were required to be 'photorealistic'. No need for photography to be either! If you find yourself among people who disagree, work within their rules if you find ...
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Yes, if you shoot RAW. If you have difficulty visualizing an image in B&W, shooting in B&W gives you a good approximation of the final image at the time of shooting so you can adjust; many digital cameras can even process B&W with color filters, so if you have a particular type of processing in mind, such as using a red filter to darken skies (...
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Ilford Delta is a pretty common film. I am certain you will be able to find a reputable lab to develop it somewhere around (you do not mention where exactly in Germany are you spending your year).
On the other hand, you should not have a problem developing it yourself in a years time. To maximize your chances you should keep it cold - in a fridge, or even ...
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It's worth looking at a gamma chart for additional perspective as you think about this. Standard display gamma, for example, is 2.2. The curve looks like this:
50% grey, in an 8-bit space, is 127 (horizontal axis). This lines up with ~20% luminance output of the display. Both for display and print the concept of gamma is important as it provides the ...
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No.
It is not possible to create a physical filter that can completely "De-saturate" incoming light.
The only way to achieve this without post-processing is at the film / sensor level.
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It sounds like what you're looking for is JPEG2000. It has a range of options including a 16-bit lossy compression and better compression ratios than JPEG. It hasn't been as widely adopted as hoped (for a host of reasons) and may have some patent issues that might make it difficult to use in certain situations but otherwise it fits your needs.
Personally ...
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If this image were RAW, the color would still be there. But since it is JPEG, I'm afraid not. The fact that the image is in RGB format does not help, because I'd you look, you will find that in fact for each pixel, each of these values is set to the same thing: (0,0,0), (37,37,37), (221,221,221), or whatever. That is, they're all gray levels, just ...
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Its been a very long time, but I believe this is caused by inadequate rinsing of the negative during processing. The film has a coating to reduce light reflecting from the film backing itself. It is usually rinsed away, but seeing a slight purple tinge on negatives is likely very familiar to those who have developed their own B&W film. The coating is ...
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All color is a result of software processing. The only thing a sensor, be it film or semiconductor, can do is change state in response to incoming photons. Yes, a digital camera has color filters, but all they do is restrict the wavelengths which are passed to the sensing pixels. The output of each pixel is simply a bunch of electrons, which are then ...
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Here’s Fuji’s annual report: https://www.fujifilmholdings.com/en/pdf/investors/integrated_report/ff_ir_2018_all.pdf
The page you want is page 48.
What you should notice is that photo imaging made up 15.7% of the business - to which photo imaging revenues were roughly 2/3. While imagine revenues have shown increases from 2014, they also appear to be ...
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Traditionally a price factor, but not anymore.
The idea that you should shoot only black and white as a beginning "serious" photographer is both highly subjective and highly restrictive, especially in a world where colour comes at no cost. If you are shooting film and doing your own darkroom work, then there is a distinct price advantage to shooting in ...
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Long exposure astrophotography is often done with a monochrome sensor to maximize the number of photons captured from a faint source. Relatively short exposures with separate Red, Green, and Blue filters are sufficient to color the image, but the longer unfiltered channel provides more detail in the structure of what's being imaged. You can replicate the ...
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For the budget? Go digital, but don't worry about those monochrome sensors. Sure, they're strictly better in terms of per-pixel awesomeness, but even entry-level DSLRs and mirrorless cameras have high enough resolution to make up for it — especially if your comparison point is 35mm film. And the color information let's you easily make color filter choices in ...
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There is a really important diference if you are using film or is a digital photo. I will focus on Digital aspects but will give you an idea of what to expect with film.
The method I am using is simply using the primary channel of a colour RGB image.
Let me start with primary light colors RGB. As the skin has more red component the skin will look brighter ...
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I would not worry overmuch about the color schemes.
Two reasons:
the emulsions you mention (Bergger and HP5+) are panchromatic, in both cases with rather decent color rendition
your scenes will be static, so if and when you decide to alter the color rendition you can do so with classical B&W filters (the classical sequence of light yellow, dark ...
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It's something else.
Your photograph appears to be split toned. That simply means that the image wasn't completely bleached out before the sepia toning was done; a pale, low-density silver print, mostly of the shadows, would have still been visible. That gives considerably more depth to the shadows than a "pure" sepia-toned print, where the darkest darks ...
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For me this looks like pseudo-solarisation. Also known as Sabattier effect. This can happen when film or photo paper are exposed to light after the start of development. It can be counted as artistic effect, but its very hard to be managed (when and how much light to expose film or paper)
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You can't add a physical filter, but you can remove a physical filter to convert any digital camera to a strictly monochrome camera.
The actual sensor on any DSLR knows nothing about color - each pixel records the total luminosity in all the wavelengths it's sensitive to. The way color is introduced is by adding a Bayer filter, which is basically small ...
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Why are hardware-based manipulations, like black and white photography (traditionally using black-and-white film), long exposure, etc., which also result in an "unnatural" image, acceptable while software-based manipulation (like HDR) is frowned upon by the photography community?
Because we feel we need to put a line that separates photography from painting ...
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Hello this is Renato D’Agostin. By chance I found myself on this blog, and found curious and flattering to read comments about my photography. I thought it could be nice to comment myself. Regarding the way I shoot, I am very basic. I do indeed use a Leica M6, but mostly a Nikon F100. Some of my favorite and most relevant shots where taken with a 50euros F60 ...
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Shorter version:
Expose it as 3200 and shoot normally. Develop according to the instructions and make sure you use the correct development time for 3200.
Longer version:
Delta 3200 is not an ISO 3200 film, it is more like ISO 1000-1200. If you expose it as 3200 and develop according to the instructions, you are actually push developing it. The film ...
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The image has some highlights where there is some blue mixed in, where there is otherwise only information in the red and green channels. It's those highlights that doesn't balance well when you desaturate the image.
You can use the Channel Mixer in Monochrome mode to convert the image, that allows you to balance the channels to avoid the posterising.
...
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Shoot in RAW, and export on whatever format you like. JPEG for example.
For print it can be on TIFF. And you could export at grayscale at 16 bits. But that is only for specialized usage. For most users, JPEG is fine.
An additional note. If you are editing your photo using Photoshop, keep your working files in Photoshop, masks, layers. And again, export to ...
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