Results tagged “b&w”

mortensen.jpg

This, sentence, on a collector's blog surpises me.

"Collector's POV: Prior to this show, we knew nothing about the work of Ray Mortenson."

The reason being, the fist photographic monograph I bought, way back in, 1989, was by Ray Mortensen, entitled, Meadowland.

Books figure very highly in my creative output and inspiration, and while I had to 'think' about the name, I recognised it eventually, which I then confirmed by checking my library.

Colour to Black & White?

In camera, or post-production?

Recently in a flickr discussion forum, the issues of in-camera processing came up. LotF, the photographer in question, was disappointed at the results his new camera was producing, with in-camera b & w conversions, compared to an older camera. Some argued that it was the camera, or maybe the camera's software. Others also wondered out loud about the pro and cons of in camera conversion and post production conversion.

I am a fan of being aware of and able to control outcomes to meet my expectations, this is something any software that is fully automatic will lock the user out of entirely. Therefore I tend to avoid in-camera processing, besides it's almost impossible to make good judgments on a screen that small.

So, for me the only way to convert is in post-production. I did however conduct a small simple test, one shot as usual and then the same shot with the camera set to b&w*

I used Photoshop's black and white conversion on the default settings. image>mode>black & whiteThe results indicated to me that post was indeed better. Subtle but better. [The in-camera shot for comparison.] The highlights were over-exposed, the shadows and mid-tones were ok though, I guess if you had the software to run a jpeg through a raw conversion tool, you could fix up some of the problem areas and blend them together.

original file converted post exposure

This in camera processed shot, has blown highlights and poor mid tone separation, the contrast seems to high too for my liking.


in camera conversion

Post processed has more values to work with, the shadows reading #3, are little empty for my liking though, easy fixed with some tweaking in Photoshop.


*This has all been done using phone cameras for speed and convenience.

Photographic Processing Matrix

Sometime back, I mentioned, I was thinking about a processing matrix of sorts, well here it is, now I need to make a better looking pdf version

Photographic Workflow Matrix

Shoot Process Proof Print/Output  
Task/Digital Exposure, be accurate, avoid under exposing shadows. Download from camera. Process to format suitable for future reference. Colour correct. Add colour Profile. Archive to CD/DVD. Add/Import to catalogue program. Print out hardcopy if needed.‡ Send to Print bureau for output as either Lambda or Pegasus print, or inkjet or print in-house using inkjet printer, or publish to the web. Infinte control available in digital tools such as Photoshop
Task/Analogue Neg film expose for the shadows, usually over. Positive Film expose for the highlights.¶ B&W Neg Film, process for the highlights.†
Colour Neg process. Positive film Process.
B&W make proof sheet colour neg, get machine proofs. Positive, view on light box. File negatives and proofs away for future reference. B&W, make work print. †Colour neg, make print, some local burning and dodging possible. Finished B&W prints can take as long to produce as the skills of the printer allow.
           
Software/Digital Raw Files
jpeg files
5 megapixels plus
Download from camera.
Process to format suitable for future reference. Colour correct. Add colour Profile.
Archive to CD/DVD. Add/Import to catalogue program. Print out hardcopy if needed. Send to Print bureau for output as either Lambda or Pegasus print, or inkjet or print in-house using inkjet printer, or publish to the web.  
Software/Analogue Choose a format and film type to suit the task at hand, eg 35mm for street photography, 5x4 and larger for landscape or product photography and so on. Choice of film developer, determines time temperature and agitation method, which in turn affect reults like contrast and grain. B&W requires minimum time maximum black. Labs produce colour proofs, using machinery with associated costs, and time. Expose for the highlights change filters for the shadows, then make local adjustments in darkroom, B&W only. No global contrast control, local contrast control in Type C is not impossible but technically difficult Finished B&W prints can take as long to produce as the skills of the printer allow.
  ¶ Remember the trade offs.    
    †The choices here, are exhaustive, it is even possible to make your own papers, and chemicals.
      ‡To an extent many packages will do this task sufficiently, such as Adobe Bridge, but iView Media Pro, frees up choices in terms of physical media and it’s location.
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