What's So Special About Black and White?
'Fine art' photography has historically been so dominated by black & white that some might conclude that artistic photography is black & white. Why is this so? After decades of technical refinements in colour photography leading to modern c41, E6, colour instant film processes and the digital technologies, why is black and white photography still perceived as the higher art?
Reasons abound, of course.
I didn't find a review on this gorgeous book on APUG, so here is mine!
I recently went to Iceland in mid-winter and was fortunate to meet Ragnar Axelsson and collect his signature on this book, which is filled with remarkably effective b&w images from his ventures in Iceland, Greenland, and the Faeroe islands.
I won't attempt to try to put into words what is best expressed in the images, but I will just make a few observations. First of all, Ragnar's images are
Updated 01-19-2010 at 08:56 PM by keithwms
How much is grain per detail (and tonal smoothness) a function of format size?
First, the film grain per area is a constant of format size. This is important.
We can estimate grain increase per one stop increase in required film sensitivity as ~2x. In other words, if you shoot a film at ISO 200 then there will be ~2x more grain per detail than the same shot at ISO 100.
Obviously this is a very rough approximation and a rather pessimistic one at that.
Disclaimer: this particular operation was on my rb67-545i back. A 545 holder which doesn't already fit on your rb won't fit any better after this operation! This operation is to make it easier to use Fuji quickloads with your545 back.
I have a Polaroid 545i back for my rb67, with which I have been shooting type 55. Now that 55 is leaving us and I have only a few boxes left, I'll just use my remaining 665 for the rb and run Fuji quickloads through the Polaroid back. Seems like
Updated 05-04-2008 at 01:40 PM by keithwms
This blog is a review of Christopher Beane's new book, Flower.
Flower, is a floral autobiography.
Beginning with traditional, abstract, black & white compositions in the 1990s, Beane's early works make reference to a number of noted photographers but also reveal how he developed his own eye for presenting unusual floral shapes and textures.
In the late 1990s, Beane left