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  1. #31

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    If you look at the work of a photographer like William Eggleston it's almost exclusively 'about' colour. It simply wouldn't have the same impact in B&W, although Eggleston did shoot monochrome in his earlier years. By contrast Ansel Adams' landscapes rely on texture and tone for impact. Some subjects are less clear, a good street photograph can be enhanced by the colours in it, or lessened. Martin Parr's shots work in colour, Tony Ray-Jones covered similar subjects successfully in black and white.

    Digital photographers don't have the same problem, they simply desaturate a colour photograph. My response is to shoot black and white but carry a colour body for images that clearly need it. That works out about one roll of C41 or E6 for every four B&W. Others may have an opposite ratio, whatever, I feel a little naked if I don't have colour stock somewhere on me, even if it's in a compact camera.

  2. #32
    MDR
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    Use C41 color film

    and choose the color or lack thereof at the printing stage, Print the color negative on R4 paper for color and on classic B/W paper for B/W. Or use a camera with exchangeable backs Rollei 3003, Zeiss Contarex , the last model Contaflex for 35mm and Hassy, Bronica, Mamiya for Medium format.

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