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High Contrast Black And White Film Photography

High Contrast Black And White Film Photography High Contrast Black And White Film Photography

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As of August 19th, we will no longer have an in-store film drop-off-service at the Lomography Gallery Store NYC. You can still send your rolls in for development with us through our LomoLab Online Service in our online shop.

His name may be estranged from the world of art photography, but Charles Chusseau-Flaviens is a relevant name to photography history. This is the work of a famous enigma.

Get familiar with one of America’s most underrated photojournalist in the mid-20th century, Thomas O’Halloran.

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物の哀れ – Mono no Aware is translated as “a sensitivity to ephemera,” the feeling that nothing is permanent and things can only be used for a short time. Check out the mixed-media work by Gabriella and Marlize as interpenetration to this feeling.

5 Share Tweet Contrast in Monochrome — Street Candy ATM 400 Film written by cheeo on 2018-08-09 #news

While the others have discussed printing, you could also consider “pushing” the film by underexposing and overdeveloping it. This will also increase the grain.

I love high contrast photos especially for still life. They work great for nudes and portraits as well. Good luck and let me know if you give it try. I’d like to see the results.

That said, properly exposing your photograph inside the camera is a skill. That skill too requires years of practice to refine your understanding such that you can eyeball a scene and know where in the exposure triangle to calibrate.

When black and white film is developed the blacks develop first and stop developing after the first two or three minutes, the whites keep developing as long as the film is in the developer. So depending on how much you underexposed the film will determine how long you overdevelop the film. Since I underexposed by two to three f/stops I overdeveloped by half. For example, using Sprint developer, Kodak TRI-X 400 needs 10 minutes, so I developed it for 15 minutes instead to bring out the whites that were underexposed. You get a very thick negative which requires longer processing. If you do not develop your own film you will need to explain this process to whomever you use and hope they understand. There is some risk involved. If you don’t develop the film long enough you’ll get flat negatives and flat photos. If you develop too long the highlights (whites) will be blown out with no details. If you scan your own negatives you can adjust your image. But remember you cannot bring back details that don’t exist.

The main source of your contrast comes in the darkroom. You need to dodge and burn your paper for the high contrast. It is a process, if you do not have the desired effect after the first development, then get right back to the projector and develop another until you have the desired result.

Music photographer Sebastian Buzzalino brought the Lomo’Instant Automat and Petzval 85 Art Lens to Sled Island.

The contrast of the paper you print on will make an enormous difference in the contrast of the print. Fixed-grade 4 and 5 papers are very contrasty, while low-contrast papers will produce a very flat print from the same negative.

For example, this photo was shot on T-MAX and printed on Ilford multigrade paper with a grade 5 (high contrast) filter:

Who knows: you might be able to get your desired look by only printing high-contrast.

And what’s really cool is that by changing the filters mid-exposure and using some creative dodging and burning, you can have different contrast values in different parts of the print.

Anyone can achieve those super high contrast black and white images with a little bit of mathematics, some understanding of light and the chemicals involved in developing film. Okay, I just reread what I wrote and I think I made it sound harder than it is. Here is the basic technique: underexpose your shot and overdevelop your film. It helps first to compose a scene in interesting light. The two images attached to this tip were taken in bright sunshine beaming in on a porch. The light was coming in from the south and shining directly on a chair in one corner of the porch. There was a lot of shadows on the rest of the porch as it was late afternoon. I decided to underexpose the shot but wasn’t sure how much I needed so I took two shots, the first shot was underexposed by two f/stops and the second by 3 f/stops. Underexposing means that there will be a lot of blacks and very little whites—a dark shot, too dark. But that’s okay because you can bring back those whites while developing the film.

4 Share Tweet Yangtze: The Long River by Nadav Kander written by crissyrobles on 2018-08-11

If you scan your film, the scanners initial settings can be set for high contrast. And if you edit in software, additional contrast can be obtained as well.

Mono-no-Aware: Painted Photographs by Gabriella Achadinha and Marlize Eckard written by crissyrobles on 2018-08-10

Lomography Magazine Super High Contrast Black and White Images

written by altprocess on 2009-03-07 #gear #tutorials #black-and-white #35mm #analogue #underexposed #tipster #high-contrast #darkroom #120-film #overdeveloped

More Interesting Articles Charles Chusseau-Flaviens: the Photojournalist Without a Face 2018-08-11 #culture

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11 Share Tweet Manifesting Infinity: A Photo Series by Michael Donnor written by crissyrobles on 2018-08-09

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The summer heat may be intense, but a stroll through the breeze would do just the trick to refreshen you. Here’s how to ‘uitwaaien’.

Ever wonder how photographers like Edward Weston were able to get super high contrast black and white prints? It wasn’t all in the printing, it wasn’t all in the negative, and it wasn’t all in the camera. You need all three and a wee bit of mathematics.

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I’m sure you are putting yourself through the hell of antiquity for some irrational, “artistic” reason, but, having a digital camera in your hand means you can see the exposure instantly, thereby avoiding all the mental guessing in the process. But I know there is no stopping you in your journey. Enjoy!

If you are using photo paper to make a print, you can select a contrasty paper, or a multiple grade paper, with high contrast filter. Again, developer choice, to some extent can effect contrast as well, as will longer development to a small extent.

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Looking for a new way of shooting wide-angle scenes, architectural shots, and creative portraits? Create a panograph — a series of photo fragments that are assembled together to make a bigger, complete image.

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1 5 Share Tweet Sebastian Buzzalino at Sled Island written by sarahlindsayk on 2018-08-10 #gear #culture

Super High Contrast Black and White Images 21 47 Share Tweet

While different monochrome films do have different contrast profiles, the main determinant of how contrasty your prints are will be your choice of paper grade (or contrast filter if you’re using multigrade paper, which is generally what I did).

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If there’s a will, there’s a way. One Film Only releases their new black and white film.

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Manifesting Infinity is a photo series made from gelatin silver print and an outcome of pondering about existence.

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If you can grab Ansel Adams’ boos “The Negative” and “The Camera,” they should be instructive. Keep in mind that he shot sheet film, so he could experiment with processing one shot at a time, as opposed to those of us using roll film. If you can still buy film in bulk and roll your own, you can make short rolls for experimenting without wasting too much film.

As you do your tests, take careful notes of your exposure and lighting, because your lighting ratio (main: fill) will also affect the look.

Some films are inherently more contrasty than others. Most lithographic films are essentially black or white only, with no gray scale at all. The choice of developer can have a large efect. Some devlopers are inherently more contrasty. Also, some level of over development usually increases contrast some.

3 Share Tweet New York City: Online LomoLab Service only starting August 19th written by birgitbuchart on 2018-08-09 #news

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Lomographer Michael Schönen looks back on his memorable trip to South England, where he explored every corner of this picturesque place and met up with fellow film photography enthusiasts along the way.

Multigrade paper allows you to experiment easily with contrast. It has several different layers of emulsion, each with a different contrast curve and optimally sensitive to different frequencies of light, meaning that just by changing color filters on your enlarger you can have very precise control of the contrast of the print.

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