High Contrast Black And White Film Photography

best black and white pictures High Contrast Black And White Film Photography

best black and white pictures High Contrast Black And White Film Photography

How can i achieve high contrast bw film photographs
Black and white film photography by manjari sahu via behance
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Creating high contrast black and white images is quite simple some digital cameras allow you to set things such as contrast saturation picture style
Highcontrast filmic bw
Frances ha 2012
Overexposed or overdeveloped need some advice photo net photography forums
35mm bw bulk roll 100 ft kodak high contrast 5363
Its usage of high contrast between light and dark elements directors utilized stark lighting and heavy contrast to portray characters in a light that
Modelmayhem com high contrast filters for bw film
Picture of the day stairway to contrast twistedsifter
Well it means we get a high contrast tight grained fine detailed pushable and scanner friendly new black and white film to shoot
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High contrast black white photography
High contrast black and white portrait like this and this on film both are digital photographs any recommendations for what kind of film i should use
Again
Tadashi onishi is a talented photographer based in tokyo japan he shoots amazing cinematic and high contrast black and white urban and street photography
Iphone photos natural light 5
I started shooting film in 1996 when i was just a little kid in high school i invested into digital which i enjoyed for a long time
Film noir style

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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.

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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.

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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

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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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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 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.

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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.

High Contrast Black And White Film Photography