You get on film what most of us push and pull in post on digital to desperately try and achieve. Fantastic.
Thank you. I missed the digital train long time ago and decided to persevere with filmYou get
You get on film what most of us push and pull in post on digital to desperately try and achieve. Fantastic.
I really love how clean you've managed to keep this composition. And the tones, man! Reminds me why I miss the old b&w films and never like it when I try b&w with digital.
Sorry, I didn't see this comment.I really love how clean you've managed to keep this composition. And the tones, man! Reminds me why I miss the old b&w films and never like it when I try b&w with digital.
May I inquire about your process, do you scan the negs or from prints?
Interesting! I've heard of split-grade, actually, but only quite recently. Steve O'Nions has a video on YouTube on split grade printing in the darkroom that I've watched, and I found that quite interesting too. Funny that I only hear of that technique now and not when I was actively doing darkroom printing. Used to have my own darkroom, but never done split grade.Sorry, I didn't see this comment.
I develop the film in HC110 and scan it with all auto-adjusting off to get as flat negative as possible.
I open it on Gimp and add two layers; a white one to adjust highlights and a black one to adjust shadows (it might also be pale white or dark grey - depending on the contrast of the negative). I blend them as overlay. From there on I adjust the opacity of each layer to get the feel I want. In this picture, I added another white layer to adjust the light coming from the street (and chose high opacity). If you ever heard of split-grade printing, this is the digital equivalent.
I love that there is so much going on in this shot. You feel like you are there.