Perhaps shooting reference patches at different exposure levels will help you gain a sense of how much latitude you have to work with given your personal standards for noise and such. But with black and white, adjusting the contrast curves to a less accurate but more evocative image is standard practice, so technical accuracy from the camera to the screen isn't usually a priority, though from screen to print it often is. High-precision black and white imaging can require the use of hundreds of grayscale patches to linearize and verify the repeatability of computer monitors, soft proofing, and printing. For technical accuracy, your color reference sheet likely includes several grayscale patches, and you can use these to verify exposure and contrast curves for whatever processing, previewing, and final product that your workflow entails. The purpose of shooting a reference in the first place is to maximize accuracy from input through to output. Shooting reference patches strikes me as just as useful for color work as black and white, which is to say it is usually an esoteric practice with minimal marginal gains, but in certain applications can become essential. I'm no expert, so this is all in my humble and perhaps naive opinion. I'm in a writing mood, and you ask some questions that make me think, so I'm going to see how well I understand these issues by attempting to provide answers. That is one of the great things about black and white photography, regardless of the camera or film emulsion you are using. Whether shooting with a Monochrom v.1, Monochrom typ 246 or a film M with black and white film, light is light. Learning to use your camera's meter correctly is a must.Īs far as the color temperature of light, that is only an issue with color photography. Knowing how to meter effectively is also a critical skill when it comes to getting good exposure. Reflectors work well too, but usually require an assistant to position them or a reflector stand to hold them while you make photographs. Off camera flash with some sort of flash modifier diffuser or bounced flash gives very good results when you learn some basic techniques. When you can't get uniform lighting naturally, you can get it by using artificial methods - a reflector or flash. Same thing with indoor or artificial lighting - you want uniform lighting. You can shoot at high noon and get good results as long as half your subject is not in direct sunlight and half is in the shadows. Uniform lighting is the key the more uniform the light, the better your exposure results will be. Exceed those limits and you will have blown out highlights, blocked up black shadows or both. run into unexpected situationsĮvery digital camera and every film emulsion has its limits in terms of exposure latitude. Thanks! I am sure I will come up with more questions as I get more actual experience,i.e. Is the explanation for this phenomenon that while color photography images are influenced by the color temperature of the light illuminating the scene/subjects, B&W images are not influenced? B&W only records the luminance of the scene/subjects and is independent of the color temperature of the illuminating light?įor example: If you photograph in B&W on the m Monochrom an orange as your subject under a range of illuminating light temperatures but always same intensity will the orange look the same in all the images?ģ) Online resources you recommend for a newbie like me?Ĥ) Advice on color filters to use? Which do you find useful under what circumstances? One of the attractions to me of B&W is that it increases the time in which I can take good pictures. What happens when we have no "colors"? I would assume no role.but?Ģ) There is a common saying that color photography is best at daybreak and end of day while B&W photography is good also in mid day. When using my SL I use the Colorchecker in each lighting situation to optimize color accuracy. So, it is time for me to brush up my skills and knowledge about B&W and would really appreciate your input.ġ) Is there any role for the Passport Colorchecker proceedure.since there is no "color" I want to try my hand at B&W with a camera dedicated to that process. I am an SL color shooter who has just acquired the original version of the monochrom m 18 MP camera.
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