thanks for another interesting video. I also prefer warm toning by and large. But one thing this video brought to mind for me was a very interesting blue toning technique I learned in a college photography course in 1978. You take exhausted developer and soak steel wool in it (for a couple of days or a week, I forget exactly). After developing, fixing and rinsing your photograph you tone it in that. The mid tones and sometimes the highlights turn blue and the shadows get a very interesting dark silver grey metallic looks sort of like solarization.
A video on darkroom Lith printing, would be most welcome. Do the negs have to be thick thin normal, can resin coated paper be used. All interesting stuff.
You really need FB paper Stephen and only a couple are suitable - think Fomatone. Any neg can work but given the very long exposures I prefer a thin one.
Thanks, Steve. I recently shot quite a bit of XP2 in Joshua Tree and Saguaro National Park here in the US southwest...I'll have to go back and take a closer look to see the pinkish hue that you mentioned. Didn't notice it at first, but it could be my eyes.
I prefer straight black and white for the most part. Cannot remember toning prints back in high school or ordering toned prints later. However, I will recognize a nice job of toning when I see it. The workshop photo at 1:51 is an excellent example, where the warm tone gives a rusty/dusty old patina to the image...a feeling of age and wear that would be absent in straight B&W representation. Nice work and another great presentation.
Toning for me adds depth to an image. In offset printing you'll find that black and white images printed books of black and white photographs are often printed with various tones - look closely at the Ansel Adams books and you'll see to that all of his books and the calendars printed by Little Brown and Company aren't straight up half-tones, they're typically duo-tones. Fine art books are often printed with black gray and silver inks to help bring out the depth of the image.
I used Agfa Record Rapid (warm) or Agfa Brovira (cool) papers based on the feeling I wanted to impart, and have always carried on with that idea with inkjet printing. Photographers could also adjust the warmth with the choice of developer, or even go full warm with Agfa Portriga paper. B&W in darkroom printing was never ever 'greyscale'.
Words of a true photographer, whose prints represent what his vision was, at the time of releasing the shutter. I am sure I have quoted Steiglitz who once said to Adams, that when he came across a scene that evoked an emotion in him, he would photograph it, and the print was the equivalent of what he saw and felt. Looking forward to the results of your photography in Wales, and may the weather be as you wish it.
Excellent vlog as usual! I noticed many years ago(before digital) my film negatives if held at an angle in certain light, became positives.. Neat trick. Now I shoot BW film, Kentmere 100/400 and Iford HP5+, developed in HC-110 at 1:30, 1:50, see colors in my scans. Red very noticeable, where it was red! Stop Sign. Not in darkroom as paper strictly BW. Film does see colors and I assumed only BW, yet in digital scan into Facebook, there was color. Have You or anyone else noticed it? Like grain learned that grain came also from lenses. No laughing. A famous photographer agreed with me. Same film 2 different cameras and lenses. Leica-M3, 135mm Tele-Elmar, Pentax SP, 135 Takumar, old Tri-X. Pentax was grainier! Studio lights exact same exposure. Anyway enjoy the next shoots, here getting cooler 2C+ not bad! .All the best jason.
Hi Steve. Can colored photographs be taken by printing in darkroom a b&w negative using a warm or cold filter? I have no idea about darkroom techniques and maybe this is a stupid question... 🤔
You can print colour negatives onto B&W paper Jose but the results can look a little odd as the paper responds differently to each colour. I’ve done it a few times and it can be pretty convincing.
I prefer the cool toning of images if I am honest. I am up in North Wales myself next week & the weather looks very bleak - but I will be with the wife so not much camera jaunts for me. Was trying to think where the image at 3:23 was Steve, like that a lot. regards Al
Every time I hear someone mention Wales, I think of a Man for All Seasons and the incredible performance of Paul Scofield especially at the trial and the low-life that John Hurt played; Hurt played an excellent scum bag.
Hello, Steve. I had a question I wanted to ask, so I'll just go ahead. Why can we never see you taking pictures in foreign lands? Do you not ever go to vacations, or do you not practice your hobby when you do? I hope it's not too much of a nosy question, it's just I'd really like to see what you would do if you were in say, Croatia. But anywhere would be interesting. Thanks!
I don’t tend to do any serious photography abroad, I will just enjoy the holiday and take a compact or iPhone. I used to take along a film camera but the problems posed by the latest X-ray scanners in airports has put me off.
Monochrome is as you say one single color, but since neither black nor white are colors, can't be used I guess. Saying black and white leaves out the grays. I've heard grayscale, but that doesn't include blacks and whites. What a conundrum! Is there a way out?
I love the look of Platinum prints but could never afford to make real ones. I have still to find the right combination of tint and paper to emulate Platinum prints in digital printing.
No, youre mistaking color filters with tones with monochromatic photos. Monochromatic photos can ve achieved without any filter at all. Complete dislike.
