Black & white filters/techniques

I have several years experience in color photography and in darkroom work for black & white. I am interested in getting into shooting my own black and white nature photos. The ones I've done are noticably lacking in drama. Any suggestions on films, filters, ect. that help create more dramatic photos? I'm planning a trip to Ireland and would like to do some work there. Any suggestions specific to that climate are also appreciated!

I doubt you could do much better than to read Ansel Adams series

of books on B&W photography. You might not want (or be able) to emulate his

style, but few people could find fault with his technique!

 

"Dramatic" is in the eye of the beholder of course. The way to get

"dramatic" dark skies and white clouds is to use a red filter, but there's more to a dramatic

image than a quick technical fix with a filter.

Sharon,

 

I do a lot of Infrared B+W landscapes. I also use a red filter (25A) with this film. I know this answer is over-simplified, but I personally feel that the key to good B+W photos is to think about those two words, black and white. My biggest success is when the object is either black or white and not muddied by a lot of grey tones. I guess I am talking about images with contrast, so there is no question what the object is. I don't do darkroom, but I have found a printer where I live here in Austin that is an absolute darkroom genius. Good darkroom technique is essential. I see the negative (when printed on the contact sheet) as the rough draft, i.e. all the elements of a good compostion and contrast being there, and the print as the final draft where all the elements of good composition, contrast and darkroom techniques have come together. Good luck.

 

Erik H. Pronske, M.D.

Austin, TX

In many lnadscape situations a "bald" (even blue) sky or one that doesn't separate from the clouds well, especially a sky that shows up as a large area of white, can kill an image. To darken a sky, there are several filters varying from light yellow to medium yellow to orange to red. I suggest that, if this is your problem, you get the dark yellow and orange filter first and see what effect they have on your images. A polarizer also works for B&W in killing reflections, etc.

 

It may also be that your printing technique just doesn't bring out enough contrast, that's the ooomph in most dramatic images.

 

Let us know how you are doing and don't hesitate to ask more questions. More specific examples would help us help you, too.

 

Frank

Sharon- Everything they are telling you is correct. Here is what has worked for me:

A: Look for more contrast than you would in color. I have shot photos that I thought would look great in B & W, but just looked gray no matter how you print them. If meter readings are 6 or 7 stops difference, that can be very good (unlike slide film).

B: Really watch for shapes, textures, and patterns.

C: Get to know your film. If you are using a tripod (youi should be using a tripod) try some APX 25. If you need more speed try Kodak T400CN or Ilford Delta. The Kodak is processed like color neg film.

D: You must develop and print yourself to really learn it (except for the C-41 B & W). It seems like no one likes to use the development combos given by the maufactures, but these companies spend tens of $1000's of $$$ and many man hours testing. They should know. Start with what they say.

E: Print your own stuff. Try Kodak Polymax RC. It really helped me. If you don't like it , try something else, there are plenty of choices.

F: Practice and enjoy. I enjoy my B & W prints much better and longer than my Ilforchromes.

G: Don't be too hard on yourself. Most of the time the hardest person to please is ourselves, but that is what makes us do better.

H: When you get going good, try Tech Pan, especially if your are using 35mm.

Remember there are no "rules". One of my favorite images wasn't taken

with Tech Pan under high contrast conditions with a red filter. In fact it was taken in low contrast fog, with no filter, using

TMZ 3200 film. Film, filters, light and lens matter less than what's

in your head when you shoot and your ability to translate that into

the image.

Bob, the best photos usually do break the rules. That might be what makes them the best.

Bob,

Ditto about the rules.

Erik H. Pronske

I believe the techniques and lighting, and sometimes subject matter are different for b&w and color, and it may take time to "see" in B&W.

Try a filter/adapter/viewer, that when held to your eye, views the scene in monochromatic colors. Also, really study b&w pictures you like, especially those with information. You will really enjoy working in b&w.

Someone once told me that before you break the rules, it pays to know *most* of them... I think this is a fair point!

For landscapes I would recommend green-yellow filter, it enhances blue sky and additionally makes green brighter (trees, forest, grass) - usually it is too dark on B&W. Before taking picture look carefully by one eye (reduce binocular view) - you will give up 80% shots and remaining 20% should be great. Try to use short or normal lenses - it "dramatizes" picture much more than long lenses (lack of perspective). Work with different DOFs. Good luck! Zbig.

Hello Sharon and All.

 

I suggest you develop a repertoire of B & W imagery using the full spectrum of suitable filters for B & W.

 

You already know that filters used in Black and White photography let their complimentary colors pass through yet blocks most if not all of the others.

 

In the field, screw-in filters serve the photographer best.

Yellow 8 & 15, Red 25 & 29, Blue 47 and Green 58 all have their uses.

Also vital in B & W imagery is a quality Polarizer. Don't forget a lens hood

 

Use Yellow 1 (w6) as a warmer, (WR12) for any areial work you ever decide to do, ORANGE (WR16) for Haze, Red (WR23a) Architechture, Green 1(WR11) for flesh tones, Green 2 (WR13) men's skin.

 

Here I'll get in trouble. But as an African, and having worked in B & W with my people, let me suggest the following filters for Black skin and textures:

Yellow 8: lightens

Yellow 15: more lightened

Red 25: Very lightened

Blue 47: Darkens and exceptionally smoothes Black skin

Green 58: Darkens lips and increases contras

One answer on composition and lens choice mentions wider than normal lenses for more dramatic images. This can happen if you work carefully and see the world in these near/far wide angle terms. But be aware that many of Ansel Adams striking images were shot with lenses a bit longer than normal for the format & from an elevated viewpoint. A lot of it is in how you view the world and how comfortable you are with your gear. Filter use is a good part of it in B&W. If you have a Polaroid back you can get immediate feedback which will help in testing a number of filters to see what the effects are. No matter what you read, field use will be the only way to understand on more than an intellectual level. Try shooting the same scene with a number of different filters & then make contact prints and do a side by side comparison. Be aware that visually you may gravitate to the very strong or contrasty images. Don't let this get you shooting nothing but the strongest filters. Look carefully at your testing & when presented with a scene or subject where strong contrast seems very good, shoot it with a filter that allows for a bit less contrast as well as the really strong one. Then print both & live with them for awhile. You may find you like the one with full tones and less overall contrast after a bit of time looking at both. The really dark & dramatic has immediate impact but often a more contemplative & smoother image may be better.

Just as so many other things, time and experience make a big difference in your choices of filters & by shooting some of the images with more than one filter to allow for contrast choices(as well as developing ones) you can help speed the learning curve.