What color is your black and white? Why?

Discussion in 'Philosophy' started by Julie H, Mar 26, 2017.

  1. I don't think these are crummy at all. Personally, I like the tonality in the bottom one. Otherwise, it will generally depend....
  2. Norman 202

    Norman 202 i am the light

    Gray is a cool, neutral, and balanced color. The color gray is an emotionless, moody color that is typically associated with meanings of dull, dirty, and dingy, as well as formal, conservative, and sophisticated. The color gray is a timeless and practical color that is often associated with loss or depression.
    [COLOR=rgba(0, 0, 0, 0.541176)]
    until recently i've always had a knee jeck reaction to b&w photography because it is so neutral[/COLOR]
  3. Norman 202

    Norman 202 i am the light

    hahahaha. please ignore ( and delete)
    Last edited: Apr 8, 2017

  4. Phil, I expect you know this already, but I think it's interesting, so I'm going to post it. This is Beth A. Price and Ken Sutherland describing Atget's prints:

    "Atget produced his photographs exclusively with the 'printing-out' process — that is, the process by which images appeared spontaneously when exposed to sunlight, without the use of developing chemicals. In this technique the photographic paper, either albumen or gelatin, was placed in direct contact with a glass-plate negative in a printing frame and exposed to sunlight until the desired degree of darkening had occurred. After exposure, the print was rinsed, fixed, and washed to eliminate any excess silver salt. ... The printing-out process, which was the predominant printing method in the nineteenth century, declined in favor of the more rapid 'developing-out' process in the early twentieth century. Developing-out papers, which were made using gelatin but not albumen, required exposure to light followed by treatment of the exposed photographic paper in a developing solution to bring out the latent image. In contrast to Atget's working method, [Berenice] Abbott used the developing-out process for the prints she made from his negatives."​

    "... Based on visual examination of the [Philadelphia] Museum's collection, approximately two hundred (or three-quarters) of the Atget prints [made by him] were classified as albumen and the remainder gelatin; all of the Abbott prints from Atget's negatives were classified as gelatin." [Atget sometimes made gelatin prints]​

    " ... Gold-toning of printed-out prints tended to change the image hue from brick red to purple-black; it was also used as a means of improving the stability of albumen prints, which are notoriously unstable and often fade and yellow over time. Consequently, almost all albumen prints from the nineteenth century were toned in this way. On Atget's use of gold toning, Abbott recalled in 1964, 'His prints were superb. I believe gold [toned] chloride paper was the type used; it had, in my opinion, a tonal range and quality superior to those obtainable today.' Atget's use of gold toning for his albumen prints in the Museum's collection was confirmed by EDS [energy dispersive spectroscopy]"​

    "... Julien Levy, the art dealer whose collection is the source of many of the Atget photographs and Abbott prints in the Museum's collection, makes reference to experiments that he and Abbott conducted with gold and platinum toning of various papers in an attempt to reproduce the tonal qualities of Atget's prints: 'We experimented with every paper we could find ... hand-coated platinum, double hand-coated. We ended up, finally, with a semi-gold paper made by Gevaert.' Although platinum- and gold-toned Abbott prints were not found in the current study, selenium toning was detected in a number of cases, including a group of three prints that Abbott produced from a single Atget negative, Place du Tertre. These prints exhibit a brown to cool-purple quality characteristic of selenium-toned gelatin developed-out prints."​
  5. The color/tone is the tone I included in my conception of the image before I went out to get it. It is part of the creative process of perceiving the image long before you pick up the camera to top out and capture the image.

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