graham_martin5

<p>I will give that a go. While I am here I would like to follow up with some more examples to reiterate the point. Shooting indoor with bulb lighting and fooling the camera with false white balance might help to achieve different colour tones but what about shooting outdoors with natural light?<br>

Here are two images, one (market stall lady) shot by myself, the colours as they appeared naturally, straight from the camera with no enhancement. The other an image by Joel Meyerowitz from 1974. Notice the muted colours, the warm tones with perhaps a hue veering towards yellowish... again, hard to define, but there is a visible difference. I will try what you suggested now Tim, but maybe this updated example might help more with describing what I'm after. Staging the scene with lights won't cut it as when shooting street scenes with whatever light is available, choosing the quality of light to shoot in is not an option.<br>

<img src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2011/2/24/1298581582208/Meyerowitz-exhibition-FOR-008.jpg" alt="" width="700" height="480" /></p>

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<p>I found this thread while also searching for a technique for achieving muted colours similar to William Eggleston's or Joel Meyerowitz. I don't know how to describe it but the colours differ from what a DSLR produces. They have maybe a slightly desaturated look, muted, warm toned. <br />My fear is that the answer to this question is that you need to shoot in warm southern sunshine, during the 60's / 70's when people wore more colour with less garish branding and you need to use a now deleted film type through a Leica M and then process the film using a cocktail of difficult to find chemicals. But if there is a handy Photoshop process for achieving this look I'd love to know it.<img src="http://www.egglestontrust.com/images/portfolios/los_alamos_s.jpg" alt="" width="600" height="400" /><br /><br />Here of course is a well known image by Eggelston. If you took this same photo now using a modern digital camera the colours would have a more realistic and vibrant punchiness. Some might prefer these colours and on occasion I do also, it depends on the subject, scene and desired look. But just like black & white is an abstraction of the truth which is what makes it so interesting, getting a colour look that differs to the genuine scene can often be more appealing, particularly when shooting mundane everyday scenes like Eggleston did, it's there colour and look that makes them so great not necessarily the subject matter which was often shots of uninteresting objects such as red ceilings, dinner plates, ketchup condiments, car rears or stray dogs.<br />I want to nail down a colour style just like I have almost gotten to a black and white conversion process I'm happy with. I'm not satisfied with natural colours that come straight out of the camera.<br />Any help or suggestions with this would be greatly appreciated. Thanks!</p>

<p>I realise this is an old thread and I probably should start a new one (maybe I will, this is my first time commenting in a thread on here).<br>

You have been discussing Friedlander's process and finish with black & white film but I was curious how he achieved the beautiful warm colours seen in his 'American Musicians' collection. The shots he made of John Coltrane, Miles Davis, Charles Mingus, Ray Charles, Aretha Franklin and others.<br>

This might be a silly question- a well known fact about his colour work or else very easily diagnosable from the images, but I am not all that familiar with different film types and process but would love to be.</p>

<p>Some examples of his colour work of Atlantic label musicians can be seen here: <a href="http://www.afterimagegallery.com/friedlander.htm">http://www.afterimagegallery.com/friedlander.htm</a></p>

<p>Thanks for the help guys!</p>

<p>Hi all, I have a question for everyone.<br>

I'm studying photography and am in my second semester and have just begun studio work and lighting. We have been asked to compile a 'visual diary' of our learning outcomes, trials, errors, practice shots etc. like a scrapbook to display work and external learning sources. In the first semester we had also to produce a diary but we were shooting on black and white film and in the darkroom, so our influenecs would of been the greats of old and I have my favourites who worked with black and white and mastered the darkroom. I am now looking at different types of photographers who specialise in studio work and who may have pioneered certain techniques or styles and utilised specific lighting effects etc. Could anyone help me by giving me some names to research and explore? I'm looking for the studio equivilants of the Cartier-Bressons, Steiglitz, Brandt's, R. Frank's etc, the 'legends' of studio work if you will. :)</p>

<p>Thanks guys!</p><div></div>