تويت
المقدمة .. كيفية التقاط وتطوير الصور بالأبيض والأسود
INTRODUCTION
M ore than ever before , black - and - white film is the medium of personal expression in photography . Colour may dominate the market because of its realism , but the results in black - and - white can be controlled much more closely , and more easily . Its simplicity comes from recording everything on a single scale of tones . The refinement of a monochrome image lies in the way it forces both the photographer and the viewer of the final print to see objects and scenes more graphically - as made up of shapes , lines and tonal differences .
Nothing could be simpler than modern black - and - white film and print hand- ling . For decades , photography depended on this chemistry , and the forma- tion of an image in silver remains the first step in every kind of film , including all the colour emulsions . Light - sensitive crystals of silver halide in a single layer react when the camera's shutter is opened , and a single solution of developer converts them to silver metal . There is nothing more complicated to it than this , and the tolerances of exposure and processing are wide enough to allow considerable room for error or , a better use , to allow experiment and manipu- lation of the image . Even when the negative has been processed , any number of different images can be made from it , according to the way the photographer treats it in the darkroom when making a print . In this book , we begin with the basic equipment and materials needed to start , look at film available and how to expose them in different conditions , continue with the graphic possibilities of monochrome , and end with all the procedures needed for developing the film , making enlarged prints and displaying and storing the results . More than in colour photography , doing your own developing and printing is both easy and an essential part of the black - and - white process .
LEFT An historic image of an historic moment . The American space programme used the monochrome image in a colourless environment . The cross - hairs on a plate inside the camera helped to measure and map the lunar surface .
ABOVE Despite its present popularity as the medium of personal expression , it is worth remembering that black and white was photography at one stage , and because the materials are so undemanding , black and white is the best beginner's choice .
A taste of the wonderful diversity of the monochrome image : the subject of the picture ( LEFT ) , taken in 1926 , is the painter Piet Mondrian . The photographer André Kertesz decided to echo Mandrian's linear , unmistakable style in his own composition . The image above , taken by an unknown photographer before the turn of the century , has been toned by the passing of time . Its formal composition achieves a wonderful tranquility , it affects the viewer now , but it is difficult to imagine the shock of such images in photography's infancy . John Thomson is responsible for the image ( RIGHT ) taken in China in the 1860s .
Responsible ' is the right word : the materials and equipment then available placed limitations on everyday , ' candid photography . The scene is brilliantly posed . For an explanation of the techniques for using daylight indoors ( TOP RIGHT ) . See page 52 , using natural light can preserve an authentic atmosphere .
INTRODUCTION
M ore than ever before , black - and - white film is the medium of personal expression in photography . Colour may dominate the market because of its realism , but the results in black - and - white can be controlled much more closely , and more easily . Its simplicity comes from recording everything on a single scale of tones . The refinement of a monochrome image lies in the way it forces both the photographer and the viewer of the final print to see objects and scenes more graphically - as made up of shapes , lines and tonal differences .
Nothing could be simpler than modern black - and - white film and print hand- ling . For decades , photography depended on this chemistry , and the forma- tion of an image in silver remains the first step in every kind of film , including all the colour emulsions . Light - sensitive crystals of silver halide in a single layer react when the camera's shutter is opened , and a single solution of developer converts them to silver metal . There is nothing more complicated to it than this , and the tolerances of exposure and processing are wide enough to allow considerable room for error or , a better use , to allow experiment and manipu- lation of the image . Even when the negative has been processed , any number of different images can be made from it , according to the way the photographer treats it in the darkroom when making a print . In this book , we begin with the basic equipment and materials needed to start , look at film available and how to expose them in different conditions , continue with the graphic possibilities of monochrome , and end with all the procedures needed for developing the film , making enlarged prints and displaying and storing the results . More than in colour photography , doing your own developing and printing is both easy and an essential part of the black - and - white process .
LEFT An historic image of an historic moment . The American space programme used the monochrome image in a colourless environment . The cross - hairs on a plate inside the camera helped to measure and map the lunar surface .
ABOVE Despite its present popularity as the medium of personal expression , it is worth remembering that black and white was photography at one stage , and because the materials are so undemanding , black and white is the best beginner's choice .
A taste of the wonderful diversity of the monochrome image : the subject of the picture ( LEFT ) , taken in 1926 , is the painter Piet Mondrian . The photographer André Kertesz decided to echo Mandrian's linear , unmistakable style in his own composition . The image above , taken by an unknown photographer before the turn of the century , has been toned by the passing of time . Its formal composition achieves a wonderful tranquility , it affects the viewer now , but it is difficult to imagine the shock of such images in photography's infancy . John Thomson is responsible for the image ( RIGHT ) taken in China in the 1860s .
Responsible ' is the right word : the materials and equipment then available placed limitations on everyday , ' candid photography . The scene is brilliantly posed . For an explanation of the techniques for using daylight indoors ( TOP RIGHT ) . See page 52 , using natural light can preserve an authentic atmosphere .
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