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فيلم الحرفي .. الصورة أحادية اللون .. كيفية التقاط وتطوير الصور بالأبيض والأسود
THE MONOCHROME IMAGE
A CRAFTSMAN'S FILM
Black - and - white film occupies a special , and unusual , place in photography . If you think about it dispassionately , it might seem that black - and - white is simply a poor relation of realistic colour , and that there is no very good reason for continuing with a medium that is outdated .
Certainly no - one invented black - and - white film and paper because they offered anything more than colour emulsions . In the nineteenth century , photography began with black - and - white because it was the only thing possible . There is little doubt that , had the chemistry been within the scope of the then current technology , colour would have been there from the start , and black- and - white imagery would in all probability never have emerged . A mono- chrome picture is relatively simple - indeed , the starting point for colour film also , which is composed of three layers of black - and - white emulsion with the addition of coloured dyes .
Nevertheless , black - and - white so dominated the early decades of photo- graphy that it became established , and acquired its own traditions . When colour arrived , it inevitably replaced the monochrome image for most of the photography market , but black - and - white had already made enough of a mark that it became , as it now remains , the medium of the craftsman .
What black - and - white offers is a kind of refinement . Without hues , the image is thrown back on fewer graphic qualities , and these must be used more carefully to make successful pictures . Even more important is the matter of realism . Colour film has the possibility of reproducing , in two dimensions , every visual aspect of an occasion or view . So many people expect no more of it than this : a record of things as faithful to the original as possible .
Black - and - white suffers from no such prosaic expectations . It can never be completely realistic , and this gives it the singular advantage of being able to be treated as a means of expression rather than just a documentary record .
ABOVE To some , it is just a negative ; to others , particularly photographers who enjoy printing , it is a store of endless possibilities . As many black and white enthusiasts maintain , a single negative is the start of a million different prints .
RIGHT A Calotype taken in 1848 by Henry Fox Talbot , the inventor of the technique . The image is a positive taken from a negative , which allows multiple prints ; a fundamental of photography today .
OPPOSITE Since a black and white picture can never be truly realistic , it has the advantage of being a means of expression which can elicit particular emotional responses rather than simply a recorder of reflected light . Put simply , it is the craftsman's tool .
RIGHT Like straight diagonals , curved lines convey a sense of movement to the viewer , although it is tempered with a feeling of smooth , gentle progress , in this case across the scene from left to right .
BELOW A prime example of how a graphic eye can seek out an attractive picture with little raw material . Here , the photographer has noticed the strong diagonal formed by the row of beach huts , and framed the scene to make the most of this .
THE MONOCHROME IMAGE
A CRAFTSMAN'S FILM
Black - and - white film occupies a special , and unusual , place in photography . If you think about it dispassionately , it might seem that black - and - white is simply a poor relation of realistic colour , and that there is no very good reason for continuing with a medium that is outdated .
Certainly no - one invented black - and - white film and paper because they offered anything more than colour emulsions . In the nineteenth century , photography began with black - and - white because it was the only thing possible . There is little doubt that , had the chemistry been within the scope of the then current technology , colour would have been there from the start , and black- and - white imagery would in all probability never have emerged . A mono- chrome picture is relatively simple - indeed , the starting point for colour film also , which is composed of three layers of black - and - white emulsion with the addition of coloured dyes .
Nevertheless , black - and - white so dominated the early decades of photo- graphy that it became established , and acquired its own traditions . When colour arrived , it inevitably replaced the monochrome image for most of the photography market , but black - and - white had already made enough of a mark that it became , as it now remains , the medium of the craftsman .
What black - and - white offers is a kind of refinement . Without hues , the image is thrown back on fewer graphic qualities , and these must be used more carefully to make successful pictures . Even more important is the matter of realism . Colour film has the possibility of reproducing , in two dimensions , every visual aspect of an occasion or view . So many people expect no more of it than this : a record of things as faithful to the original as possible .
Black - and - white suffers from no such prosaic expectations . It can never be completely realistic , and this gives it the singular advantage of being able to be treated as a means of expression rather than just a documentary record .
ABOVE To some , it is just a negative ; to others , particularly photographers who enjoy printing , it is a store of endless possibilities . As many black and white enthusiasts maintain , a single negative is the start of a million different prints .
RIGHT A Calotype taken in 1848 by Henry Fox Talbot , the inventor of the technique . The image is a positive taken from a negative , which allows multiple prints ; a fundamental of photography today .
OPPOSITE Since a black and white picture can never be truly realistic , it has the advantage of being a means of expression which can elicit particular emotional responses rather than simply a recorder of reflected light . Put simply , it is the craftsman's tool .
RIGHT Like straight diagonals , curved lines convey a sense of movement to the viewer , although it is tempered with a feeling of smooth , gentle progress , in this case across the scene from left to right .
BELOW A prime example of how a graphic eye can seek out an attractive picture with little raw material . Here , the photographer has noticed the strong diagonal formed by the row of beach huts , and framed the scene to make the most of this .
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