![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
pecuniumSome things look better in Black and White. Back in the old days, when film was the medium (or at least still the dominant medium) the trick was to see in black and white. It was a mix of talent and practice. If one shot B&W one learned to see things is they would be without color, and translate the colors into shades of gray.
I carried two bodies with me, one with HP-5 (or Tech-Pan.. god I miss Tech-Pan), and one with Fuji Velvia 50, or 100. I'd carry a few roll, or two, of HP-4, and Kodachrome 64, or 200, for things which needed different tonal ranges/color balance.
These days I have software, and my eye for B&W is weaker than it was. Which is why I was happy to see that I was shooting some things which were meant for B&W. Then I did it in steps, because I could. One of the the big trends in photography for the past few years has been selective color, usually everything is reduced to B&W [and usually a fairly flat tonal range is used] and one thing is colored "naturally", usually in a fairly saturated way. I didn't do that, but it was related.
Clutch and Oilpan
This is the color treatment of the image. In essence it's "as shot". This is how it looked to me in my mind's eye when I tripped the shutter. It's a fairly B&W image, even here.
Selectively Desaturated
Here I took the two hot areas, basically everything which isn't the clutch cover, and arm, and reduced the saturation to zero.
Desaturated
With this one I made the conversion all the way to B&W. This is about the way I'd have seen it, in my, "previsualisation" (to use Ansel Adams terrible locution) of the image if I'd grabbed the HP-5 body.
Selected desat, with tonal compression
This is the one I did the partial desaturation as a technique. The destaturation is the same as in the second photo, but I pulled the bottom of the slope down a bit, and then pinched the middle up a bit (to lighten the arm) but the pan cover and the arm aren't bereft of color.
I carried two bodies with me, one with HP-5 (or Tech-Pan.. god I miss Tech-Pan), and one with Fuji Velvia 50, or 100. I'd carry a few roll, or two, of HP-4, and Kodachrome 64, or 200, for things which needed different tonal ranges/color balance.
These days I have software, and my eye for B&W is weaker than it was. Which is why I was happy to see that I was shooting some things which were meant for B&W. Then I did it in steps, because I could. One of the the big trends in photography for the past few years has been selective color, usually everything is reduced to B&W [and usually a fairly flat tonal range is used] and one thing is colored "naturally", usually in a fairly saturated way. I didn't do that, but it was related.
Clutch and Oilpan
This is the color treatment of the image. In essence it's "as shot". This is how it looked to me in my mind's eye when I tripped the shutter. It's a fairly B&W image, even here.
Selectively Desaturated
Here I took the two hot areas, basically everything which isn't the clutch cover, and arm, and reduced the saturation to zero.
Desaturated
With this one I made the conversion all the way to B&W. This is about the way I'd have seen it, in my, "previsualisation" (to use Ansel Adams terrible locution) of the image if I'd grabbed the HP-5 body.
Selected desat, with tonal compression
This is the one I did the partial desaturation as a technique. The destaturation is the same as in the second photo, but I pulled the bottom of the slope down a bit, and then pinched the middle up a bit (to lighten the arm) but the pan cover and the arm aren't bereft of color.
