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Quote: I guess the counter argument is that if you set up something that looks natural, it isn't actually natural and you're getting a fake shot
Something many of the greats did them selves at times and you can`t tell the difference
People spend far to much time on computers these days, face book and the like, I just find it enjoyable getting out and interacting with people.
On occasions I might miss something by either being in the wrong place or just not being quick enough, so I`l sometime just walk up and ask for a re run
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Quote: my whole aim in doing it is to capture something interesting on a day when I'm bored
Sounds like a good aim to me. Maybe I'll give it a try.
Quote: walk up and ask for a re run
I don't think I'd try that, but obviously a lot of people don't seem to mind and it obviously gets some good shots.
It is interesting that street photography seems to be mainly a B&W domain (although not exclusively). The choice of mono for these sorts of subjects is rarely questioned.
Quote: ..others might suggest that colour is more realistic, or gives a better representation of a subject.
But usually the colours are garish and totally unreal. The amount of colour variation depends on the nature of the light falling upon the subject and its strength.
Which why we wait for the right light for much of our subject matter.
Quote: But usually the colours are garish and totally unreal
Good point - unreal colours certainly seem to have certain popularity though.
Quote: Good point - unreal colours certainly seem to have certain popularity though.
It's the interpretation in our art
...this reads like a Radio 3 script
And what's wrong with a Radio 3 script?
did I say there was anything wrong ?
Can the moderators please ensure that only highbrow comments are allowed in this thread from this point on.
How would you define Highbrow ?
I like mono images, but always shoot in colour and convert, however, it always feels like "this image isn't up to scratch/too much noise/incorrectly lit, I know I try mono"
I do like playing with the colour filters on mono conversions, but can't bring myself to shoot in mono, the result of this is when I see a mono image, I instinctively think its a poor looking colour image converted to improve it, in much the same way as any images are enhanced.
I do like Sepia though, but there's no picture style for that in the camera
Quote: How would you define Highbrow ?
Why do we need to define what Highbrow is?
If your brow is too low you can always Photoshop it.
Quote: I used to have my own darkroom as a teenager and could only afford to process B&W so I think my preference to B&W goes back to those days as well.
Now that truly resonates for me too!
Like several people on here I too pre-visualise for B&W when I'm shooting digitally. I think that having a purpose can often help me creatively. However, I also shoot film having returned to it recently so clearly the colour vs mono decision is taken at the point I load up the camera. Shooting medium format with film slows me down for two reasons; the Mamiya needs several operations to **** shutter, lift mirror, set aperture and shutter speed, focus and lock focus etc so is not built for speed really but there is undeniably a cost factor too.
Quote: it always feels like "this image isn't up to scratch/too much noise/incorrectly lit, I know I try mono"
I don't think is often a successful approach to mono, although occasionally someone does find a photo that works well in mono because the elements that attracted them to the composition are not really colour based and the colour distracts. The key is thinking ahead in mono.
I suppose those of us that used B&W film in the past have an advantage as there was no other way to do it.
Shooting mono in camera is rarely a good idea because all the colour information you need to process it effectively is lost.
IMHO it very rarely works thinking this hasn't worked in colour I will try mono. I have done it in the very early days of playing in mono, but I cant think of one image I've done and had success with where this is the case.
I nearly always know instinctively that it will be a mono, I normally go out with a mono in my "minds eye" - but unlike some I dont "see" in mono - but I do think in mono.
A good black and white is about contrast, shadows, textures.
Yes sometimes the light gives an almost monochromatic look, its easy then to know theres little colour info just convert it to mono.
I do sometimes get home and after doing a colour version think "I bet that works as a mono" I haven't done it yet, but I'm fairly certain todays upload would work - I didn't even consider it when pressing the shutter. Similarly the couple of monos at Saltwick in my PF that did rather well were shot with colour in mind - but converted well.
As for shooting mono in camera - one word - No; reason they always look flat just a desaturated version, there are far, far better ways to convert.
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