{"componentChunkName":"component---src-templates-blogposting-js","path":"/blog/black_and_white","result":{"data":{"mdx":{"body":"function _extends() { _extends = Object.assign || function (target) { for (var i = 1; i < arguments.length; i++) { var source = arguments[i]; for (var key in source) { if (Object.prototype.hasOwnProperty.call(source, key)) { target[key] = source[key]; } } } return target; }; return _extends.apply(this, arguments); }\n\nfunction _objectWithoutProperties(source, excluded) { if (source == null) return {}; var target = _objectWithoutPropertiesLoose(source, excluded); var key, i; if (Object.getOwnPropertySymbols) { var sourceSymbolKeys = Object.getOwnPropertySymbols(source); for (i = 0; i < sourceSymbolKeys.length; i++) { key = sourceSymbolKeys[i]; if (excluded.indexOf(key) >= 0) continue; if (!Object.prototype.propertyIsEnumerable.call(source, key)) continue; target[key] = source[key]; } } return target; }\n\nfunction _objectWithoutPropertiesLoose(source, excluded) { if (source == null) return {}; var target = {}; var sourceKeys = Object.keys(source); var key, i; for (i = 0; i < sourceKeys.length; i++) { key = sourceKeys[i]; if (excluded.indexOf(key) >= 0) continue; target[key] = source[key]; } return target; }\n\n/* @jsxRuntime classic */\n\n/* @jsx mdx */\nvar _frontmatter = {\n \"date\": \"2006-08-02T22:08:35.626Z\",\n \"updated\": \"2006-08-02T22:08:35.626Z\",\n \"type\": \"BlogPosting\",\n \"title\": \"My exploration of black and white\",\n \"entityId\": \"0308a460-f940-11e6-8d52-ffa6c436feb5\",\n \"revisionId\": \"0308a461-f940-11e6-8d52-ffa6c436feb5\",\n \"revisionNum\": 1,\n \"tags\": {\n \"arts.meta.techniques\": [{\n \"@id\": \"bw\",\n \"objClass\": \"tag\"\n }],\n \"arts.meta.film\": [{\n \"@id\": \"arts.meta.film.tmz\",\n \"objClass\": \"ontag\"\n }],\n \"arts.meta.serials\": [{\n \"@id\": \"arts.meta.serials.exploring_black_and_white\",\n \"objClass\": \"ontag\"\n }]\n },\n \"sidebar\": \"My favorite films are still mostly the grainy black and white films. In a pinch, Kodak's BW400 is nice because you can run it through a C-41 developing machine, but it's not grainy so it doesn't always work for me. On the other hand, it is a nice 400 speed film with a huge dynamic range. Otherwise, Tri-X and T-Max P3200 are my favorites.\\n\\nOne nice thing about black and white films is that you can feel free to push or pull them to dramatically change the speed. Tri-X, for example, can be shot anywhere between 100 and 1600 ASA. So, last time I found myself with very little light and no high speed film, I pulled out a roll of 400 ASA Tri-X, pulled out a marker and wrote \\\"E.I. 800\\\" on the canister, loaded it, and suddenly had a roll of high speed film.\\n\\nMore recently, I continued my exploration by [developing it myself](blog20.html).\\n\\n## My B&W stuff\\n\\nI've added tags to the site. Simply check out the [Black and white](/meta/techniques/verb.cgi/$/bw/) tag to see some of it.\",\n \"description\": \" One thing I've noticed that happens when you approach photography from an engineering background is that you tend to loathe black and white photography. I know that, starting out, I did. I was talking to another photographer and she said that one of her friends was an engineer like me and he also had a similar problem with black and white photography, always preferring color. It's throwing information out and we just don't like that. \",\n \"srcImages\": [\"arts.photo.person.ruby-07b6c321-f940-11e6-8d52-ffa6c436feb5-infile\"]\n};\nvar layoutProps = {\n _frontmatter: _frontmatter\n};\nvar MDXLayout = \"wrapper\";\nreturn function MDXContent(_ref) {\n var components = _ref.components,\n props = _objectWithoutProperties(_ref, [\"components\"]);\n\n return mdx(MDXLayout, _extends({}, layoutProps, props, {\n components: components,\n mdxType: \"MDXLayout\"\n }), mdx(\"a\", {\n href: \"/photo/person/ruby/\"\n }, mdx(props.imgs.Img1, {\n width: \"640px\"\n })), mdx(\"p\", null, \"One thing I\\u2019ve noticed that happens when you approach photography from an engineering background is that you tend to loathe black and white photography. I know that, starting out, I did. I was talking to another photographer and she said that one of her friends was an engineer like me and he also had a similar problem with black and white photography, always preferring color. It\\u2019s throwing information out and we just don\\u2019t like that.\"), mdx(\"p\", null, \"However, I was going to a photography meet and my wife had already called dibs on the digital, so I was left with my main film camera and her old camera, the Olympus Stylus Zoom. I didn\\u2019t feel like lugging a full camera bag around, so it was the Stylus or I would be the only photographer in a room full of photographers with no camera, which is clearly not going to work.\"), mdx(\"p\", null, \"I already had read the manual for the Stylus and realized that the lens was, at best f/4.5. Clearly my usual preference for 100 ASA film wouldn\\u2019t work when combined with my general purpose dislike of the flash.\"), mdx(\"p\", null, \"My usual preference is for completely grainless images. I\\u2019m a bit of a quality junkie, wanting the highest possible resolution image, but I also figured that I really needed to broaden my photographic horizons and try something new. I always liked heavy, artistic grain, so I decided to try out one of the highest speed films you can get\\u2026 Kodak\\u2019s T-Max P3200.\"), mdx(\"p\", null, \"It was an interesting and quite productive experiment, on the same level of exploration as when I decided to play with crossprocessing. The Stylus really comes into its own when you shoot ultra-high-speed film on it. Suddenly, almost any scene is such that the onboard flash becomes a fill flash, which is what it works best for anyway. The dim f/4.5-9.7 lens suddenly isn\\u2019t that bad.\"), mdx(\"p\", null, \"Ever since then, I\\u2019ve been shooting rolls of black and white film. The Stylus has been living in my laptop bag so I can keep it with me always, loaded with T-Max P3200.\"), mdx(\"p\", null, \"I do notice that I tend to take different pictures with black and white. Color pictures tend to diminish the value of subtle values and tones of a scene, whereas black and white, by removing any hint of color, requires you to concentrate on the tones of an image.\"), mdx(\"p\", null, \"I have noticed one interesting complication, however. I can\\u2019t shoot black and white on the digital camera. I can\\u2019t emotionally bring myself to take an image that\\u2019s already in color and make it a black and white image. The delay between when I take the picture and when I look at it is sufficient to allow me to forget the colors. Even if it\\u2019s the 2 minutes that it takes for a Polaroid to develop. I tried doing black and white conversions from digital images and I simply didn\\u2019t like it.\"));\n}\n;\nMDXContent.isMDXComponent = true;","id":"6a23031a-883f-5cbd-b687-efaa6dd2fbe0","fields":{"sidebar":"

My favorite films are still mostly the grainy black and white films. In a pinch, Kodak's BW400 is nice because you can run it through a C-41 developing machine, but it's not grainy so it doesn't always work for me. On the other hand, it is a nice 400 speed film with a huge dynamic range. Otherwise, Tri-X and T-Max P3200 are my favorites.

\n

One nice thing about black and white films is that you can feel free to push or pull them to dramatically change the speed. Tri-X, for example, can be shot anywhere between 100 and 1600 ASA. So, last time I found myself with very little light and no high speed film, I pulled out a roll of 400 ASA Tri-X, pulled out a marker and wrote \"E.I. 800\" on the canister, loaded it, and suddenly had a roll of high speed film.

\n

More recently, I continued my exploration by developing it myself.

\n

My B&W stuff

\n

I've added tags to the site. Simply check out the Black and white tag to see some of it.

\n"},"frontmatter":{"date":"August 02, 2006","title":"My exploration of black and white","type":"BlogPosting","description":" One thing I've noticed that happens when you approach photography from an engineering background is that you tend to loathe black and white photography. I know that, starting out, I did. I was talking to another photographer and she said that one of her friends was an engineer like me and he also had a similar problem with black and white photography, always preferring color. It's throwing information out and we just don't like that. ","sidebar":"My favorite films are still mostly the grainy black and white films. In a pinch, Kodak's BW400 is nice because you can run it through a C-41 developing machine, but it's not grainy so it doesn't always work for me. On the other hand, it is a nice 400 speed film with a huge dynamic range. Otherwise, Tri-X and T-Max P3200 are my favorites.\n\nOne nice thing about black and white films is that you can feel free to push or pull them to dramatically change the speed. Tri-X, for example, can be shot anywhere between 100 and 1600 ASA. So, last time I found myself with very little light and no high speed film, I pulled out a roll of 400 ASA Tri-X, pulled out a marker and wrote \"E.I. 800\" on the canister, loaded it, and suddenly had a roll of high speed film.\n\nMore recently, I continued my exploration by [developing it myself](blog20.html).\n\n## My B&W stuff\n\nI've added tags to the site. Simply check out the [Black and white](/meta/techniques/verb.cgi/$/bw/) tag to see some of it."},"srcImages":[{"id":"2590fe67-ec23-51df-bc37-cf734aef904b","key":"73e6e20bf0f631f4b6036c2717445f5b","maxSize":1024,"size":247592,"srcSet":"/b2/arts.photo.person.ruby-07b6c321-f940-11e6-8d52-ffa6c436feb5-infile_73e6e20bf0f631f4b6036c2717445f5b_t.jpg 66w,\n/b2/arts.photo.person.ruby-07b6c321-f940-11e6-8d52-ffa6c436feb5-infile_73e6e20bf0f631f4b6036c2717445f5b_m.jpg 157w,\n/b2/arts.photo.person.ruby-07b6c321-f940-11e6-8d52-ffa6c436feb5-infile_73e6e20bf0f631f4b6036c2717445f5b_n.jpg 210w,\n/b2/arts.photo.person.ruby-07b6c321-f940-11e6-8d52-ffa6c436feb5-infile_73e6e20bf0f631f4b6036c2717445f5b_w.jpg 262w,\n/b2/arts.photo.person.ruby-07b6c321-f940-11e6-8d52-ffa6c436feb5-infile_73e6e20bf0f631f4b6036c2717445f5b.jpg 328w,\n/b2/arts.photo.person.ruby-07b6c321-f940-11e6-8d52-ffa6c436feb5-infile_73e6e20bf0f631f4b6036c2717445f5b_z.jpg 419w,\n/b2/arts.photo.person.ruby-07b6c321-f940-11e6-8d52-ffa6c436feb5-infile_73e6e20bf0f631f4b6036c2717445f5b_c.jpg 524w,\n/b2/arts.photo.person.ruby-07b6c321-f940-11e6-8d52-ffa6c436feb5-infile_73e6e20bf0f631f4b6036c2717445f5b_b.jpg 671w","srcPath":"arts.photo.person.ruby-07b6c321-f940-11e6-8d52-ffa6c436feb5-infile","width":671,"height":1024,"sqSrcSet":"/b2/arts.photo.person.ruby-07b6c321-f940-11e6-8d52-ffa6c436feb5-infile_73e6e20bf0f631f4b6036c2717445f5b_s.jpg 75w,\n/b2/arts.photo.person.ruby-07b6c321-f940-11e6-8d52-ffa6c436feb5-infile_73e6e20bf0f631f4b6036c2717445f5b_q.jpg 150w"}],"excerpt":"One thing I've noticed that happens when you approach photography from an engineering background is that you tend to loathe black and white photography. I know that, starting out, I did. I was talking to another photographer and she said that one of her friends was an engineer like me and he also…"}},"pageContext":{"id":"6a23031a-883f-5cbd-b687-efaa6dd2fbe0","parent":"/blog","name":"black_and_white","depth":2,"title":"My exploration of black and white","type":"BlogPosting","date":"2006-08-02T22:08:35.626Z","hidden":null,"breadcrumbs":[{"url":"/"},{"name":"blog","url":"/blog"},{"name":"My exploration of black and white","url":"/blog/black_and_white"}],"excerpt":" One thing I've noticed that happens when you approach photography from an engineering background is that you tend to loathe black and white photography. I know that, starting out, I did. I was talking to another photographer and she said that one of her friends was an engineer like me and he also had a similar problem with black and white photography, always preferring color. It's throwing information out and we just don't like that. ","updated":"2006-08-02T22:08:35.626Z"}},"staticQueryHashes":["1062461325","1937434333","2193146810","2240196328","3649515864","815954065"]}