Film Color Profiles in Digital Photography
During my down time while struggling with poor health... and there has been a lot of this particular time in recent months... I've been trying to keep busy by improving my photography through continued education.
Photography is something I have always enjoyed since I was a child. I started photography by taking courses in school and was blessed with a grandfather who provided photography and darkroom gear for me. Way back then, much of photography time was spent in a darkroom. Most people don't realize it but even digital photography requires a lot of time in a 'digital' darkroom and this digital darkroom requires extensive and never-ending education and practice.
The learning curve for any darkroom, digital or otherwise, is steep. The terms are the same... the effects are the same... even the results are very similar... but the specific tools are different today. Today the darkroom tools are digital and manipulated with any digital input device such as a mouse, digital pen, etc.
I've been immersed in digital photography for approximately ten years and I am still learning... and, quite honestly, I still have a lot to learn. I currently use half a dozen very complicated and powerful software programs for my digital darkroom. Additionally, I use close to 200 software plug-ins for more control over my darkroom processing. Each piece of software and plugin app requires extensive learning and practice to utilize effectively. There are no magical clicks of a single button to attain high quality results. (We'll leave those magical single click cheesy adjustments to crappy cellphones and their useless apps.)
One of the things I have been trying to master is the artistic process of starting with a digital negative... a RAW image from the camera (not to be confused with a straight-out-of-the-camera image file from a compact camera or cellphone)... and processing this digital negative file using darkroom techniques while also applying various color and tonal profiles to produce results which rival traditional professional film prints, slides and negatives. (Again, not to be confused with consumer-level prints, slides and negatives.) By starting with a RAW image file from a high quality camera, the options for processing are virtually unlimited and the results, when accomplished effectively, will compare favorably to professional film products... assuming, of course, the photographer knows what he or she is doing.
The trick here is two-fold. First, you must be able to actually see fine differences in color and you must understand color palette tonal qualities and variances. Secondly, you must learn how to utilize the appropriate software to manipulate your RAW image files. And, believe me, there is a lot to learn with any software package! (Of course, this all comes after mastering basic photography skills such as composition, understanding light, shadow, color, tone, zones, metering, f stops, aperture, various methods of focus, dynamic range, and many other things.)
I suppose I should add a third thing here as well... you must know and understand every aspect of your photography gear... inside and out. The quality of the gear can help with color tonal qualities but the most important factor is an educated, artistic and well-practiced photographer. This takes time, a lot of study, years of practice and a desire to constantly evolve (read 'change') and improve.
Through my own extensive education, practice and evolution, I am beginning to see a place within light, color and tonality where I hope to find my portraits. I envision a warm place... warm colors... warm tonal qualities... warm light... deep shadows... no overexposed highlights... and a lot of detail.... warmth... perhaps a bit on the darker side of light with deep shadows...
The latest image I've developed is below... a shot of Sheila in the foreground as Adam checks his luggage at the airport in the background. The lighting at the airport was a bit harsh for various reasons so it was important that I did not overexpose any part of the image. Also, the light was coming from multiple sources, each with its own color temperature, which is difficult to overcome but I managed to get all the settings correct and capture a properly exposed and properly focused image.
Although the original image isn't bad, I prefer my latest developed image, below, because of its warmth and smooth tonal qualities... it is quite close to the warmth and depth of 'Kodak Gold 100' film... and this is close to the place where I hope to consistently find my photography... (that reminds me... "consistently"... the professional must get consistently excellent results... not just 'spray and pray' and hope to get lucky).
I would say I am approaching a level where I am comfortable saying I am at an "advanced" level comparable to some professionals. I am, however, by no means a professional photographer nor do I have the equipment I feel is necessary for a professional studio... that requires more than just a camera and a few lenses!
I've learned a lot about photography in recent years as I continue my ongoing education. If I can effectively learn to master the very fine nuances of color in digital photography output, I will be one giant leap beyond those who simply own a camera...
Attaining effective control over fine color tonal qualities is a huge step forward.
Photography is something I have always enjoyed since I was a child. I started photography by taking courses in school and was blessed with a grandfather who provided photography and darkroom gear for me. Way back then, much of photography time was spent in a darkroom. Most people don't realize it but even digital photography requires a lot of time in a 'digital' darkroom and this digital darkroom requires extensive and never-ending education and practice.
The learning curve for any darkroom, digital or otherwise, is steep. The terms are the same... the effects are the same... even the results are very similar... but the specific tools are different today. Today the darkroom tools are digital and manipulated with any digital input device such as a mouse, digital pen, etc.
I've been immersed in digital photography for approximately ten years and I am still learning... and, quite honestly, I still have a lot to learn. I currently use half a dozen very complicated and powerful software programs for my digital darkroom. Additionally, I use close to 200 software plug-ins for more control over my darkroom processing. Each piece of software and plugin app requires extensive learning and practice to utilize effectively. There are no magical clicks of a single button to attain high quality results. (We'll leave those magical single click cheesy adjustments to crappy cellphones and their useless apps.)
One of the things I have been trying to master is the artistic process of starting with a digital negative... a RAW image from the camera (not to be confused with a straight-out-of-the-camera image file from a compact camera or cellphone)... and processing this digital negative file using darkroom techniques while also applying various color and tonal profiles to produce results which rival traditional professional film prints, slides and negatives. (Again, not to be confused with consumer-level prints, slides and negatives.) By starting with a RAW image file from a high quality camera, the options for processing are virtually unlimited and the results, when accomplished effectively, will compare favorably to professional film products... assuming, of course, the photographer knows what he or she is doing.
The trick here is two-fold. First, you must be able to actually see fine differences in color and you must understand color palette tonal qualities and variances. Secondly, you must learn how to utilize the appropriate software to manipulate your RAW image files. And, believe me, there is a lot to learn with any software package! (Of course, this all comes after mastering basic photography skills such as composition, understanding light, shadow, color, tone, zones, metering, f stops, aperture, various methods of focus, dynamic range, and many other things.)
I suppose I should add a third thing here as well... you must know and understand every aspect of your photography gear... inside and out. The quality of the gear can help with color tonal qualities but the most important factor is an educated, artistic and well-practiced photographer. This takes time, a lot of study, years of practice and a desire to constantly evolve (read 'change') and improve.
Incidentally, in reference to "this takes time, a lot of study and years of practice", I have absolutely no respect for people who buy a fairly decent digital camera and a couple of lenses who then hang a shingle at their door claiming to be a professional photographer without knowing a thing about the art of photography. I see this often and it leaves me just shaking my head in disbelief that anyone in their right mind would hire them. Buying some gear doesn't magically place a photographer into a professional level. First you are a student. It is continued education, ongoing training and practice, administrative business abilities, marketing abilities, artistic abilities, creative abilities, and the desire for perfection which make a professional photographer. If you've only just bought a good camera, you're just someone with a camera. There simply are far too many people claiming to be professional photographers today who have no business taking money from anyone and I refuse to be one of those people nor do I want to be anything like those people.
Through my own extensive education, practice and evolution, I am beginning to see a place within light, color and tonality where I hope to find my portraits. I envision a warm place... warm colors... warm tonal qualities... warm light... deep shadows... no overexposed highlights... and a lot of detail.... warmth... perhaps a bit on the darker side of light with deep shadows...
The latest image I've developed is below... a shot of Sheila in the foreground as Adam checks his luggage at the airport in the background. The lighting at the airport was a bit harsh for various reasons so it was important that I did not overexpose any part of the image. Also, the light was coming from multiple sources, each with its own color temperature, which is difficult to overcome but I managed to get all the settings correct and capture a properly exposed and properly focused image.
Although the original image isn't bad, I prefer my latest developed image, below, because of its warmth and smooth tonal qualities... it is quite close to the warmth and depth of 'Kodak Gold 100' film... and this is close to the place where I hope to consistently find my photography... (that reminds me... "consistently"... the professional must get consistently excellent results... not just 'spray and pray' and hope to get lucky).
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| The look of 'Kodak Gold 100' film. |
I would say I am approaching a level where I am comfortable saying I am at an "advanced" level comparable to some professionals. I am, however, by no means a professional photographer nor do I have the equipment I feel is necessary for a professional studio... that requires more than just a camera and a few lenses!
I've learned a lot about photography in recent years as I continue my ongoing education. If I can effectively learn to master the very fine nuances of color in digital photography output, I will be one giant leap beyond those who simply own a camera...
Attaining effective control over fine color tonal qualities is a huge step forward.
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