Learning from painting: image processing in the photo lab

TR · 2016-03-26T11:01:02+00:00

Hallo Fotofreunde, habe den trüben Karfreitag mal genutzt, um einen Artikel zu schreiben, den ich schon etwas länger plante. Es geht um das Analysieren von B...

TR

Hello photography enthusiasts, I’ve taken advantage of this gloomy Good Friday to write an article I’ve been planning for a while. It’s about analysing images (using painting as an example) and applying these techniques to your own black-and-white negatives in the darkroom. Specifically, it covers ‘guiding the eye’ and the technique of soft re-exposure. More experienced ‘lab technicians’ might like to have a look: http://www.silberbild.info/positiv/malerei-fotografie/ ? Best regards, Thomas

Arno

Hello Thomas, Thank you very much for your website. I enjoy visiting it and study it diligently and with pleasure. Best regards, Arno

Pitt23

Thomas, thank you very much for your interesting comments. Now the question is, what rules did Michelangelo, for example, follow when painting the Sistine Chapel – after all, he couldn’t even see his own work whilst painting! And how strictly did he adhere to these rules: probably more with restraint or creativity. Perhaps the aim of an image (as with any successful communication) is to evoke a response in the viewer, a sense of realisation and emotion. The viewer thus becomes, in a sense, a constitutive actor in the successful image. So who is the photographer seeking to address? How far does the (journalistic) photobook without text, à la Cartier-Bresson’s *Images à la Sauvette* or Frank’s *The Americans*, go? I wish you continued success with your beautiful and informative website. Always worth a visit!