I like the subject and composition of the rose. I think it might pop more to have more local contrast within the rose and also to make the whites whiter to expand tonal range.. also I would like to see and maybe less noise in the shadows (use lower ISO?).
NightCheese wrote:
I like the subject and composition of the rose. I think it might pop more to have more local contrast within the rose and also to make the whites whiter to expand tonal range.. also I would like to see and maybe less noise in the shadows (use lower ISO?).
Thanks for looking and your comments. The "noise" I believe is a result of added grain as a part of SEPro 2 film simulation...it does tend to jump out, perhaps applying later in workflow might be better?
Somehow the EXIF got stripped - ISO 100. 50mm, f4 I think, ~ 1/60 sec.
Re contrast, I have never been able to achieve a really rich tonal range, especially blacks. Anyone who is not familiar might check out some of "strad's" flower posts on the BW Vision forum. The original rose is a deep, vibrant yellow.
Bob Jarman wrote:
Re contrast, I have never been able to achieve a really rich tonal range, especially blacks. Anyone who is not familiar might check out some of "strad's" flower posts on the BW Vision forum. The original rose is a deep, vibrant yellow.
Perhaps someone can offer a suggestion?
Thanks again,
Bob
Bob,
First, I agree that maybe a little less or even no added grain might keep the OOF areas from getting too much attention.
I have a couple of thoughts about the flower. I actually like the subtle tones. Experience has taught me that with flower photography, what looks like correct exposure can actually end up blowing out the predominant color of the flower. For that reason, I shoot raw and also check the histogram to make sure no channels are clipping. Sometimes this leads to an image that looks underexposed, but gives me more flexibility in post to adjust.
How are you converting to B&W? Using the Channel Mixer or White Adjustment Layer method gives you some control similar to using filters with B&W film. This would allow you to place the yellow flower at the point on the greyscale that looks best.
Group, what is your favorite B&W conversion method?
I suspect the key to rich tonality for B & W rendition of flowers is very careful control of the lighting. It presume it needs to closely match the dynamic range limit of the camera. You may need to apply softer light to the blossom/blossoms and harder light to other parts of the scene. Beyond his subject choice and composition, plane of sharpest fpcus and DOF, and optimal lens/aperture choice, I suspect Strad's success with B & W flowers is primarily due to mastering the light set-up.
dmacmillan wrote:
Bob,
First, I agree that maybe a little less or even no added grain might keep the OOF areas from getting too much attention.
I have a couple of thoughts about the flower. I actually like the subtle tones. Experience has taught me that with flower photography, what looks like correct exposure can actually end up blowing out the predominant color of the flower. For that reason, I shoot raw and also check the histogram to make sure no channels are clipping. Sometimes this leads to an image that looks underexposed, but gives me more flexibility in post to adjust.
How are you converting to B&W? Using the Channel Mixer or White Adjustment Layer method gives you some control similar to using filters with B&W film. This would allow you to place the yellow flower at the point on the greyscale that looks best.
Group, what is your favorite B&W conversion method?...Show more →
This was done using Silver EFEX Pro 2, which has many subtle features I've missed thus far
Oregon Gal wrote:
Bob, I like the composition of the rose but to me it looks like there were some areas of the original rose over exposed. You mentioned the original color was yellow which is a difficult color not to over expose. I tried using Topaz Adjust 4 and boosted the detail and then in PS did a little burning only to the shadow area of the rose. I also boosted the mid tones in the rose. I have managed to bring a little more tonal separation to the rose but I feel it is now oversharpened. If I remember correctly Strad photographs his flowers in his home using the light from an open front door I believe. This rose appears to have been shot outdoors and as such will be much more difficult to obtain the "look" you are after.
AuntiPode wrote:
I suspect the key to rich tonality for B & W rendition of flowers is very careful control of the lighting. It presume it needs to closely match the dynamic range limit of the camera. You may need to apply softer light to the blossom/blossoms and harder light to other parts of the scene. Beyond his subject choice and composition, plane of sharpest fpcus and DOF, and optimal lens/aperture choice, I suspect Strad's success with B & W flowers is primarily due to mastering the light set-up.
AuntiPode,
Lighting is one facet I have not explored, and I notice from the histogram everything I do seems to compress rather than expand the dynamic range
