Digital BW, The Print

Well, I had to jump it here-
IMO, it's not about colour, or warm or cool, or whatever;  it's about
abstraction, our images are not reality, they are a (more or less)
abstraction of reality.  B&W appeals because the various tones and textures
become a means to this abstraction.

Of course it is possible to achieve abstraction in "full, glorious COLOR";
however, it's also much easier to be seduced into believing the colors.

If you want real, full, glorious color, why not hug a tree?

Bill

on 4/11/02 3:12 PM, Bob Frost wrote:

Robert,

There is also another category of photographer - those who film and print in
full, glorious COLOR (horror, oh horror!). They often look at these pale
red, pale blue, or pale yellow prints that so-called BLACK&WHITE
photographers produce, and think 'Why do they persist in using such
old-fashioned methods of making prints coloured?'.

Bob Frost.


----- Original Message -----
From: "Robert Morrison" <rmorrison@...>


> Ok, there are three kinds of people in the world...
>
> 1.
> Photographers that like warm tone prints (all of their friends also like
> warm tone prints or are too afraid to say they like the cool tones around
a
> photographer who likes warm tone prints).
>
> 2.
> Photographers that like cool tone prints (all of their friends also like
> cool tone prints or are too afraid to say they like the warm tones around
a
> photographer who likes cool tone prints).
>
> 3.
> People who don't look at photos or think they are something you get at the
> 24hr processor at the corner drug store...and who believe that warm and
cool
> are words reserved for the weather or the temperature of their coffee and
> who if they read this like would deem us incredible geeks.



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