Digital BW, The Print

HI John, it's interesting to me that Bruce and I were both busily
writing on this same issue in reply. It's a different thread than the
OP's original questions, but it's a very big deal.
Seeing, and all the issues that impact it positively and negatively,
is really what it's all about. We used to call it camerawork.
Many artists in all areas find their results and working level much
higher when severely limiting and focusing their options to those
applicable to the task at hand...
I've become more and more convinced about this over the years. Too
many guitars, too many stomp boxes, too many cameras, films,
applications, filters, etc etc.

It's a problem in digital sometimes... too many options to see
clearly... the forest and trees dilemma.
Tyler



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, John Labovitz
<johnl@...> wrote:
>
> On 7 Oct 2008, at 11:42 AM, Bruce Watson wrote:
> 
> > Sixth, and most shaky on this list, is the psychology of it. Some of  
> > us
> > see B&W better when using B&W films. I don't know why. But I know it's
> > true. I speculate that it's learning to see beyond the distraction of
> > color -- to see the visual rhythms, structures, harmonies that are  
> > under
> > the color. And knowing you are making a color capture makes that more
> > difficult to do for some reason.
> 
> I'm glad I'm not the only one to feel this way!  I've always found it  
> strange, but true, that what I see through the viewfinder changes  
> depending on whether I've got B&W or color film loaded, or whether I'm  
> using a digital sensor.
> 
> --John
>