Mikado (2021)
— I'm pretty sure I'm not alone to occasionally agonise about colour. I don't want to overstate, but it is sometimes quite tricky to really "see" which is the most correct colour. I know there isn't any "right" colour, and sometimes smile when I see statements that "That is sooo such and such emulsion's palette". Particularly in a hybrid workflow there is virtually no limit to the ways in which one can make a particular film type look.
Everyone perceives colour differently and there's very little possibility to objectively compare what we individually see. Perhaps in the future we'll be able to hook up our visual organs to some piece of equipment and analyse their input. But today, where I might see purple in the blues of the sky, someone else may see a cyan or green case. So to find "the most correct colour" of an image becomes a highly subjective thing to do, and necessarily involves one's own, as the photographer's, vision Not to mention in my case a more or less flawed recollection of how the heck the scene actually looked.
Take this one, for example. Is there a colour cast somewhere – for instance, is it too red? I'm not sure because there are a lot of those dried up ferns everywhere and if you zoom in surrounding colours look more or less correct. To me, that is.
To assist our eyes and poor brains to find the most correct colour we can use tools, like colour-corrected monitors for instance. I always say to photographers that a device to colour correct a monitor is one of the first things one should invest in. But even so, when we release an image into the wild it becomes subject to the whims of the individual devices on which it will be shown, from phones (of various brands), to tablets to computers, each one a system in itself with constraints in the shape of display panel types, operating system parameters and personal user settings. It's a real mess.
Not sure where I'm going with this except that wherever it is, it's going to be complex. Perhaps the ultimate answer lies in the feeling that the photographer, through his or her image, seeks to convey?
••• Mikado (2021)
Hasselblad 203FE
Carl Zeiss 80 Planar
Fuji Provia 100f
___________________
philipus.eth || philipus.com
@philipdygeus ••• @philipdygeus.too
The Hasselblad Film Gallery ••• Leica & Film Friends
#120film #Mediumformat #HasselbladFlextightX1 #Hasselblad #Hasselblad203FE #fujiprovia100f #trees #longexposure #6x6 #squareformat #nature #instagram #fiftyshades_of_nature #pretty_shotz #film_is_photography #grainisgreat #shotonfilm #filmisnotdead #lovefilm #nograinnoglory #gotland #visby #sweden #sverige #fujifilm
Mikado (2021)
— I'm pretty sure I'm not alone to occasionally agonise about colour. I don't want to overstate, but it is sometimes quite tricky to really "see" which is the most correct colour. I know there isn't any "right" colour, and sometimes smile when I see statements that "That is sooo such and such emulsion's palette". Particularly in a hybrid workflow there is virtually no limit to the ways in which one can make a particular film type look.
Everyone perceives colour differently and there's very little possibility to objectively compare what we individually see. Perhaps in the future we'll be able to hook up our visual organs to some piece of equipment and analyse their input. But today, where I might see purple in the blues of the sky, someone else may see a cyan or green case. So to find "the most correct colour" of an image becomes a highly subjective thing to do, and necessarily involves one's own, as the photographer's, vision Not to mention in my case a more or less flawed recollection of how the heck the scene actually looked.
Take this one, for example. Is there a colour cast somewhere – for instance, is it too red? I'm not sure because there are a lot of those dried up ferns everywhere and if you zoom in surrounding colours look more or less correct. To me, that is.
To assist our eyes and poor brains to find the most correct colour we can use tools, like colour-corrected monitors for instance. I always say to photographers that a device to colour correct a monitor is one of the first things one should invest in. But even so, when we release an image into the wild it becomes subject to the whims of the individual devices on which it will be shown, from phones (of various brands), to tablets to computers, each one a system in itself with constraints in the shape of display panel types, operating system parameters and personal user settings. It's a real mess.
Not sure where I'm going with this except that wherever it is, it's going to be complex. Perhaps the ultimate answer lies in the feeling that the photographer, through his or her image, seeks to convey?
••• Mikado (2021)
Hasselblad 203FE
Carl Zeiss 80 Planar
Fuji Provia 100f
___________________
philipus.eth || philipus.com
@philipdygeus ••• @philipdygeus.too
The Hasselblad Film Gallery ••• Leica & Film Friends
#120film #Mediumformat #HasselbladFlextightX1 #Hasselblad #Hasselblad203FE #fujiprovia100f #trees #longexposure #6x6 #squareformat #nature #instagram #fiftyshades_of_nature #pretty_shotz #film_is_photography #grainisgreat #shotonfilm #filmisnotdead #lovefilm #nograinnoglory #gotland #visby #sweden #sverige #fujifilm