Most of what you see when you use digital is as much a function of the firmware and software as it is of the medium.
Anything that involves software and firmware incorporates preferences and judgments of those that created that software and firmware.
It isn't surprising that people like to modify those preferences and judgments to their tastes. If what they like is closer to how films (and a film based workflow) render an image, where is there a problem with those modifications?
Surely "because I like how it looks" is a good answer to the question about why people use those adjustments.
By the way, I prefer "emulating" to "imitating".
Some cameras turn out more pleasing jpegs than others. I keep a 12mp Canon 5D and a 16mp Fuji X-Pro because I dislike the OOC jpegs less than other cameras I've used. I'm not technically informed enough to know the truth, but have heard that very high megapixel cameras typically have poorer colours and a more "digital" look, as a trade off for increased resolution and dynamic range.the Foveon sensor used in Sigma cameras has a look that is close to slide film
Indeed so.If we are comparing the same medium, then it must be a digital medium and so the film look is not the film look.
Exactly. I'd say it's easier to simulate/ emulate/ imitate film in a print than on a screen. Only gallery prints are larger than 16 x 20", and then not often. A suitably matt archival ink jet paper cues the viewer towards the older medium. At 10 x 8" or smaller it's very difficult indeed to tell the origins of a photograph. On a screen just click 200% enlargement and image structure leaves little ambiguity. Few people routinely print that large.If we are comparing a darkroom print to computer screen or inkjet print, that would be fine as a point of comparison; its just that not many people today will have a darkroom colour print in hand and the comparison is becoming imaginary.
Sometimes while hiking, I’d catch glimpses of something intriguing up ahead through the foliage, only to be disappointed when I reached a clearing and discovered that it wasn’t so interesting after all. What I’ve been striving towards with my photos is the feeling I’d get just before the big reveal, when my sense of anticipation was at it’s peak.
To that ends , I’ve fussed with grainy film, switching off chroma- and luminance noise reduction, toy cameras, adding noise and darkening corners, manipulating curves. I have had some success, but can’t say that I know of one particular formula which always delivers the goods. In fact, my current challenge is to discover how I might achieve my ends using modern, highly resolving cameras and lenses without the use of built-in effects or other gimmicks.
i know what you mean its a lot of fun and tinkering but why not go to the source . its like shooting platinum prints and trying to get them to look like silver chloride printsAn interesting point. I shoot with digital Leicas and Leica lenses. When I do decide to go B&W with those images,
I was often studying the images and wishing they looked more like TRI-X. I experimented, I added grain, structure
contrast and clarity, and got to the point where they looked like film.
Then I just said, EFF IT, and bought an M3 and started shooting film again, alongside my digital work. The added workflow
is therapeutic.
J
Ironically, that's what many professionals wanted in the film era. Clear, unblemished, sharp, high contrast, high ISO images to share instantly. They still do. It's enthusiasts and artists who trouble with aesthetics.Have you ever heard anyone say, "how can I make my film images look digital"?
Ironically, that's what many professionals wanted in the film era. Clear, unblemished, sharp, high contrast, high ISO images to share instantly. They still do. It's enthusiasts and artists who trouble with aesthetics.
im kind of confused why do people want to make digital images look like film images ?
they are 2 different things each with their own thing going on.
Provided you can defeat the built in settings imposed by the various RAW converters!If shooting RAW files, the photographer has TOTAL control over the amount of Sharpening which is applied to a photo.
Provided you can defeat the built in settings imposed by the various RAW converters!
Even with RAW files, you are dealing with software and firmware settings that are buried and inaccessible.
You do, however, have lots of tools available to try to offset any effects you may not want.
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