Film

Alain Oguse learned photographic printing with Claudine  and Jean-Pierre Sudre  in the late 1960’s, and spent his early career in commercial photography. After retiring, he started to investigate how to bring back the photographic (silver halide) grain in digital scans of film negatives, finding the same sharpness and quality he had with near-point light enlargers in the 1970’s. The point light printing technique uses a very tiny source of light that gives a very precise and detailed reproduction of B&W film negatives, as opposed to diffuse lighting.

This article will demonstrate how to perform monochrome toning on digital images in Ansel, to emulate the color rendition of cyanotypes, platinotypes, sepia and split-toning developments. Step 0 : global preparation Set the global exposure and filmic scene white and scene black, as in any other editing. See basic editing steps. This is our base image, by Glenn Butcher : If you start from a color image, you need to turn it into black and white : the recommended way is through the color calibration module, using the B&W presets.