Monochromes fardés (avec l'Olympus M.Zuiko 45mm F1.8 et l'OM-5)

 

Photos 1, 2, 3: Filtre Artistique Ton Dramatique II; Photo 4: Mode Monochrome (OM-5)

Photos Daniel M

Le noir et blanc critique en photographie

 À travers mes lectures instantanées dont les origines éclectiques ont envahi la planète Internet, je fus par hasard attiré par un court article d'un photographe de presse sur les prétendus pièges de l'utilisation du noir et blanc en photographie (voir ici). Bien sûr toute critique ou tout argumentaire recèle sa part de vérités du moins du point de vue de son auteur et de ses supporteurs et il serait futile de le nier. Mais encore, l'emploi du monochrome est-il réservé maintenant à son coté strictement d'évocation historique comme le propose ce photo-reporter issus des années numériques? Je me suis posé cette question en la comparant avec ma modeste période professionnelle des années 1980 et 1990 pendant laquelle l'usage du film noir et blanc et de la pellicule en couleur se côtoyait constamment entre la vision journalistique et celle du regard magazine bien présentes dans les deux cas dans l'univers de la presse de l'époque et bien avant l'arrivée massive de l'Internet populaire si omniprésent aujourd'hui.

Nous pouvons légitimement nous demander si l'absence de couleurs induit inévitablement l'oblitération d'informations essentielles sur le sujet tel que le soulève ce photographe d'expérience dans son analyse quand il dit et je le cite ici: "Mais attention : il faut garder en tête que retirer les couleurs d’une image, c’est aussi en retirer de l’information". Mais est-ce bien vrai? Ou alors n'est-ce pas plutôt l'interprétation éditoriale du photographe pour concentrer l'attention de son auditoire sur les éléments d'impact de son sujet photographié? Telle est la question selon moi car toute image fusse-t-elle à l'état "brute" (RAW)  ou non, elle n'en demeure pas moins l'expression subjective de son choix de composition et du moment de sa prise de vue. Bref le débat est beaucoup plus large qu'une simple étude de coloration ou de son absence.

Traditionnellement la photographie noir et blanc a été associé à une perception d'authenticité historique qui a peut être reliée à son caractère novateur et à la précision du détail de ses sujets abordés lors de son avènement. Mais dès le départ la photographie était empreinte de la subjectivité de ses auteurs que ce soit par le choix du sujet abordé ou encore par son angle d'approche. Bien sûr la technologie de l'époque obligeait ses auteurs à un rendu monochrome, la prouesse technique de la couleur se réalisant beaucoup plus tard et de façon très graduelle surtout en ce qui concerne sa fidélité et sa pérennité. Plus tard ce sont les techniques d'impression des médias écrits qui ont restreint le rendu photographique au noir et blanc et qui ont limité souvent sa diffusion en couleur au format plus luxueux des magazines. 

Certes toute information iconographique incluant celle des couleurs est un élément qui peut ajouter à la véracité du témoignage visuel. Le même raisonnement peut s'appliquer dans la comparaison entre l'image statique versus sa version dynamique (cinématographique et vidéo). Portez un jugement de validité sur un seul aspect technique de l'expression iconographique est foncièrement incomplet et parfois relève une partialité sur la façon d'utiliser le médium photographique. Il s'agit d'une vision tronquée qui rejette à priori la pertinence même du sujet.

*****

L'usage du noir et blanc en photographie et tous ses corollaires monochromes demeurent, même aujourd'hui, aussi pertinent qu'il y a deux siècles et, plus encore, correspond toujours à une approche médiatique et artistique toujours aussi actuelle. Il participe de plein pied à un mode d'expression visuelle dont la diffusion reste importante dans notre univers de représentations humaines. En toutes choses, l'un ne saurait empêcher l'autre, noir et blanc et couleurs se partageant tout aussi également notre attention. Il n'y a qu'à voir l'engouement toujours renouvelé au rendu monochrome de l'image à travers le temps et les modes dans notre histoire illustrée. La coexistence du noir et blanc et de la couleur ajoute tout simplement à l'enrichissement du médium visuel.

Photos Daniel M

ACROS made by the Fujifilm X-mount system: Black and White into the digital photographic world.

 Monochrome has always been synonym of photography for multiple generations of amateurs over the past two centuries. Yes, color photographs have gained their own respectability especially with the event of the news and people magazines and also through the democratization of the travel. But black and white photography have preserved its remarkable credibility over the decades and even today for many it remains a very popular way to visually document our surrounding world.

Although many have praised the Kodak and Ilford black and white analog films over the years like the famous Kodak Panatomic X(32ASA/ISO), the Plus-X (125 ASA/ISO) and Tri-X (320-400ASA/ISO) or the popular Ilford Pan-F(50 ASA/ISO), FP 4(125 ASA/ISO) & HP 5 (400 ASA), Fujifilm have always offer their own version of monochrome films with the NEOPAN series that have evolute to the Acros newest interpretations.

With the introduction by Leica Camera of exclusive monochrome digital models, Leica M Monochrom, Leica M Monochrom (Typ 246) & Leica M10 Monochrom, we have seen the start of a keen interest to own specialized black and white camera models. Moreover It is fascinating to observe that all digital cameras can be configure to monochrome photo devices since the start of this technology. Parallel to that B&W rush for niche photo devices, there is also an analogue-film resurgence that appeal for many monochrome lovers.

But there is, at least, a more reasonable solution in terms of dollars and future versatility and it is to buy a small ILC (Interchangeable Lens Camera) and use its monochrome ability. For example the compact Fujifilm X-E4 and X-S10 are offering two different black and white rendering (Acros and standard monochrome/old Neopan) with an integrated B&W filter functionality (Red, Yellow, Green). In my sense it represent exactly what you might looking for a real black and white photographic full experience similar to what people have during the analogically-film era. Another optionality allows you to mimic the analog-film texture into the picture. Finally, a good printer alongside with specialize photo paper can reproduce the whole traditional cycle with a final and tangible print. CQFD

_____________________________________________________

Photos Daniel M: Fujifilm X-E4 / Fujinon XF27mm F2.8 R WR; Fujifilm X-S10 / Fujinon XF18-55mm F2.8-4 R LM OIS / Fujinon XC50-230mm F4.5-6.7 II OIS

The "Mono" Olympus Pen-F

With the redevelopment of the future ex-Olympus, renamed OM Digital Solutions, many are expecting and hoping a new version of the excellent but past Olympus Pen-F digital camera model. It is impossible to forecast anything solid about this potential new photo device but, if it is the case, we can only presume that continuity will prevail into the design and the operation of it.

Today you can still buy a brand-new Pen-F from the existing stock of the major photo resellers or pick a used one in good shape and at an acceptable selling price. If you are looking for a rangefinder style camera, it may be one of the two more sensitive choice, the other would be the excellent Panasonic Lumix GX-9.

If you go ahead with the Olympus Pen-F, you should not be wrong since that model is now a mature product that offers a solid Micro Four Third 20MP sensor performance equivalent at the one seen on the Pro Olympus OM-D E-M1 Mark II. Although all Olympus MFT models have the versatility to transform them into a monochrome (Black & White) camera, the Pen-F add a higher versatility to get there with a specific dedicated dial and offers an easier interface for the setting of the B&W color filter different bias (like during the analog era).

Digital mirrorless cameras with electronic viewfinder (EVF) are a blessing for monochrome photographers because of the modern possibility to confirm instantly and directly the black and white rendering through the viewfinder or on the rear viewing screen. I cannot emphasize more how it is possible to reinvent the past seduction to produce monochrome pictures and the Olympus Pen-F is a perfect tool to do so.

A unconscient direct relationship exist between the monochrome passion and some iconic Leica camera models which are, in a way, a strong recall of the past glory of the film-analog era (and may of the Kodak Tri-X 400 ASA film if not of the Ilford HP 5 equivalent). Many design features on the Olympus Pen-F camera body are, in fact, homages to that time period and manufacturer. On/Off switch that imitate the old film rewinding button-lever, front creative (image) mode setting dial that replicate the old slow shutter speed dial of the Leica F and G series, screw-in hole for the mythic shutter release cable accessory, just to mention few of them.

At the time of the introduction release of the Olympus Pen-F in 2016, this new rangefinder style camera model was the first one of the digital Pen series that fully integrate the electronic viewfinder into its camera body especially compare to numerous Panasonic Lumix models such as the GX 7, GX 85, GX 8 or the GM 5. And it appears with the passing time that will be the only one of such! Some controversies have occurred regarding the handling of the Pen-F despite its obvious search to replicate the ancient rangefinder design. Some had given initial bad reviews to later correct them to more sensitive and realistic appreciation of the Pen-F abilities. That phenomena demonstrate that the Olympus Pen-F needs a more extensive learning investment to be properly use and, in some ways, cherish by photographers.
The Olympus Pen-F is a discrete photo device that can be rightfully use with care in many more sensitive contexts like street photography, travel and casual situations. Couple with a small lens, the combination won't appear offensive or intrusive.

The monochrome factor

Once you have set the creative dial to Mono (located in the front of the camera body), the Olympus Pen-F is becoming a totally monochrome dedicated camera with optional to fine tune your black and white own bias via a specific monochrome profile or by choosing a color filter (Yellow, Orange, Red, Green) or by influencing the arrangement of the highlight and the shadow exposure. The amount of control available is diverse and fairly extended but selecting your own formula could ask you some documented experimentations with good picture comparisons.

Doing black and white photography is surely an excellent school for learning to master composition, contrast and gray tonal distribution. The subject expression is also a paramount element for succeeding to bring the attention of our audience. We have to remember that film photography was essentially a combination of colored layers of black and white films assembled to be projected. Color photography is another artistic school by itself, but the documentary value of the black and white photography is historical. It gives a sense of authenticity that color rendition has a tendency to occult.

There is a specific texture in black and white photography often expressed by the basic "granulation" of the picture. The different Olympus Pen-F monochrome profiles can accentuate that "grain" perception that mimic the old analog-film rendering.

The lens factor

Being a photographer is meaning you accept to be an intruder in a way or another. That can be highly intimidating not only for the photographic subject intended but also for the photographer him/herself knowing that many of them are often very shy people. Picture taking proximity can be a manner to establish a tangible contact with our subject. To do this a choice of a lens with a wider angle of view may be the right optic companion for the Olympus Pen-F, something like a 12mm, a 15mm, a 17mm or a 20mm lens. At the opposite, a longer focal length like the 25mm, the 42,5mm, the 45mm or the 75mm (extreme in that case), will preserve the intimacy of our main subject preventing an obvious interference by the photographer. A short standard zoom lens like a 12-32mm, 12-40mm or 14-42mm, can do the bridge between those two tendencies.

Our lens selection reflect ultimately our relationship with our subject as we intend to be close or far from it, as we want to interact with it or simply observe it at a distance, as we want to be a participant of the picture taking process or to be a more distant observer. It demonstrates the paramount of selecting a specific focal length lens to be used. The Olympus Pen-F is a camera model that replicate the "rangefinder" style of doing photography when the gear does not the center stage of the picture taking context.

Black and White photography without (almost!) post-editing

As mainly a black and white photographer for a good of my modest imaging work, I consider that many of the best monochrome studies are often done right from the photo taking session. With a camera model like the Olympus Pen-F we have the opportunity to "see" directly the monochrome rendering which is an artistic advantage possible by the combination of the digital photographic process and the use of an electronic viewfinder (or viewing back screen). By judging on the spot, the final imagery result, you have the possibility to further experiment and refine your picture production. It is a kind of spontaneous and continuous creativity process right in place and at the moment of photographing.

I am not very enthusiasm about heavy post-editing a photographic (file) except if it is the original intention of the photo creator-artist. You cannot really "save" a picture by highly altering it in knowing the technological limits of the digital photography. Further than that, a completely "rebuilt" picture will lose a lot of its authenticity even for the none photographically educated looker (again if it is your first intention to do so, it is perfectly understandable).

Photography is an art-medium of visual expression. We cannot discard the fact that for every context, for every subject, there is a full array of different interpretations that has been translate in the way a picture is taken, processed and shared. There is no real objectivity that can exclude the personal bias of the photographer even with a very scientific approach. This individual vision is the intimate way to see the world surrounding us and the photographer is trying to transmit it faithfully to his/her own convictions and believes to us. That doesn't mean that we don't keep an open eye to new ideas and subjects in other contexts, but this personal vision is gradually becoming our visual signature oppose to simply replicate the other works.

Some thoughts about the Olympus Pen-F

Many have seen the introduction of the Pen-F model as an homage of the Olympus legacy for all their innovative past camera models over the decades. The future only will tell us if the manufacturer intends to offer new versions of this particular model. The photo gear market is moving fast even if it stays a more "niche" one than a mass one. It is possible that OM Digital Solutions may not have the financial resources to maintain all the large product series offer as for the original Olympus company use to do.

In that case, the Pen-F is more and more becoming a kind of a cult camera model for the MFT format. Using it as an almost exclusive monochrome camera is just rendering this perception further. And the Pen-F is still a competent, reliable and classic photo taking device in 2021!

In color or black and white? A personal bias before everything else.

With the introduction of the digital cameras, many will said that it is now possible to work simultiniously in color and black and white (with the option to edit your final picture output). But for the "ex-analog" photographers like me, this choice between the two traditional photographic rendering have a lot more to do with our preliminary vision, color or black and white, you try to transmit from your original image content.

This one of the reason that I have chosen to work with digital cameras that have the ability to switch on a specialized monochrome rendering. All these cameras are versatile and allow you to further configure them by using internal filter setting (Yellow, Red, Green) to bias the gray distribution  from the original image colors.

Shooting in black and white (B&W) is not necessarily easy and predictable for everybody but with the now commun electronic viewfinder (EVF) among many mirorless cameras, you can see in real time your final result which is a dramatic advancement from the dark ages of  the analog (film) photographic era.  By having access to this magnificent viewing tool, there is no reason to prevent yourself in switching to the monochrome setting. You can always register your picture in both JPEG and RAW files, this last one allowing you to get a "none-altered" color basic picture to edit further if you want to do do so.

Doing B&W photography can help you to enhance your ability to organize more specially your subject arrangement in terms of graphic positions, of light distribution and space importance of it.All these factors are also fondamental in color photography but monochrome may be an excellent exercice that can help you to better sense them.

As it is now very convenient to produce an overwhelming number of photographs and it is becoming a major flaw in our visual consumerist society. What the point to submerge people with such an abuse  total amount of pictures that will simply vanish the moment after in profit of another one? We have to be more selective and assume our choice to register an image or for viewing a particular one. In that sense monochrome photography can help to be more attentive about our subjects and spend a greater and more producing time to analyse and select the right composition, the right moment of exposure. We have to get away from the "cinematic" tendency of today photography. Let's keep animated (sequence) images for the videography where it should be kept in first place.

Some may ask why B&W is still a pertinent photographic rendering in your world of colors. Posing the question is easy but answering to it is more complex. We could pretend that it is a matter of photographer's emotions and feelings. Even for documentary purposes, it appears that some of the very renowned photographers are still preferring the B&W format over the actual very easy trend to reproduce colorful counterpart.

"The color of B&W" is may be a contradiction by itself but in some ways it can appear to be a second level of visual perception. And perhaps because of the fact that color reproduction process has been historically based from different layers of B&W support that we have  added the basic colors (RGB, CMYK, etc). That B&W technical approach for resolving the color representation (that many have a tendency to forget or simply not knowing it) is inducing that there is many colors which are present into a gray tonal scale. We know that some color combinations will generate more contrasty perception. In B&W photography, the colored lens filters will discriminate specific color frequencies in favor of other ones.

In  our present "color educated" society as we usually see through our different visual media, B&W has been generally associated with the past testimonies of time or with old photography even considering its more recent uses. Press photography has been also almost exclusively done and printed in B&W and the color pictures were reserved for magazine formats. The actual Internet culture has imposed an almost exclusively full color visual presentation. It is only more recently that B&W seems to resurrect often on a marginal way.

Strangely, the psychologic perception for authenticity appears to be influenced by B&W versus color, may be because it has been associated by the ancient analog way to produce pictures on negatives and prints. Sure it didn't prevent photo alterations and montages in the past as we are able to do today when we post-process a registered image. The initial introduction of the television exclusively in B&W could have been also a influencer in this thinking. However, the new generations dont have that tendency to overrate the "realistic" value of B&W pictures.

When I have started to do (analog) photography, black and white was consider the basic school of the fundamentals to master in that visual field. Color photography was the next step. So, in that perspective, our photographic training have prioritized the study of the composition (the subject spatial arrangement in two dimensions), the role of the contrast, of the gray scale and even of the film granulation, the importance of the subject (moment) expression, the control of the deep of field (the era of net subject-object versus the blurry context zones), the time and the amount of exposure required to registrer your taking picture the film  support. In one phrase, it was technical, it was instinctive, it was formative and progressive, it was creative.

Doing digital black and white photography should ask you the same personal involvement as we used to do during the days of film photography. And it is especially true if you have completed the whole photo process by printing your picture on a paper support.

You don't need to ask me if I am a (lifetime) advocate for B&W photography because, frankly, it is my intuitive and natural way to do it. But that "gray" and "contrasty" passion is now resugencing everywhere strongly than ever. So, just follow the "new"past trend!