A popular fashionable technique is so-called ICM. Having adjusted aperture to select depth of field, shutter speed to stop camera shake, and ISO to suit, over and above a straightforward point and, it is possible to get a bit creative, a.k.a. Perhaps that is to allow folks with a 35mm format camera to replicate something from a panoramic camera? Filling that remit, here’s a recent shot of the autumn woodland near our house. So, our digital straight out of camera photos were allowed to be sharpened and, perhaps curiously, “creatively” cropped. Since that is necessary to see anything, it would have to be thought of as straight out of the camera. It’s the digital equivalent of developing. Some minimal post-processing has happened internally to make the result visible. What you see on the back screen of the camera is an internally generated JPEG but to create it the camera’s software has to use some settings which specify attributes like contrast, colour saturation etc. Sticking with print film equivalence, DSLRs capture a digital negative, a RAW file, internally which must also be processed before you can see anything at all. So, to level the playing field with film a degree of sharpening is required. The digital receiver itself, being a grid of receptors each sensitive to one of three different colours, also contributes to softness – the dots for all colours do not align. This is due, at least in part, to the anti-aliasing filter used in front of the receiver in most DSLRs. Whereas an image recorded on celluloid film in an SLR is as sharp as your focus and lens quality will allow, most DSLRs soften the image making a bit of post-process sharpening necessary. There is a bit of a complication introduced by the physics of DSLR technology. Fuji Velvia or Kodachrome, that is simply developed before being projected to reveal the image recorded by the camera. The nearest to “straight out of camera” is probably colour positive slide film, e.g. Monochrome prints could be printed on low or high contrast papers giving some adjustment of the final image. To do that job properly, a colour print should have its White Balance assessed and adjusted using filters. Print film, be it colour or monochrome, creates a negative on celluloid which must first be developed before being printed onto paper through an enlarger. I’m not at all sure I have the answer but here’s a few observations/thoughts.Įverything out of a film camera goes through some processing before you get to see any result. The idea was to get back to the days of real film – back to the 60s, said the brief – but then the questions started. On the face of it, it sounded simple enough: a photograph straight from the camera with no Photoshop/Lightroom trickery. Fear not, it was nothing to do with sexual orientation. Our local photographic club recently held a “STRAIGHT pictures“ evening.
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