Before Christmas I developed the latest black & white film, yet didn’t have time to scan it before going to my family for the holidays. Now it’s here, and the most interestingly thing is perhaps that for post-processing I’ve tried to go in a direction of what I heard described as having “European rich shadows“.
So what does it mean? Well, I’m still finding out, but believe I can see some of what is meant in the photos by Doisneau, Cartier-Bresson, Brassaï, Ronis, and my most recent discovery, Peter Turnley: during scanning and post-processing I didn’t lift the shadows as much as usual while focused on still keeping a lot of detail in them. Of the photos below it worked out best for Under the Bridge and Japanese Chef, and to a smaller extend for Idou:
It is tricky no doubt, and I’m starting to understand why they said that being a good printer — the person, not the machine — is an art form in itself.