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- They are used in aerial photography to cut through atmospheric haze (which scatters blue light but not infrared rays) and for special purposes in scientific and forensic photography.
www.britannica.com/technology/technology-of-photography/Black-and-white-filmsTechnology of photography - Black & White Films | Britannica
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Apr 3, 2017 · From German expressionism to film noir, black and white films have pushed the boundaries of movie-making, as RocketJump Film School outlines in an incredibly in depth analysis of the style.
- Culture Editor
Jan 18, 2021 · But as time went on, filmmakers still chose to use black and white film on occasion. Now, nearly 80 years later, we still see major motion pictures (and some TV episodes) shooting in black and white. There are lots of reasons for these choices, and they vary depending on the filmmaker.
- Overview
- Editing
A practical, accurate commercial system of colour cinematography was not perfected until Technicolor was introduced in Walt Disney’s animated short Flowers and Trees (1932) and in the feature film Becky Sharp (1935). The introduction of colour was less revolutionary than the introduction of sound; the silent film soon disappeared, but, even though most feature films made since the 1960s have been in colour, black-and-white films continue to be made. In fact, directors such as Woody Allen (Manhattan, 1980), Martin Scorsese (Raging Bull, 1979), Joel Coen (The Man Who Wasn’t There, 2001), and Alfonso Cuarón (Roma, 2018) chose to film in black and white to give their movies a calculated tone.
A black-and-white motion picture is not merely a picture that lacks colour but rather an artistic creation with positive qualities of its own. An ample range of effects can be obtained—from precise images, in which every hair, every grain can be clearly seen, to a smudged charcoal effect. In the cinema, black-and-white composition has often been designed to attain a distinctive dramatic impact.
The process of trimming and piecing together lengths of film in order to make an artistically concise and complete motion picture is certainly the most obvious technique of film language and the one most often discussed. The terms editing, cutting, and montage are often applied interchangeably to the process. In montage the emphasis is on the juxtaposition of ideas resulting from this process; cutting stresses the physical work with the actual strips of film; and editing encompasses both.
A single shot (i.e., the length of film exposed at one time, without interruption, by one camera) makes a visual and aural record of some segment of the physical world; by effective editing, this record can be taken apart, restructured, and shaped into an imaginative world or a discourse about the world. While all viewers presumably notice that a film is made up of a number of scenes, few realize that even relatively sedate fiction films contain on average approximately 600 cuts, one every 10 seconds. Editors strive to hide their work by cutting on action, so that the movement of a character’s arm in one location flows into another such movement elsewhere, masking the change of shot. More important is the principle by which an editor anticipates the spectator’s line of inquiry. By releasing information just as the spectator needs it, the editor constructs a natural drama whose seams are invisible.
Probably the most common convention of this sort is the “accordion” sequence, wherein, for example, a drawing room conversation between two people is introduced in an establishing shot of the setting and the actors. The editor will cut to a full shot of the actors once they begin their dialogue, because their speech gives them prominence over the setting. To help viewers understand the nuances of the dialogue, the editor will move in for a medium shot, showing both characters from the waist up. While many directors and editors stop here, Hollywood has traditionally gone in even closer, using alternating close-ups of each character (generally from over-the-shoulder shots) to convey innuendos and reactions. In the earlier days of cinema, an editor was likely to back out of the sequence in the reverse order, going from close-up to medium shot, to full shot, and finally to long shot, thus making the structure of the sequence resemble the in-and-out movement of an accordion. As audiences have increased in visual sophistication, some of these “logical” steps have fallen away.
Unforgettable moments in films are often made possible through shocking juxtapositions. When an initially smooth progression is disrupted by a quick cut to a close-up, as in the Halloween series of horror films, the effect can be startling and frightening. In such cases the editor insists upon a strange or important connection in a scene.
Beyond rendering scenes in unobtrusive or striking ways, editing connects scenes into sequences and larger units. It serves as a system of punctuation. In the standard Hollywood film a straight cut between two scenes suggests that the scenes are close in space or time, whereas other more visible forms of transition signal more distant relations. The picture may fade out and fade in, the screen being left dark for a moment. Or it may dissolve, or mix, to a new scene, one image showing on top of the other for a moment. The filmmakers may use other devices, such as a wipe (i.e., a line moving across the screen that wipes out the preceding image while introducing the next), irising (gradually reducing the old image from the edges to a pinpoint size and then expanding the new one in the reverse way), or a turnover (in which the entire screen seems to turn over, with the new image seeming to appear on what was the reverse side).
The director may introduce creative touches in cutting. The German-born director Max Ophüls, for example, connected the separate episodes of La Ronde (1950) by means of the musical leitmotif of a hurdy-gurdy tune. In Vivre sa vie (1962; My Life to Live), Jean-Luc Godard, one of the outstanding French New Wave directors of the late 1950s, introduced chapter headings marking the heroine’s step-by-step involvement in prostitution and, ultimately, her murder, as if it were a didactic 19th-century novel. In his British film The Thirty-nine Steps (1935), Alfred Hitchcock, probably the greatest director of suspense films, cut from a woman’s scream to the similar sound of a train whistle, an effect so dramatic that it was frequently imitated thereafter.
Jan 31, 2021 · I have found some very old, like late 1940s, black and white negatives. The size is 2 1/2 by 1 5/8ths. Can anyone tell me what film was used to produce these? Just along the edges of the negatives are the words KODAK SAFETY FILM. There are no numbers.
A black-and-white photo of a breadfruit, c. 1870. Black-and-white (B&W or B/W) images combine black and white to produce a range of achromatic brightnesses of grey. It is also known as greyscale in technical settings.
Jan 18, 2022 · Steven Spielberg’s “Schindler’s List” (1993) was the first black-and-white film to win the Oscar for cinematography since they’d collapsed the category 26 years earlier.
Technology of photography - Black & White Films: The sensitive surface of ordinary film is a layer of gelatin carrying minute suspended silver halide crystals or grains (the emulsion)—typically silver bromide with some silver iodide.
