The Three Main Aspects of Your Working Style

A number of readers have suggested that maybe Foveon sensors might be particularly suited to black and white.

It's true, they are. I was going to show you a picture of my DP-2 sitting on a shelf in my camera closet, but I'm having problems uploading images this morning. Sorry. (By the way, one of my pictures got chosen for Flickr's "Explore" feature again. This time it's "Wet Asphalt" that got chosen. Being picked for that feature sure does drive a lot of interest to a picture.)

But while the B&W results with the Foveon sensor were very good, the DP-2 lasted only one trial outing for me. The reason is that results aren't everything. There isn't just one reason to choose a particular method of working in photography. There are two other things to think about.

What are the three basic things?

1. Results
2. Operability (camera handling, controls, haptics, the viewfinder, etc.)
3. Workflow

• The quality of your results is, possibly, the most important thing. We want our pictures to look good. We want them to look the way we want them to look. (It's good to be particular when you're an artist.) Not only is it an individual choice, but the importance placed on this aspect is variable too: some people are extremely fastidious and demanding and are willing to get way into the weeds of "image quality"; others couldn't care less, or find it challenging to deal with any old camera. Some people emphasize the qualities of the equipment and properties of the materials, some people believe that skill and craft and familiarity are more important. And so on.
• "Operability" is an all-purpose umbrella word for what a camera is like to use. All sorts of things fall under this heading, from how it feels in your hand, how easy it is to carry and store, how pleasing it is to use and how much you like and enjoy it*, how adaptable it is to different tasks, even how it makes your subjects feel**. These aspects don't lie entirely with the device; how adept you become with your camera and how familiar it becomes to you—even what kind of work you do and how much work you do with it—are also considerations that pertain. It's an observable fact that if you do a lot of work with a particular camera, you're more likely to bond with it. If you bond with it, you feel affectionately toward it, and become more likely to forgive its foibles and shortcomings.
•  The third aspect is workflow. How do you get the image from exposure to its final form? What processes, methods, and tools do you need to use? How much mastery of these things do you need to acquire? How much will you do yourself and how much will you have done for you? At one point, my workflow included having color negative film commercially processed, but then exposing color paper under an enlarger with a color head in a completely dark room, then loading the paper into a cylindrical tube for wet processing in a machine called a JOBO. It's been a while now since then. Lately, my workflow starts with a software utility called Monochrome2DNG that eliminates artifacts and loss of resolution caused by color demosaicking that is no longer needed because monochrome-sensor digital files don't have any color information. This all falls under the heading of workflow.

Any one of these three aspects of working can make your life miserable, and yet a large amount of frustration can be tolerated in one aspect if it's balanced out by improvements in another. It all depends on your priorities. I suspect, though, that if one of these three aspects is too lacking or too much of a headache or a hassle, you're not likely to be happy enough in the long run.

Foveon and on
Foveon for B&W...been there, done that. Results: A. Operability: D+. Workflow: D–. As opposed to the converted Sigma I'm currently using, which I would rate B+, B+, B. I'll take the latter. Despite one big sore point—the lack of a positive and easy-to-access ISO control—I really enjoy using the modified fp. I love the viewfinder, love the manual focus. Love the lens, its controls, and the way the controls feel. I find the camera very handy, very involving in terms of interacting with the subject and helpful to visualizing, and quick and simple to use. That's just me—Ken tried one and didn't like it. We're all different. As for workflow, also easy. I import the files from the cards using the Monochrome2DNG utility and do 90% of everything else in ACR (Adobe Camera Raw, which is built into both Photoshop and Lightroom), same as always.

Lots of people put up with very involved workflows and I respect that. They go to great lengths to try to identify the best raw conversion software for each camera they own and even learn and master whole new raster image processors. Me, I've been using Photoshop since 1994, and that hasn't been long enough for me to learn much about it. I cling to ACR like a man overboard clings to a life raft. I don't know all there is to know about it. But I know enough. It's keeping me afloat. Not gonna change, because I can't swim. (I sometimes get into trouble with my metaphors! But you get the gist.)

Anyway, the point is, I'm only willing to put up with so much deficiency in any of these three basic areas. A lot of people are willing to go to great lengths; that's one of the things I admire about photographers. Me, I'm only willing to go so far, and I know that about myself.

Want my DP-2? Make me an offer. It's seen very little use.

Mike

*Lee Friedlander used to say he would sometimes start photographing because he just got the urge to get his Leica out and play with it.

**When I did some senior portraits years ago I discovered that high school girls were noticeably less comfortable when I switched from a slow 85mm lens with a small front element to a fast 85mm lens with a huge front element. One of them told me the big lens element was "like an eye" that was "staring" at her, and another told me that my camera, with the bigger lens, made her feel intimidated.

Book o' the Week

Annie Leibovitz. At long last, the unlimited trade edition of the humongous, limited Sumo edition by Taschen. Mind you, this is still a huge book—15.4 inches high, 556 pages, and almost 13 pounds. And the price! (But that's nothing—the Sumo weighed 57 pounds and cost $7,500.) This is the closest ordinary folks (with ordinary shelves) will get to the ultimate Annie.

The book link above is a portal to any purchase at Amazon. You're very kind use our links, as they help support the site.

Original contents copyright 2020 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site. As an Amazon Associate I earn from qualifying purchases.

(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Lex: "Nice article Mike. One might also add a fourth reason to choose a particular method of working in photography—financial cost. While arguably not strictly photo-related, in actual practice, for most of us, it is an integral part of the process. Thus, one might choose to sacrifice some aspect of one’s desired result quality, operability or workflow, in order to meet either a self-imposed or mandatory budget restraint."

Mike replies: I think you're right, I ought to have added that.

Daniele Chiesa: "I got lost somewhere: weren't you going to get your DP2 converted to B&W? Are you keeping the 'loaner' and selling the one to be converted?

"I have seen some of the best work of yours recently (according to me), and in good quantity too; it'd be good if you could keep it up, one way or another."

Mike replies: First I was going to get my old Sony NEX-6 converted, then it was going to be the Sony A6600. Then I decided to buy a Sigma fp with the 45mm Contemporary lens and LVF-11 finder, and that's what's off in Washington state being converted as we speak. Meanwhile, I've got both a monochrome-converted Sigma fp and a Leica Monochrom here on loan from (very kind) readers. I'll be doing a comparison test between my own fp and the Monochrom.

Rube: "My Sigma DP2 rocks, in color and in B&W. Have had it for years, but hardly touched it until I got two tips: 1: don't use auto white balance, and 2: import the files into the terribly slow and clunky Sigma PhotoPro, select your downloaded files, then select Extract JPEG File, export then import into whatever processor you want. Super fast, great files, and Bob's your uncle!"

Jeff: "Leica M10 Monochrom: A– (no digital camera matches film highlights); B+ (needs the accessory thumb grip, best suited for 28/35/50mm); A– (no color channels in post)."

Olybacker: "I know what you mean about manufacturers going primarily after video makers as customers. I blame it on TikTok and various Pandemic Lockdowns around the world.

"However, an articulated screen, fully articulated that is, is a good thing in my view. My first digital camera, an Olympus Camedia C5060, had one. When I passed that camera on to a friend of friends, the rear screen/viewfinder was in mint condition. Being able to fold it away meant that it was less vulnerable to damage from zips in winter, shirt buttons in summer and anything sharp-edged in the camera bag.

"Am delighted with a secondhand Olympus E-600 DSLR acquired recently for not a lot of money. It has a fully articulated rear screen, unlike my E-520, that can be folded away for protection or used for selfies, etc."

Mike replies: Oh, yes, I know a lot of people prefer them. I'm just one who doesn't. And some people don't care. There's no right or wrong answer, it's just preference.

Comments

[Mike Ferron]

Mike besides your recent Sigma experiences a photo thread on a site I participate on features Foveon images. Always wondering what I am missing I picked up a DP1 on the cheap. Well the image quality can be quite nice when everything falls in place but it is not a pleasant camera to use. But I saw potential so I purchased a DP2 Merrill. What a difference. The Merrill has the last firmware upgrade and it neither slow in operating speed or auto focus speed. Sure it’s not a sports camera but fast enough in most situations. The image quality was a new experience for me. A total wow. A Voitlander 40mm finder in the hot shoe frames quite well on the 30mm, (45mm equivalent) lens. Image sharpness blows my Canon 6D out of the water in daylight conditions. Like you I want great looking B&W images. Shooting raw, saving the images as tiffs on the hard drive and then finishing up in PS has given me very promising results.

[Jeff]

Mike, the M10 Monochrom link that you provided must be for a used body, as the retail new price is $8995.

[Peter Croft]

I have a DP1, Mike, with the e28mm lens and I bought the add-on viewfinder.

I quite like it, being small and with very sharp results (the camera, not me). I've never had any trouble with Sigma's Photo Pro browser - I quite like it, although I use ACDSee Photo Studio for all my DAM and browsing. It won't open the Sigma X3F RAW files, but Affinity Photo will, although very slowly.

That's the thing with this camera - everything takes its sweet time. Card writes are slow, although I'm sure if I used a faster card it would be OK. Battery life is short, but I bought two extra spares.

I like it and I'll be holding onto mine. The colour rendition is a little odd, but nice.

[Hans Muus]

@2. Operability (subjects): The TLR, Vivian Maier’s preferred tool, doesn’t confront the subject with an apparatus on top of a neck, but with an attentive, complete (head and all) human being. Though almost 50 years have passed since, I still remember that aspect of my Rolleicord Vb, Rolleiflex T and Mamiya C330 quite dearly.

[Ken]

Workflow is where Fuji lost me and Nikon has been trying very hard to lose me.

I like opening the raw file in a state as close to the original (in camera) "look" as possible (after all, I used certain settings for a reason, right?) so I generally like to open a raw file in a manufacturer's software, then save it as a tiff and open that in Photoshop to finish. Fuji's software absolutely stinks. Nikon's isn't horrible, but they went downhill from NX2 to NXd to whatever (if anything) they have now. Luckily, I still have NXD and my DSLRs, so I can keep using them. My XT-1 hasn't gotten much use in a long time (and will never be upgraded) because I hate Fuji software so much. And that's despite my liking the small prime lenses and the handling of the XT-# series.

Maybe camera makers don't care, but to me those are the kinds of friction points they need to avoid if they want people to keep purchasing their products. I am aware of third-party software products and tried some. They may work for others, but my workflow is based on using the manufacturer's software to start my processing. This is a hobby for me, and I am unwilling to invest the extra money and time to master a new workflow.

[Kenneth Tanaka]

Ah, the good old Pain-Gain Ratio (P/G)

P/G <= 1: Most current digital photography technologies.

P/G > 1: Sigma’s Foveon*, b&w film, technical cameras (w/ digital backs).

P/G > 2: All large format photography, color film.

—-
* Yet I remain a believer in Foveon and still own all three of Sigma’s DP-x Merrill cameras (Huey, Dewey, and Louie as I’ve named them). They’ve recorded three of my all-time personal favorite images, in fact. But, like a toxic romantic partner, what awful pain. One trip out each year is enough with these guys!

[Luke]

"Lee Friedlander used to say he would sometimes start photographing because he just got the urge to get his Leica out and play with it."

Yep. If I simply switch to a different lens I feel the need to take it out and shoot, even if I had no particular plan for the chosen focal length.

My cheapest old digital Rebel was an astounding piece of technology, and a modern alpha is a fricking marvel, without even comparing it to any other modern camera. I just take it out and play.

[Rob Griffin]

Mike,

It looks to me that you are doing some really good work with the Sigma. You images on Flickr have a beautiful look. Have you given thought to what your workflow will be for printing, making your black white images into photographs that might be offered in a TOP print sale every so often?

[Olybacker]

Lord Snowdon, photographer who just happened to have Queen Elizabeth II as a sister-in-law for a while, hated cameras. He thought 'they always get in the way when you wish to take a photograph'. Which re-inforces your second point of the Three Basics, Mike.

I have to say that my Olympus OM1 and OM2ns and Leica M6 (all film cameras) do not get in the way and are a pleasure to use. Am never happier than when they are in the hand and I'm taking photographs.

[James]

What generation of DP2 is it?

[Merrill, but it's sold. --Mike]

[Glynn H.]

I love the DP Merrills, as long as I think of them as medium format cameras with Plus-X on a tripod (a much smaller tripod than you'd need for an RB67, and the self-timer obviates the need for a cable release).

[Kodachromeguy]

Interesting essay. Operability covers a lot of ground. By many criteria, the Leica thread mount cameras have poor operability. But many film photographers love them, and prices for clean examples continue to rise. They have a high fun factor.

[David Mantripp]

Frequently when looking through my archives, I find that a photo particularly grabs me, and when I look to see what camera I made it with, 9 times out of 10 it was either the DP2M or DP3M. Both of which I stupidly sold. But both which, indeed, were absolutely a pain, workflow-wise.

At least I still have the “crazy” DP0Q. That’s not going anywhere, ever.