A DIFFERENT BRAND OF DARK
By MICHAEL PERKINS
ONE PHOTOGRAPHER’S LAB ACCIDENT IS, OCCASIONALLY, ANOTHER PHOTOGRAPHER’S EUREKA MOMENT. Take the case of a visual effect that, in the film era, may have originated with an error in darkroom technique, and which is now being sought after by movie directors and amateurs alike as a look that they actively desire. Recent use of this effect ranges from the gritty, muted color and high-contrast of films like Steven Spielberg’s Saving Private Ryan, to lab-less shortcuts in Photoshop and even shorter shortcuts in ready-to-eat iPhone apps. The look is called Bleach Bypass and it’s worth a look for certain moods and subjects.
The term derives its name from one of the steps used in film processing color film in which bleach is used to rinse away silver nitrate. By skipping this step, the silver is retained in the emulsion along with the color dyes. The result is a black-and-white image over a color image…kind of a photo sandwich. The resulting composite is lighter in hue but packs more extreme contrast and graininess in the monochrome values…an intense, “dirty” look.
Now, for those of you that don’t have a traditional darkroom handy, creating a bleach bypass “look” is easy in nearly any basic editing software suite. Check out the basic steps for Photoshop here. In most cases, you duplicate your original shot, desaturate it slightly, and convert the dupe shot to complete monochrome. The mono copy must also be manipulated for ultimate contrast, and the two shots must be layered in software to give you the desired blend. I tend to use Photomatix more often than Photoshop, since I work a lot with various kinds of tone-mapping for HDR, so I processed the “after” shot you see here in that program’s “exposure fusion” tab. However, as I say, lots of programs can do this with virtually no sweat.
The third image in this article (at left) was produced with a click and some swipes with the Bleach Bypass simulator in the AltPhoto app, which also mimics the look of antique film stocks from Kodachrome to Tri-X. As with many phone apps, it doesn’t offer much in the way of fine control, but if you do all your shooting and/or retouching in your mobile, it’s a pretty good quickie fix.
Once again, in the digital era, what was once (a) messy and troublesome becomes (b) no fuss, no muss, and therefore, (c) something that will be adopted and used by many, many more shooters. Democracy in technology does not, of course, guarantee equality of results. You just have more tools to serve you when the ideas come.