Taste of Italy

Thanks Rob, I'm glad you think of me as an Italian with a passion for cooking, which is what I am. Or was; I am still Italian, but not as passionate about cooking as I was many years ago (today, my wife's recurring phrase is: ‘But don't you ever eat?’).

This beautiful photo is not monochrome, it is a duotone orange and blue (my favourite complementary colour harmony). I was wondering: is it the Leica development that makes it duotone or was it you in post-production?
I often apply a subtle duotone (or split-tone, call it what you will) in my black and white photos because when used imperceptibly, or almost imperceptibly, I feel it adds materiality to the photo making the B&W more alive, I cannot explain.
 
It’s impossible to do orange and blue duotone with the Monochrom files, there being no colour array placed on top of the sensor. At least I don’t think it can be done, I’m not qualified to say for certain.
 
It’s impossible to do orange and blue duotone with the Monochrom files, there being no colour array placed on top of the sensor. At least I don’t think it can be done, I’m not qualified to say for certain.

The histogram speaks for itself. You have no control over the development of the camera in monochrome. And this photo is not monochrome at all.

2024-12-27_22-14.jpg
 
It’s impossible to do orange and blue duotone with the Monochrom files, there being no colour array placed on top of the sensor. At least I don’t think it can be done, I’m not qualified to say for certain.

Just for completeness I add this note. All digital cameras do not know colour, they only know brightness values. The colour ones have a sensor made of different receptors, some register red, some green, some blue, and eventually they put it all together and create a colour photo.
But they don't stop there. They try to ‘improve’ the photo based on ‘What photo would the photographer like to see? How can I improve the light/colour signal?’
Monochrome sensors do the same thing. And they also use the colours they don't have to make the photographer happy. Which is trivial and a normal post-production in all cameras even when shooting RAW.
Someone disprove me if I'm wrong.

The editing done by your camera (which I envy you so much) is not very subtle, in fact it is much more noticeable than my duotone (which I wish was almost subliminal). However, since I don't trust my eyes enough, I subjected the photo to an agnostic instrument that returned an instrumental, non-subjective, response that leaves no doubt.
 
User error. When I import the DNG files into my editor – Exposure 7 – I always click b&w for all images:

Screenshot 2024-12-27 at 23.09.34.png

Which renders the histogram thus:

Screenshot 2024-12-27 at 23.08.53.png

But occasionally I forget to do so, and get this for the same image:



Screenshot 2024-12-27 at 23.09.12.png


My understanding is that in the B&W version I get the straight files from the camera, without any colour filter being added. In the colour version, the software guesses and interpolates. But as many longer-term members on this forum will attest, I am probably the least technical-savvy photographer here.

In short, I was in Colour mode for editing, your histogram seeing the result of that. I would send you the original DNG file for one of my images for you to examine, if your software can open DNG files. Otherwise I can send you a lower-quality out-of-the-camera jpeg.

Quote from Leica tester, Jonathan Slack: "It’s worth briefly revisiting the reason for a Monochrome camera before discussing Elliott (Typ 246) in detail: Current sensors only detect the intensity of light, not the colour. A Bayer filter is placed over the sensor with a different colour filter over each photo-site. When the image is processed (demosaicing) groups of 4 pixels are examined together and in the context of surrounding groups and the colour is calculated. The filter itself imposes a 1 to 2 stop reduction in the light reaching the sensor, and the demosaicing process reduces the resolution. With a monochrome sensor there is no need for a Bayer filter or for the demosaicing process - in theory one might expect a 4x improvement in resolution, but in practical terms it works out more like a two times improvement."

So, with the Monochrom cameras we get twice the resolution and twice the amount of light reaching the sensor. But we should not get colour from within the camera. That is my understanding.
 
So, with the Monochrom cameras we get twice the resolution and twice the amount of light reaching the sensor. But we should not get colour from within the camera. That is my understanding.

That's what I knew too, only you can never be sure what the camera is doing when it creates the DNG, so since you said you didn't change the colours for me the only explanation left was to think the camera was the culprit. Now you have given me a different explanation of the development process in Exposure 7 and everything is clear. If you want to send me a DNG that's OK with me, but at this point I don't think it's necessary.
 
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