Rare color photos of Berlin from the 1930s to the 1960s
interaktiv.morgenpost.de
interaktiv.morgenpost.de
The first two pictures in this article for example include buildings which to my modern eye look out of place "in the early part of the last century", as they are 'too modern'.
But then I wander around these places now and see these buildings in their physical form, and I'm filled with even more wonder that they survived so long and still have a feeling of modernity to them. I wonder where this bubble came from and how it came to be that I cannot see the modern world for the centuries-long process it is, and only feel connected with 'modernity' formed in the recent decade or so. I think this is something that changes as one gets older and starts to care about these things - never in my youth would I have been concerned with the trivial meanderings of comparison with the then and now.
There is something along that line in Rice's vampire chronicles where she states vampires tend to prefer and retain the taste for what was considered beautiful or worthwhile when they were humane.
I mean, I guess it makes sense, since there was a lot of stuff to repair and important infrastructure and industry was probably higher on the to-do list than Cathedral and Courthouse repair. But I hadn't really thought about how long the prominent war-time damage would've lasted.
https://en.wikipedia.org/wiki/Palace_of_the_Republic,_Berlin
That was torn down in 2008 and now the new "city palace" is being built in its place, with a facade that is similar to the original palace.
As an example, the paving on the pathways is in a constant state of being repaired because the design is such that the little stone blocks pop out very easily. Many of the side roads are still cobbled (and a nightmare to cycle on). People don't worry about it.
It's almost as if it was all designed to lure one outside.
I think it is a bit sad that Germany does not leave more GDR-era buildings standing. They might not always be the most visually appealing buildings (just like the GDR was not a very appealing state in many regards), but they still represent an important part of Germanys history.
I've messed with these a bit: https://www.google.com/nikcollection/
They're a step above your typical Instagram-type filters and you can tweak effect parameters and strength depending what you're going for. It can easily devolve into gimmickry and I'm sure a skilled photographer and editor can do more without presets/plugins but for the average or hobbyist photographer I've found them to be a good starting point.
There are also other characteristics that come into play. With digital sensors, you're capturing colors as seen by the color matrix on top of the sensor; Nikon, Canon, and Sony make these differently. With film, you're physically activating dye, and the dyes are also chosen uniquely for each film. So the colors can end up looking different, both because of process difference and intentional changes of the color. (Velvia 50 does not provide what one would call accurate color, but the inaccuracy is quite pleasing. The same goes for the Kodachrome/Ektachrome which were very popular in their times.)
On digital - when the pixel goes to 255 light intensity, it's just gone. There's no way to recover data that isn't there. The Magic Lantern firmware has the ability to scan out lines alternating between high and low ISOs to capture blown-out areas, but it's not perfect either.
"Modern" films tend to be very well-behaved with regards to these kind of characteristics, actually. Acros 100 has virtually no reciprocity failure - for exposures between 2 minutes and 10 minutes you need to add 1/2 stop of light. I've recovered pictures off negatives with virtually no visible exposure. The tonality is great and the grain is virtually invisible even with Rodinal. The new Portra 400 is also extremely forgiving - you can get something workable up to about ISO 1600 or 3200 with standard processing, and if you push process (develop longer) it's even better.
I have some Provia 100F which works to something like 160 seconds, I will try that in the future for long exposures.
I haven't tried the Portra films yet, as I mostly do landscapes, not portraits, and prefer Fuji's inaccurate colors for that application. (Ektar is a bit more muted color-wise, which yields a nice calming effect: https://goo.gl/photos/jMLY9UwS5Uwn2TQW7 )
One other thing: digital camera tend to get rated on shadow detail, not highlight detail, so their built-in light meters tend to "expose to the right", discarding highlights in favor of collecting more shadow detail. If you meter off an 18% grey card, a real light meter tends to give a shorter exposure than the camera's built-in meter, better preserving highlights. As someone who likes a well-defined sky, I'm betrayed by the camera manufacturers here. (But you'll of course notice it on the screen, and you can just turn the exposure compensation wheel to underexpose, and you're golden. It is not quite so easy with slide film, involving a lot of measurements and very careful spot metering. Therein lies the fun.)