Posted by Brent Burzycki: 
And Sin City looks like this? I thought Sin City was colorized B&W..

the problem with these forums is that its hard to tell if someone's just asking a question, or they're asking a question that is also meant to bust your balls.

regardless, no, sin city doesn't look like this. my reference wasn't about the technique as much as the style. when's the last major feature film you've seen that was shot with a decidedly film noir look? i just made the comment so people, perhaps people like you, didn't think i was trying to mimic the style cuz i saw the movie.

as for your technical comment (re: sin city), since almost the entire film was shot in front of a green or blue screen, i don't know how they would have accomplished keying in the animation and CG in post if they shot their negative with a monochrome emulsion.

also note i wrote that i shot this image in "kind of" a film noir or george hurrell style. you neglected to mention hurrell in your reply. you know who hurrell was, right, brent? (this last paragraph might include some slight ball-busting, depending on how you take it.)

Posted by jimmyd: 

Posted by Brent Burzycki: 
you know who hurrell was, right, brent? (this last paragraph might include some slight ball-busting, depending on how you take it.)

Posted by Brent Burzycki: 

And to answer your question - no I have no idea who hurrell is I assume a photogrpaher that was famous and does that style... ball-busting, depending on how you take it.)

From a Hurrell Tribute Site

"In 1929 at the age of 25 artist turned photographer, George Hurrell, irreparably changed the way cinema studios and the movie going public perceived many of the greatest stars of the '30s and '40s.  His highly stylized, sensual studio portraits of the great and soon to be great stars became the epitome of Hollywood glamour and mystery for a Depression weary movie going public.

The incredibly dramatic use of light in his portraits not only created a new, exciting look in movie tableaus, but actually influenced the way movie sets were lit for the next two decades.  His ingenious use of a boom to place a light above his subject's head highlighting the hair was quickly adopted by all the major studios and remains to this day an important lighting implement in cinema, video and still photography.

Hurrell’s exhaustive retouching of negatives to eliminate unwanted facial and body blemishes and to enhance the subjects finest qualities continues to be a source of controversy among movie and art critics.  Each negative was painstakingly scrubbed and worked over with graphite powder smoothing away blemishes and unwanted lines.  What resulted was a stunning photographic transformation – a fantasy of beauty and perfection.  "The stuff dreams are made of" as one of Hurrell’s subjects is often quoted as saying (well, maybe not actually about the photography)."

I actually purchased a vintage Mole Richardson Lamp Boom (just like Hurrell used) to attempt to accomplish the same sort of look. Obviously, our use of PS is comparable to Hurrell's "exhaustive retouching of negatives to eliminate unwanted facial and body blemishes and to enhance the subjects finest qualities..."  I guess the more things change, the more they stay the same.

Benny wrote:
lets see if this works

Now that's just bragging.