12/30/2023 0 Comments Black and white photography nature“Something about black-and-white demands a bit more photographic realism, since at its core it is already an abstraction-we see in color.”įor the Skye image, Clor used his Canon EOS-1Ds Mark II and 24–70mm f/2.8L Canon EF lens for an exposure of 1/200 sec at f/5.6, ISO 100. “Since much of the black-and-white subject matter I shoot is landscape or cityscape, I have adopted a more straightforward approach to the photography, prefering almost no manipulation,” he tells us. His black-and-white landscapes, such as his photograph of the Isle of Skye, are highly classical, even austere. His commercial work in color for corporate clients tends toward wildly imaginative (some might say over-the-top) composites clearly not meant to represent reality. To peruse the website of Chris Clor, you might get the idea that he’s two different photographers. Throughout, he has pursued his love of landscape photography, which you can see at. After receiving a degree in photographic engineering technology, he worked as a newspaper photojournalist, university staff photographer, and now as a freelancer based in Casper, WY. In a way, it is like peeling back a page to reveal a world that, while very real, is not experienced visually.”įrom the time he got a Canonet QL17 GIII as a high-school graduation present, Chuck Kimmerle knew he was destined to be a photograper. “This process eliminates what I have termed visual noise-all the short-term temporal events, things that are moving, that can distract us from focusing on the underlying fundamental forms. “For scenes that contain a lot of motion, my exposures range from 20 seconds to 60 minutes,” he says. He is now based in San Diego, and his work is represented by 15 galleries on three continents his images are available for commercial use through Corbis. By the late 1990s he was transitioning from his career as an audio design engineer into full-time fine-art photography. By his teens Fokos was developing and printing, and in his college days took up the view camera. David Fokos’ grandfather gave him his first camera, a Kodak Brownie, at age 11. “It’s only been within the last couple of years that digital capture has been able to rival this.” Fokos also notes that the reciprocity failure (the tendency of film to be underexposed at long exposure times) of Tri-X helps keep highlights from blowing out during such long exposures-sometimes as long as an hour. “And 8×10 film gives me the resolution they require,” he says. Why not capture digitally? A major reason is that Fokos prints big-sometimes up to 7½ feet wide. He often spends more than 100 hours on an image-and sometimes ends up discarding it anyway. If a negative looks promising, he scans it at very high resolution (the grayscale image file is-hold your breath-800MB) and sets to work on it in Adobe Photoshop. (On 8×10, the lens is the equivalent of about 28mm in 35mm full-frame terms.) He uses Kodak Tri-X Pan sheet film.īut after developing the film, Fokos goes digital. The sole film shooter of our trio of monochromists, David Fokos might be considered a traditionalist’s traditionalist, particularly given his camera gear: a vintage Korona 8×10 view camera, plus one-and only one-lens, a 210mm f/5.6 Rodenstock Apo-Sironar-S. All of them were drawn to creating landscapes in black and white, and while all three can be said to work in a “classical” style, each has a distinct character to their images. One started as an audio design engineer, another as a photojournalist, and another as a commercial shooter. Three artists tell us why digital tools have both transformed b&w and kept it thriving. When we set out to find modern masters of the b&w landscape, we were astonished at the quality and variety of monochrome scenics being made today.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |