Tag Archives: b&w

Link Roundup 07-17-2010

Before we get to the links, I apologize to anybody that visited the site recently and found it to be infected with a malicious redirect exploit. I became aware of the issue this morning (thanks to an email from a reader) and I had it fixed within an hour. These things happen from time to time, and I appreciate folks letting me know when something is wrong with the site. Now for some weekend reading!

Link Roundup 05-17-2010

Link Roundup 05-15-2010

eBook Review: The Magic of Black & White

[tweetmeme]I’m a real fan of black and white photography — doesn’t matter if it’s film or digital. There’s just something about it that can transform a photo so drastically by the “simple” removal of color.

So I was thrilled when my buddy Andrew Gibson contacted me about the release of his book on “The Magic of Black & White“. He’s a great photographer and his black & white photos are stunning — so I was certain that the book would be a good one.

I was right.

The book is a relatively quick read, but offers up a great number of tips, techniques, and guidance for black and white photography. It’s also beautifully illustrated with a ton of Andrew’s fine art work.

See the end of this post for a chance to win a free copy of the book.

“The Magic of Black & White, Part One – Vision” can be purchased through Craft & Vision. The links in this post are affiliate links.

ABOUT THE BOOK

The Magic of Black & White is a 58 page downloadable PDF eBook. The book is intended to be viewed in a two-page format (as you can see by the dashed lines in the samples below). Throughout the book, you’ll be presented with specific topics on black & white photography and large sample photos from Andrew’s collection of work.

After a few single-page “chapters” (Introduction, Why Black & White?, The Art of Black & White, and Learning to See in Monochrome), we dive into The Elements of Black & White Photography. This section covers many topics along the lines of tonal contrast, highlights, simplicity, minimalism, complexity, shape and form, texture, lines, foreground interest, negative space, shapes and patterns, and contrast. Each topic gives thoughtful insights and supporting imagery.

From there, we move on to Light in Black & White Photography, which covers the various lighting scenarios and how to use them to your advantage. The last main section goes into Subjects for Black & White Photography, and we look at several options where black & white may make more sense than color. This is all followed up by a conclusion and final thoughts from Andrew.

ABOUT THE AUTHOR

Andrew Gibson is a writer and photographer based in the south of England. He works for one of the UK’s leading photography magazines and also freelances. He loves to travel and one region he’s been drawn back to time and time again is South America, in particular Argentina and the Andean regions of Bolivia and Peru. He works in a ‘fine art documentary’ style and presents most of his work in black and white.

You can find Andrew’s work at his main website or at his blog. He’s also a regular contributor at Phototuts+, Smashing Magazine, and the Fine Art Photoblog. On top of all that, he’s an employee of EOS Magazine. Busy guy!

MY FINAL THOUGHTS

The eBook is longer than a blog article, but shorter than a printed book. I feel that the eBook medium is perfect for what is presented. Andrew gives a great introduction to black and white photography with content that strikes a perfect balance between educational and inspirational. It’s not so technical that the beginner will be lost, and not so “artsy-fartsy” that it isn’t informative — again, it’s just a great balance.

I would personally recommend this eBook to anybody looking to explore or improve their black & white photography. It will definitely get your gears turning and probably give you a few new ideas. At the time of publishing this review, the price of the book is $5 USD (subject to change at any time), which is a steal if you ask me.

Part Two of this book (to be announced) will examine the means of creating the black and white image in the digital darkroom. I’ll update you guys when it’s published.

“The Magic of Black & White, Part One – Vision” can be purchased through Craft & Vision.

WANT A FREE COPY?

[UPDATE 03-30-2010: The contest is over, and the winners have been selected]

[tweetmeme]Andrew has also given me a coupon code for 3 free eBooks to give out! I have a feeling that this particular contest will draw quite a few entries, so I’m limiting the entry period to ONE DAY (contest will end March 30, 2010 at 8am PDT). Here’s how you can enter for a chance at a free book:

1) Submit a photo and/or link to a black and white photo you’ve taken. The photo must be your own. Bonus points for supplemental descriptions.

OR

2) Submit a Flickr Gallery (not a set — a gallery) of black and white photos. Curate a gallery and pop the link in the comments below. Bonus points for supplemental thoughts within the gallery and/or comment.

One entry per person; only the first entry for any given person will be considered. Again, ONE DAY for entries, and I’ll post a comment of my own stating the cut-off time — so if you don’t see the cut-off comment, feel free to post an entry.

Feet on the Beach

Feet on the Beach

Brian Auer | 01/19/2008 | San Diego, CA | 300mm * f/6.7 * 1/250s * ISO100
[Print Pricing] [Contact for Signed Prints] [See it at Flickr]

This one was taken on the Torrey Pines State Beach near my home in San Diego. The feet actually belong to my Mother-in-Law. I spotted her walking along the water near sunset and I couldn’t resist trying to get some “walking on the beach” photos. I shot about 7 or 8 in rapid-fire mode and this one turned out the best from all of them. The reflection turned out better than I had hoped, and the moment in mid-stride made for an interesting photo.

Feet on the Beach Post-Processing

All of the following post-processing steps were done with Adobe Camera Raw — no Photoshop was used on this photo.

  1. Untouched RAW Image
    This is what the image looked like straight out of the camera. Not a lot of color to begin with, so black & white was a natural choice for me.
  2. Black & White Conversion
    Before doing anything, I switched to grayscale. I pushed the red, orange, yellow, green, and aqua to negative compensation while the blues, purples and magentas were pushed in the positive direction.
  3. Basic Adjustments
    I left the white balance set at a temperature of 5100 and a tint of -1. I left the exposure near zero, while I boosted the recovery to 33, fill light to 41, bumped the blacks up to 34, increased the brightness to 76, pushed up the contrast to 19, and I ramped the clarity all the way up to 100.
  4. Tone Curve Adjustment
    Using the parametric tone curve, I set the highlights to +22, lights to +49, darks to -33, and shadows to -47. This gave me the strong contrast I was after, and I actually pushed a few (very few) of the shadows off the histogram. Overall, the image is heavy on the darker tones.
  5. Vignette and Sharpen
    In the lens correction menu, I set the vignette to an amount of -70 with a midpoint of 20 — and this gave me the strong frame around the subject. As a last step, I set the sharpening under the detail menu to an amount of 50 with a radius of 1.5 pixels.

Enjoy!

The Place To Be

The Place To Be

Brian Auer | 02/09/2008 | La Jolla, CA | 19mm * f/4.5 * 1/400s * ISO100
[Print Pricing] [Contact for Signed Prints] [See it at Flickr]

This shot was taken during the La Jolla photowalk in early February. At the time, I found the scene to be very interesting — the hut, the birds, the people, and the ocean in the background really seemed to work together in this candid shot. I kept things fairly well centered because of the strong symmetry already present in the hut. The Birds and the people served to break up that symmetry in isolated areas, so I didn’t feel I needed to break it up even more. Lucky for me, I also left some extra room at the top of the frame, which served as a nice backdrop for some heavy vignette.

The Place To Be Post-Processing

All of the following post-processing steps were done with Adobe Camera Raw — no Photoshop was used on this photo.

  1. Untouched RAW Image
    This is what the image looked like straight out of the camera. It could probably work as a color image too, but I wanted to go colorless.
  2. Black & White Conversion
    Before doing anything, I switched to grayscale. I pushed the red, orange, yellow, green, and aqua to negative compensation while the blues, purples and magentas were pushed in the positive direction.
  3. Basic Adjustments
    I left the white balance set at a temperature of 5800 and a tint of +3. I left the exposure, recovery, and clarity set to zero, while I boosted the fill light to 46, bumped the blacks up to 36, dropped the brightness to 16, and pushed up the contrast to 52.
  4. Tone Curve Adjustment
    Using the parametric tone curve, I set the highlights to +41, lights to +39, darks to -44, and shadows to -76. This gave me the strong contrast I was after, and I actually pushed a bunch of the highlights and shadows off the histogram.
  5. Vignette and Sharpen
    In the lens correction menu, I set the vignette to an amount of -76 with a midpoint of 19 — and this gave me the strong frame around the hut while filling in some of that sky. As a last step, I set the sharpening under the detail menu to an amount of 50 with a radius of 1.5 pixels.

Enjoy!