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Black And White Landscape Photography

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Black And White Landscape Photography

Mark CitretMark Citret work is represented by prominent photography galleries in the United States, and is in many museum, corporate, and private collections. He is also a photography instructor with University of California, Center for Photography at Woodstock, The Ansel Adams Gallery and Santa Fe Workshops.May 1, 2016/by The Ansel Adams GalleryJeffrey ConleyJeffrey Conley is a fine art landscape photographer who specializes in creating traditional black and white prints. His meticulously crafted prints, made utilizing traditional darkroom processes, are made in small limited editions of 40 prints. His work has been widely exhibited and collected by private collectors and museums worldwide. April 30, 2016/by The Ansel Adams GalleryVaughn HutchinsVaughn Hutchins photography deals more with the light on the landscape than with the landscape itself. Light is my subject. I especially enjoy working with the light falling through centuries of redwood growth.April 24, 2016/by The Ansel Adams GalleryBob KolbrenerBob Kolbrener’s passion for fine art black and white photography began in 1968 when he innocently wandered into Best’s Studio (now The Ansel Adams Gallery) in Yosemite National Park. The magnificence of the Ansel Adams original prints were overwhelming, and he has been captivated by photography since.April 23, 2016/by The Ansel Adams GalleryKerik KouklisKerik Kouklis is a full-time fine art photographer and educator who specializes in creating handmade photographs. Kerik combines a contemporary eye with 19th century processes to produce work that is uniquely his own. Influenced by the pictorialists of the early 20th century, he makes images that can be at once calm and unsettling.April 22, 2016/by The Ansel Adams GalleryAnne LarsenAnne Larsen received her formal photographic training in Denmark, where she worked as a successful photographer for one of the largest commercial studios in Copenhagen. In 1994 she moved to the United States, and has worked as John Sexton’s Photographic Assistant since that time. April 21, 2016/by The Ansel Adams GalleryRichard LohmannRichard Lohmann started making hand-coated platinum prints in 1977 in part, because he responded to the mood and character he saw in the vintage platinum prints of P.H. Emerson and Frederick H. Evans. He loved the work of early platinum revivalists like George Tice and Tom Millea, and was drawn to the ambiguous reference to time created by the print ‘s warm tones.April 19, 2016/by The Ansel Adams GalleryTom MalloneeTom Mallonee has often pursued photographic subjects which stray from the conventional notions of western landscape photography, yet still embrace decisive composition and exquisite printing technique. For nearly thirty years Tom has pursued his photographic passions. During this time he began photographing the “apparitions” of the western landscape. April 18, 2016/by The Ansel Adams GalleryTom MilleaA master of the platinum printing process. Tom Millea’s work is known for its intensity, mystery and individual perspective. This limited collection of images represent Tom’s unique interpretation of Yosemite National Park.April 16, 2016/by The Ansel Adams GalleryAlan RossThe fine photographs of Alan Ross can be experienced as sophisticated black-and-white still lifes or grand landscapes. His work is reminiscent of his teacher, Ansel Adams, yet has a distinct personal style.March 20, 2016/by The Ansel Adams GalleryJohn SextonJohn Sexton is perhaps the most widely known contemporary black and white landscape photographer and educator. He was an assistant of Ansel Adams for many years, and his work, in high demand, demonstrates the technical and artistic expertise that one would expect from such an association. John’s work has a very distinctive feel and is immediately recognizable, for he has clearly stepped out of the shadow of his mentor and established a worldwide reputation.March 10, 2016/by The Ansel Adams GalleryDon WorthDon Worth was somewhat versed in photography, when he met Ansel Adams in 1955. He moved to San Francisco and assisted Adams for four years, working with an 8×10″ view camera. Worth composed the musical score in 1958 for the film Ansel Adams: Photographer. February 3, 2016/by The Ansel Adams Gallery
black and white landscape photography 1

Black And White Landscape Photography

Shooting successful landscapes in black and white is not quite as easy as it might seem. I have to admit that when I first started photographing landscapes with black and white film, I was so disappointed with the results that I gave up for several years. What I didn’t realise is that I was breaking one simple rule that if I had understood it, would have made life much simpler. Basically, my images lacked separation. The Fundamental Rule Of Black And White To achieve a good black and white image you need to have separation between the elements in the frame. If you can’t distinguish or find it difficult to distinguish between the elements the image will lack impact and the viewer will struggle to understand it. The problem I had and one that many people trying to shoot black and white landscapes have is that whilst in colour the different elements are easy to see. Once converted to black and white, many of the tones of the landscape blend together. What’s needed are ways to separate the elements for the viewer. Here are some ideas to help you. Conversion The tools we now have available in the digital darkroom make life much easier. Ideally you need a conversion technique that allows you to target different colours so they appear as different tones in the final image. For example you might darken a blue sky whilst lightening grass and foliage. If you were using black and white film you would use a Green or Yellow filter to achieve this effect but tools such as Photoshop and Lightroom make this easy to achieve. A further tip you might like to try is selectively changing the colour for some areas of your image. This will make them respond differently during the conversion to Black and White and help provide separation. Composition Strong composition can also help in separating the elements of the image even where they might have similar tones. One good way to ensure a good composition for black and white is to include a strong foreground interest. Seek out strong shapes in the landscape such as walls and trees that might provide a leading line into the landscape. Strong distinctive shapes are easier for the eye to pick out and understand even when the tones are similar. In this example I have used the strong shape of the rocks to provide a bold foreground interest. I have also used other techniques discussed below to enhance the separation of objects in the scene. Contrast This can be a problem with many black and white landscape images. I find the elements within the frame will become much more distinct when the contrast enhanced. In the film world we would use a coloured filter such as a Yellow, Orange or Red placed in front of the lens to help boost contrast. We might also use exposure techniques and higher contrast papers when printing in the darkroom. In the digital age the easiest way to add contrast is by applying an S-Curve in your editing package. Also don’t overlook Midtone contrast as this can really add to the monochrome landscape image. The easiest way to add Midtone contrast is in RAW conversion software that has a Clarity slider, which is essentially the same thing. In the following image of the Polish Tetras I have significantly boosted the Midtone contrast to help provide some separation between the trees which would otherwise blend into a solid grey tone. Dodge & Burn The technique of dodging and burning an image has been around from the early days of photography and was used extensively by masters such as Ansel Adams. In this image I have created a conversion that deliberately darkened the ground to create a contrast with the waterfall. I then used the dodge and burn tools in Photoshop to emphasise this as well as lightening selected areas of grass. When you dodge and burn an image it helps to create the feeling of interest in the scene for the viewer. So remember the rule; if you want to capture strong black and white landscapes you need to separate the elements in the frame. Words and images by Robin Whalley You've read the technique now share your related photos for the chance to win prizes: Photo Month Forum Competition
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Black And White Landscape Photography

Landscape photographers presented in this article defined the genre for what it is today. They explore the beauties of nature for the astonishing visual results.  Much like portraiture and fashion photography, landscape photography is an almost mandatory genre for photographers during the formation of their professional careers. And not just photography – nature has always been a great source of inspiration for artists of all kinds, since the dawn of time. Its beauty, wonders, endless secrets, remarkable variety and vastness beyond imagination grace so many canvases, papers, screens, shape many stones and metals, and are told through endless streams of words. And it is because of its characteristic that depicting it the right way became a form of art, especially in photography. It might look easy, but there are so many factors determining breathless landscape photography – from the amount of light (the famous “the golden hours”) to the choice of lens, exposure, format, color range, position, framing… And the just right combination of these elements creates all the incredible interpretations of landscape we witness through the evolution of contemporary photography. Whether they’re black and white or color images, they often end up in the fine art photography category for their great impact and extraordinary appeal.

Black And White Landscape Photography

Black And White Landscape Photography
Black And White Landscape Photography
Black And White Landscape Photography
Black And White Landscape Photography

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