photo - Ken Gilbert
photo - Ken Gilbert
photo - Ken Gilbert
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
Artwork<br />
Text and <strong>photo</strong>s by Guy Tal<br />
SHOOTING AND PRINTING SECRETS OF A MONOCHROME MASTER<br />
AFTER NEARLY a century of color<br />
<strong>photo</strong>graphy, black-and-white<br />
imaging is still revered for its<br />
classic, pared-down rendition of<br />
form and composition, especially<br />
in fi nely crafted prints. And<br />
today, digital imaging can give<br />
you monochrome quality once<br />
56 POPULAR PHOTOGRAPHY JANUARY 2010<br />
reserved for the wet darkroom.<br />
Before you print, though, you<br />
have to shoot. Don’t decide to<br />
render a scene in b&w as an<br />
afterthought. Learn to predict<br />
what the fi nal monochrome<br />
image will look like: Look for<br />
variations in tone and contrast,<br />
Anasazi ruin<br />
in Utah shot<br />
with a Canon<br />
EOS 5D and<br />
17–40mm<br />
f/4L Canon<br />
EF lens; 0.6<br />
sec at f/16,<br />
ISO 100.<br />
www.storemags.com & www.fantamag.com<br />
as well as elements such as<br />
lines, curves, and patterns.<br />
The above Anasazi cliff-dwelling,<br />
for example, is comprised<br />
almost entirely of red earth hues<br />
lit by refl ected late-morning sunlight,<br />
which created a full range of<br />
tones from almost pure white to
Change language