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Chiiz Volume 10 : Black and White Photography

There is no doubt that colors bring out the vivaciousness of a picture but this time we are all geared to floor you with the magic of monochrome. This time Chiiz has brought to you a special edition based on Black and White Photography. Marc Henauer is here take you to a trip the world under the deep dark sea, the beauty of monochrome is explained by Ravi Dhingra in “Frozen in time”, Urshita Saini and Donatella Nicolini delves us into a relatively new genre of photography, i.e. Maternity and Birth Photography. The retention of the culture of Iran in the face of modernization is depicted amazingly by Duncan Chard. Mehdi Nazeri’s work on the pigeon fanciers in ‘The Birds of Hope’ is truly commendable and Debrani Das creates magic with her series on ‘Levitating Lovers, Unspoken Love’. Ashok Ghosh’s Work is a sight for sore eyes and is bound to leave you in awe and admiration for the ingenious photographer. Vikramjit Roop Rai covers the heritage of India and Shares ‘Why and How to Shoot Monuments’. Aman Chotani’s work on lights, lines and textures is replete with interesting elements that will leave you wanting for more. Turn the pages and find a lot more incredible stories in this volume.

There is no doubt that colors bring out the vivaciousness of a picture but this time we are all geared to floor you with the magic of monochrome.
This time Chiiz has brought to you a special edition based on Black and White Photography. Marc Henauer is here take you to a trip the world under the deep dark sea, the beauty of monochrome is explained by Ravi Dhingra in “Frozen in time”, Urshita Saini and Donatella Nicolini delves us into a relatively new genre of photography, i.e. Maternity and Birth Photography. The retention of the culture of Iran in the face of modernization is depicted amazingly by Duncan Chard. Mehdi Nazeri’s work on the pigeon fanciers in ‘The Birds of Hope’ is truly commendable and Debrani Das creates magic with her series on ‘Levitating Lovers, Unspoken Love’. Ashok Ghosh’s Work is a sight for sore eyes and is bound to leave you in awe and admiration for the ingenious photographer. Vikramjit Roop Rai covers the heritage of India and Shares ‘Why and How to Shoot Monuments’. Aman Chotani’s work on lights, lines and textures is replete with interesting elements that will leave you wanting for more. Turn the pages and find a lot more incredible stories in this volume.

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subjects. It’s not necessarily always the case,<br />

but I often feel more connected to a person in<br />

a black <strong>and</strong> white image over a color image,<br />

this could be the reason why.<br />

<strong>Black</strong> <strong>and</strong> white photography is clearer – by<br />

this I mean that a good black <strong>and</strong> white image<br />

can enhance a subject’s features <strong>and</strong> create a<br />

clearer picture of what they look like. It seems<br />

counter-intuitive but when you compare<br />

color <strong>and</strong> black <strong>and</strong> white versions of the<br />

same image, you’ll see that it’s true.<br />

With black <strong>and</strong> white photography, you<br />

will need to pay more attention to light,<br />

composition, contrast, <strong>and</strong> the whole scene in<br />

general. It takes some time to develop an eye<br />

for black <strong>and</strong> white but a monochrom image<br />

can st<strong>and</strong> out from the crowd - so it is worth<br />

it.<br />

Find out your style<br />

Like in color photography, there are also a<br />

lot of styles in black <strong>and</strong> white photography.<br />

You can either you use a film look that adds<br />

an air of mystery to the picture or you prefer<br />

a sharp, clean look with high contrasts. It<br />

depends on what kind you like to use to tell<br />

your story with your images.<br />

Always shoot RAW<br />

Raw files contain all the information captured<br />

by your camera’s sensor. A RAW file has to be<br />

processed (using a software) <strong>and</strong> converted<br />

to a JPEG or TIFF file in order to be usable,<br />

<strong>and</strong> that is definitely necessary if you want to<br />

convert your shot into a good black <strong>and</strong> white<br />

image.<br />

Keep it simple<br />

Always seek to simplify in monochrome. Seek<br />

to make the scene less complicated. Seek to<br />

make simple compositions.<br />

Lighting is the key<br />

Contrasty lighting is what makes a black <strong>and</strong><br />

white image pop. If you look at the work of<br />

famous photographers like Ansel Adams, his<br />

images st<strong>and</strong> out because of the light contrast.<br />

Make light your friend - because photography<br />

means “painting with light.” Shooting outdoor<br />

when the light is good - look out for spots<br />

where u get intense light/contrast.<br />

Experiment a lot<br />

Try to experiment with different perspectives,<br />

especially when you shoot outdoor. Take the<br />

elevator to the top of a skyscraper, <strong>and</strong> shoot<br />

down. Or shoot up. Also you get dramatic<br />

shadows in your captures when the sun sets.<br />

Silhouette photographs are often stronger in<br />

black <strong>and</strong> white.<br />

In photography, one amazing fact is that you<br />

can always learn something new. I’m not a<br />

portrait photographer but I keep coming<br />

back to the studio to improve my skills in this<br />

field of photography. Doing something else<br />

rather than only concentrate on your genre<br />

enhances your creativity <strong>and</strong> you can use the<br />

learnings out of these experiments in all the<br />

other situations in your photography life.<br />

Get inspired by others<br />

I study the work of others a lot to learn, how<br />

they work with light, textures <strong>and</strong> contrasts.<br />

There are a lot of inspiring photographers<br />

out there focusing on black <strong>and</strong> white<br />

photography. It helped me <strong>and</strong> I even got very<br />

useful feedback. But don’t imitate others or<br />

try to be like them - that won’t work. It is a<br />

process <strong>and</strong> takes some time - stick to your<br />

personal style <strong>and</strong> make sure your pictures<br />

tell a story - <strong>and</strong> others will notice it. Get<br />

connected to get feedback. I appreciate every<br />

single feedback I get to improve myself.<br />

Most important tip: Just start shooting<br />

<strong>Photography</strong> is a constant learning process.<br />

It is essential knowing the technique but<br />

developing yourself to unleash your creativity<br />

only comes from trying, analyzing <strong>and</strong><br />

repeating. I started with street photography,<br />

not only because I love to document life, but<br />

also because I can’t control my environment.<br />

I started to focus more on light, contrasts,<br />

textures <strong>and</strong> more. The learnings out of this<br />

helps me today in any photography situation<br />

to make different <strong>and</strong> creative images, to<br />

share my views <strong>and</strong> tell a story with them.<br />

Force yourself to focus on black <strong>and</strong> white –<br />

since most digital cameras have the capacity<br />

to shoot black <strong>and</strong> white right in camera use it<br />

to your advantage. It is a really great exercise<br />

to occasionally force yourself to do so. Grab a<br />

friend <strong>and</strong> go shoot 50 or <strong>10</strong>0 frames in black<br />

<strong>and</strong> white. Then come back <strong>and</strong> study your<br />

work, whether it look like you wanted ror not.<br />

Find areas you want to improve in. Search<br />

online for help <strong>and</strong> advices <strong>and</strong> go back to try<br />

it again. I guarantee, that after a few attempts<br />

,not only will you get more confident in what<br />

you do - but you <strong>and</strong> the people who examine<br />

your work will notice a progress.<br />

Even Stevens<br />

Sony Alpha 9 50mm F/5.6 1/<strong>10</strong>00s ISO2000<br />

Bowed<br />

Canon 5D MK III 28mm F/6.3 1/125s ISO<strong>10</strong>0

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