By Chuck Kimmerle

A variety of books out there train photographers tips on how to produce a technically sound black & white panorama picture. Others expound guidance and methods you should use to augment the artistry of these photographs. This ebook takes a less-traveled course. writer Chuck Kimmerle teaches photographers who’ve mastered their digicam controls to determine the chances in each panorama. You’ll how you can establish a scene that lends itself to black & white (and be sure which scenes simply don’t work), you’ll discover excessive- and low-key shows, the consequences of varied lenses, and the way and while to provide immediately, photograph, or interpretive displays of your scene.

You’ll additionally tips on how to create “score-and-performance” uncooked photo and postproduction pairings that bring about natural mastery in each complete photo. Armed with the insights during this e-book, readers will learn how to see, conceptualize, and create the black & white panorama photos that often appeared out of achieve.

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Extra resources for Black & White Artistry: The Creative Photographer's Guide to Interpreting Places and Spaces

Example text

This idea had been around since Westerners first arrived in Hawaii, and was given credence by no less a personage than writer Mark Twain. ” Hawaii seemed to modulate London’s racialist views. He was worshipful in his praise of Waikiki’s local surfers and didn’t give a second thought as to his own fitness for surfing—and by extension, the fitness of his race. ” London’s surfing experience, including the idea of racial equality in the lineup, was launched and guided by Alexander Hume Ford, a small pointy-bearded Honolulu gadabout who at times seemed to be single-handedly directing the sport’s revival.

Since Hawaiians usually didn’t bother to enter surfing competitions (or weren’t invited; the record is unclear), Ford’s implication that white surfers had caught or surpassed them is ridiculous. Yes, whites had made their way into the lineup. But not yet in great numbers, and few, if any, were on par with the top Hawaiian riders. Better evidence as to the two groups’ relative place in the surf comes from period photographs, which often feature a Hawaiian riding along with bent-knee nonchalance, while nearby, on the same wave, another local steers an outrigger canoe filled with two or three grinning but inert white passengers.

Since Hawaiians usually didn’t bother to enter surfing competitions (or weren’t invited; the record is unclear), Ford’s implication that white surfers had caught or surpassed them is ridiculous. Yes, whites had made their way into the lineup. But not yet in great numbers, and few, if any, were on par with the top Hawaiian riders. Better evidence as to the two groups’ relative place in the surf comes from period photographs, which often feature a Hawaiian riding along with bent-knee nonchalance, while nearby, on the same wave, another local steers an outrigger canoe filled with two or three grinning but inert white passengers.

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