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The Language of Black-and-White
- 1. THE LANGUAGE OF BLACK & WHITE PRESENTED TO THE KATY PHOTOGRAPHY MEET-UP GROUP OCTOBER 15, 2012 • TOM HAYMES, PRESENTER
- 2. BLACK-AND-WHITE IS NOT THE REMOVAL OF COLOR. IT IS THE ADDITION OF AN ARTISTIC REVISUALIZATION OF REALITY. IT IS PAINTING IN A DIFFERENT MEDIUM
- 3. WHY DO IT? “I PREFER BLACK-AND-WHITE PHOTOGRAPHY CHIEFLY BECAUSE IT OFFERS IMAGINATIVE CONTROLS AND A POWERFUL DEGREE OF STYLIZATION.” -ANSEL ADAMS, 1969 MASTERING A NEW VISUAL LANGUAGE UNDERSTANDING THE ENTIRE PHOTOGRAPHIC PROCESS DOUBLE VISUALIZATION 3D --> 2D COLOR --> B&W COLOR PHOTOGRAPHY APPROACHES REALITY TOO MUCH
- 4. VISUALIZATION PART I CONVERTING THREE DIMENSIONS TO TWO
- 5. VISUALIZATION II THE ZONE SYSTEM A FRAMEWORK FOR UNDERSTANDING LIGHT
- 6. UNDERSTANDING THE ZONE SYSTEM ELEVEN ZONES OR SHADES OF GRAY ABSOLUTE BLACK - ZONE 0 ABSOLUTE WHITE - ZONE 10 EACH IS EQUIVALENT TO A STOP OR EXPOSURE VALUE (EV)
- 7. YOUR EYE VERSUS YOUR TOOLS ADAPTING YOUR EYE TO THE LIMITATIONS OF YOUR TOOLS HUMAN EYE - 19.9 EV MONITOR (CONSUMER) - 6.6 EV CAMERA SENSOR - 12 EV MONITOR (PRO) - 10 EV THIS PROJECTOR - ?? EV PRINT PAPER - 8 EV SOURCE: HTTP://DPANSWERS.COM/ CONTENT/TECH_ZONESYSTEM.PHP
- 8. 19.9 EV 12 EV ~6 19.9 EV 10 EV 8 EV YOU HAVE TO VISUALIZE THE PROCESS FROM TRIPPING THE SHUTTER TO FINAL PRODUCT - THERE ARE FEWER VARIABLES BUT THERE IS MUCH GREATER VISUAL COMPLEXITY IN B&W
- 9. “ART IMPLIES CONTROL OF REALITY FOR REALITY ITSELF POSSESSES NO SENSE OF THE ESTHETIC. PHOTOGRAPHY BECOMES AN ART WHEN CERTAIN CONTROLS ARE APPLIED, CAMERA POSITION, FOCAL LENGTH OF LENS, FILTERS, NEGATIVE MATERIAL, EXPOSURE, DEVELOPMENT AND PRINTING PROCEDURES. IN BLACK-AND-WHITE PHOTOGRAPHY IT IS POSSIBLE TO CREATE WITHIN THE MEDIUM... MOST SUCCESSFUL COLOR, IN THE MOVIES OR STILLS, COMES FROM OUTSIDE THE CAMERA OR MEDIUM ITSELF.” - ANSEL ADAMS, 1983
- 10. “I STAYED WITH BLACK-AND-WHITE SIMPLY BECAUSE I ENJOYED THE CONTROLS THE PROCESS OFFERED.” - ANSEL ADAMS, 1978 IMAGE: YOSEMITE VALLEY, SUMMER, 1935
- 11. IMAGE: ANSEL ADAMS, CLEARING STORM, 1950 ANSEL ADAMS DIDN’T FEEL HE HAD THE CONTROL TO DO THIS IN COLOR RELIABLY BUT B&W WAS ACHIEVABLE
- 12. - ANSEL ADAMS, CLEARING WINTER STORM, 1935
- 13. THE COLOR VS. BLACK & WHITE DECISION
- 14. THE COLOR VS. BLACK & WHITE DECISION
- 15. GOING THROUGH THE PROCESS MOST B&W HAPPENS IN POST PROCESS THESE DAYS I USE NIK SOFTWARE’S SILVEREFX PRO
- 16. THE ORIGINAL
- 17. STRAIGHT B&W CONVERSION USING SILVER EFEX
- 22. COMPRESSING THE ZONES - ADJUSTING THE SKY VS. THE GROUND
- 23. COMPRESSING THE ZONES - ADJUSTING THE SKY VS. THE GROUND
- 24. COMPRESSING THE ZONES - LOOKING FOR BLOWN OUT WHITES USING SILVER EFX
- 25. COMPRESSING THE ZONES - TONING - WHAT USED TO BE PAPER’S JOB
- 26. THE FINISHED PRODUCT - ALMOST
- 27. BACK TO THE ORIGINAL
- 28. THE ORIGINAL
- 30. THE ORIGINAL
- 32. THE ORIGINAL
- 34. THE ORIGINAL
- 36. THE ORIGINAL
- 38. THE ORIGINAL
- 40. THE ORIGINAL
- 42. THE ORIGINAL
- 44. ANSEL ADAMS IN THE SAME PLACE
- 45. THE ORIGINAL
- 47. ANSEL ADAMS IN THE SAME PLACE
- 48. THE ORIGINAL
- 50. THE ORIGINAL
- 52. THE ORIGINAL
- 54. THE ORIGINAL
- 56. THE ORIGINAL
- 58. CONTACT INFO E-MAIL: TOM@HAYMESIMAGES.COM WEBSITE: WWW.HAYMESIMAGES.COM THIS PRESENTATION CAN BE FOUND AT: HTTP://WWW.SLIDESHARE.NET/HAYMEST
- 59. “THE PROFESSIONAL PHOTOGRAPHER TAKES ASSIGNMENTS FROM “WITHOUT” INJECTS WHAT IMAGINATION HE CAN APPLY, AND DOES THE BEST HE CAN WITH THE PROBLEMS PRESENTED. THE CREATIVE PHOTOGRAPHER, ON THE OTHER HAND, TAKES ASSIGNMENTS FROM “WITHIN” AND, IF TRULY DEDICATED, MAY FIND THAT THE CLIENT IS TOUGH AND UNCOMPROMISING! THE CONFLICT OF THE ASSIGNMENTS FROM “WITHOUT” VERSUS THOSE FROM “WITHIN” OFTEN PERPLEXES THE SERIOUS PHOTOGRAPHER.” - ANSEL ADAMS - ANSEL ADAMS
Editor's Notes
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- “I suppose that with black-and-white the photographer can make really great ‘departures from reality.’ The medium carries its own convictions, has its own quality of values and ‘image color.’ I can get - for me - a far greater sense of ‘color’ through a well-planned and executed black-and-white image than I have ever achieved with color photography. We are talking about extremely subtle distinctions that may not make sense to anyone who is not sensitive to the infinite scale of values which fine black-and-white photography can achieve.” - Ansel Adams, 1967\n
- The first step to any successful image, color or black-and-white, is understanding how to transfer three dimensional objects to a two-dimension surface and still tell a compelling story.\n
- Ansel Adams developed the Zone System as a mechanism for understanding and controlling what was going on throughout the entire photographic process.\n
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- It’s like learning a new language but at the same time being able to convey that language to the ultimate viewer. This is the ultimate challenge of black-and-white.\n
- Anyone can speak color. You have to be trained to speak black-and-white. When you do, you will find it a much richer language and environment than traditional color offers.\n
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- Silver EFX can help train you to visualize in the Zone System. Your eye can trick you into thinking that your ultimate print will conform to what you see on the screen. Remember that you can see 20 EV, the screen is 10-12 EV but paper will only reproduce 8 EV. Therefore you need to put your whitest whites in Zone 8, not 9 or 10 if you ultimate product will be a print.\n
- One of the ways you can get a more subtle variation in the middle ranges is by playing with silver and toning.\n
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- “The Professional Photographer takes assignments from “without” injects what imagination he can apply, and does the best he can with the problems presented. the creative photographer, on the other hand, takes assignments from “within” and, if truly dedicated, may find that the client is tough and uncompromising! the conflict of the assignments from “without” versus those from “within” often perplexes the serious photographer.” - Ansel Adams\n
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