Creative Black and White Photography: Advance Camera and by Bernhard Suess

By Bernhard Suess

The revised version of this consultant teaches photographers to systematically re-think the photographic approach and take their strategy to a brand new point. the writer introduces an array of complicated suggestions and ideas and explains the right way to use them creatively to unravel a variety of not easy aesthetic difficulties. The makes use of of refined ideas related to movie publicity and improvement keep an eye on, digicam filters, cutting edge makes use of of print contrasts, dodging and burning, and bleaching are illustrated step by step utilizing comparative sequences of black-and-white photos. moreover, a brand new bankruptcy presents perception into the difficulty of electronic as opposed to conventional black-and-white images from an insider's viewpoint.

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36 C R E A T I V E B L A C K - A N D - W H I T E P H O T O G R A P H Y C H A P T E R F I V E aving been a photographer for over twenty years, I can tell you that there’s no one H right way to do things. This isn’t to say there are not better, or even more correct, ways to take photographs. Rather, it means that different people have different stan- dards. Sometimes even people with similar standards (they’re almost never the same) find different ways to reach the same results. In the time I’ve worked as a photographer, I’ve seen others argue over equipment, film, paper, and, most often, techniques.

Left) The film exposure the prints when you’re done. For example, I write down the film exposure settings, whether is like figure 6, but the image it was the meter-recommended setting (MR) or over- or underexposed, and by how much was developed for 50 percent (“MR – 1,” for example). The film developing time is also written on the prints. Doing this less time (4 minutes). The con- makes it easier to set the photos up in an arrangement that clearly shows the differences trast is much too low and there’s that exposure and developing makes.

But there was time to shoot quite a few photos, all with the 90mm wide-angle Schneider lens. I even tried some variations on the original composition. Finally, I chose to include a church steeple on the right-hand side of the image. The illuminated steeple was a nice visual element that repeated the shape and tone of the monument and, to a lesser extent, the billowing flag. Although there were not as many cars moving around the circle as I might have liked, the road was glistening. It made the shot more effective, even with only a few cars.

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