Day 16 #ArtAdventCalendar Summer #Northernlights captured on my iPhone. These were dancing right above our house & were absolutely phenomenal! Many of my #abstract painting have been inspired by #Auroraborealis #photography #aurora #northernsky #bozarthart #fineartphotography
https://twitter.com/CherylBozarth/status/1603779966558416897?s=20&t=DMYZmqzrTPVZ4JBwD-8tTA
By removing color, we change how the viewerâs eyes see the photograph. No longer dependent upon color cues, we must find our visual information in the physical characteristics of shape, form, texture, and lines.
In my presentations, I often ask why, if color photography were so wonderful, black and white was invented first. It is, of course, a joke. A little friendly rivalry. The truth is that I love color photographs. They can be meaningful and inspirational. I have the utmost respect for those who do it well. But I was never one of them.
I am not alone. There are many photographers who, like me, photograph almost exclusively in black and white. We are in the minority, however. There are even more who photograph in black and white part-time. We have each chosen to create and present some or all of our work this way, and we do so for our own reasons. Some are rebelling against the popularity of color photography and others have a love for what are considered traditional landscapes. But many, like me, simply donât have a meaningful creative response to color.
In order to understand what black and white photography has to offer, we need to get some perspective. When we look at a color photograph, the first thing we mentally process is that the scene is depicted in color. Only after that do we begin to study the physical characteristics of the objects in the frame such as shapes, forms, textures, and lines.
These attributes, along with color, help define the look and feel of everything in front of our camera. When we remove the layer of color, either in the field or during processing, what remains are the four descriptive physical attributes. It is in the study and presentation of these â shape, form, texture, and line â in which black and white photography excels. I refer to it not as working without color but seeing beyond it.
So, how can we recognize and make use of these characteristics to improve our black and white photographs?
In art terminology, a form is simply an object that appears three-dimensional. Forms show a range of tones and represent their subject matter. A tree looks like a tree, a rock like a rock, and a platypus like a⊠well.. like a duck mixed with a beaver, but you get the point. They look what they are and what we expect them to be. Forms are what we most often see when we are looking at traditional landscape photographs.
The boulders, branches, and mountains in this scene all show three-dimensional characteristics; thus, would be considered artistic forms. | 24mm, f/8 @ 30 seconds, ISO100
Forms are easily recognized so people have little trouble in understanding what they are looking at. That accessibility brings the viewer into the scene, evoking feelings of inclusion, appreciation, and comfort.
Forms can be categorized as either geometric or organic. Geometric forms have regular, precise, structured outlines and often appear, even if natural, as being manmade. They include buildings, roads, telephone poles or automobiles. Naturally occurring objects such as crystals or basalt formations, with their straight edges and sharp angles, can also be considered geometric.
rganic forms such as a leaf, mountain range or meandering stream have irregular or wavy outlines and often appear to be from the natural world. As their outline is less mathematical than a geometric form, they have a softer, more relaxing presence in the photograph.
Shapes are similar to forms but appear as two-dimensional and have little interior detail. For example, if a sphere were considered a form, then a simple, white circle would be considered a shape.
As with forms, shapes can be categorized as either geometric or organic. Due their precise structure, geometric shapes can be quite abstract and powerful. Organic shapes, because their outlines are more free form and less formulaic, are often less abstract but can still be a powerful compositional element, especially if juxtaposed against their geometric kin.
The organic shapes of the blown snow contrast with the decidedly geometric shapes of the parking lot lines. | 24mm, f/13 @ 1/60, ISO100
Of course, as with all things artistic, there is often no clear defining line between shapes and forms. Some elements, such as a smooth, dark tree trunk, might exhibit characteristics of both form and shape. The categorization, however, is not important. What is important is that we recognize the qualities of objects in our frame and what they add to or take away from our composition. Only then can we make smart and informed creative decisions while photographing and processing (printing).
Juxtaposing the accessibility of forms against the abstractness of shapes leads to unique and compelling compositions which will be sure to hold the viewerâs attention.
The uniformly spaced, rectangular windows against a dark background play against the haphazard brush marks on a bright white wall. | 45mm, f/8 @ 1/30, ISO100
When we think of lines, we often think of leading lines â roads, sunrays, fences, etc. â which orient us towards, and thus draw attention to, our main subject. But lines are much more. They are one of the most common elements in our compositions. Lines exist as individual objects which are often very strong and stark compositional elements, but also create the outlines and interiors of objects in our photograph and in this regard are often overlooked.
By getting a low angle, these wavy street lines become a strong focal point in an otherwise unremarkable scene. | 45mm, f/8 @ 1/60, ISO100 
This old grain elevator is, due to heavy post-processing, reduced almost entirely to a study of lines. | 85mm, f/5.6 @ 1/125, ISO100
Lines can be as straight as an arrow or curved like a bow. They can wind lazily, be sharply angular or even form a circle. Their orientation is important. Lines which are parallel or level with the frame appear static and dull, but lines which are angled up at to the right often appear dynamic and energetic (at least in Western cultures whose text reads from left to right).
The distant trees form lines which direct the viewerâs eye to the foreground evergreen which, in turn, points the eye towards the dynamic line at the top of the frame. | 24mm, f/11 @ 1/45, ISO100
Although not a stand-alone element like form, shape or line, texture plays a critical role in defining the visual characteristics of an objectâs surface. Smooth objects such a birch tree or a patch of white snow on a cloudy day will show little texture, whereas rougher surfaces such as the trunk of an oak tree or a bale of hay may show rich texture.
The rough texture of these hay bales integrates with the rough textures of both the foreground grasses and the background saplings. | 50mm, f/11 @ 1 second, ISO100
Textures can also be manipulated by technique. A body of water on a windy day, photographed with a fast shutter speed, will emphasize details of the waterâs surface (texture). That same body of water, photographed with a shutter speed measured in many seconds, appears smooth and silky. Either is a valid creative decision.
Texture is necessary to help define a formâs structure, and to give it a three-dimensional look. Without texture, objects appear flat, metallic, plastic or even glassy. That is why the heavily edited, overly smoothed faces of social media influencers look so phony to our eyes.
The visual impact of texture is highly dependent upon lighting and post-processing. It is essential to defining form so it is not something we can ignore. As with everything else in our frame, we need to be aware of the way it affects our composition. Too much texture may well be distracting. Go easy on that structure slider in Lightroom; likewise, too little may look odd.
Each of these four elements plays a critical role in black and white photography and is what the medium does best. It is our responsibility, as creative photographers, to not only recognize their presence and power, but to compose these various elements into a cohesive and compelling photograph.
The foreground lines and shapes direct the viewerâs eye to the start of the soft-textured, distant hills. | 120mm, f/11 @ 1/250, ISO100
P.S. -- There are some scenes â no matter how compelling the shapes, forms, textures or lines â in which color is important and so defining that the image fails without it. In that case, no matter the skill or talent of the dedicated black and white photographer, the fight was over before it even began. So if we canât beat the color photographers we will, at least in these cases, join them.
The garish and contrasting colors of this room are vital to the identity of this image. If we remove these colors, this image is destined to fail. | 24mm, f/8 @ 1/6, ISO100
**The article is courtesy ofELEMENTS Magazine. **ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials, and fluid, clean design. Inside you will find exclusive and in-depth articles and imagery by the best landscape photographers in the world such as Freeman Patterson, Bruce Barnbaum, Rachael Talibart, Charles Cramer, Hans Strand, Erin Babnik, and Tony Hewitt, to name a few. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.
_About the author: Chuck Kimmerle is a U.S.-based, fine art landscape photographer who prefers to work in the reticent and quiet areas located in between the popular, overcrowded, and over photographed, destinations of grand beauty. While his style is rooted within the foundations of traditional landscape photography, his observations and interactions are both contemporary and introspective.
If you feel a connection to Chuck's work, please consider supporting him by purchasing one of his exquisitely crafted prints, or by simply sending a note of appreciation. _
#editorial #educational #blackandwhite #chuckkimmerle #elements #elementsmagazine #fineart #fineartlandscapephotography #fineartphotography #landscapephotography #techniques
Waves are some of the most rewarding subjects for photography that I know. For starters, if you miss one, another will be along very soon! Of course, they are also unpredictable and can be dangerous. What is fascinating is that no single wave will be exactly the same as any other wave that has existed since the beginning of time. Mind-blowing stuff.
When youâre starting out in wave photography, it is helpful to have a rudimentary understanding of different types of waves and what youâre likely to encounter on different beaches. Wide beaches with shallow falls typically experience long, rolling breakers. These graceful waves are a pleasure to photograph. The curl of a rolling wave is attractive but this perspective can be elusive as the topography of the coast often fails to offer a side-on angle.
This story is brought to you byELEMENTS Magazine. ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials and fluid, clean design. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.
Some photographers take to the water with waterproof camera housings and capture amazing moments within or even underneath waves (although not on the beaches where I make photos!). Obviously, this approach is for confident swimmers and, if you want to try it out, I strongly recommend that you first spend time getting to know your location and how to navigate the waves there safely. However, if it isnât safe to swim or youâd simply prefer to stay on terra firma, donât give up just because you canât access the popular âcurl.â A front-on perspective can also work; the moment a breaker starts to drop is often all thatâs needed to break the line and add visual interest.
On steeper, narrower beaches, there may be backwash. This is when water that has travelled up the beach falls back with enough power that, when it meets another wave, the water is pushed upwards, creating a wall. This is a marvellous subject and you can go wide to show the impact in its setting or zoom in tight to explore the textures. âClapotisâ is a sort of backwash wave. This lovely French word describes the moment that a wave, having bounced off a quay or cliff, crashes into another wave. The shapes often seem to defy gravity. This sort of photography is more like sports or wildlife than landscape work. Fast shutter speeds, responsive focusing and quick reflexes are the order of the day. I suggest you use high-speed continuous or burst mode and run off 3 or four frames for each wave.
As with everything, it pays to know your location and to have done your research. For example, if the wind is blowing from the north, thereâs little point in visiting a south-facing beach backed by cliffs. However, if the land behind the beach is flat, a strong offshore wind may be ideal as it will hold back the waves, making them pile higher, and youâll get spindrift off the top. Equally, think about the tide and the light. There are usually fewer waves at low tide. Harsh midday sun is difficult, and youâll likely need a polariser to mitigate the shiny patches of water whereas backlit waves can be gorgeous when the sun is low.
Point of view makes all the difference and there are so many variations on the standard, head-height position. If you can get low, your waves will stand proud of the horizon. Not every beach gets big waves, but they all get waves of some sort, even if just from the wake of passing vessels. If you lie on the beach, even small waves can look mighty.
Alternatively, try a higher point of view, a clifftop perhaps. Photos taken from above are no longer about the size of the waves. Instead, they make the pattern the star of the show. Waves leave in their wake wonderful shapes that we never see from beach level. Next time you watch the sea from a cliff, notice the beauty of a waveâs footprint.
The sea is always moving so shutter speed is probably your biggest decision; 1/800 or faster will freeze the waves, capturing all the detail. However, slower shutter speeds are also hugely enjoyable. I particularly like ÂŒâ as it keeps the waveâs overall shape, but the details seem like brushstrokes. In my photos, âTheiaâ and âTwist,â the waves are the same basic shape, but one is caught at 1/800 and one at ÂŒâ. While weâre experimenting, how about adding some intentional camera movement. I like shutter speeds close to 1â and subtle movement so that I can still see the idea of a wave within the blur. I prefer not to use a tripod for ICM. Iâm not looking for perfection here â I want the result to look like a painting and paintings arenât perfect, at least the good ones arenât.
If youâve ever tried to photograph waves and been disappointed, I suggest you try a longer focal length. It will suck the viewer into the action and the wave will almost certainly look more exciting. Most of my storm waves were captured using a 70-200mm lens. More recently, Iâve been using a 100-400mm. This is harder because, at 400mm, itâs difficult to see enough of the sea to find the best waves. Iâm enjoying the challenge. Long focal lengths offer a way to create difference. The casual viewer will see the big scene, but they wonât notice the curious textures within a wave. For this kind of work, you have to compose like a photographer of abstracts, thinking only of shape and colour, rather than the subject as a whole.
So far, Iâve concentrated on waves alone but waves as they break against the shore also make exciting subjects, stirring our imagination with awe and even fear. As these photographs tend to reference scale and location, they are often more documentary in style; however, thatâs not always the case. I happened to publish my photograph, âFace-ofâ during the voting for the U.S. presidential election. This was entirely coincidental (Iâm British), but several people commented that the picture represented the clash of candidates and ideologies! People will always find metaphors in the sea.
Iâve outlined just a few of the possible ways to photograph waves. As with any subject, the best approach is to be open-minded and willing to experiment. Try everything and see what happens, then make changes based on your experience. Be prepared to make a lot of bad photos (remember, this is more like sports than landscape photography). Above all, make sure you take time to just watch and listen to the waves. The seaâs music is beautiful and inspiring and I firmly believe you will make better art if you let it into your soul.
I donât want to spoil the flow of the article with a homily on safety but I feel it would be irresponsible not to mention it at all. Waves can be dangerous. Itâs important that you know the relevant tides, wind direction and speed. Working on a falling tide is safest. If itâs not safe to get as close to the waves as you would like, come back another day with a longer lens. Trust your instincts â if you feel at risk, you probably are. Lens hoods are good for keeping spray off the lens and I recommend that you always wipe everything down with fresh water after you leave the beach.
**The article is courtesy ofELEMENTS Magazine. **ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials, and fluid, clean design. Inside you will find exclusive and in-depth articles and imagery by the best landscape photographers in the world such as Freeman Patterson, Bruce Barnbaum, Rachael Talibart, Charles Cramer, Hans Strand, Erin Babnik, and Tony Hewitt, to name a few. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.
About the author: Rachael Talibart is a professional seascape and coastal photographer. Her critically acclaimed photographs of the ocean and coast have been featured in the press all over the world. Rachael is represented by galleries in Europe and the USA, her work is frequently exhibited and her limited-edition prints are collected internationally. She is the author of three monographs, including âSirensâ and, most recently, Tides and Tempests. Rachael owns f11 Workshops, providing location and online photography training and she leads international photography tours for Ocean Capture. You will find Rachael Talibartâs series âOceans and Odysseysâ in the ELEMENTS Magazine.
#editorial #tips #travel #abstractlandscapephotography #abstractlandscapes #elements #elementsmagazine #fineart #fineartlandscapephotography #fineartphotography #landscapephotographer #landscapephotography #oceans #rachaeltalibart #waves
Il se peut que la beautĂ© naisse quand la limite et lâillimitĂ© deviennent visibles en mĂȘme temps, câest-Ă -dire quand on voit des formes tout en devinant quâelles ne disent pas tout, quâelles ne sont pas rĂ©duites Ă elles-mĂȘmes, quâelles laissent Ă lâinsaisissable sa part.
Philippe Jaccottet
#art, #artcontemporain, #artepovera, #artist, #artiste, #contemporaryart, #poesie, #photography, #digitalphotography, #photonumerique, #muki, #artepovera, #fineartphotography, #collectors, #artgalleries, #sample, #nature, #hybrid, #alternative, #alterations, #mutation, #poems
La lumiĂšre, qui passe par le petit chat de l'iris,
les mots et les images qui s'en vont,
vont et viennent
en se passant superbement de permission.
W.H Gass
#art, #artcontemporain, #artepovera, #artist, #artiste, #contemporaryart, #poesie, #photography, #digitalphotography, #photonumerique, #muki, #artepovera, #fineartphotography, #collectors, #artgalleries, #sample, #nature, #hybrid, #alternative, #alterations, #mutation, #poems, #neo, #kintsugi, #wabi-sabi, #dĂ©paysement, #symboles, #muthos, #rĂȘves-silouhettes, #invisible, #contre-fossiles
Il repartit
avec ses chaussures de terre
ses yeux de lune
son manteau d'Ă©toiles
Michel Cand
#art, #artcontemporain, #artepovera, #artist, #artiste, #contemporaryart, #poesie, #photography, #digitalphotography, #photonumerique, #muki, #artepovera, #fineartphotography, #collectors, #artgalleries, #sample, #nature, #hybrid, #alternative, #alterations, #mutation, #poems, #neo, #kintsugi, #wabi-sabi, #dĂ©paysement, #symboles, #muthos, #rĂȘves-silouhettes, #invisible, #contre-fossiles
Et puis la nuit noire. Ces ténÚbres étaient sublimes.
Je me sentais dispersé à travers l'espace et le temps.
V. Nabokov
#art, #artcontemporain, #artepovera, #artist, #artiste, #contemporaryart, #poesie, #photography, #digitalphotography, #photonumerique, #muki, #artepovera, #fineartphotography, #collectors, #gallery, #sample, #nature, #hybrid, #alternative, #alterations, #mutation, #poems, #neo, #kintsugi, #wabi-sabi, #dĂ©paysement, #symboles, #muthos, #rĂȘves-silouhettes, #invisible, #contre-fossiles
BallottĂ© par la tempĂȘte, inconscient
du glissement de la colline.
Il nây a pas grande utilitĂ© Ă jurer mais je le fais.
Les paroles volent au loin, trébuchant
invisibles en direction du point occulte oĂč
prairie et ciel se rencontrent.
Simon Ortiz
#art, #artcontemporain, #artepovera, #artist, #artiste, #contemporaryart, #poesie, #photography, #digitalphotography, #photonumerique, #muki, #artepovera, #fineartphotography, #collectors, #gallery, #sample, #nature, #hybrid, #alternative, #alterations, #mutation, #poems, #neo, #kintsugi, #wabi-sabi, #dĂ©paysement, #symboles, #muthos, #rĂȘves-silouhettes, #invisible, #contre-fossiles