BWGallerist

Posts Tagged ‘Black and White technique’

On site: “Here and There”, Photographs by Steve Wolowitz, Red Filter Gallery

In Black and White Photography, Exhibits, Gallerist, Gallery, Photo Print Collector, Photographer on November 1, 2015 at 11:50 am

Carousel Abandoned, Steve Wolowitz

The mysterious and dramatic photography of Steve Wolowitz is featured in the latest online exhibit at Red Filter Gallery.

My photographic approach is that of a painter, wielding the emotive effects of light and shadow, to create images that are part theatrical gesture and part documentary. These images were selected from various themes and narratives I’ve explored. Collectively, these works convey how I view the world through the lens of my own experience; impressions shaped by emotional responses based on the connections between my own life and the images portrayed.

To view the exhibit: Red Filter Gallery

Notable: Monochrome Conversion by Ming Thein

In Article, Black and White Photography, Photographer, Software on May 8, 2015 at 8:38 pm

 

A scene with obvious contrast is simple enough to convert from color to black-and-white.

Ming Thein

Digital Photo Pro has their B&W issue on the stands now. You will find articles on dedicated monochrome cameras, subject matter suitable for B&W, photographer profiles and techniques. One article that caught our eye was one on monochrome conversion by Ming Thein.

However, it’s fairly easy to see that whilst there are benefits to shooting monochrome-only, you actually can convert a color RAW file into a monochrome one and lower the perceived amount of noise—though not to as low a level as a monochrome-only camera. If you have a poor interpolation method, then the luminance values can be affected, too—once again, increasing the perception of pixel-level image noise in a color image. Bottom line: Monochrome-only will give you, yes, lower noise, and, yes, better detail.

 

For more information: Digital Photo Pro

Preview: Superlative Light, Robert Shults, Atlanta, New York City, Chicago and more

In Black and White Photography, Books, Exhibits, Photo Print Collector, Photographer on August 12, 2014 at 12:14 pm
Image courtesy of Robert Shults

Image courtesy of Robert Shults

After a successful Kickstarter campaign from earlier this year, Robert Shults is happily taking his new book, Superlative Light, on tour before its official release this fall. The book is sure to be a hit for any fan of photography, science and science fiction.

“In a cavernous complex buried three stories beneath the University of Texas, there resides an almost inconveivable piece of technology which inolves some of the most extreme conditions ever encountered by mankind.

It is called the Texas Petawatt and, at the time of these photos, it produced the most powerful laser pulse anywhere is the world.

At its peak output, this massive device releases an unparalleld luminous force which constitutes the brightest light known to exist in the entire universe.

With this ambitious work of of science at its foundation, The Superlative Light follows an original work of science fiction written by mathematician and author Rudy Rucker. The combination of words and photography has been rounded into what is indelibly an auspicious work of art. 

For those interested in taking a peek at The Superlative Light before its publication, Shults will be stopping in at least four different locations for events: on August 30 and 31st, Atlanta, for the Decatur Book Festival; September 20th, New York City for Photoville; September 25th, Chicago, for Filter Photo Festival. Capping the tour will be the book release party on October 31st in Hillsborough, NC, at the Daylight Community Arts Center.

For More Information: Robert Shults

Preview: Artificial Light: Flash Photography in The Twentieth Century, Philadelphia Museum of Art, Philadelphia, PA

In Art Museum, Black and White Photography, Exhibits, Photographer on June 3, 2014 at 2:45 pm
The Pendulum, Berenice Abbott

The Pendulum, Berenice Abbott

Photographers the world around have a love/hate relationship with the utility of flash photography. Philadelphia Museum assistant curator Amanda Bock has put together an exhibit of notable photographers who were able to master its use.

Explore diverse examples of flash photography, which gained widespread use in the 1920s with the invention of the mass-produced flashbulb. Hailed by many photographers for its ability to capture action and movement, flash aided in scientific pursuits including Harold Edgerton’s high-speed, stop-action prints and Berenice Abbott’s photographic illustrations of scientific principles. Flash also played an important role in journalistic and documentary work, as reflected in images by Russell Lee, Lucy Ashjian, Lisette Model, and Gordon Parks.

With it now open to the public until August 3, go check it out for inspiration, tips and some epicurean enjoyment.

For More Information: Philadelphia Museum of Art

Preview: One Day Workshops, Flash Powder Projects, Rayko Photo Center, San Francisco

In Black and White Photography, Camera, Photo Print Collector, Photographer on April 3, 2014 at 9:22 pm
647a2c563ba1c7ea-tshirtcollage

Image sourced from FlashPowderProjects.com

Flash Powder Project’s duo of David Bram and Jennifer Schwartz will soon taking their extensive well of knowledge to the Bay Area. Between the two of them, Bram and Schwartz have experienced nearly every aspect of the the photo industry.

At its core, Flash Powder Projects is committed to community-building, creative collaboration, education and providing exposure opportunities for emerging photographers.

Flash Powder programming gives photographers valuable knowledge and guidance on how to move their careers forward, establish goals for their work, and develop plans to launch photographic projects.  Jennifer Schwartz and David Bram each have unique and complimentary skill sets and photographic backgrounds.  David’s specialties include editing and sequencing work, social media and new industry opportunities.  Jennifer’s areas of expertise are writing artist statements, navigating the traditional avenues for exposure, and thinking strategically and creatively to determine target audiences.

The Flash Powder Workshop gives photographers valuable knowledge and guidance on how to move their careers forward, establish goals for their work, and develop plans to launch photographic projects.  Jennifer Schwartz and David Bram each have unique and complementary skill sets and photographic backgrounds.  David’s specialties include editing and sequencing work, social media, and online exposure opportunities.  Jennifer’s areas of expertise are artist statements, navigating traditional avenues for exposure, and thinking strategically and creatively to determine target audiences and build collectors.

The workshop will occur on both May 17th and once more on May 18th. Each is limited to 25 participants at a cost of $150/person.

For More Information on the Workshop: Flash Powder Workshops

For More Information on Flash Powder Projects Founders: David Bram and Jennifer Schwartz

Preview: Berenice Abbott and Charles Marville: The City In Transition, Howard Greene Gallery, New York City

In Black and White Photography, Exhibits, Gallery, Photo Print Collector, Photographer on March 3, 2014 at 11:36 am
New York City 1930s, Berenice Abbot (left) and Paris 1860s, Charles Marville (right)

New York City 1930s, Berenice Abbot (left) and Paris 1860s, Charles Marville (right)

Photography is often a medium to document our world, so that we might reflect and analyze in an effort to better understand it. It comes as little surprise, consequently, that since the camera arose simultaneously with industry and urbanization, photographers have kept close tabs on their homes of steel, cement, bright lights and smog. The exhibit will juxtapose New York and Paris, each through one of its noted photographers.

Inspired by Eugène Atget, whom she had met in Paris shortly before he died, Abbott had been struck by what she described as the “unadorned realism” of his photographs.  Every Wednesday she documented the social, commercial, and architectural aspects of New York City. From an Esso gas station to the Lyric Theater to the elevated Second and Third Avenue train lines, Abbott focused her lens on all aspects of the city including busy commercial streets, row houses, parks, docks, and bridges in all five boroughs – a project that would stand as the centerpiece of her career.

As official photographer for the city of Paris, Marville recorded the disappearance of the Old Paris and also focused on the creation of the new city, an urban vision that dominates Paris even today. From 1865 to 1869, his subjects ranged from a spectacularly elaborate wrought iron gate at Parc Monceau to a gas lamp suspended from an arcade at the Louvre to a street lamp and view at Gare de l’Ouest in Montparnasse.

 The exhibit will run through April 11.

For More Information: Howard Greenberg Gallery

Preview: Herbert Matter at Gitterman Gallery

In Black and White Photography, Exhibits, Gallerist, Gallery, Photo Print Collector on January 8, 2014 at 4:41 pm

woman with beads

Woman With Beads, 1948

Here is a photographer of historic note:

“In exploring the various photographic processes themselves, and here lies infinite possibility to control, to liberate, to create visual sensation. Drawing with light, solarization, photograms or other direct impressions on positive or negative material, etc. Indeed with the exploring of these means, photography achieves an independent existence with no need of material from without, providing in itself an endless source of inspiration.”

– Herbert Matter, Arts & Architecture Magazine, 1944

Born in Engleberg, Switzerland in 1907, Herbert Matter studied painting before moving to Paris where he studied with Fernand Léger, who became a lifelong friend. Matter worked in both Paris and Switzerland as a graphic designer before travelling to the United States in 1935 to photograph a dance troupe where he eventually settled in New york City. Working as a freelance photographers, his work was featured on magazine covers and he began meeting and befriending other local artists such as Alexander Calder, Arthur B. Charles, John Cage, and more. He worked as a design and advertising consultant before working at Yale as a professor of photography and graphic design. He received numerous awards: a Guggenheim Fellowship for Photography in 1980, the Honorary Royal Designer for Industry in England in 1982, and a gold medal from the American Institute of Graphic Arts in 1983. Stanford University acquired the Herbert Matter archive in 2005.

January 22 – March 22, 2014

For more information: Gitterman Gallery

Preview: Galina Kurlat at Peveto Gallery

In Black and White Photography, Exhibits, Gallery on November 11, 2013 at 6:02 pm

Inherent Traits 22
Inherent Traits 22 by Galina Kurlat

Inherent Traits is a unique project by rising photographer Galina Kurlat in which she set out to photograph herself a hundred times over the course of a year, compiling slight variations in gesture, expression and posture in Ambrotypes (wet collodion glass plates) and prints.

Ambrotypes were introduced in the 1850’s, and involves coating a glass plate with collodion, then sensitizing it by dipping it into a bath of silver nitrate. While the plate is still wet it is placed in the camera and the photograph is created. The exposed plate is then quickly developed, fixed, and dried in order to create the Ambrotype, a positive image on a sheet of glass.

Because self portraiture is often physically and emotionally uncomfortable, the Ambrotype’s quick process tends to produce a more honest approach to this often deceptive practice.

 

November 7 – December 7, 2013

 

For more information: Peveto Gallery

Notable: ”Why Choose B&W?”, Outdoor Photographer Magazine

In Article, Black and White Photography on July 18, 2011 at 3:25 pm

image

Jason Bradley

The latest issue of Outdoor Photographer has multiple articles on Black and White photography covering technique, software and hardware. One of the articles is by Jason Bradley:

In the spirit of full disclosure, I’m not opposed to color. In fact, I love my big-screen color television and color photography. But there are some subjects that are best revealed when we transform them into monochrome images.

For many, the days of Ansel Adams are remembered and revered as a time of high-art photography, and black-and-white imagery recalls a lost era of the craft. The tools have changed, but the same sense of craft endures. Instead of the wet darkroom with all the chemicals and mechanical tools, we have a digital version that makes black-and-white photography more accessible while maintaining the need to be a craftsman.

For more: Outdoor Photographer

Notable: See In Black & White, Digital Photo Pro

In Article, Black and White Photography, Software on July 8, 2011 at 3:17 pm

image

In an article in the current issue of Digital Photo Pro,  George Jardine relates a methodology for preplanning your conversions from color to Black and White.

Fortunately, today’s digital processes are infinitely more flexible. Not only do we have the complete freedom to choose black-and-white rendering at anytime, but now we also have very precise control over color contrast after the fact. This is a relatively recent development, even relative to the digital revolution. Because the digital process gives us such great control over every aspect of our tones and textures (can you say, grain?), there has been an explosion of new tools specifically built to help us create any sort of look that our heart desires. But I believe that, after you have the basics of good tonal correction under your belt, it’s managing color contrast that will separate merely average black-and-white photographs from truly great interpretations. And so, color contrast in the black-and-white process is where we focus our discussion for this article.

For more on the article: Digital Photo Pro