“This process eliminates what I have termed visual noise-all the short-term temporal events, things that are moving, that can distract us from focusing on the underlying fundamental forms. “For scenes that contain a lot of motion, my exposures range from 20 seconds to 60 minutes,” he says. He is now based in San Diego, and his work is represented by 15 galleries on three continents his images are available for commercial use through Corbis. By the late 1990s he was transitioning from his career as an audio design engineer into full-time fine-art photography. By his teens Fokos was developing and printing, and in his college days took up the view camera. David Fokos’ grandfather gave him his first camera, a Kodak Brownie, at age 11. “It’s only been within the last couple of years that digital capture has been able to rival this.” Fokos also notes that the reciprocity failure (the tendency of film to be underexposed at long exposure times) of Tri-X helps keep highlights from blowing out during such long exposures-sometimes as long as an hour. “And 8×10 film gives me the resolution they require,” he says. Why not capture digitally? A major reason is that Fokos prints big-sometimes up to 7½ feet wide. He often spends more than 100 hours on an image-and sometimes ends up discarding it anyway. If a negative looks promising, he scans it at very high resolution (the grayscale image file is-hold your breath-800MB) and sets to work on it in Adobe Photoshop. (On 8×10, the lens is the equivalent of about 28mm in 35mm full-frame terms.) He uses Kodak Tri-X Pan sheet film.īut after developing the film, Fokos goes digital. The sole film shooter of our trio of monochromists, David Fokos might be considered a traditionalist’s traditionalist, particularly given his camera gear: a vintage Korona 8×10 view camera, plus one-and only one-lens, a 210mm f/5.6 Rodenstock Apo-Sironar-S. All of them were drawn to creating landscapes in black and white, and while all three can be said to work in a “classical” style, each has a distinct character to their images. One started as an audio design engineer, another as a photojournalist, and another as a commercial shooter. Three artists tell us why digital tools have both transformed b&w and kept it thriving. I hope you enjoy the work you see here and enjoy browsing the rest of my website while you are here.When we set out to find modern masters of the b&w landscape, we were astonished at the quality and variety of monochrome scenics being made today. Below you will find a selection of these images, converted from my limited edition nature photography collections. While I prodominantly produce color photographs, I also enjoy converting existing images to grayscale when I feel they may show well this way. Black and White Photography by Aaron Reed Beginning in the early 1920's and spanning a career of the next 40+ years, Adams photographed many of the natural areas that millions of us enjoy each year and that the majority of us as landscape photographers deeply appreciate including the Sierra Nevada, the Desert Southwest and many of our National Parks. Ansel AdamsĪnsel Adams (Febru– April 22, 1984) is one of the most influential black and white landscape photographers in history. The absence of color places more emphasis on the tones, contrast and interplay of light across an image, oftentimes making it more thought provoking. Monochrome, grayscale or simply called black and white photography can be very powerful when showing landscapes and nature photography. Black-and-white photography is considered by some to add a more emotional touch to the subject, compared with the original colored photography. In computer terms, this is often called greyscale. Monochrome images are not direct renditions of their subjects, but are abstractions from reality, representing colors in shades of grey. Black-and-white photography is considered by some to be more subtle and interpretive, and less realistic than color photography.
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