Black and white was once the only means we had to communicate, photographically. That was long before most of us got involved with it. But for some of us, B&W is how we started off in photography, and how we saw our images in print. But since the beginning of photography, black and white has been a very romantic medium. That romance continues to this day, with black and white easier and simpler to do than ever. And yet, for some, it’s just as complicated and difficult as ever. Perhaps this will give you some ideas to advance your black and white photography.
Brian Smith is a Sony Artisan, and a world-famous portrait photographer. His client list includes many celebrities and major players in the entertainment industry, and he is a recipient of the Pultizer Prize. For the past thirty years, Brian has been in the editorial and advertising photography industry, after having a photo make it into LIFE magazine at the age of 20.
Over the last 15 years, I have worked as a photographer on assignment in over 60 countries, ranging from drug stories in the Horn of Africa to climbing expeditions in the Himalayas. My clients have mostly been magazines, ranging from all the National Geographic publications, to Esquire, Outside, Men's Journal, Stern, GEO and many others, plus a host of commercial clients. Seeing the world with a camera—and sometimes a pen—as a passport to open concealed doors and even hidden worlds can be a magical—often wild—ride.
While the world of assignment photography has changed in the last decade, pushing photographers like me to acquire new tools like video and audio, many of the tricks for making memorable images haven't changed.
Here are five simple tricks I recommend to students when teaching workshops, whether in Africa or in my backyard of Colorado.
You can go to school, learn concepts and theories, and do very well as a student. But there are some things that you won't learn in school about being a photographer and a creative. Because of this, you'll most often be learning as you go, and trying to adapt to the ever changing environment.
We talked to nine creative professionals about what they learned.
This week in the news: The Photokina Trade Show happened in Germany. It brought with it new announcements every day. Canon announced their 6D; Hasselblad showed us something from the space age; Zeiss showed us lots of new lenses, and more.
This was one of the busiest weeks in the photo industry. So sit back and relax while we catch you up with all the important news, including some that you might not have seen.
This is your B&H Photo Pulse News Roundup for September 21st, 2012. Be sure to follow us on Twitter for the latest news as it breaks.
If you don’t have the budget to buy or rent studio lighting gear, or you just prefer to travel light, can you still get studio-style results?
The good news is that you can. The equipment will not be as functionally convenient as gear designed specifically for the job. You’ll have to get a bit creative in terms of how you piece together and use parts that weren’t conceived for this purpose. In the end, light is light—it’s how you use it and how you modify the sources that really give lighting its “look.”
The photo above is quite a striking one, and we recently featured it on our Facebook wall. It was shot by Mike Finn, a photo enthusiast who loves to create awesome scenes. After closely inspecting the photo, we thought it would be great to ask him how it was created.
Can you take a guess? We talked to Mike about how he created it. Here's how.
The US Open is happening right now. Some photos really blow us away, like the one above from Chris Nicholson. He previously wrote about other tips for shooting tennis, but we decided to talk to him about how he got the shot above of Gaël Monfils taking a dive.
Photography with a 35mm camera used to be a relatively simple affair. Camera bodies seemed as steadfast and unchanging as your grandma's hairstyle, and there seemed little reason or need to constantly upgrade your equipment. Sure, there was always the latest and greatest camera innovation, but there wasn’t always a 'need' to change. Film choice had more of an impact, in my opinion, than did your actual camera equipment. One's personal artistic vision was more important than the actual camera used. Today, although these general tenets of photography and equipment still exist, gear does play an ever-increasing role of importance in the final output.
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