Download Black & White Landscape Photography by John Collett PDF

By John Collett

Simply because panorama photographers are on the mercy of quick altering climate, asymmetric illumination, negative distinction or restricted tonal diversity, and different components, this booklet stocks the talents and methods had to flip those liabilities into resources. It explores varieties of panorama images, explains what apparatus works most sensible, and describes how to define a stability among creativity and method. It tells how one can see the palette of common gentle and the tonalities that make for extraordinary images and discusses concentration, intensity of box, and controlling tonalities in black- and-white landscapes.

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Extra info for Black & White Landscape Photography

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Some photographers intentionally exaggerate a film’s grain as a compositional and textural element to enhance the mood of some landscapes. Colors often define (or even create) a surface’s textures. When colors translate into b&w tonalities, some of these textures are subdued or lost. Therefore, seeing and using textures creatively in b&w landscapes is an important compositional skill to develop. 4 VISUAL ELEMENTS: REPETITION AND PATTERNS The sections above highlight the compositional strength of shapes, lines, and textures in landscape photographs.

Instead, the eyes quickly dart in a seemingly arbitrary fashion around the photograph while the mind attempts to define, categorize, organize, and finally interpret the scene. These eye movements, however, are not entirely random, but instead greatly controlled by the composition itself. As a general rule, the eyes first move toward areas of strong contrast, shapes, and textures. Also, the eyes always follow strong lines from their beginnings to ends. The eye does not scan every three-degree area for precise, focused detail.

If the main subject in your photograph (for example, a single mountain peak or a single leaf) acts as a dominant shape, your photograph will be strengthened. You will hold the viewer’s attention on your main subject. However, if another element in the scene acts as a spot, then the viewer will concentrate on that shape, not on your main subject. Distracting spots can be either thematic or extraneous. A thematic spot is an integral part of the scene and relates to the overall theme, mood, and character of the main subject.

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