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Black And White Photography Magazine July 2016.

Shoot RAW + JPEG. The best monochrome conversions are got up to by editing raw files which have the full colour information, but if you shoot raw and JPEG files simultaneously and set the camera to its monochrome picture Style/Picture Control/Film Simulation mode you get an indication of how the image will look in black and white. As most photographers struggle to visualise a scene in black and white, these monochrome modes are an invaluable tool that will help with composition and scene assessment. many cameras are also capable of producing decent in-camera monochrome images these days and it’s worth experimenting with image parameters (usually contrast, sharpness, filter effects and toning) to find a look that you like. Because compact lane cameras and compact cameras show the scene seen by the sensor with camera settings applied, users of these cameras are able to preview the monochrome image in the electronic viewfinder or on rear screen before taking the shot. DSLR users should also do this if they kick in her camera’s live mental picture style , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

Take Control. Although coloured filters could still be used to manipulate contrast when shooting digital black and white images, it’s more prominent to save this work until the processing stage. Until a some years ago Photoshop’s Channel Mixer was the favorite means of turning colour images monochrome, but now Adobe Camera Raw has more strong tools (in the HSL/Grayscale tab) that allow you to adjust the brightness of eight individual colours that make up the image. It’s possible to adjust one of these colours to make it anything from white to black with the sliding control. However, it’s important to keep an eye on the whole image when adjusting a particular colour as crafty gradations should become unnatural looking. And adjusting the brightness of a red or pinkish shirt with the red sliding control, for instance , will have an impact on the model’s skin, especially the lips. The Levels and Curves controls should also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create discrimination between objects of the same brightness but with different colours.

Try Long Exposure. Long exposure shots could work really well in monochrome photography, especially where there’s moving water or clouds. During the exposure the highlights of the water, for example, are recorded across a wider area than they would with a short exposure and this could help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If required , use a neutral density filter such as Lee Filters’ Big Stopper or Little Stopper to reduce exposure and extend shutter speed (by 10 and 4 stops respectively). characteristically , when exposures extend beyond concerning 1/60 sec a tripod is wanted to keep the camera still and avoid blurring. It’s also advisable to use a remote release and mirror lock-up to minimise vibration and produce super-sharp images.

Dodge and Burn. Dodging and burning is a use that comes from the traditional darkroom and is usually used to burn in or darken highlights and hold back (brighten) shadows. Photoshop’s Dodge and Burn tools allow a level of control that film photographers may only hope of because you may target the highlights, shadows or mid-tones with both. This means that you can use the Burn tool to darken highlights when they are too bright, or the Dodge tool to perk up them to increase local contrast. It’s a good custom of sharing a sense of greater sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you could build up his effect gradually so the impact is crafty and there are no hard edges.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are just as useful in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more advantageous . An ND grad is cooperative when you require to retain detail in a bright sky while a polarizing filter can be used to reduce reflections and boost contrast. Alternatively, judge taking two or more shots with unique exposures to create a high dynamic range (HDR) composite. Don’t be afraid to use a ND grad with a standard neural density filter if the sky is brighter than the foreground in a long exposure shot. Coloured filters, which are an essential tool for monochrome film photographers, should also be useful for manipulating contrast in digital images. They work by darkening objects of her opposite colour while lightening objects of her own. An orange filter, for example, will darken the blue of the sky while a green one will lighten foliage.

Look for Contrast, Shape and Texture. The complimentary and opposing colours that bring a colour image to life are all decreased to black and white or shades of grey in a monochrome image and you have to look for tonal contrast to make a shot stand out. In colour photography, for example, your eye would instantaneously be drawn to a red object on a green background, but in monochrome photography these two areas are likely to have the same brightness, so the image looks flat and monotonous straight from the camera. providentially , it’s possible to work adjust the brightness of these two colours singly to introduce some contrast. However, a good starting point is to look for scenes with tonal contrast. There are always exceptions, but as a general rule look for scenes that contain some strong blacks and whites. This could be achieved by the light or by the brightness (or tone) of the objects in the scene as well as the exposure settings that you use. The brightness of the bark of a silver birch tree for example, should inject some contrast (and interest) in to a woodland scene. Setting the exposure for these brighter areas also makes the shadows darker, so the highlights stand out even more. Look for shapes, patterns and textures in a scene and move around to find the unsurpassed composition.

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‘Today, they continue to abide by their old-world doctrine, cocooned by their congregation and secluded from the trappings of modern society.’ 

, a beautifully composed portraiture series, taken over a four-year period. ‘I didn’t know anything about the Hutterites and was

app discovered her passion for photography quite by chance – at McGill University in Montreal, where she studied political science, linguistics, and French and Russian language and literature. ‘Pursuing a joint honours degree overextended me at McGill, and I needed to take a credit outside my major to graduate.

Photography seemed like it wouldn’t take its toll, so I took a class in darkroom photography. It was like an

here’s a place for everyone, and everyone has their place – it’s one of the tenets of the Hutterian Brethren, a faith group living in colonies scattered throughout the prairies in northwestern North America.

The Hutterites share a common ancestry with Anabaptists: they fled religious persecution in medieval Europe, and by the 1870s diaspora colonies had migrated to North America under the direction of their elders.

Today, they continue to abide by their old-world doctrine, cocooned by their congregation and secluded from the trappings of modern society. Hutterite colonies beat as one – one heart, one shared vision.

They live communally and peacefully – they farm, raise livestock and produce manufactured goods as a collective, the proceeds of which are shared as a collective. There are no rich and no poor – everybody is the same.

So when photographer Kristin Capp went ‘road-tripping’ through her home state of Washington and pitched up in Soap Lake – a small, low desert town in north-central Washington with about 1,500 inhabitants – she knew nothing of the Hutterite colony in nearby Lamona.

‘I was meant to move to New York, but my discoveries in eastern Washington delayed that move. I had just acquired my first Rolleiflex and wanted to begin a photographic project on my own terms, so I drove out to Soap Lake, rented a bungalow alongside seasonal migrant workers, and started working at an antique store.

A local told me about this “really nice family” some 40 miles out of town called the Walters,’ she explains. It was this family that would later become the subject of Capp’s

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 first came across the Hutterite community she little thought it was the start of a book length project. But, through friendship and mutual respect, and a natural curiosity, she achieved just that. Donatella Montrone reports.

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intrigued, so one day I just showed up at the colony. I remember introducing myself to Rebecca, the mother, right on her front porch. She was so warm and welcoming; I was there three or four hours that first day and was invited to stay overnight.

I didn’t have an agenda; I was just on a life journey and very open and curious. I think the family sensed that my intentions were good. I’d visit them and we’d have long dinners and chat – you know, that tradition of sitting around a meal talking.

It was just serendipity that two spirits met and trusted each other.’

I was using intersected in a special way. It was such a shift from the only other camera I’d used until then – a Nikon FT2, which my parents had given me as a high school graduation gift many years earlier.

It was just a tank, but super easy to use. I took it to Paris with me on my gap year, when I was working as a nanny in Versailles.‘I carried that Nikon around in my backpack, going in and out of the Paris subways, shooting colour slides.

Navigating solo in Paris, I was collecting images, ideas and sensations, even though I wasn’t necessarily pursuing experiences through the photographic lens. I had no idea at the time that photography would come into my life in such a big way.

I don’t think I even understood it when I met Becky. I wasn’t making a series – I was just photographing the Walters and building a friendship.‘I shot 100 rolls of 120mm film during those three months.

All the images were shot in natural light – I didn’t use a flash. I did move back to New York after that – with a dufflebag full of processed negatives. And when I got a handle on what I was doing and saw the results, I realised I really wasn’t ready to leave the Hutterites photographically, so I returned every harvest season, because that’s when they’re outdoors a lot.

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In reviews, publications Tags alliums, magazine, blackandwhitephotography, publications, B+W, published

BLACK+WHITE PHOTOGRAPHY WINTER ISSUE 197 ON SALE 24 NOVEMBER

A few posts back I shared a smartphone image of some alliums against a white wall. I’m pleased to say this image has been published in Black and White Photography magazine, as part of their ‘Smartshots’ feature.

BLACK+WHITE PHOTOGRAPHY JANUARY ISSUE 198 ON SALE 22 DECE…

If you don’t already know it, this is certainly a publication to check out. Highlights this month include work by Stephen Shore and Nick Brandt, as well as lots of inspirational images and advice. While the magazine doesn’t exactly have a house style, there is a unifying elegance to the work, and the quality of the reproductions is very fine. The emphasis is on artistic photography (of the black and white kind, naturally) rather than equipment or industry issues. I also enjoy that the images are subtly toned, which creates a visual variety, even in black and white.

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fter a three-month stay in Soap Lake, Capp did relocate to New York, where she landed a studio apprenticeship with fine-art photographer Ralph Gibson. ‘Gibson had worked for Dorothea Lange and Robert Frank, so I was immersed in the rich canon of photography through the prism of a master darkroom printer.

I learned about darkroom technique and realised my passion for the silver print. I also nurtured my love of the photobook, a format that became a catalyst for my career and remains my preferred way to present work to the world,’ she says.

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 was unplanned, unexpected. ‘It wasn’t a project in my mind for a long time. I don’t think I knew enough about photography when I first met Rebecca and her family to even talk about those images as a body of work, or as a narrative.

I was experimenting with the medium format twin-lens Rolleiflex, which was a new format for me. The camera was made in the 1950s, and the lens has a coating that produces an optical softness truly unique to that camera.

The subject I was shooting and the camera

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