The Future of the S16 Media Page

After considerable thought and evaluation, I've come to the conclusion it is time to let go of the Sunny Sixteen Media Page (https://sunnysixteencameraclub.blogspot.com/). As of today, support of the page will be limited at best with the possibility that the page will be deleted sometime in the near future.

The media page will remain available for review for a limited time, so feel free to visit the archived articles.

Thanks to all who visited and for club members who took the time to submit posts and photographs for the site. It's been a great run. Here are a few of the final statistics as of this date:

Total posts made:  90

Total visits:     22640+

Global Reach:     38 Countries with

                             USA, Ireland, Germany, India, and Canada being the top five

                            43 States with

                             Kentucky, Ohio, Illinois, Georgia, and Virginia being the top five

                         37 Cities from Kentucky

                            18 from Ohio

                              6 from Illinois

                              6 from Georgia

                              3 from Virginia

Thanks again,

Keith

Site Administrator

About Creating Emotional Photographs

 Photography encompasses such a wide range of creative styles, it is all but impossible to define all of them. There are axioms that apply to all styles of creative endeavors such as light being the driving force behind all compositional arrangements. However, for myself, capturing an emotional photograph is one of the most difficult in all of photography because it requires something extra, something that must come from within, down deep inside the hidden places that at times may offer the most vulnerable of expressions. Every photographer possesses this instinct. Every photographer expresses it in their own unique way, and every photographer must come to grips with how to express what resides within their own expressive state.

The exciting thing about creating emotional photographs is that it allows for a full range of expressions and offers any photographer the opportunity to reveal a part of themselves that may not always be readily or easily expressed. It also allows room for just about any form of expression and is not locked into a set scale of do's and don'ts. In other words, you can create an image any way you want to express it. It is less about capturing reality, and more about expressing emotion through a creative outlet.

I suppose the most difficult part for a photographer is figuring out how to capture emotion. Most of us, myself included, tend to look for details of reality, you know...that spark of light in a deer's eye, the veins of a backlit maple leaf, the magnificent antlers of a bull elk highlighted against a snowcapped mountain. These in their own right express an element of emotional value and there are many photographers, many of them I know personally, who do a wonderful and amazing job at capturing these kinds of photographs. I'd guess that 90% or more of my photographic efforts fall within that scale of photographic attempts.

However, every once in a while, something else get stirred inside of me. I struggle to define it. It is difficult to effectively describe how it works. It's just a feeling. You know it when it's there. I call it an art, The Art of Being There, where all the elements suddenly come together and deep within yourself, you don't just see it, you visualize its significant impact on the moment. It almost like the moment suddenly reveals itself. Sometimes it last for but a short time, other times it lingers on for a while to evolve toward a climax of light. Sometimes, there is an instinctive urge to turn around and look the other way just to see what is there. Often, when that happens, the light becomes softer, more diffused, with deeper and richer color, in a different way from the more direct, contrasting, lighting sources. The impact of such an image is often profound and stirs the emotions of who may linger their own visual moments to absorb the true nature of the image.

The nice thing about creating emotional photographs, well, its all about personal expression regardless of what the norms of the photographic art world tell us to do. It also provides one of the most rewarding and satisfying ways of expression.

Keith

The Eloquent Composition - Observing a Small Patch of Nature Up Close

 A great many times I am inspired by the works and applications of other photographers. Often, when I feel like I have fallen into a rut, simply by viewing, or watching, or reading about what other photographers are doing will stir my creative juices into flowing once again. The previous article about backyard nature photography by Barbara DeGraves ( Post Link ) stirred a dormant spark back to life within myself and I began to look more closely at the nature opportunities I could discover right outside my backdoor.

At first I simply walked around and took a few snapshots here and there, but even through this routine approach, I began to recognize and see opportunities. I discovered a patch of late summer flowers that was surrounded by little bluestem prairie grasses. Within that patch, small, easy to overlook critters roamed through what to them was a jungle paradise.

For two days straight, I took a couple of hours each day to simply sit down next to that small patch of nature. At first I really did not see much, just routine compositions here and there, but after a while, I started to notice little, what appeared to be, lady bugs taking a hike along the stems and across the curved leaves of the bluestem grass. I zoomed in but not to closely. When I took a closer look at the images, a pattern began to develop. Simple yet eloquent compositions formed across my view finder. 

A wooly worm snuggled safely on a stem, a feather caught by the grasses, cotton-like seeds spreading their delicate feathery arms to catch the wind, were but a few of the simple, yet amazing features of nature playing out within a few yards of where I sat. One of the most subtle eloquent compositions involved the head of a tall grass being illuminated by a narrow beam of sunlight against a dark background. Easy to overlook, but by sitting and observing, it is the simplicity of compositions like those that begin to present themselves.

On day two, I once again sat next to that same plot of wildflowers, only this time I purposely looked for those simple and eloquent compositions. It became the theme of my outing as I moved a few yards here and there to take in a different lighting angle. I even shot some video clips as gentle breezes softly moved the tall grasses, and colorful leaves already turning for this early fall season glowed backlit by the sun. Just a few scenes that made up my little patch of nature.

Needless to say, I enjoyed those few hours just sitting, observing, and photographing this small patch of the natural world not far from my backdoor.

Creating simple, eloquent compositions takes an eye of observation. Seeing what is there falls within the realm of looking beyond the obvious, and taking the time to slow down to allow nature to reveal her hidden self. Too many times I have bypassed a location because I mistakenly took a quick look and moved on. Possibly, as a result I missed many high quality photo ops. As in most things, keeping it simple most of the time results in more powerful and pleasing compositions.

The big compositions are all around us. They are pretty easy to find because they tend to jump out at us.  It's the small compositions we most often overlook.  Take time to just sit and look around. You might be amazed at what will become visible. Use the same basic rules of composition as applied to the big compositions...

only...think about adjusting the exposure to generate more dramatic lighting effects. A simple beam of light illuminating a single flower, or a tiny creature crawling along a stem, then maybe a moth or small butterfly hidden amongst the jungle of flowers, requires the use of a large aperture to compress the main subject and blur the background. Because of the jumbled nature of such compositions, I will most often use manual focus so I can focus past interfering foliage between the camera and the subject. This in turn creates a surreal depth of field, the kind that separates the ordinary, from the extraordinary.

Use the compositional elements that are there creatively, and remember, simple eloquent compositions often become some of the most powerful and revealing photo's you may ever take, and its a fun few hours just slowing down and simply observing the world around us.

..

Backyard Nature Photography with a Purpose

 Submitted by Barbara DeGraves

We moved to Bowling Green eleven years ago and were fortunate to find a house with a large acre yard. This barren empty yard without a single tree became my natural landscaping palette. It has taken over a decade of planting and nurturing trees, shrubs and flowers to fill the empty land, but through that process I have found a more focused path for my nature photography.

During these years my interest and knowledge of the relationship native plants have with the wildlife that depends upon them has grown. I’ve become completely committed to the native plant movement and helping to provide habitat for our diminishing pollinator and bird species. With my art and gardening, I hope to communicate my fascination with the butterflies, insects, birds and other animals that now make their homes in our backyard.

While walking my dog around our yard, I enjoy studying the color, shapes and textures of the plants in all the seasons. These unhurried observations are my inspiration for finding beautiful tranquil photographic compositions. After deciding which lens will work best, I usually shoot in the morning or late afternoon when the light is soft. However, sometimes while I am working in the yard, I might notice an interesting interaction between an insect or bird with a plant. I will quickly grab my camera and take advantage of the moment even if the weather or lighting is not ideal. After a refreshing rain shower or snow fall, is an especially good time to photograph the flora and fauna.

 Other times some of my favorite images happen spontaneously, for example, when I’m photographing a flower and an unexpected pollinator appears in the scene. Or, when I’m looking for some attractive foliage and I notice a bird across the yard building a nest or hunting for food in a tree. Then, I’ll slowly move closer, start clicking and hope my camera settings are fast enough for these fleeting action shots.

Most of my backyard photographs are small scenes and close-up images. By cropping or experimenting with the angles, I can usually avoid showing my neighbor’s houses, cars or driveways. Also, I’ve been refining my outdoor macro photography skills while learning focus stacking.

Usually I edit only a few of my best images in Adobe Lightroom and Photoshop. However, I save a large number of photos for future reference and add keywords when I have time. I haven’t settled on one specific developing style but like to experiment with some of the new presets in Lightroom. I enjoy the symmetry of cropping in a 1x1 square ratio which works well for posting on my Instagram account (https://www.instagram.com/barbaradegraves/ Barbara DeGraves Studio). Although, I will crop in a horizontal or vertical rectangle if that enhances the composition or I plan to print the photograph for an exhibit.

I hope my photography helps spark an interest in the amazing biodiversity in our surrounding natural world and encourages people to look a little closer at the living things just outside their door. Traveling and hiking are still some of my favorite pastimes that provide fresh new sights. But, having an outdoor studio always accessible, keeps me inspired. Additionally, it has been very rewarding to know that our property with all its native plantings has benefited the local ecosystems and my community. Everyone can add native plants to their yard, patio containers or even a window sill and they may just attract a new pollinating butterfly.

If you want to learn more about attracting butterflies and birds to your yard, I recommend the book “Bringing Nature Home, How you Can Sustain Wildlife with Native Plants” by Douglas W. Tallamy. Also, check out his website called “Start a New Habitat, Homegrown National Park” at https://homegrownnationalpark.org/.

Marine One

 Summer decided to return after a short stretch of cooler temperatures, but I figured after sundown all of that would moderate some. Sort of, it did, except for the humidity which remained high. After about 45 minutes of shooting I was drenched in sweat and could barely see as my eyes were stinging from the salty moisture flowing into them. Even so, the evening shoot turned out to be a good one even though it was a short outing. 

The Aviation Heritage Park in Bowling Green contains a wonderful collection of historical aircraft all of which have a connection to Bowling Green or to Kentucky. A few years ago I took on a project to photograph each of the displays in a unique way using dramatic lighting after the sun went down. Each of those shoots turned out to be some of the most exciting and dramatic photographs I've ever made.

In more recent times, a new addition to the park was placed on display; Marine One, a Sikorsky SH-3H Sea King helicopter that was one of the official helicopters used by the President of the United States. After postponing a shoot for this aircraft, I finally decided I was going to follow through with that desire. 

The idea for this shoot was to use four speed lights and colored gels, three with blue gels and one with a red gel. I wanted to use blue gels to create a surreal, mysterious atmosphere surrounding the helicopter. As it turned out, a wonderful sunset greeted me and I was able to incorporate that into the one of the final images. It took a good number of test shots to get all the lights positioned correctly and to get the exposure correct, but even after doing so it became apparent the photo would need to blend two or more images together to allow for a complete shot.

Not enough space on here to describe the postprocessing involved, just that on one image two shots were blended and on the other five images were used to complete the final image.

Turned out to be a fun, but quick shoot and I hope to return to the scene again when it cools off a bit to try a different combination of gels.

A Beginner's Guide to the Making of a Brides Portrait

Hot summer temperatures and humid July Kentucky air awaited us that Saturday afternoon. Heat indexes pushed upwards toward 110 maybe higher. Simply stated, it was hot and my eyes were stinging from the sweat dripping from my forehead. At least we had somewhat of a breeze, not much of one but it helped, and it was shaded for the most part where were going to shoot. We were awaiting for a bride and groom for a quick "First Look" photo shoot before their wedding along with a few others we hoped to work in, so Kris and I arrived about fifteen minutes early so we could survey the location and evaluate the light plus take a few test shots. We were shooting behind Van Meter Hall at the Kissing Bridge on Western Kentucky University campus. These kinds of shoots are something I only do on occasion and consider I am still operating with a learners permit when I do one, but I still enjoy doing them from time to time.

We were only going to have just shy of an hour to do this shoot and that time frame shrunk to barely thirty minutes because the groom arrived about thirty minutes later than expected. We managed to get the first look shot along with a few others before we moved into the tunnel beneath Van Meter Hall.

The tunnel is a rather dark and dank looking location in and of itself. However, at one end there is a wonderful archway that opens onto a kind of plaza with a lot of trees arching across the back side. In the afternoon, the light floods this opening. My vision for this shoot was for it to be the main location because it offered some wonderful backlight against a dark background. Here, I believed I would have the best opportunity to capture a very good photo or two.

It was exactly what I was looking for; dark background, strong back lighting, and a arched entrance way. The only clutter was a handrail and a light pole that might cause an issue, but both could easily be cloned out in post processing.

Normally, I use at least two speed lights when shooting portraits outdoors, sometimes three. With that kind of setup I can apply one light for backlighting for highlights, and one light to open up the eyes. Both are fired remotely and I use just enough power to act like a strong fill light. It's important to use a light to open up the eyes for without it, many times the eyes look dark and empty. The light brings out the natural sparkle the eyes require for a successful photo. For this portrait I used no lights just the natural direct back light and some reflected light from the plaza and walls. 

The exposure was shot on manual...f/6.3 at 1/80 sec ISO 100 using my 50mm - 500mm lens adjusted from 75mm to 85mm.  For the close in shot I was maybe 35 or 40 feet away which with those settings offered a good depth of field with some slight blurring of the background. The exposure was set for her skin tone and I just allowed the rest of the light to fall where it may. Camera was on a tripod for steadiness.

For the full length shot I moved back a bit farther. She was set just outside the arch with the sun angled from her right. The rest was up to her and she did an amazing job just being herself and in spite of the hot weather, looked amazing. All I had to do for the most part was push the shutter release.

This kind of image also lends itself well for a black and white conversion. In hindsight, I probably should have used a reflector to bounce a little more light into her face, but the natural reflecting light filled it in pretty well. it would have been difficult to work in a reflector in those tight corridors. Overall, I was very pleased with the outcome and the young lady was a delight to work with.

Keith

Other Values - The Fine Pleasantries of Being a Photographer

Reposted from August 2, 2018 - Beyond The Campfire

Keith

 It was a typical early summer day on Oklahoma's Tallgrass Prairie, hot and windy, and as the day tumbled toward its last few moments of daylight, I felt a bit relieved when the heat of the day began to dissipate behind the few clouds that hovered above the horizon. The high knoll upon which I stood offered a 360 degree view of the surrounding landscape, magnificent, awe inspiring, simply beautiful. Shadows began to grow longer and filled the gaps between the undulations of the land. Somewhere off to the south a family of coyotes began to howl and their movement caught my eye as they set out in pursuit of dinner. I watched them as best as I could until they were gone. Just knowing they were there added to the natural flavor of the moment.

My camera, attached to my tripod, stood ready to capture the last vestiges of the day anticipating one of those legendary prairie sunsets. For some reason, I sat silent and made no attempt to capture a photograph. The moment lived of itself and presented to me an image in such a way that a single photograph could never capture the essence of what was there. There were other values at play, values which are only experienced emotionally, pleasures for sure of being a photographer.

As a photographer I have been fortunate to have experienced a great many such moments. They were moments captured by the imagination that otherwise would have been lost. As much as I relish capturing amazing moments of light, I relish as much the experiences associated with having been there to do so. There are other values to being a photographer which are difficult to convey and can most easily be appreciated by having experienced them yourself. Being a photographer of light, places you next to moments such as those, if you are willing to be there.

I once had a friend who I took fishing with me. He was a nice enough sort of fellow, but as our fishing trip turned into one of those 'nothing was biting' kind of days, his complaining about the day being a big waste of time began to dominate his conversation. By the time we pulled out, I was certain I would never again take this person fishing. He completely missed what it was all about. He focused on catching fish as the measure of our day. I focused on just being out and enjoying the day. When the fishing portion of our day went bust, his day was ruined, but, other than having to listen to his griping about it, my day was just fine. Photography is the same way. There are days where things simply do not work, but the point is to enjoy just being there to allow the day to present itself to you in whatever mood it happens to be in.

Because of photography I have witnessed amazing sunsets and sunrises. I have felt the wind and rain across my back. I have been caught in violent storms and other amazing moments of nature. I have seen the delicate forms of creation, and followed the life cycle of a nest of Robins. I have known the boldness of fall colors and the intense grip of a winter blizzard. I have been thirsty, cold, tired, wet, and sunburned, yet I have also captured amazing moments of natures light. I have missed sleep, and stayed out until the early hours of the morning to capture a night sky so filled with wonder it defies our sense of what is out there.

I have canoed, hiked, and driven countless miles to hopefully capture that one photograph I knew might be there, and then did it again and again, until the photo I wanted finally appeared. I have captured the subtle beauty of the human form and the aggressive forms of wild nature. The exhilaration of having been there to experience all of these kinds of moments far outpaces the discomfort for having done so. Rewards for being a photographer are not always granted based on outcome. They are more often given for having made the effort. When the moment pays off with a spectacular image...well, the reward is self fulfilling.

Morning of The Heron: The Making of A "Spur-of-The-Moment" Photograph

Submitted by Keith Bridgman - Shared from a Future Beyond the Campfire post

 I almost did not take my camera that morning. I was heading out quite early to enjoy a morning of bass fishing at a local lake. Very summer-like temperatures and humidity had overtaken the previous couple weeks so when a cool front drifted through the area dropping the temperatures into unseasonable ranges, it was difficult to resist getting out. Seems like I had been cooped up far too long and the chance to do some bass fishing offered a wonderful reprieve, so much so, all I was thinking about was spending the day in my canoe and fishing. Photography was to take a backseat and pretty well determined I was not even going to take a camera on this trip.

At the last moment, just before I pulled out at 4:30am that morning, I grabbed my camera, an extra lens and battery and secured them in a watertight container. "Just in case I might see something..." I said to myself. 

The morning was indeed much cooler and I donned a light hoodie to ward off the slight chill. When I arrived at the lake, a lively fog was dancing across the surface stirred into movement by a gentle breeze that rolled down from the tops of the ridges that formed one eastern bank. By 5:10am I was on the water moving toward a mile and half long rocky bluff where I planned to spend most of the morning fishing. By this time the sun was still below the horizon and behind the bluff, but the sky was getting brighter with its glow being reflected off the shallow ripples rolling across the surface. The background appeared almost black and the fog took on a bluish nature to it in the subdued light of predawn. A blue heron drifted across the gap between me and the ridge and lightly settled into some shallow water just a few feet off the bank to my right. He was slightly backlit by the soft morning light and presented a silhouette. I slowed down, and drifted slowly forward while I extracted my camera. The light was very low and I adjusted the settings to account for the available light. With a slow shutter speed and long 300mm focal length, handholding a camera steady enough to prevent camera shake was difficult, even more so while sitting inside a canoe whose every whim is to bob and rock at the slightest provocation.

I framed the shot firing off several quick captures before the heron might spook. I reset the camera exposure to try to get a faster shutter speed...then fired off another set of quick exposures, the heron squawked and leaped into the morning air to disappear into the fog. On camera the images looked promising, but by this time I was ready to do some fishing so the camera was replaced in its box and the fishing pole readied for action. 

Later after returning home, I loaded the few photos from that morning and focused on that first series of the heron. A few of them were indeed blurred by camera shake, but several were clear and sharp. By applying a selective compositional crop, and adjusting the exposure values in post processing, I settled in on the one final image. Did manage to catch several good bass that morning, but the best catch of the day turned out to be this one iconic, spur of the moment, nature photo.

I've written at length about how planning and preparation are vital to the success of capturing a great photo, and certainly applying such principles to your photography can produce some positive results. However, there are times when instinct and spur of the moment action trumps any degree of planning. Listening to and acting on those inner feeling can at times produce a truly unique and spontaneous photo, and sometimes those often turn out to be the best photos of all.

I Want To Tell A Story

 Submitted by Keith

In the world of writing there are seven basic story archetypes:  

Overcoming

Rags To Riches

The Quest

Voyage

Comedy

Tragedy

Rebirth

Every successful written story will follow a format that uses one of these formulas. A photograph also tells a story, although, the visual photo story often is far more complex and more difficult to define and create because of the wide variety of visual opportunities. Factor in the photographers personal preferences and the numbers increase even more. But, not surprisingly, a visual story will often fit within one of the seven basic story archetypes. 

Discovering how to accomplish this comes with not only experience but a basic understanding of story telling techniques. If I could always define how this is done...well, I probably could write my own ticket as a photographer. As this has not happened yet speaks loudly, however, when I look back on some of my best photographs, I can often see how they begin to fit inside one of these story types. 

Interpretation of the visual signals is, of course, very subjective and open to the individuals personal experiences. Most of the time, visualizing the story within a photograph just happens, sort of subconsciously. You just know it and see it without really thinking about it. I suppose that is what separates a so-so photo from a good photo...and a good photo from a great photo. Images with powerful visual stories simply jump out at you like a slap in the face "wham!, demanding renewed and closer attention. A weak photo just sits there mumbling to itself and the viewer quickly loses interest and moves on.

Compositional techniques contribute to the overall impact, along with the use of color or Black and White, angles, lens selection, timing, and of course the big one, the effective use of light. Composition is what builds the structure of a photograph, Light is what builds the story. What narrates the story is the effective application of both. I'm going out on a limb here to take a chance, but I'd like to use a few of my favorite images and break them down to define what I perceive the story they have to tell.

Let's look at the image from above. I've used this image as an example on numerous occasions and for good reason; it's probably one of my top two or three favorite photo's of all time. Of the seven story archetypes, several could apply. Maybe The Quest might fit, or possibly Voyage, but when I really think about it, I believe Rebirth is probably the best fit. Certainly elements from all three apply, but simply from the visual story being told, Rebirth is by far the most logical fit simply because of the nature of the photo. Taken at first light on an October day, the first beam of light that illuminated the cluster of trees extending into the field, tells the story of a new day beginning. A single white faced cow standing in the highlighted area near the bottom left is facing the morning with stoic fortitude and the light fog drifting across and amongst the trees adds a element of mystery and uncertainty about the day. What is unique about this image is how darkness helps to define the light. Without the darkness, it's just another average photo of a Kentucky field. With it, the illuminated areas take on a greater importance and serves to pull the reader into the story.

Another one of my favorite photo's is this one taken on Shanty Hollow Lake just before sunrise. I do believe Voyage is the obvious choice of archetype although elements of The Quest can be seen. There is something compelling about this photo. Compositionally, it retains a powerful symmetry. The tops of the ridgeline are purposely cropped from view, yet allowed to flow as a reflection on the mirrored surface of the lake. Fog floating on silent currents of air drift low across the water and the soon to rise sun can just be identified by the reflective glow of clouds just above and behind the hidden horizon. The photo at once strikes a sense of adventure toward some unknown rendezvous, rekindling emotions from a distant past not unlike what Lewis and Clark must have felt during their Voyage of Discovery. Along with the adventure theme, there resides a layer of calmness, a serenity of purpose where the viewer hopefully becomes captured within the larger story that emanates from within their own dreams.

Black and white is a favorite format of mine as it removes the distraction of color and focuses almost entirely on story through composition, shape and form. This image of the gravel road leading to a farmhouse strikes at the heart of what story telling in a photograph is all about. The graphic use of leading lines and dramatic light draws the eye inward into the story. In this photo, I would interject another archetype theme: Coming Home. To me it is one of the great story lines of all time. Coming home and what it takes to get there. It could be tragic circumstances, it could be rebirth, it could be a voyage or a quest. The viewer gazing at this image might interject all of them based on their own experiences. The fence posts, the highlights across the tall grasses along the edge of the road, the farmhouse nestled amongst the trees, the dark texture of the overcast sky all contribute to the story. One can almost hear the crunching of the gravel underfoot as you walk down the road and feel the brisk nature of the wind as it shoves the clouds along. There is an element of anticipation, maybe even dread knowing just how close home is, yet it is somehow still far away. How long has it been? Continue? Turnaround? What to expect, only time will tell.

People convey a multitude of story telling opportunities within a photograph. Combine them with dramatic light and weather conditions, they will often provide some of the most compelling of visual stories. In the photo on the left, a homeless man strikes a reflective pose as he contemplates his situation. Rain had fallen, dark rolling clouds were boiling low across the sky, and street lights cast a reflective glare across the compound, all aiding the story of lost dreams, lost hopes. Taken from a lower perspective, the use a small aperture created the star-like reflective glow around the street lights. In a way, that starry glare casts a kind of hopeful atmosphere amongst the gloom of the situation. Sitting with a forward lean, he retains an element of contemplative defiance, a proudness of self where in spite of his circumstances, he knows he has value and is not yet beaten. This is a powerful image of the plight of a single person facing uncertain circumstances, yet someone who still clings to a deeper understanding of who he is and who he can become.

Often when I begin a walk with my camera, I look for a story to tell. Most of the time the story remains hidden but is almost always there, somewhere. As a photographer, I want to use my instincts and personal experiences to dig out and find that story, and use my skill as a visual artist to capture it in a compelling and truthful way. It's not easy and it takes a keen sense of purpose and drive to first discover it, flesh it out, then develop it into a simple form that actually makes sense. I say to myself, "I want to tell a story.." then ask myself one question, "Where is it?"

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Sunny 16 Club Article from SOKY Magazine

 Submitted by Julie Barrick

The "Yarrow" Effect

Submitted by Keith Bridgman

While we are on the subject of Black and White photography, one particular person comes to mind. David Yarrow. David is a world class photographer who travels the world looking for that one moment, that singular image that captures the imagination. Specializing in black and white photography, his mission is to bring awareness to the plight of endangered wildlife across the globe and his photographs offer incredible life-like images of some the most threatened of animals. His technique is unique and demanding in that most of his images are framed in such a way as to capture the bigness and majesty of these incredible animals...closeup and personal, he employs remotely triggered cameras to make most of his exposures. His images are stark and bold, filled with contrast and structure, shot at eye level or below. He has said if he can produce three or four great images a year, he is a happy man.

 I love black and white photography and apply it to my attempts to capture nature / wildlife as I see it. Although I could never match what David Yarrow does, nor would I ever attempt to copy someone else's style, the boldness of his photography has had an influence on what I try to accomplish via black and white...all-be-it...far from the accomplished level he possesses. I choose to call it "The Yarrow Effect".

 Here's a few older images where I've attempted to apply this effect. At the top of this article is a link to one of David Yarrow's videos.

Making a Black & White Photo—Decisions to Make at the Point of Conversion

Submitted by Dwight Pounds

Supplementing Keith Bridgman’s excellent article on black & white photography, I would like to offer a few additional ideas on the subject from the perspective of one who has been working in the medium at one level or another for 70 years.  For starters, there is the subject of black & white film and no doubt many of us are acquainted with many common names—Kodak Verichrome, Plus-X, even XX, Tri-X, Ilford, Fuji, and the list goes on.  Likewise, the sizes—120, 220, 620 (!), 35, medium format and large format.  I’ll forgo mentioning camera models for sake of brevity and staying on the chosen subject of decisions to make in the process of producing convincing black & white photos in an age and plethora of color images.

 In the beginning there was the plate and other receptors of light which evolved into film, b/w to be sure, but eventually color, a medium which is still with us.  With the black & white negative, 

what we got out of the soup when it was developed (properly or not) was what we had to work with.  Like photography of all ages, it was a game of light manipulation, contrast, and definition.  Now well into the second century of photography, we have been enabled to both color and b/w photography to a degree and excellence only dreamed about in previous decades…but this comes with a serious caveat—by no means should one ever throw out their old negatives!!  New techniques and scanning and processing programs offer opportunities to squeeze more out of them that ever could be done in a wet darkroom. 

 

Concerning b/w photography in a digital age, I would like to present a digital color photograph and discuss some rather important, immediate decisions that must be made, even before the refinement processes begin.  This image of three posts from an old fence on very sandy soil and a pump jack from the West Texas oilfields will be my starting point.  Keith mentioned several conversion programs, 

to which I will add that I generally use “channel mixer” in PhotoShop.  The first step in the conversion process (see the series of three below) usually looks rather bland and in serious need of more attention.  One of the first elements of a photograph to get our attention is that of the sky and how to handle blue and keep it in balance with the remainder of the contents.  Here personal taste, to say nothing of the goal of the photographer, comes into play, as well as his/her intended audience.  While the first of the three photos may look perfectly acceptable to some, it probably is worth exploring additional options.  Please notice how the sky treatment gradually darkens and the changes in the following two images and how the lower half of the image is perceived. 

 

               

 

Ansel Adams used variations in sky shadings to great effect, relying primarily upon the blue-red relationship, a red filter darkening a blue sky considerably.  This of course, like any other aspect of human life and existence, can be taken to ridiculously and unacceptable levels, but even here there may be some lessons learned in what happened to the lower portion of the image that may be more acceptable than in the first three images.

 

Once the basic image is selected and the b/w conversion method selected, immediate decisions have to be made and the two I wish to briefly discuss concern (12) one’s artistic goal(s), (2) content, and (3) selection of a proper tint.  Again regarding the original color print, these considerations:

 

       

 

Precisely what is it that you as the artist are trying to say and how are you going to manipulate the original colors to get what you want…and to whom are you going to say it?   What is it in the photograph that you want to emphasize—the broad expanse of the area, the posts…or might it be the needle-like strands of prairie grass that are almost hidden in the first series of photos?  And what about that annoying can and the obtrusive scrap of paper?  Is your audience a photo club such as we have with Sunny 16?  If so, you may wish to clone out the paper and the can, but if you are preparing a program for an environmental group or simply citizens wanting to keep neighborhoods and open places clean, the “annoying” paper and the can may suddenly become key to your presentation. 

 Finally, there is the matter of tint.  Ansel did very well with standard black & white, but other tints of b/w are worth considering, most common being sepia and occasionally shades of blue.  Given that this image originates in a West Texas prairie area, I offer the same image in sepia for the viewer’s consideration. 

 While this is by no means a definitive description of everything that goes into the early phases of creating a viable black & white photo, perhaps it will get you off to a good start! 

The Making of A Black and White Photo

Submitted by Keith Bridgman 

What makes a good black and white photo? It's not such an easy question to answer because black and white photos encompass a wide variety of subtle and subjective characteristics. Personally I love black and white. Color has its place and can present a powerful mood generating image. However, black and white allows for the removal of the distraction of color to focus more on subject and story. It becomes a graphic representation of what is captured, not an exact reproduction, but something that at once captures the essence of the subject yet allows the creative instincts of the photographer to interpret the story.

Story. I could write 20 articles about the photographic story and still not cover all of it. Story is key in a black and white photograph. It represents what was important to the photographer at that precise moment. It connects what happened before, to the moment now, through to what will happen. It allows the viewer to understand what the image is about. This of course can apply to all forms of photography, but in black and white, story is a must and it should be clear and to the point. Story is told through the composition and the elements within the composition should be kept to a minimum and obtain just enough information to clearly identify the story. Too much clutter confuses the story. Its probably better to have too little than too much. A minimalist approach can often provide a wonderful story. The capture interpretation is up to the photographer and how he / she visualizes the finished image can make or break the image.

There are two examples illustrated here. The first one above is a classic black and white interpretation where bold light and contrast is used to good effect. The second one is much more subtle and softer, yet it retains all the same elements as the first one. 

Let's look at those elements. In black and white, contrast is a key component. One thing to keep in mind is that most black and white images will run the range of tonal values from almost completely black to almost completely white with varying degrees of gray tones across the story line. Although these two images are quite different in nature, they still contain a full range of tonal values.

Composition is, as with all photographs, very important. The same principles apply. Things like Rule of Thirds, Point of Interest, and Light all add to the flavor of the black and white image. Look at the top image. Notice how light is used here. Taken at dusk, there was just enough ambient light to capture some background detail without overpowering the image. The light from the candle lantern illuminates the snow that has gathered on top of the small table. Some additional off camera light brings out the detail in the end-woodgrain of the table, and the hatchet handle reflects some of the light provided by the candle lantern. All these things provide separation of the elements within the story. The hatchet provides an action-taken element. The snow identifies time of year. The table offers a rustic flavor. The overall scene tells the story of a winter campsite.

The second image, a mirror image created to represent a reflection, was taken during a morning of heavy fog which almost completely obscured the tree and its surrounding terrain. The exposure turned the background almost white, yet hinted that something was floating around through the subtle nature of the soft gray effect. It's a simple story with soft, subtle elements, yet a very pleasing capture of a moment in time.

So what kinds of subject matter translate well into black and white. Personally, I favor big sky images, especially panoramic big skies. When shot using a polarizer, the contrast of the sky and clouds can be quite dramatic. Care should be taken to retain texture in the clouds when setting up your exposure, and you should always include something of interest in the foreground. 

Another of my favorites are dark ominous clouds. These can be tricky to capture, but when captured as a panoramic, they are quite dramatic. 

Snow is another great subject for black and white, but it can be tricky to capture. Auto exposures will almost certainly turn a bright white snow gray. 

It's just the nature of how the camera's auto exposure is made which wants to move white to a middle tone 18% gray value. Usually, snow requires from +1 to +2 stops of exposure compensation, but this is very subjective and sometimes something less will also work. What to avoid is flat 18% gray or blown out no detail white. It can be tricky and the right combination is often a subtle blend of whites and grays.

Flat 18% Gray Snow

Overexposed Snow

Most of my black and white photos were converted from color images. 

Most of the ones I converted were taken specifically for that purpose. Although post processing is 

important when it comes to creating a finished photo, that subject is well outside the intent of this article. I will say I use Silver Effex for my black and white conversion process, but there are numerous Lightroom and PhotoShop black and white conversion software addon's available. Lightroom and PhotoShop alone will do a credible job of creating a black and white conversion.

What makes a good black and white photograph? Well, I've only touched the surface of it here. Hopefully, this will give you some idea of how to approach this amazing form of photography. Thinking in terms of black and white while photographing the world around you can open creative opportunities and contribute a great deal to your photographic enjoyment.