THE LANGUAGE OF BLACK & WHITEPRESENTED TO THE KATY PHOTOGRAPHY MEET-UP GROUP    OCTOBER 15, 2012 • TOM HAYMES, PRESENTER
BLACK-AND-WHITE IS NOT THE REMOVAL OF COLOR. IT IS THE ADDITION OF AN ARTISTIC REVISUALIZATION OF REALITY.         IT IS P...
WHY DO IT?“I PREFER BLACK-AND-WHITE PHOTOGRAPHY CHIEFLY BECAUSE IT OFFERS     IMAGINATIVE CONTROLS AND A POWERFUL DEGREE O...
VISUALIZATION PART ICONVERTING THREE DIMENSIONS TO TWO
VISUALIZATION II         THE ZONE SYSTEMA FRAMEWORK FOR UNDERSTANDING LIGHT
UNDERSTANDING       THE ZONE SYSTEMELEVEN ZONES ORSHADES OF GRAY  ABSOLUTE BLACK -  ZONE 0  ABSOLUTE WHITE -  ZONE 10EACH ...
YOUR EYE VERSUS YOUR TOOLSADAPTING YOUR EYE TO THE LIMITATIONS OF YOUR TOOLSHUMAN EYE - 19.9 EV      MONITOR (CONSUMER) - ...
19.9 EV                       12 EV                                      ~6                                               ...
“ART IMPLIES CONTROL OF REALITYFOR REALITY ITSELF POSSESSES NOSENSE OF THE ESTHETIC.PHOTOGRAPHY BECOMES AN ARTWHEN CERTAIN...
“I STAYED WITH BLACK-AND-WHITE SIMPLY BECAUSE IENJOYED THE CONTROLS THE PROCESS OFFERED.”                                -...
IMAGE: ANSEL ADAMS, CLEARING STORM, 1950ANSEL ADAMS DIDN’T FEEL HE HAD THE CONTROL TO DO THIS IN COLOR RELIABLY BUT B&W WA...
- ANSEL ADAMS, CLEARING WINTER STORM, 1935
THE COLOR VS. BLACK & WHITE DECISION
THE COLOR VS. BLACK & WHITE DECISION
GOING THROUGH THE PROCESSMOST B&W HAPPENS IN POST PROCESS THESE DAYS     I USE NIK SOFTWARE’S SILVEREFX PRO
THE ORIGINAL
STRAIGHT B&W CONVERSION USING SILVER EFEX
APPLYING FILTERS -RED
APPLYING FILTERS -YELLOW
APPLYING FILTERS -GREEN
APPLYING FILTERS -BLUE
COMPRESSING THE ZONES -ADJUSTING THE SKY VS. THE GROUND
COMPRESSING THE ZONES -ADJUSTING THE SKY VS. THE GROUND
COMPRESSING THE ZONES -LOOKING FOR BLOWN OUT WHITES USING SILVER EFX
COMPRESSING THE ZONES -TONING - WHAT USED TO BE PAPER’S JOB
THE FINISHED PRODUCT - ALMOST
BACK TO THE ORIGINAL
THE ORIGINAL
THE FINISHED PRODUCT
THE ORIGINAL
THE FINISHED PRODUCT
THE ORIGINAL
THE FINISHED PRODUCT
THE ORIGINAL
THE FINISHED PRODUCT
THE ORIGINAL
THE FINISHED PRODUCT
THE ORIGINAL
THE FINISHED PRODUCT
THE ORIGINAL
THE FINISHED PRODUCT
THE ORIGINAL
THE FINISHED PRODUCT
ANSEL ADAMS IN THE SAME PLACE
THE ORIGINAL
THE FINISHED PRODUCT
ANSEL ADAMS IN THE SAME PLACE
THE ORIGINAL
THE FINISHED PRODUCT
THE ORIGINAL
THE FINISHED PRODUCT
THE ORIGINAL
THE FINISHED PRODUCT
THE ORIGINAL
THE FINISHED PRODUCT
THE ORIGINAL
THE FINISHED PRODUCT
CONTACT INFOE-MAIL: TOM@HAYMESIMAGES.COMWEBSITE: WWW.HAYMESIMAGES.COMTHIS PRESENTATION CAN BE FOUND AT:HTTP://WWW.SLIDESHA...
“THE PROFESSIONAL PHOTOGRAPHER TAKES ASSIGNMENTS FROM “WITHOUT” INJECTS WHAT IMAGINATION HE CAN APPLY, AND DOES THE BEST H...
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The Language of Black-and-White

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Presentation given to the Katy Photographer's Meetup Group at the Cinco Ranch Library on October 15, 2012.

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  • “I suppose that with black-and-white the photographer can make really great ‘departures from reality.’ The medium carries its own convictions, has its own quality of values and ‘image color.’ I can get - for me - a far greater sense of ‘color’ through a well-planned and executed black-and-white image than I have ever achieved with color photography. We are talking about extremely subtle distinctions that may not make sense to anyone who is not sensitive to the infinite scale of values which fine black-and-white photography can achieve.” - Ansel Adams, 1967\n
  • The first step to any successful image, color or black-and-white, is understanding how to transfer three dimensional objects to a two-dimension surface and still tell a compelling story.\n
  • Ansel Adams developed the Zone System as a mechanism for understanding and controlling what was going on throughout the entire photographic process.\n
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  • It’s like learning a new language but at the same time being able to convey that language to the ultimate viewer. This is the ultimate challenge of black-and-white.\n
  • Anyone can speak color. You have to be trained to speak black-and-white. When you do, you will find it a much richer language and environment than traditional color offers.\n
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  • Silver EFX can help train you to visualize in the Zone System. Your eye can trick you into thinking that your ultimate print will conform to what you see on the screen. Remember that you can see 20 EV, the screen is 10-12 EV but paper will only reproduce 8 EV. Therefore you need to put your whitest whites in Zone 8, not 9 or 10 if you ultimate product will be a print.\n
  • One of the ways you can get a more subtle variation in the middle ranges is by playing with silver and toning.\n
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  • “The Professional Photographer takes assignments from “without” injects what imagination he can apply, and does the best he can with the problems presented. the creative photographer, on the other hand, takes assignments from “within” and, if truly dedicated, may find that the client is tough and uncompromising! the conflict of the assignments from “without” versus those from “within” often perplexes the serious photographer.” - Ansel Adams\n
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  • The Language of Black-and-White

    1. 1. THE LANGUAGE OF BLACK & WHITEPRESENTED TO THE KATY PHOTOGRAPHY MEET-UP GROUP OCTOBER 15, 2012 • TOM HAYMES, PRESENTER
    2. 2. BLACK-AND-WHITE IS NOT THE REMOVAL OF COLOR. IT IS THE ADDITION OF AN ARTISTIC REVISUALIZATION OF REALITY. IT IS PAINTING IN A DIFFERENT MEDIUM
    3. 3. WHY DO IT?“I PREFER BLACK-AND-WHITE PHOTOGRAPHY CHIEFLY BECAUSE IT OFFERS IMAGINATIVE CONTROLS AND A POWERFUL DEGREE OF STYLIZATION.” -ANSEL ADAMS, 1969 MASTERING A NEW VISUAL LANGUAGE UNDERSTANDING THE ENTIRE PHOTOGRAPHIC PROCESS DOUBLE VISUALIZATION 3D --> 2D COLOR --> B&W COLOR PHOTOGRAPHY APPROACHES REALITY TOO MUCH
    4. 4. VISUALIZATION PART ICONVERTING THREE DIMENSIONS TO TWO
    5. 5. VISUALIZATION II THE ZONE SYSTEMA FRAMEWORK FOR UNDERSTANDING LIGHT
    6. 6. UNDERSTANDING THE ZONE SYSTEMELEVEN ZONES ORSHADES OF GRAY ABSOLUTE BLACK - ZONE 0 ABSOLUTE WHITE - ZONE 10EACH IS EQUIVALENTTO A STOP OREXPOSURE VALUE (EV)
    7. 7. YOUR EYE VERSUS YOUR TOOLSADAPTING YOUR EYE TO THE LIMITATIONS OF YOUR TOOLSHUMAN EYE - 19.9 EV MONITOR (CONSUMER) - 6.6 EVCAMERA SENSOR - 12 EV MONITOR (PRO) - 10 EVTHIS PROJECTOR - ?? EV PRINT PAPER - 8 EV SOURCE: HTTP://DPANSWERS.COM/ CONTENT/TECH_ZONESYSTEM.PHP
    8. 8. 19.9 EV 12 EV ~6 19.9 EV 10 EV 8 EV YOU HAVE TO VISUALIZE THE PROCESS FROM TRIPPING THESHUTTER TO FINAL PRODUCT - THERE ARE FEWER VARIABLES BUT THERE IS MUCH GREATER VISUAL COMPLEXITY IN B&W
    9. 9. “ART IMPLIES CONTROL OF REALITYFOR REALITY ITSELF POSSESSES NOSENSE OF THE ESTHETIC.PHOTOGRAPHY BECOMES AN ARTWHEN CERTAIN CONTROLS AREAPPLIED, CAMERA POSITION, FOCALLENGTH OF LENS, FILTERS,NEGATIVE MATERIAL, EXPOSURE,DEVELOPMENT AND PRINTINGPROCEDURES. IN BLACK-AND-WHITEPHOTOGRAPHY IT IS POSSIBLE TO CREATEWITHIN THE MEDIUM... MOST SUCCESSFULCOLOR, IN THE MOVIES OR STILLS, COMES FROMOUTSIDE THE CAMERA OR MEDIUM ITSELF.” - ANSEL ADAMS, 1983
    10. 10. “I STAYED WITH BLACK-AND-WHITE SIMPLY BECAUSE IENJOYED THE CONTROLS THE PROCESS OFFERED.” - ANSEL ADAMS, 1978 IMAGE: YOSEMITE VALLEY, SUMMER, 1935
    11. 11. IMAGE: ANSEL ADAMS, CLEARING STORM, 1950ANSEL ADAMS DIDN’T FEEL HE HAD THE CONTROL TO DO THIS IN COLOR RELIABLY BUT B&W WAS ACHIEVABLE
    12. 12. - ANSEL ADAMS, CLEARING WINTER STORM, 1935
    13. 13. THE COLOR VS. BLACK & WHITE DECISION
    14. 14. THE COLOR VS. BLACK & WHITE DECISION
    15. 15. GOING THROUGH THE PROCESSMOST B&W HAPPENS IN POST PROCESS THESE DAYS I USE NIK SOFTWARE’S SILVEREFX PRO
    16. 16. THE ORIGINAL
    17. 17. STRAIGHT B&W CONVERSION USING SILVER EFEX
    18. 18. APPLYING FILTERS -RED
    19. 19. APPLYING FILTERS -YELLOW
    20. 20. APPLYING FILTERS -GREEN
    21. 21. APPLYING FILTERS -BLUE
    22. 22. COMPRESSING THE ZONES -ADJUSTING THE SKY VS. THE GROUND
    23. 23. COMPRESSING THE ZONES -ADJUSTING THE SKY VS. THE GROUND
    24. 24. COMPRESSING THE ZONES -LOOKING FOR BLOWN OUT WHITES USING SILVER EFX
    25. 25. COMPRESSING THE ZONES -TONING - WHAT USED TO BE PAPER’S JOB
    26. 26. THE FINISHED PRODUCT - ALMOST
    27. 27. BACK TO THE ORIGINAL
    28. 28. THE ORIGINAL
    29. 29. THE FINISHED PRODUCT
    30. 30. THE ORIGINAL
    31. 31. THE FINISHED PRODUCT
    32. 32. THE ORIGINAL
    33. 33. THE FINISHED PRODUCT
    34. 34. THE ORIGINAL
    35. 35. THE FINISHED PRODUCT
    36. 36. THE ORIGINAL
    37. 37. THE FINISHED PRODUCT
    38. 38. THE ORIGINAL
    39. 39. THE FINISHED PRODUCT
    40. 40. THE ORIGINAL
    41. 41. THE FINISHED PRODUCT
    42. 42. THE ORIGINAL
    43. 43. THE FINISHED PRODUCT
    44. 44. ANSEL ADAMS IN THE SAME PLACE
    45. 45. THE ORIGINAL
    46. 46. THE FINISHED PRODUCT
    47. 47. ANSEL ADAMS IN THE SAME PLACE
    48. 48. THE ORIGINAL
    49. 49. THE FINISHED PRODUCT
    50. 50. THE ORIGINAL
    51. 51. THE FINISHED PRODUCT
    52. 52. THE ORIGINAL
    53. 53. THE FINISHED PRODUCT
    54. 54. THE ORIGINAL
    55. 55. THE FINISHED PRODUCT
    56. 56. THE ORIGINAL
    57. 57. THE FINISHED PRODUCT
    58. 58. CONTACT INFOE-MAIL: TOM@HAYMESIMAGES.COMWEBSITE: WWW.HAYMESIMAGES.COMTHIS PRESENTATION CAN BE FOUND AT:HTTP://WWW.SLIDESHARE.NET/HAYMEST
    59. 59. “THE PROFESSIONAL PHOTOGRAPHER TAKES ASSIGNMENTS FROM “WITHOUT” INJECTS WHAT IMAGINATION HE CAN APPLY, AND DOES THE BEST HE CAN WITH THE PROBLEMS PRESENTED. THE CREATIVE PHOTOGRAPHER, ON THE OTHER HAND, TAKES ASSIGNMENTS FROM “WITHIN” AND, IF TRULY DEDICATED, MAY FIND THATTHE CLIENT IS TOUGH AND UNCOMPROMISING! THE CONFLICT OF THE ASSIGNMENTS FROM “WITHOUT” VERSUS THOSE FROM “WITHIN” OFTEN PERPLEXES THE SERIOUS PHOTOGRAPHER.” - ANSEL ADAMS - ANSEL ADAMS
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