RSS
 

Posts Tagged ‘Rarely’

Black and White are Rarely Black or White

30 May

The post Black and White are Rarely Black or White appeared first on Digital Photography School. It was authored by Herb Paynter.

dps-black-or-white-tone

There are very few absolutes in this life. Most issues we face fall into more “gray areas” than the purely polar dictionary definitions of actual black and white. We use these terms rather cavalierly when expressing personal opinions even when real-life situations are anything but! This is also true in a number of photography-related issues. Since photography is the topic de jour, I’ll turn the conversation in that direction. I’ll explain to you how black and white are rarely black or white.

Black and White are Rarely Black or White
Total black and white can lose important detail. Occasionally this is appropriate for drama, but in general, even the darkest areas of an image should contain contrasting tones. f/9, 1/250, ISO 200, 70.0-200.0 mm f/2.8.

The hard facts

Black is the total absence of light, as in a cave at midnight with your eyes closed. Nada, nothing, total emptiness. Nothing is quite as disorienting or scary as total blackness. Blackness is un-relational and unforgiving. Even our sense of balance is affected by our inability to orient ourselves to our environment. What we can’t see, we can’t relate to.

Black and White are Rarely Black or White – waves crashing on rocks
Opening up the darkest channel (unfortunately labeled “Black” in most software) can reveal a depth that otherwise gets buried in the D-max of the photographic medium.

White is at the other end of the light measurement scale, defined as a direct unobstructed blast of light from the Sun at noon. Blinding, blazing, searing, scorching light.

True white light would actually blow the rods out of our eyes and leave us (at least temporarily) blinded. Perhaps it is good that we don’t try to function either physically or psychologically in either of these two extremes.

Dark and light vs black and white

In the photographic film and darkroom world, “D-max” and “D-min” determined the total light range of photographic prints and transparencies. Actual black and white light measurements simply cannot (by definition) be replicated in photographic materials.

D-max refers to the maximum light blocking capacity (density) of a particular film or print. D-max is the point of maximum development for either film or prints in a traditional (chemistry-emulsion) darkroom environment.

D-max for an inkjet printer would be the darkest black that can be achieved by a particular ink on a particular paper (yes, some different inks and papers achieve different results).

D-min would be the highest light-reflective measurement possible from a particular paper with no ink.

In either case, neither “actual” black nor total white is possible. In truth, black and white cannot be expressed in the medium of photography, though we still employ the terms.

Black and White are Rarely Black or White - an example of black tones
Actual original image (left) and adjusted image (right). No kidding. RAW files deliver! f/2.8, 1/250, ISO 1600, 35-100mm, f/2.8.

Real-life vision vs digital interpretation

By contrast, we live our everyday lives in the natural world where we can experience this “actual” extreme range of natural light. We occasionally witness these extreme lighting conditions, and this reference to reality keeps our lives in clear focus.

There exists a broad range of contrast in nature’s lighting that keeps our visual cortex amused and intrigued. We experience the extremes of light and dark almost every day, and our eyes adjust to these dynamics quite naturally. But in the subdued visual expression called photography, we are restricted to using a much more muted palette, which presents our minds with a different challenge.

Our brains insist on detail to help us navigate this world, both visually and rationally. We are a relational species, and we rely on the existence of distinct details in our surroundings in order to relate and negotiate our way through those surroundings. The very same issue determines how we relate to things photographic, which brings me to my point – finally.

Black and White are Rarely Black or White
Every physical item that we describe as “black” must be distinguished from actual dictionary-definition “black” if it is to be seen as a dimensional object.

Detail is all about contrast

Contrast is the determining factor in detail. Without contrasting tones, there can be no detail.

Our eyes get to experience the full dynamic range of light in real life. However, in photos, our perception is very limited by the whole visual D-max/D-min thing. We must learn to use what range we have to mimic the range that we don’t… get it? Pushing the internal tones around within an image will simulate the full range of tones that we normally see (and often take for granted) in real life.

Black and White are Rarely Black or White
Another example of extremes. The lighting was good on the female, but the male model was underlit. Some serious internal adjustments were made in one copy of the RAW file, and a masked copy of the correction was placed into the scene. Once again, tonal reproduction is key. f/3.2, 1/250, ISO 1600, 35-100mm, f/2.8.

In a practical sense, the detail is created when a visual relationship is established. The greater the contrast between tones, the sharper the detail becomes.

In order to express detail in a dark area, there must be a distinction between black and “almost black.” Without that distinct separation, there can be no detail.

There is a cardinal rule when printing a photo on a printing press… “there are no absolute blacks and only specular (reflections) pure whites in print.” Even pure white must contain a tonal element to maintain dimension and texture – neither black nor white express detail.

Black must be implied more than stated. Even a black hat or garment must contain tones of dark gray to carry the illusion of detail.

black or white
Black is a relative term. Total black loses important detail and dimension. f/4.5, 1/50, ISO 1600, 35-100mm, f/2.8.

Delivering the impression

When a photo lacks internal contrast, it lacks detail. The tension of contrast creates both detail and definition. Of course, even detail is a relative thing. Not all images require the same dynamic appearance. If all pictures contained the same degree of (internal or overall) contrast, the monotony of sameness would probably drive us to boredom.

The point I want to make here is that in order to keep the human mind amused, engaged, and involved, we must learn to use all the tone dynamics at our disposal.

Fortunately, the human mind (and it’s willing accomplice, the visual cortex) provide us with a very forgiving and creative instrument that interprets (and believes) the limited dynamics of printed photos. When this tonal orchestration is successfully accomplished, the result can be breathtaking.

We were designed to be very creative. Start believing that and watch the magic happen.

The post Black and White are Rarely Black or White appeared first on Digital Photography School. It was authored by Herb Paynter.


Digital Photography School

 
Comments Off on Black and White are Rarely Black or White

Posted in Photography

 

The Magic of Creativity Rarely Happens in Your Comfort Zone

17 Sep

You’re not likely to ever excel at anything unless you push past what you normally do and exit your comfort zone. That’s unless you’re the type of person who’s not comfortable unless they are constantly taking risks.

Python in a Pit © Kevin Landwer-Johan - The Magic of Creativity Rarely Happens in Your Comfort Zone

Becoming more creative with photography requires you to seek out new subjects. It means trying different techniques. It demands you tackle the difficult and uncomfortable at times.

Most creatives seek to improve on what they have already achieved. This can mean photographing what they normally photograph different and better. It could mean working in whole other genre of photography altogether. Both approaches are challenging and vulnerable to failures.

How can you step out beyond your comfort zone and experience real magic in creativity?

Flag performance at a street parade - The Magic of Creativity Rarely Happens in Your Comfort Zone

Watch Your Attitude

I believe the biggest struggle many people have in growing creatively is that they can be too hard on themselves. When they try something new they set themselves up to fail because of negative thought patterns. Sound familiar?

Taking a step outside your creative comfort zone with a positive attitude is the most important factor towards your success. Acknowledging to yourself that what you are doing is new and difficult and that your initial result will probably suck, is important. If you are broken hearted at your photos the first time you try a new aspect of photography, you will never grow. You will not find the magic.

You need to press on and make the most of what you find difficult to help you improve.

Karen pipe smoker - The Magic of Creativity Rarely Happens in Your Comfort Zone

Commit to Learn

Studying the new technique or subject you’re challenging yourself with is a positive step towards creative magic. If you launch headlong into something new without knowing much about it you will most likely fail. I know this to be true from far too much personal experience.

Taking time to study a little more, step by step, you can become an expert. When I first worked in a photography studio with subjects, lights, props, and backgrounds I could manipulate it was all new to me. I had come from working as a newspaper photographer where I often had no control over these things. I didn’t know what to do.

Initially, I wasted a lot of Polaroids, (instant photos which were used to preview the setup, now we chimp our LCD screens).

Then, I found a gem of a book in the local library, (yes, this was when the internet was still a baby.) Light Science and Magic was a superb teacher. This book taught me so much of how to control the lighting. I am also a big fan of Irving Penn and love his still life arrangements. I have always learned a lot by studying the work of high achieving photographers.

Studio photos of food and cocktails - comfort zone

Creating Photos for Someone Else

The main difference between amateur and professional photographers is not that pros take better photos and earn a living doing so. The most significant difference is that professional photographers must consistently produce photos that fit a brief and please someone else, not just themselves.

Photographing what you are passionate about is meaningful for enjoyment and creative growth. Photographing something you have no interest in is often a huge challenge.

When I first started work at the newspaper I learned very quickly that I was well out of my comfort zone. I was having to not only talk to strangers but to go back to my picture editor with publishable photos of those strangers. I was painfully shy and it was so difficult, but I wanted to keep my job, so I took on the challenge.

Later came other challenges like photographing sports events and other action photo situations I had no experience with. The opportunity to attend top international matches was a good incentive. I learned because I had to and I came to love it.

one day cricket action- comfort zone

Role-Play Being a Pro

You don’t need to get a job working for a newspaper. These photography jobs are few and far between nowadays. You can role play effectively and imagine you are a pro.

Set yourself assignments and treat them as though you are working for a newspaper or magazine. Better still, have someone else task you assignments of their choosing. This way you will begin to photograph subjects and in situations, you may never have chosen.

You will discover that you love some of these assignments as you are being stretched beyond what you normally do. As you are outside your comfort zone you will have to think and behave differently.

Set deadlines. Approach this exercise realistically. If someone else has set your assignment, have them review your photographs with you and make a selection.

By role-playing like this, you may have the advantage of rephotographing the same subject if you can see room for improvement. This is a luxury I did not often have when working at the newspapers.

Forest Waterfall - comfort zone

Photographing What is Familiar

I am not advocating only photographing new and different things with techniques you’ve never used. Making great photos of what you love can be equally challenging.

Taking pictures of what you love over a long period of time your photos may begin to lack flair. This is common. If you are truly passionate about what you are photographing you need to press yourself to remain creative.

We are often at the local markets in Chiang Mai taking photo workshops. I told myself after we’d been going there for about a year that I need to come away with at least one new portrait each time. Not of the same people who I knew and were easy to photograph, but of different people in different locations at the market.

I’d passed this guy many times and felt a little intimidated by his tough looking exterior. One winter’s morning he was standing in the sun outside his flower shop watching the world go by. The light was fabulous and he had on a cool beanie. I had to ask him. Turns out he was happy to pose for me. I took him a print of this photo next time we were there and now he often gives my wife or our customer’s flowers when we are passing.

Street portrait of a Thai man - comfort zone

Photographing People

I have become pretty comfortable photographing people, but still, find it challenging. Like with the tough looking flower seller, initial contact and relating to a stranger is not easy for most people. If you step out and ask often the results can be most rewarding.

Photographing people you know can pose other problems. My friends got engaged recently and asked my wife and me to do a photo session for them. My challenge was pressure I put on myself to excel. I wanted to bless them with photos that made the event special.

Working with my wife is always enjoyable. We work well together. I found I could capture different moments, especially when their attention was on her. My expectations and desire to do well for my friends was my biggest challenge. My fear of failing was my biggest hindrance.

Once I relaxed and enjoyed myself as much as they were I was able to take some photos that they told us later were their favorite image of themselves they’ve ever had. This is feedback every portrait photographer loves to hear.

Thai woman and white man in the street - comfort zone

Two New Personal Photography Challenges

My wife and I recently moved to a new home in the countryside. I have never been particularly interested in landscape photography, but now I need to be.

We are running a homestay and need to show off the wonderful environment so people will want to come and stay here. This means I must make the best landscape photos I can. It’s good to be working with a subject that I have not cared for much and to have a reason to be taking these types of photos.

My second challenge is to use my phone for more photography. I am comfortable with my camera, thank you. I have had little interest in using my phone except to take the occasional snapshot. Currently, I think I am using my phone more than I am using my camera.

Bicycle on a road in the rice field - comfort zone

I am using the panorama mode frequently.

I ride my bicycle in the surrounding region each morning. But I don’t like carrying a camera when I ride so I am using my phone to photograph the local landscape.

Part of my motivation to take up the challenge of photographing with my phone is that this is how most photos are being made in the world now. I need to know more about it so I can teach it. The best way for me to learn is to just do it.

The limitations I have with using my phone are a big challenge. I must innovate and be creative to capture the photos I want. Now I am also beginning to use my phone to photograph more than only landscapes. As the challenges continue I hope my creativity continues to grow.

Thai rice landscape - comfort zone

Be encouraged, find something new that’s not easy for you. You will only reap the rewards if you step outside of your comfort zone and try. Tell me in the comments below how you are getting on with your challenge, I’d love to know.

The post The Magic of Creativity Rarely Happens in Your Comfort Zone appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on The Magic of Creativity Rarely Happens in Your Comfort Zone

Posted in Photography