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I’m an American fine art photographer who is engaged to an Australian. So I will be moving down there at some point in the future. Funny I just decided to rewatch this video because I’ve been looking to find out about top notch photographers from Australia and here’s your comment! Thanks! I’m going to go look up his work and see if there are any books of his work out there!
What I love about Salgado's black and whites is how coarse the textures are, like the workers themselves are carved out of the very rock they're mining, of all the black and white photographers none that I know of use texture as powerfully as Salgado does and it's what really elevates him. Also thanks for the introduction to Mihcael Kenna, I've seen a couple of examples of his work before but never with the attribution to him and I am so so fond of breaking the rules the produce abstract out of reality.
If I'm not mistaken, Salgado arrived at his base look from pushing Tri-X to 1600. After switching to digital capture, I believe he still has his images transferred to and developed from film. I'm sure there's information available to confirm, but that explains why I couldn't tell where he made the change when I had the chance to view an exhibition of his work a few years ago in San Diego. It was extraordinary, to say the least.
As a multi media artist, the deluge of photographs in the world today made me lose my way and move towards other art forms. Your channel has rekindled the reason I used to love photography and got me back on the horse again. Thank you so much mate.
Couldn't have said it much better myself. My love of photography and cameras died when Apple came along with the iPhones (just like my love of mechanical watches died with the advent of the iWatch). But the latest monochrome cameras from Leica and Fuji are rekindling my passion.....and I'm the richer for it. This channel is just icing on the cake.
Love the video. My Fuji XT-1 my first film sim is a custom Monochrome sim that I use am everyday for documenting daily family moments. I’m never afraid of high iso, noise, or pure whites or pure blacks. It’s freeing moving away from the modern norms of photography.
I always used to tell this to people that monochrome photography is timeless, but no one would get it. I find people more busy with how best an image can be Photoshoped. Am glad someone is talking about it.
I remember the black and white film rolls…how tough it was to have at least four good shots out of a 36 roll. Seeing all these shadows and contrasts reminded me that I started to like B&w when I travelled to kolkata , there is something about that city which makes it just the perfect place to play with shadows, contrasts. I feel that it s actually a very good exercise to improve your perception of the contrasts, of a vibe of a place, that timelessness you speak about in the video. Thank you for sharing this, i m very fond of B&w photography
The more times passes, the more I don’t know what the hell I am doing with photography. Since I’ve fallen into the passion about one and a half years ago, I’ve spent countless hours, days and week swallowing every little bit of information I could land my hand on and yet eventually it seems (and your vids do help with my thinking about it) that everything I’ve read, YT vids I’ve watched, tutorials, guides, techniques, tips, advices of all kind, every book I read about composition, mastering camera settings, lighting techniques it’s all... superficial to what I’m looking for deep down. It’s all a lie, and following this path is not leading to being a great photographer. I’ve kept running after empty concepts like beauty, sharpness, harmonious composition, vivid colours... But it’s only when I look at other people’s work which I love that I realize all of this is technical detail is mostly irrelevant, it’s not a goal ; it’s a distraction, a burden to the mind preventing to focus on what really matters. A few month ago, my aunt showed to the family photos she had taken on various occasions. It blowed my mind. She had never taken a course in her life, she knew nothing about settings and she did it all with a cheap compact camera on auto mode. And yet, her images were absolutely gorgeous, very powerful and emotional. It really made me question myself about the way I had approached the art. I keep reading, and watching and shooting, tried tons of lenses, all sort of types of photography, portraits, landscape, street, different settings and editings, but I’m never satisfied. But as time passes, I think I’m slowly understand why. I’m just too cerebral about it. I try to do things rationally and that’s why I fail. Looking at these beautiful photos from your videos I see it more clearly : I want to feel something. That’s what I get from these images. They’re sometimes imperfect, blurry, sometimes blunt or soft, but one thing it seems they have in common is, they’re dreamy. You look at them and see another world you’re curious about. That’s what I want to do, I want to make images that make people dream. I just don’t know how to connect to my own emotions. It’s a paradox, that I’m having a hard time seeing the beauty or emotion of the world. Everything feels bland, flat and tasteless these days.
You'll get there. Just keep on pushing. You've identified what's missing so that's great. Experiment, buy photo books of photographers who inspire you. Make notes on what you like about their work and then go out and shoot in environments that inspire you/feature some of those elements that you like. Overtime your eye will sharpen. Nobody grows overnight. It takes practice. You've got this. 👍🏽🌞♥️
One photographer/printer who has always been an inspiration for me is Don McCullin. From the earlier shots in the East End to his more recent landscapes, his work has always had the punch that comes from using the full tonal range.
I love Kevin Westenberg's b&w photos, there's this softness about them, like an inner light but also dynamism, they don't feel heavy... It's hard to explain. His photoshoot with Depeche Mode for Violator is one of my favorite photoshoots ever, just iconic.
I love the way you use your enthusiasm for your own journey into the realm of photography to open the door for others. It’s always about seeing, isn’t it? And, of course, the gratitude for having been shown the way to see. You are a natural teacher. Many many thanks for opening all these doors, several of which I have looked into before, but forgot to go back and look again.
Growing up in the 80s as a fan of Depeche Mode, I loved Anton's photography and film work for Depeche Mode music. He was like the 5th member how big of an impact he brought to their look and feel. I just read that DM are re-releasing the Strange and Strange Too, a collection of all his MV's.
Just wanted to say thanks for all the education I get here, I know it’s a small thing but I do appreciate this channel so much! Hope you have a wonderful summer! 🌻
I really enjoyed that video. I think it makes a refreshing change to absorb influences that would make your average Lightroom/Photoshop expert wince with grain, crushed blacks, pure whites and so on. I think the digital age has made us too concerned with sharp sterile and histogram-perfect images that we forget what photography is really about.
Hi, Alex. For me are Fan Ho and Salgado b&w photography. Adams had his system and is now still important. But Salgado and Ho gave their pictures a soul. Antoine
I had this awesome photo I took in Vietnam on a canoe that had a lot of contrast, I knew it was amazing but it was missing something. Once I converted it to B&W it made all the difference.
I wasn't familiar with Imogen Cunningham. I was surprised you didn't mention Robert Adams as I know you've featured him in the past. For me, he's my black and white inspiration!
My passion is B&W photography. I strive for the strong contast. I love the photography of Fan Ho and Sally Mann. I try to adhere to the zone system. Every photo that I work on, I endeavor to have some area that is pure white, and another area that is pure black. And to address the entire tonal range in between. I think that it makes for a more interesting photograph.
Your explanations for each of those masters is fantastic. One thing I could not help but discern, are the compositions with each photo. To me it's the other constant that sets these masters apart.😊
I really appreciate that you're showing photos in such different styles. Showing that it's not about style per se, but intent, decisions, and conveying the artist's point of view.
Excellent examples of photographers from whom we all might learn...even if it is what or how we don't like to shoot. I've been going in phases lately depending on where I travel. Now, more Colorado/Mountains/Ghost towns. Next couple of months when I am back in NYC, that will all change again. What this and several of your other videos have prompted me to do is to shoot film again. I need to feel deliberate when I shoot in a way I take for granted in digital.
There is certainly nothing wrong with wanting a full range of tonal values in your photograph. I think the problem comes in when we treat it as dogma just because someone said it. For me it's a secondary consideration. I try to start with "What do I want to say" and then try to use the tones to achieve that. Sometimes it can be a full range other times its more compressed. I think it's a good idea to start with the goal in mind and then work our way down into the details. Personally, i'm against dogma in photography no matter how well intentioned. :-) Thank you for this awesome video and conversation starter. You introduced me to so many wonderful artists.
I am really glad that I studied photography and got skills with FILM. Learning the zone system before digital came along gave me knowledge and disciplines that are not learned today because it is felt that they are "not nessesary". The Zone System is not directly applicable to digital photography but is translatable. So it is really hard to make it a "dogma" like it was in certain FILM photography circles. Its just a really good thing to know and use when appropriate.
Hello, I've just discovered your channel 3 days ago and I truly enjoy your content. I am an amateur in photography who decided to undust a D3300 Nikon to finally learn what photography is all about. Thanks 👍
First of all a big "thanks" for your lectures. I subscribed for the insight and gentle nudging towards doing and seeing and not a regurgitation of any specs or gear. Now onto my simple comment. I was mentioning to my son the other day that all of the classic B/W photographers never "saw" their photos in B/W until the pictures were developed. Something we today can simply cheat on without consequence. They saw the world as it was, in color, and it makes me think that either they were looking for specific colors that would give a specific B/W result or they simply put that out of their minds and let the moment "happen" without so much forethought. We can't capture every moment of life, that's an impossibility, and we shouldn't even expect to.
Thanks again Alex for another dive into photographers. A question for you: At 17:39, the image by Imogen Cunningham...why would she crop the photo the way she did? She likely could have captured the leaves in whole but she anchored the left, right, and base to the edges of the photo and to me it leaves the"top open" (and captures your attention like a sign hanging off kilter might. It draws your eyes in). I assume this was very intentional on her part. Visualizing what the image might look like if the leaves were captured in their entirety, I'm left with the idea that that version would be a safe, predictable and perhaps boring photo. Is this another example of the understated importance of cropping?
Well we have a few things in common. - Ezra Stoller. Architecture is one of my favorite subjects for studying composition. Recently. - Ansel Adams. Yes, his black and white landscape prints are gorgeous. Almost die-hard black & white photographers understand the zone system really well. To be honest, I'm not a big landscape fan. Admire? Yep. Inspired to do it? Very rarely. BTW, Adams wasn't all about glorious natural landscape. He also shoot peoples, like the Japanese - American camp. It was done in the normal, photodocumentary style, though. You won't see much dramatic lighting/contrast there. - Immogen Cunningham, Edward Weston and the rest of "f/64 club members": I learn from them that even simple/mundane objects like flower or pepper may look really fascinating.
I fell in love with the skills of Ansel Adams when I first became interested in photography. His darkroom skills and his ability to look at a scene and decide what he had to do to get the full range of the zone system on film. I have read his series (The Camera, The Negative & The Print) several times over the last 50+ years. I use that knowledge to make my documentary/street photographs to give the full range of the Zone System. I prefer the full range of zones in my images because that is what I want. As they say, "to each, their own." Love Fan Ho's imagery as well as the subject matter of the great HCB.
Hey Alex, thanks so much for your videos - so generous of you to share your knowledge, insights and enthusiasm for the visual image. I've at last learnt to "stop worrying and love the black". 😉 I love the all photographers you mention but it puzzles me that nobody on RUclips ever mentions (hint, hint) my personal favourite Brett Weston - his high contrast B&W images took photography into the realm of Abstract Expressionism.
The way the kid holds the cigarette is very 'grown up'.. ive used cigarettes as props in a few retro photos and the models dont hold the cigarettes as naturallly as that girl. Fabulous
Just yesterday I've set my old eos 100d to monochrome and mounted a manual 50mm 1.8 lens from the 1970's. Just to have a little trip towards the basics of photography. And today your video - great! Thanks for your inspiring work! 🙋♂️🙂🙋♂️
This video came at the exact right time for me, a couple of days ago i decided to only shoot black and white for the rest of the year to keep going with photography. Shoot photographs in BW and short films in Color (kind of the reverse of what i do today). Not having to think about color or bw gave me the opportunity to finally finish the second turn on editing of my first novel in just three days. Thank you so much!!
Okay. Apparently this comes out in ten hours. So I’ll soon be finding out which photographer’s work will be part of my order along with Amazon prime day stuff!
Hi Alex, I must admit i haven't done much Black and White photography but watching your video has inspired me to give it a go. Great photographers like Sally Mann and Michael Kenna are very inspirational, and thanks for showing us there images. I enjoyed the photos from Ezra Stoller, he has great composition in his photos. And it was good to see the photos from Fan Ho again. Thanks for sharing this video.
Thanks Alex another wonderful video . I love B&W photos and am trying to find my own style in that field . Some of my favourites are here and some new ones to me … all very inspiring .
Two thoughts. Firstly, Salgado is a genius. Full stop, end of conversation. If anyone has doubts, look at his book "Genesis". Such a range of topics - and all in black and white. Secondly, Anton Corbijn is a fantastic film director. (See: A Most wanted Man.) Some people have everything. 🙂 Thanks Alex. A thoughtful video as always.
Thanks--one of your best. There are many reasons that most of the "best" photographs are B&W and you show some great examples. The interesting consideration is film vs. digital. Shooting the former requires one to "think in B&W" (and IMO, reading basically every book Ansel produced is a must-read if you're shooting B&W film, but much of it applies to digital as well). This forces one to rely on an experience-based sense of how to expose (yes, the Zone System), filter, develop, and print. Mirrorless systems enable you to see directly in B&W, allowing you to skip this step. Shooting RAW and processing with programs like Silver Efex Pro enables one to control the image similar to what can be achieved in the darkroom, but with even more precise control and flexibility, although the "analog" process can be very immersive (and enable you to extract more DR--read Bruce Barnbaum's books The Art of Photography and The Essence of Photography for details). Another important consideration is the difference between the look one gets using digital (which I often find too "prefect" and devoid of character) and film. This applies to both color and B&W (Salgado, and many others primarily use/d Tri-X, and it's grain is part of what makes it great, especially when pushed). Fortunately, there are some excellent film emulations (I'm a fan of DxO's) that can effectively approximate a film look, especially with a pigment-based printer and the right paper, but there's something special about a silver-gelatin (or other chemically-based process) print... It's like music--analog simply sounds better than digital.
Mr. Kilbee, can you do a video on what makes for a good portrait background? What sort of background enhances a portrait, rather than distracting the viewer from the subject? I know that figure to ground is an important aspect, but I'd love to hear your thoughts on what you look for. Also, if you were to do a course on B&W photography in the digital age (how to shoot with B&W in mind, editing techniques) I'd be thrilled to enroll in such a course. I'm sure many others would be interested, as well. Warm Regards from NYC.
Fantastic. Your enthusiasm jumps off the screen. More of similar please. Also, I have just finished Sally Mann's autobiography 'Hold Still'. In paperback the image quality is poor but her writing is wonderful, even if her outlook is a little morbid. (See the body farm section). Much of her work is created with ancient 8x10 cameras. Remarkable. Thanks for this one.
Have you ever taken a b&w image of a colour wheel and cmpared that side by side with the colour one? I haven't, but I will. I think it will show why shades of grey is so important, and what will work in a scene for the contrast (there or not there when it really is). Green and red will be the obvious comparison). Your thougHt,, Alex?
I am just starting to learn about the zone system. I kinda get it but I dont get how to apply it in the field. Does anyone have a link that really breaks it down in simple turns and perhaps has examples?
Thank you so much Alex for sharing those brilliant photographers. It's a great inspiration and motivation. I only know Fan Ho, Sebastião Salgado and Ansel Adams as I'm very ignorant, but I'm so thrilled to know more great B&W photographers. (Btw, your chapter title is SebastiaN Salgado, not SebastiaO Salgado. Just to let you know 😁)
Great video! I love finding new people's work. Have you ever seen Clyde Butcher's work? Give it a look. I've been to his studio but have never met him. His story about why he shoots only in B/W is interesting too.
Thanks I love what you do, I would like to learn more about the Zone system at .37 seconds on this video can you lead me to the info please and keep up the great work.
Years ago I bought the beginning of a series by Aperture called Masters of Photography. I have the first nine, beautifully done 8x8 inch, 96 page volumes. I would like to add to that collection now that I'm back into photography. I believe there are 20 or 21 volumes out there now. If anyone has a chronological list of the volumes that were printed I'd appreciate knowing what they are. Highly recommend any of this set you can pick up. :)
Kenna is a freakin master. B&W is about minimalistic rawness. And without color it is very important to use contrast. Either by the subject placement (like the Candy cigarette image or Fan Ho with the subject placement) or with the scene (like Kenna). Without color contrast luma contrast is super important. I love BW it can be super simple (like some of Kenna's photos), or super busy (like Fan Ho's images), but with seeing the light and contrast it doesn't matter because the viewers' eyes will go straight where you intend
I am relatively new to photography and, after listening to several of your wonderful RUclipss on B&W photography, I'd like to give it a go using the Zone System as the foundation. At the end of this RUclips you suggested we seek further explanation/guidance via these Comments. So here goes.... I must be having a senior's moment, but I don't quite understand the vital link in the chain to shoot a scene with several Zones. Do I find a middle grey in the image & meter off that? How do I get the other Zones to be represented in the one image? At first, I thought I must have to to take a pic metering off each of the different tonal values & then blend these several images in software. What is my brain missing (besides neurons?!!). Hopefully you understand what I am misunderstanding. Thanks for any clarification you can give me.
Get FREE access to the best selling course 'Learning To See' by signing up for my weekly newsletter 'Saturday Selections'.
Click here for instant access: thephotographiceye.info/
I love this channel! What a privilege to get such an education for free!
Yes, this has to be the best photography channel on RUclips.
It has not, it is without a doubt the best photography channel around@@bdv6083
Being an Australian I have to wave the flag here for our own Trent Parke. His BW work is astounding and I'm surprised he's not on this video.
I’m an American fine art photographer who is engaged to an Australian. So I will be moving down there at some point in the future. Funny I just decided to rewatch this video because I’ve been looking to find out about top notch photographers from Australia and here’s your comment! Thanks! I’m going to go look up his work and see if there are any books of his work out there!
He is very inspiring and a wide range of styles.
What I love about Salgado's black and whites is how coarse the textures are, like the workers themselves are carved out of the very rock they're mining, of all the black and white photographers none that I know of use texture as powerfully as Salgado does and it's what really elevates him. Also thanks for the introduction to Mihcael Kenna, I've seen a couple of examples of his work before but never with the attribution to him and I am so so fond of breaking the rules the produce abstract out of reality.
If you like texture, probably you'll like Aaron Siskind. He usually photographed peeled/cracked paints. Very abstract-y.
If I'm not mistaken, Salgado arrived at his base look from pushing Tri-X to 1600. After switching to digital capture, I believe he still has his images transferred to and developed from film. I'm sure there's information available to confirm, but that explains why I couldn't tell where he made the change when I had the chance to view an exhibition of his work a few years ago in San Diego. It was extraordinary, to say the least.
Black and white is a far superior medium. Its truly an amazingly simple gift.
Fan Ho is my inspiration for black and white photography. His photos are elegant and exquisite.❤
I saw Anton Corbijn photograph a concert. I was so excited! As a bonus Depeche Mode where there too!
So cool!
You lucky, lucky....
As a multi media artist, the deluge of photographs in the world today made me lose my way and move towards other art forms. Your channel has rekindled the reason I used to love photography and got me back on the horse again. Thank you so much mate.
Couldn't have said it much better myself.
My love of photography and cameras died when Apple came along with the iPhones (just like my love of mechanical watches died with the advent of the iWatch).
But the latest monochrome cameras from Leica and Fuji are rekindling my passion.....and I'm the richer for it. This channel is just icing on the cake.
Love the video.
My Fuji XT-1 my first film sim is a custom Monochrome sim that I use am everyday for documenting daily family moments. I’m never afraid of high iso, noise, or pure whites or pure blacks.
It’s freeing moving away from the modern norms of photography.
I always used to tell this to people that monochrome photography is timeless, but no one would get it. I find people more busy with how best an image can be Photoshoped.
Am glad someone is talking about it.
I remember the black and white film rolls…how tough it was to have at least four good shots out of a 36 roll. Seeing all these shadows and contrasts reminded me that I started to like B&w when I travelled to kolkata , there is something about that city which makes it just the perfect place to play with shadows, contrasts. I feel that it s actually a very good exercise to improve your perception of the contrasts, of a vibe of a place, that timelessness you speak about in the video. Thank you for sharing this, i m very fond of B&w photography
Thanks for watching
The more times passes, the more I don’t know what the hell I am doing with photography. Since I’ve fallen into the passion about one and a half years ago, I’ve spent countless hours, days and week swallowing every little bit of information I could land my hand on and yet eventually it seems (and your vids do help with my thinking about it) that everything I’ve read, YT vids I’ve watched, tutorials, guides, techniques, tips, advices of all kind, every book I read about composition, mastering camera settings, lighting techniques it’s all... superficial to what I’m looking for deep down. It’s all a lie, and following this path is not leading to being a great photographer. I’ve kept running after empty concepts like beauty, sharpness, harmonious composition, vivid colours... But it’s only when I look at other people’s work which I love that I realize all of this is technical detail is mostly irrelevant, it’s not a goal ; it’s a distraction, a burden to the mind preventing to focus on what really matters.
A few month ago, my aunt showed to the family photos she had taken on various occasions. It blowed my mind. She had never taken a course in her life, she knew nothing about settings and she did it all with a cheap compact camera on auto mode. And yet, her images were absolutely gorgeous, very powerful and emotional. It really made me question myself about the way I had approached the art. I keep reading, and watching and shooting, tried tons of lenses, all sort of types of photography, portraits, landscape, street, different settings and editings, but I’m never satisfied. But as time passes, I think I’m slowly understand why. I’m just too cerebral about it. I try to do things rationally and that’s why I fail. Looking at these beautiful photos from your videos I see it more clearly : I want to feel something. That’s what I get from these images. They’re sometimes imperfect, blurry, sometimes blunt or soft, but one thing it seems they have in common is, they’re dreamy. You look at them and see another world you’re curious about. That’s what I want to do, I want to make images that make people dream. I just don’t know how to connect to my own emotions. It’s a paradox, that I’m having a hard time seeing the beauty or emotion of the world. Everything feels bland, flat and tasteless these days.
You'll get there. Just keep on pushing. You've identified what's missing so that's great. Experiment, buy photo books of photographers who inspire you. Make notes on what you like about their work and then go out and shoot in environments that inspire you/feature some of those elements that you like. Overtime your eye will sharpen. Nobody grows overnight. It takes practice. You've got this. 👍🏽🌞♥️
One photographer/printer who has always been an inspiration for me is Don McCullin. From the earlier shots in the East End to his more recent landscapes, his work has always had the punch that comes from using the full tonal range.
I love Kevin Westenberg's b&w photos, there's this softness about them, like an inner light but also dynamism, they don't feel heavy... It's hard to explain. His photoshoot with Depeche Mode for Violator is one of my favorite photoshoots ever, just iconic.
Wow, those really are great b&w portraits. I wasn’t familiar with him, thanks for sharing!
@@mattbarry5473 😊 glad you liked them, the ones in color are incredible too.
I love the way you use your enthusiasm for your own journey into the realm of photography to open the door for others. It’s always about seeing, isn’t it? And, of course, the gratitude for having been shown the way to see. You are a natural teacher. Many many thanks for opening all these doors, several of which I have looked into before, but forgot to go back and look again.
So thank you
Big Fan of Ansel Adams, Edward Weston, Alfred Stieglitz, HCB...and also Imogen , one of the Group f/64 members, founded by Ansel Adams.
This is a must & great start for black & white photography!
I love monochromatic photos, as long as it is actually that in real life.
All of these styles have the magic in there own way, I love
of them. I am really passionate about black and white myself and shoot it exclusively
Growing up in the 80s as a fan of Depeche Mode, I loved Anton's photography and film work for Depeche Mode music. He was like the 5th member how big of an impact he brought to their look and feel. I just read that DM are re-releasing the Strange and Strange Too, a collection of all his MV's.
Just wanted to say thanks for all the education I get here, I know it’s a small thing but I do appreciate this channel so much! Hope you have a wonderful summer! 🌻
Our pleasure!
I really enjoyed that video. I think it makes a refreshing change to absorb influences that would make your average Lightroom/Photoshop expert wince with grain, crushed blacks, pure whites and so on. I think the digital age has made us too concerned with sharp sterile and histogram-perfect images that we forget what photography is really about.
Hi, Alex.
For me are Fan Ho and Salgado b&w photography.
Adams had his system and is now still important.
But Salgado and Ho gave their pictures a soul.
Antoine
So happy to see your channel growing!
Thank you!!
This is one of the most professional photography videos on youtube. The samples and illustration are awesome.
Wow, thank you!
The power of black and white ......excellent video
I had this awesome photo I took in Vietnam on a canoe that had a lot of contrast, I knew it was amazing but it was missing something. Once I converted it to B&W it made all the difference.
I wasn't familiar with Imogen Cunningham. I was surprised you didn't mention Robert Adams as I know you've featured him in the past. For me, he's my black and white inspiration!
It is the ratio of contrast draw attention. It is form shape and contrast. Abstract and take out the detail that don’t need.
Your content and videos are so rich, I have to go back and watch them over and over again. What an inspiration as I am starting over again. Thank you.
That’s awesome. Thank you for watching
My passion is B&W photography. I strive for the strong contast. I love the photography of Fan Ho and Sally Mann. I try to adhere to the zone system. Every photo that I work on, I endeavor to have some area that is pure white, and another area that is pure black. And to address the entire tonal range in between. I think that it makes for a more interesting photograph.
I have learn so much from him. Love his Channel.❤
Thanks for sharing those great photographers, really great work. Fan Ho is a genius photographer.
Thanks for watching.
Your explanations for each of those masters is fantastic. One thing I could not help but discern, are the compositions with each photo. To me it's the other constant that sets these masters apart.😊
Your channel is very inspirational to me I really enjoy watching and learning. Thanks
I am just blown away with all of the content that you provide about photography and the history of it.
Thank you !
Awesome black and white here👍🏻
Thank you so much for this great introduction to your world on black and white photography.
I really appreciate that you're showing photos in such different styles. Showing that it's not about style per se, but intent, decisions, and conveying the artist's point of view.
Thank you
Excellent examples of photographers from whom we all might learn...even if it is what or how we don't like to shoot. I've been going in phases lately depending on where I travel. Now, more Colorado/Mountains/Ghost towns. Next couple of months when I am back in NYC, that will all change again. What this and several of your other videos have prompted me to do is to shoot film again. I need to feel deliberate when I shoot in a way I take for granted in digital.
Great video, three of the photographers you mention are my favourites too: Michael kenna , Salgado and fan ho.
I’m a big big fan of Sally Mann. Also of Fan Ho. Add Avedon, and you have the three photographers that have influenced me the most.
Wonderful collection of black and white art and photographers. Specially some names to dive into a bit more.
Thanks; my day is better for seeing this.
Again….thank you! I get so much from your videos!
You are so welcome!
Another wonderful and inspiring video. Thanks!
Glad you enjoyed it!
Your videos are inspiring. Makes me want to pick my smartphone and start take photographs of any subject that interest me.
That’s awesome
Thanks, you are a great source of inspiration
Michael Kenna! YESSSSSS!!
Excellent! Thank you for sharing so much knowledge for free, just for the passion for photography!
There is certainly nothing wrong with wanting a full range of tonal values in your photograph. I think the problem comes in when we treat it as dogma just because someone said it. For me it's a secondary consideration. I try to start with "What do I want to say" and then try to use the tones to achieve that. Sometimes it can be a full range other times its more compressed. I think it's a good idea to start with the goal in mind and then work our way down into the details. Personally, i'm against dogma in photography no matter how well intentioned. :-)
Thank you for this awesome video and conversation starter. You introduced me to so many wonderful artists.
Rules are made to be twisted into pretzels. ;) Trust your eye and your gut.
That’s awesome. Thank you for watching
I am really glad that I studied photography and got skills with FILM. Learning the zone system before digital came along gave me knowledge and disciplines that are not learned today because it is felt that they are "not nessesary". The Zone System is not directly applicable to digital photography but is translatable. So it is really hard to make it a "dogma" like it was in certain FILM photography circles. Its just a really good thing to know and use when appropriate.
Hello, I've just discovered your channel 3 days ago and I truly enjoy your content. I am an amateur in photography who decided to undust a D3300 Nikon to finally learn what photography is all about. Thanks 👍
Awesome, thank you!
First of all a big "thanks" for your lectures. I subscribed for the insight and gentle nudging towards doing and seeing and not a regurgitation of any specs or gear. Now onto my simple comment. I was mentioning to my son the other day that all of the classic B/W photographers never "saw" their photos in B/W until the pictures were developed. Something we today can simply cheat on without consequence. They saw the world as it was, in color, and it makes me think that either they were looking for specific colors that would give a specific B/W result or they simply put that out of their minds and let the moment "happen" without so much forethought. We can't capture every moment of life, that's an impossibility, and we shouldn't even expect to.
Thanks again Alex for another dive into photographers. A question for you: At 17:39, the image by Imogen Cunningham...why would she crop the photo the way she did? She likely could have captured the leaves in whole but she anchored the left, right, and base to the edges of the photo and to me it leaves the"top open" (and captures your attention like a sign hanging off kilter might. It draws your eyes in). I assume this was very intentional on her part. Visualizing what the image might look like if the leaves were captured in their entirety, I'm left with the idea that that version would be a safe, predictable and perhaps boring photo. Is this another example of the understated importance of cropping?
Well we have a few things in common.
- Ezra Stoller. Architecture is one of my favorite subjects for studying composition. Recently.
- Ansel Adams. Yes, his black and white landscape prints are gorgeous. Almost die-hard black & white photographers understand the zone system really well. To be honest, I'm not a big landscape fan. Admire? Yep. Inspired to do it? Very rarely. BTW, Adams wasn't all about glorious natural landscape. He also shoot peoples, like the Japanese - American camp. It was done in the normal, photodocumentary style, though. You won't see much dramatic lighting/contrast there.
- Immogen Cunningham, Edward Weston and the rest of "f/64 club members": I learn from them that even simple/mundane objects like flower or pepper may look really fascinating.
I fell in love with the skills of Ansel Adams when I first became interested in photography. His darkroom skills and his ability to look at a scene and decide what he had to do to get the full range of the zone system on film. I have read his series (The Camera, The Negative & The Print) several times over the last 50+ years. I use that knowledge to make my documentary/street photographs to give the full range of the Zone System. I prefer the full range of zones in my images because that is what I want. As they say, "to each, their own." Love Fan Ho's imagery as well as the subject matter of the great HCB.
Hey Alex, thanks so much for your videos - so generous of you to share your knowledge, insights and enthusiasm for the visual image. I've at last learnt to "stop worrying and love the black". 😉 I love the all photographers you mention but it puzzles me that nobody on RUclips ever mentions (hint, hint) my personal favourite Brett Weston - his high contrast B&W images took photography into the realm of Abstract Expressionism.
Thank you for watching
Awesome video, loving on B&W photography a lot right now
Love your channel. It's very nice to have an excellent teacher like you too. Lots of love ❤❤❤
Wow, thank you!
Thank you for your channel. I love that you preach individuality through influence.
Thanks for watching!
The way the kid holds the cigarette is very 'grown up'.. ive used cigarettes as props in a few retro photos and the models dont hold the cigarettes as naturallly as that girl. Fabulous
She has a gaze that belies her youth.
Salgado’s book genesis is amazing
Looking forward to it. If W. Eugene Smith is not on the list he should be.
One of your best videos. Really helpful and opened my eyes to the real world of B&W. Thank you and keep up your excellent work.
Wow, thank you!
Just yesterday I've set my old eos 100d to monochrome and mounted a manual 50mm 1.8 lens from the 1970's. Just to have a little trip towards the basics of photography. And today your video - great!
Thanks for your inspiring work! 🙋♂️🙂🙋♂️
Thank you for watching
I love your videos very much the best I follow a Spanish photographer aows on RUclips great work
Thanks!
Thank you so much
This video came at the exact right time for me, a couple of days ago i decided to only shoot black and white for the rest of the year to keep going with photography. Shoot photographs in BW and short films in Color (kind of the reverse of what i do today). Not having to think about color or bw gave me the opportunity to finally finish the second turn on editing of my first novel in just three days. Thank you so much!!
Thanks for watching
Thanks so much Alex for this exquisite and highly inspirational walkthrough. Excellent choices.
My pleasure!
Okay. Apparently this comes out in ten hours. So I’ll soon be finding out which photographer’s work will be part of my order along with Amazon prime day stuff!
Great selection and great analysis. I would throw in Bill Brandt (I think Michael Kenna would agree).
Love this one. Thanks.
You're welcome!
Hi Alex, I must admit i haven't done much Black and White photography but watching your video has inspired me to give it a go. Great photographers like Sally Mann and Michael Kenna are very inspirational, and thanks for showing us there images. I enjoyed the photos from Ezra Stoller, he has great composition in his photos. And it was good to see the photos from Fan Ho again. Thanks for sharing this video.
Thank you for watching
@@ThePhotographicEye No worries your welcome Alex 🙂
Thank you. All the best. 👍📷😎
Thank you too!
informative topic, many good masters (Adams) Weston, Sally Mann, useful informative photo content.
Thank you
Oh god! Seeing these images, especially Michael Kenna, because he shoots in my genre, I realize that *I have SO much further to go*!
Awesome topic I love black and white photographs it is the time less and straight to point..tank u so much for the information have a blessed day sir
Thanks for watching
Loved the video.. thank you
Glad you enjoyed it!
Thanks Alex another wonderful video . I love B&W photos and am trying to find my own style in that field . Some of my favourites are here and some new ones to me … all very inspiring .
Awesome video! Love it :)
Thanks so much!
Two thoughts. Firstly, Salgado is a genius. Full stop, end of conversation. If anyone has doubts, look at his book "Genesis". Such a range of topics - and all in black and white.
Secondly, Anton Corbijn is a fantastic film director. (See: A Most wanted Man.) Some people have everything. 🙂
Thanks Alex. A thoughtful video as always.
Thanks for watching
Have you explore Manuel Alvarez Bravo? If so, I would like to watch a video with your takeaways of his work. Great video, Inspring ideas!
Thanks--one of your best. There are many reasons that most of the "best" photographs are B&W and you show some great examples. The interesting consideration is film vs. digital. Shooting the former requires one to "think in B&W" (and IMO, reading basically every book Ansel produced is a must-read if you're shooting B&W film, but much of it applies to digital as well). This forces one to rely on an experience-based sense of how to expose (yes, the Zone System), filter, develop, and print. Mirrorless systems enable you to see directly in B&W, allowing you to skip this step. Shooting RAW and processing with programs like Silver Efex Pro enables one to control the image similar to what can be achieved in the darkroom, but with even more precise control and flexibility, although the "analog" process can be very immersive (and enable you to extract more DR--read Bruce Barnbaum's books The Art of Photography and The Essence of Photography for details).
Another important consideration is the difference between the look one gets using digital (which I often find too "prefect" and devoid of character) and film. This applies to both color and B&W (Salgado, and many others primarily use/d Tri-X, and it's grain is part of what makes it great, especially when pushed). Fortunately, there are some excellent film emulations (I'm a fan of DxO's) that can effectively approximate a film look, especially with a pigment-based printer and the right paper, but there's something special about a silver-gelatin (or other chemically-based process) print... It's like music--analog simply sounds better than digital.
Thank you for this video. Where can I find the graphic of the zone system that was in the video? That was the best one I have seen.
thanks Keith. I'm not sure if I can remember, but if you do an image search for zone system you'll probably find something similar
Estevan oriol is a master if black and white.
Mr. Kilbee, can you do a video on what makes for a good portrait background? What sort of background enhances a portrait, rather than distracting the viewer from the subject? I know that figure to ground is an important aspect, but I'd love to hear your thoughts on what you look for. Also, if you were to do a course on B&W photography in the digital age (how to shoot with B&W in mind, editing techniques) I'd be thrilled to enroll in such a course. I'm sure many others would be interested, as well. Warm Regards from NYC.
Another great video Alex.
Glad you enjoyed it
Eileen Rafferty changed my life in regards to black and white photography
Fantastic. Your enthusiasm jumps off the screen. More of similar please. Also, I have just finished Sally Mann's autobiography 'Hold Still'. In paperback the image quality is poor but her writing is wonderful, even if her outlook is a little morbid. (See the body farm section). Much of her work is created with ancient 8x10 cameras. Remarkable. Thanks for this one.
Have you ever taken a b&w image of a colour wheel and cmpared that side by side with the colour one? I haven't, but I will. I think it will show why shades of grey is so important, and what will work in a scene for the contrast (there or not there when it really is). Green and red will be the obvious comparison). Your thougHt,, Alex?
I am just starting to learn about the zone system. I kinda get it but I dont get how to apply it in the field. Does anyone have a link that really breaks it down in simple turns and perhaps has examples?
Thank you so much Alex for sharing those brilliant photographers. It's a great inspiration and motivation. I only know Fan Ho, Sebastião Salgado and Ansel Adams as I'm very ignorant, but I'm so thrilled to know more great B&W photographers. (Btw, your chapter title is SebastiaN Salgado, not SebastiaO Salgado. Just to let you know 😁)
Thank you ☺️
Eyes and mouth open... WOW
Loved this video 🎉🎉🎉🎉😂😂😂😂😂😊😊😊😊
Great video! I love finding new people's work. Have you ever seen Clyde Butcher's work? Give it a look. I've been to his studio but have never met him. His story about why he shoots only in B/W is interesting too.
Thanks I love what you do, I would like to learn more about the Zone system at .37 seconds on this video can you lead me to the info please and keep up the great work.
Years ago I bought the beginning of a series by Aperture called Masters of Photography. I have the first nine, beautifully done 8x8 inch, 96 page volumes. I would like to add to that collection now that I'm back into photography. I believe there are 20 or 21 volumes out there now. If anyone has a chronological list of the volumes that were printed I'd appreciate knowing what they are. Highly recommend any of this set you can pick up. :)
Kenna is a freakin master. B&W is about minimalistic rawness. And without color it is very important to use contrast. Either by the subject placement (like the Candy cigarette image or Fan Ho with the subject placement) or with the scene (like Kenna). Without color contrast luma contrast is super important. I love BW it can be super simple (like some of Kenna's photos), or super busy (like Fan Ho's images), but with seeing the light and contrast it doesn't matter because the viewers' eyes will go straight where you intend
I am relatively new to photography and, after listening to several of your wonderful RUclipss on B&W photography, I'd like to give it a go using the Zone System as the foundation. At the end of this RUclips you suggested we seek further explanation/guidance via these Comments. So here goes.... I must be having a senior's moment, but I don't quite understand the vital link in the chain to shoot a scene with several Zones. Do I find a middle grey in the image & meter off that? How do I get the other Zones to be represented in the one image? At first, I thought I must have to to take a pic metering off each of the different tonal values & then blend these several images in software. What is my brain missing (besides neurons?!!). Hopefully you understand what I am misunderstanding. Thanks for any clarification you can give me.
Fan Ho is a sorcerer of light and shadow.
Wonderful video!
Thank you very much!