Photo: GUIOT Damien
Geo: Bruxelles & Croatie
Why do we love black and white photography? I would highlight two aspects:
• Emotional
Increased dramatization of the story. Even when it comes to daytime shots, black and white creates emotional tension that can lead to a different perspective on the work.
• Technical
By eliminating color, you are left alone with the composition. I have repeatedly mentioned in magazine pages the technique of intentionally applying black and white to an image to understand whether you have correctly composed the volume.
Black and white photography is especially appealing in the context of architecture. The graphics reveal details and emphasize the right points. Try experimenting with your portfolio by converting your best works to black and white—you'll learn a lot.
PS: Yesterday, I visited the Kukryniksy exhibition at Manezh. I’ve known Kuprianov, Krylov, and Sokolov since childhood as generators of topical sketches. I never delved deeply into the history of this collective, but viewing the posters and studies in person, I was struck by the technicality of the graphics.
Working with a pencil, ink, or charcoal, the tools come down to how well your hand is trained. The ability to create volume and emphasis with a single line is extremely difficult; one must refine this skill, just as in black and white photography.
@gorkjournal
Geo: Bruxelles & Croatie
Why do we love black and white photography? I would highlight two aspects:
• Emotional
Increased dramatization of the story. Even when it comes to daytime shots, black and white creates emotional tension that can lead to a different perspective on the work.
• Technical
By eliminating color, you are left alone with the composition. I have repeatedly mentioned in magazine pages the technique of intentionally applying black and white to an image to understand whether you have correctly composed the volume.
Black and white photography is especially appealing in the context of architecture. The graphics reveal details and emphasize the right points. Try experimenting with your portfolio by converting your best works to black and white—you'll learn a lot.
PS: Yesterday, I visited the Kukryniksy exhibition at Manezh. I’ve known Kuprianov, Krylov, and Sokolov since childhood as generators of topical sketches. I never delved deeply into the history of this collective, but viewing the posters and studies in person, I was struck by the technicality of the graphics.
Working with a pencil, ink, or charcoal, the tools come down to how well your hand is trained. The ability to create volume and emphasis with a single line is extremely difficult; one must refine this skill, just as in black and white photography.
@gorkjournal