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Digital Monochromatic printing with Piezography

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Jeff Gaydash

This week's guest writer is Jeff Gaydash. Jeff Gaydash has a Bachelors of Fine Arts degree in photography from The College For Creative Studies in Detroit, Michigan. He was a partner in a photographic and digital imaging studio for 6 years and is now a web developer for Wunderman Team Detroit working on Ford Motor Company business. Jeff has recently made a conscious decision to move away from

Tilt Shift Lenses

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Regan Shercliffe

This week's guest writer is Regan Shercliffe and he writes about the use of Tilt Shift lenses in B&W fine arts photography.

Regan is an Associate Professor of Psychology at Luther College at the University of Regina in Regina Saskatchewan Canada. He has been taking pictures for a number of years but has become a more serious student of photography over the last year. Regan's

The use of color filters in B&W photography

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Jerry Ipsen

As a bit of a purist and one who appreciates black and white photography, I believe in minimal post editing to achieve the best possible image. One school of thought suggests that it is best to shoot in color and later convert to B&W. The reason most often provided has nothing to do with technical superiority. Rather, by shooting in color the photographer instead has the choice of maintaining the image in color or later converting it to B&W.

Ultimate Guide For Long Exposures - Part 3

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Joel Tjintjelaar

How to calculate the exposure time? Choosing the right exposure time when using ND filters can be quite confusing. First of all, do a light metering without the ND filter. Most DSLR’s have a built-in light metering function. Just set your camera to aperture priority (AV for Canon, A for Nikon), select the aperture you want to use and press

The Resurgence of Monotone Photography In The Digital Age

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Joshua Wyborn

Besides articles on photography in general written by yours truly, you will also find a section on this site with articles written by guest writers. I have made a selection of guest-writers that I greatly admire for their vision or skills and who I think will broaden your vision on the world of photography. Most of them will be B&W photographers, some of them will be just great photographers

Ultimate Guide For Long Exposures - Part 2

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Joel Tjintjelaar

Last week's Part 1 of this series was just some basic information about long exposure photography. Today I'm going to discuss some more technical subjects. The difference between light and dark ND filters There’s a wide range of ND filters to choose from. There are ND filters starting from 1 stops to 10 stops. But

Ultimate Guide For Long Exposures - Part 1

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Joel Tjintjelaar

It’s no secret that I love long exposures. However, I already declared and explained my love for long exposure photography in another article. This article isn’t about why I make long exposures, it’s about the filters I use to make the long exposure.

High Dynamic Range - Part 2

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Joel Tjintjelaar

In part 1 of this series I discussed when and why you can or should use the HDR techniques in your photography. In this final part I will discuss how you can use HDR specifically for B&W. Bringing up the structure HDR really brings up the structure of objects, especially objects like wood or rocks. It actually depends on how

High Dynamic Range - Part 1

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Joel Tjintjelaar

HDR, what is it? First of all: this article isn’t about how to make HDR pictures. I want to give you a better understanding of what HDR is and when you can and should use it. So, let’s start. Imagine you are shooting a landscape on a bright and sunny day with some clouds. You fill the frame with 1/3 of landscape and

Skies, how to make them special - Part 1

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Joel Tjintjelaar

People often compliment me on the skies I use in my pictures, usually followed by the question “How did you do that?” Well, first of all, there are basically two ways to capture a sky:
  1. Without the use of a ND filter;
  2. With the use of a ND filter.
To make those skies

Skies, how to make them special - Part 2 - With the use of a ND filter

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Joel Tjintjelaar

In part 1 of this series I explained how you can get spectacular black and white skies by using some specific techniques in Photoshop. Part 2 of this series is more about the in-camera possibilities and conditions than about Photoshop. The setup First of all, you’ll need the following:
  1. A camera that has the option