Upcoming Workshops

Come join me in the Eastern Sierra for two exciting workshops!

October 5-8, 2010 Eastern Sierra Autumn Color Tour
All camera formats and experience levels welcome! Limited to only six photographers. Join me on this incredible and photography intensive three-day tour of California’s Eastern Sierra, Owens Valley, and the Ancient Bristlecone Pine Forest. Come enjoy and photograph California’s finest autumn colors in one of the most breathtaking settings on the planet! For more information and registration….

November 6-7, 2010 Introduction to Large Format Photography
Alabama Hills, Eastern Sierra (just outside Lone Pine, California). Limited to only 5 photographers. NO previous large format experience required! My teaching methods and techniques are direct and easy to comprehend. At the completion of this intensive two-day workshop, you will be able to efficiently and confidently compose, focus, and expose your own large format photographs! For more information and registration….

I am happy to answer any questions you may have regarding these workshops/tours. Previous workshop participants can enjoy a 10% discount on tuition! Thank you for your interest.

You are visiting the blog of fine art photographer Michael E. Gordon. For additional photos and information, please visit his official website.

Black and White or Color?

There are now three realms of photography: black and white; color; and “this isn’t working in color; let’s try converting it to black and white”. I say this rather tongue-in-cheek, but it’s become a more prevalent tactic with today’s photographers (especially if one is attuned to some of the online photographer’s forums).

This isn’t something that occurred very often back in the “days of film”, because film costs money and developing it costs even more money and time. With some exceptions (Polaroids were useful for this purpose), the film photographer decided then and there whether they were using color or black and white. Today’s digital tools and software have made it exceptionally easy now to “experiment” by using the built-in and remarkably excellent conversion tools. But has this made us better or just lazier photographers?

Let me first get this off my chest: if your photograph is not very strong when viewed in all its colorful RGB glory, then converting it to black and white will do nothing to improve it. A mediocre color photograph converted to black and white only becomes a mediocre black and white photograph. I’ve said this many times to fellow photographers, friends, and students: strong black and white photography arises from forethought, rarely from afterthought. When Ansel talked about visualization, he was talking about a process that took place before the shutter was fired, not after. In other words, a strong black and white photograph is conceived in the mind (or mind’s eye, as some would have it) while in the field, not during post-processing. What I especially object to is the notion that black and white is ideal when the light sucks or when the image isn’t working in color. These are two lousy notions.

ColorBW

Color or Black and White?

As a photographer who practices both color and black and white photography, what approach do I take? When I’m in the field, I look for and see either in color or in black and white, but rarely can I do both successfully at the same time. Depending upon where I am – let’s say in this colorful southwest Utah setting seen in the photograph at left – I’ve determined that the color of this location is what is drawing my attention, so I begin seeing only in color. And therein lies my Photographic Rule #1,456: if the COLOR of something draws me in, then photographing/printing in color is the obvious choice. If the LIGHT, TONE, or CONTRAST of something draws me in, then black and white is my more obvious choice. The color might do nothing other than add distraction.

You are visiting the blog of fine art photographer Michael E. Gordon. For additional photos and information, please visit his official website

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