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From Basics To Fine Art - B&W Photography by Julia Anna Gospodarou and Joel Tjintjelaar (Book PREVIEW)
From Basics To Fine Art - B&W Photography by Julia Anna Gospodarou and Joel Tjintjelaar (Book PREVIEW)
When I started writing this book, almost two years ago, as a collection of
thoughts addressed to my photography students, I was not expecting it
to evolve into something so complex as it is today. What started small has
become a complete black and white philosophy, based on architecture, but
JULIA ANNA reaching so far beyond it. I somehow knew I would write this book from as
GOSPODAROU far in the past as when I was an architecture student. I knew something was
there, underneath the surface, waiting to manifest. I was waiting for the right
moment to do it and the right moment came. This book comprises my artistic
philosophy and, in a way, my life philosophy also, since these two sides can-
not be separated. It is who I am, because photography is a big part of who
I am. Who I am today, I owe it not only to myself but to a few people and
moments that marked my path and helped me, in one or the other way, to
shape the person and the artist I am. For this I want to thank them now: to
my father, the first person I ever saw holding a camera, when I was at an age
I could barely walk and talk, to my mother who first showed me an art book
at age one, to the artists who made me dream when I was a teenager, to my
teachers who helped the sparkle become a flame, to a few “lucky” moments
that made me make a turn and not another, some would call it fate, but I only
believe in the fate I create myself, just as the artist creates his art.
Many thanks to our professional collaborators, our very creative graphic de-
signer, Artur J. Heller, and our erudite proofreader, Dr. Charles Paul Azzopardi,
for investing their talent into helping this book reach the shape it has today.
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 4 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
FOREWORD BY GEORGE DEWOLFE
(en)Visionography
Photography Drawing George DeWolfe is a prestigious B&W fine art photographer, writer and
The Rule of Grays teacher who has studied in the past with icons like Ansel Adams and Minor
White and now he is opening new roads in photography just like his famous
Long Exposure Photography teachers. He is the author of a series of reference books and essays about B&W
Black and White post Processing using iSGM photography, among which The Master Print and many other well-known
titles. George has been widely published and recognized internationally and his
photography work was exhibited in numerous exhibitions and collections. He is
the creator of Optipix and Percep Tool, two Adobe Photoshop plugins specific
to B&W photography and is also teaching workshops about the art of B&W
photography.
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 5 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
FOREWORD BY CHARLES PAUL AZZOPARDI
I first touched a camera nary three years ago. I have been a black
CHARLES PAUL
AZZOPARDI
and white convert ever since, but black and white photography is
not a simple plugin conversion, desaturate command or a Photo-
shop Channel mixer action to be taken lightly. I loved the emotions
black and white conveyed, but without a vision and a drive to cre-
ate images which move and evoke, it is worthless being affection-
ate towards black and white as I was when I set out on my personal
journey. My initial steps floundered, rudderless and lifeless; then I
came across this image of the Salk Institute in California by some-
one who, up until then, was relatively unknown. An artist called Joel
Tjintjelaar, a Dutch-Indonesian fine art photographer… and then all
was good. The quality of the work on offer communicated directly
with my soul. The emotions the image conjured shone through. I
was addicted. I was hooked, and after approaching Joel, I started
being mentored in his methods and his vision behind the creation of
his transcendental art. I have followed Joel closely from his humble FEEDING WATER TO THE OCEAN - REDUX
beginnings to today and I can vouch for his immense knowledge, his © JOEL TJINTJELAAR - LA JOLLA, CALIFORNIA
passion, his ingenuity and his creative drive.
Shortly thereafter, another artist made her presence felt on the long
exposure fine art scene, an artist of Hellenic & Romanian origin and
They will guide you to look at gear as merely a tool of exploration,
artistic roots, Julia Anna Gospodarou. And thus the most dynamic
just a conduit to your own very personal inner sanctum, and how to
and creative duo in the modern history of black and white photog-
find your vision to become an instrument for change in your chosen
raphy came to fruition.
sphere. Their images are proof that vision and art matter today more
What sets Joel and Julia Anna apart though, is their artistic approach than ever before. Their drive shows a deep hunger for the unknown,
and holistic background, distilling influences from classic art, engi- fused with the courage to be ignorant, but leading to an inherent
neering, architecture, poetry and philosophy and resulting in a pure wisdom to recognize that the image is not taken, but given and
concentrated milieu in the end-result. made in the artist’s mind.
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 6 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
FOREWORD BY CHARLES PAUL AZZOPARDI
Less than 3 years after I started my journey with these two wonder-
ful persons, artists, mentors and co-authors, my art, the art they
helped bring to the surface and to the fore, achieved international
recognition. Open the book, sit down, open your mind and start Charles Paul Azzopardi is a B&W fine art photographer and a medical doctor
your own very personal journey now towards artistic illumination. with the soul of a poet. His artistic personality and the love he has for beauty
and art can be seen in the vision he transposes in both his B&W performance
It is your turn now. photography as well as in his fine art work. Charles has won the 1st Prize at the
Architectural Photography Contest organized by the Fine Art Athens Workshops
Dr Charles Paul Azzopardi, black & white long exposure and Formatt-Hitech in November 2013 with the image exhibited above. Charles
has a special richness of artistic feeling which is exactly what an artist needs
(en)Visionographer - Malta, April 2014 in order to express himself through art and the first quality of a B&W fine art
www.charlespaulazzopardi.com photographer and (en)Visionographer.
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 7 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
INTRODUCTION
INTRODUCTION
In front of you lies a book on photography. Just like so many other As you know by now, the subtitle of the book is “Black and White Pho-
photography books available, or... is it something else? tography - Architecture and Beyond”, “beyond” being an important part
JOEL Agreed, there are so many books on the market these days that cover of this title. Why “Beyond”? The answer is simple: although archi-
TJINTJELAAR different topics on photography: books on basic camera handling tectural photography is the main subject matter, it is only a pretext,
and skills, books on Photoshop and Lightroom, books on Black and it merely serves to illustrate the generic principles behind fine-art,
White photography, long exposure photography, HDR photography, vision and good black and white processing. The core principles tran-
strobist, portraiture, landscape photography and also beautiful cof- scend the chosen subject matter in such a way it enables you to utilize
fee-table photo books with only beautiful images. them in any preferred genre.
JULIA ANNA This is not such a book. We meant this book to be personal and universal at the same time.
GOSPODAROU Meant for beginners, intermediate and advanced photographers. Its
First of all, through this book, we are trying to cover photography
goal is to walk next to you, from the very beginning of your fine art
aspects from both a theoretical and a practical fine-art point of view,
journey, by introducing you to the basics of creating photography, like
which is something not really covered yet. Yes, there are books on
vision and composition, to guide you, step by step, through different
the artistic aspects of photography that are usually very theoretical
considerations about shooting conditions and methods, gear choices,
but not many books that also give practical tips for creating fine-art
subject choices, styles and techniques in architectural photography
photography and how to develop something so abstract as vision.
or the secrets of a good black and white conversion, then drive you
What we bring new and original is that we also give you an interesting
towards advanced long exposure techniques, extensively presented
new theoretical point of view on photography in this digital day and
black and white processing methods and tips on creating a clear and
age with the concept of (en)Visionography and a complete guide on
easily understandable by the viewers fine art language. Every step
how to discover your vision and personal style: The Guide to Vision.
along this journey is illustrated and explained using our own award-
Furthermore we are introducing some new and interesting concepts winning images which are well-known, but also surprise material con-
on how to approach black and white photography and how to pro- sisting in unpublished so far photographs from our archive.
cess photos to black and white: from the method of Photography
The book is structured on chapters written by either of us and we
Drawing, to the B&W processing method iSGM. In addition, we also
WE MEANT THIS chose to use the first person in expressing ourselves, even if we are in
give you a set of rules for good B&W photography called The Rule of
BOOK TO BE fact two persons speaking, in order to be able to narrate and explain
Grays, that are more than the usual tips and tricks that can be found
PERSONAL AND more accurately our personal experiences, our beliefs and vision and
in any other book on black and white photography. We are also pre-
UNIVERSAL to help you experience them yourselves. We hope you will enjoy this
senting a very comprehensive guide on long exposure photography
AT THE SAME TIME. journey and find it useful. If so, we would be delighted to hear it per-
and a practical pricing list to give you practical guidelines on how to
MEANT FOR sonally from you as comments on either of these links: Julia & Joel.
price your work as a photographer. And all of this revolves around a
BEGINNERS, subject matter that can be considered the forte of the writers: fine-art Yours truly,
INTERMEDIATE architectural photography. J&J
AND ADVANCED Julia Anna Gospodarou & Joel Tjintjelaar - (en)Visionographers
PHOTOGRAPHERS
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 8 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
SIMPLE PURPOSE
OF THIS BOOK
SHARE OUR KNOWLEDGE AND VISION
To share knowledge. To show the differences between classical and fine art
architectural photography.
To share our vision.
To talk about different types of architectural photography and
To introduce new innovative concepts, such as (en)Visionography, focus on black & white long exposure techniques.
the Rule of Grays, the Guide to Vision, the 5MF8 Rule,
Photography Drawing, 4 Steps Away From Reality and more. To unveil the secrets of a good black and white conversion.
To share our love for black and white photography. To talk about light in black and white photography.
To share our love for architecture and show its beauty. To talk about shapes and volumes and how they react to light.
To share our experience in photographing fine art. To give practical ideas about useful gear and tools for long
exposure and architectural photography.
To give ideas and to offer examples based on our own work.
To inspire.
To provide tips & tricks and analyze how we get the results we
get. To teach you how to be able to move yourself and others.
To invite the readers to come closer to black and white fine art To start an artistic revolution in photography...
photography and start to love and understand it.
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 9 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
WHO WE ARE JOEL TJINTJELAAR & JULIA ANNA GOSPODAROU
WHO WE ARE
A photographer in love with architecture and an
architect in love with photography, we have been
photographing the world around us from a young
age, architectural photography being our passion
and one of the things that defines the relation we
have with the space we live in and with the world it-
self. Photography is our representation of the world,
our vision, our (en)Visionography.
JOEL JULIA ANNA
TJINTJELAAR GOSPODAROU
www.bwvision.com www.juliaannagospodarou.com
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 10 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
WHO WE ARE JOEL TJINTJELAAR & JULIA ANNA GOSPODAROU
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 11 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
CONTENTS 33 CHAPTERS 170 ARTICLES
TABLE OF CONTENTS
004
005
ACKNOWLEDGEMENTS
FOREWORDS 67 07 PERSONAL STYLE IN FINE ART PHOTOGRAPHY
- FROM VISION TO PERSONAL STYLE - BY JULIA ANNA GOSPODAROU
008 INTRODUCTION CREATING A PERSONAL VISUAL LANGUAGE
009 SIMPLE PURPOSE OF THIS BOOK FINDING AN EFFECTIVE LANGUAGE TO COMMUNICATE WITH THE
010 WHO WE ARE VIEWER - STIEGLITZ’ THEORY OF EQUIVALENCE
PERSONAL VISUAL LANGUAGE AND THE JUNGIAN THEORY OF ARCHETYPES
FINE ART - A DEFINITION - WHAT IS FINE ART PHOTOGRAPHY
FINE ART - AN AIM - WHAT IS THE AIM OF FINE ART PHOTOGRAPHY, 71
08 COMPOSITION AS BASE FOR CREATION - BY JULIA ANNA GOSPODAROU
WHAT IS COMPOSITION
ARCHITECTURAL AND BEYOND COMPOSITIONAL PRINCIPLES AND RULES
COMPOSITION AND LIGHT - LEARNING FROM THE MASTERS
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CONTENTS 33 CHAPTERS 170 ARTICLES
181 13 SUBJECTS IN ARCHITECTURAL PHOTOGRAPHY - BY JULIA ANNA GOSPODAROU 221 GENERAL GUIDELINES
WHICH SUBJECTS ARE INTERESTING FOR ARCHITECTURAL PHOTOGRAPHY? THE “EMOTIONAL ABSTRACT” WAY OF LOOKING AT ARCHITECTURE
185 14 ARCHITECTURAL DETAILS - BY JULIA ANNA GOSPODAROU
HOW TO SHOOT AN ARCHITECTURAL DETAIL 225
20 CITYSCAPES AND SKYLINE PHOTOGRAPHY - BY JULIA ANNA GOSPODAROU
IDEAL LIGHT AND TIME OF DAY FOR SHOOTING CITYSCAPES
TIPS FOR SHOOTING CITYSCAPES
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CONTENTS 33 CHAPTERS 170 ARTICLES
357 29 BLACK AND WHITE POST PROCESSING USING ISGM 2.0 - BY JOEL TJINTJELAAR
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VISION IN FINE ART PHOTOGRAPHY CHAPTER 03 THE WORLD IS MY REPRESENTATION OR WHY DO YOU NEED VISION
The world is our vision of the world. What Schopenhauer means in Creating fine art means creating something very personal and
his famous phrase is that the world is a dream, the world is an image. unique. Not unique in the sense that you are the first or the only one
Also that the world is unique for each of us, our interpretation of it touching the subject or using a certain technique, but you are the
being based on our personal experiences and beliefs, our personal first one that presents the subject in a way that suits yourself and
feelings and sensibility. This applies particularly to artists since they no one else.
use this image they have of the world to recreate the material world
in their images aiming to present not so much the material side of There is no one else in the world who thinks and feels exactly the
it, but mostly the immaterial one, the side that relates to how they way you do and your uniqueness as artist will give authenticity and
perceive the world when they come in contact with it, the side that originality to your work and will create an object of art. What you
will provoke emotion and response from the viewers. create following your vision is an object that cannot be reproduced
because it represents yourself and it bear your personal style.
WHY DO WE CREATE
A vision is what gives authenticity to an image, as long as it is well
We create so we can put our representation of the world in a form translated in the photograph. Therefore you need a vision to be able
that can be first recognized by us so it can help us “explain” the to create in the first place, and then to create something that will ex-
world, but also a form that can be recognized by others and make press your idiosyncrasy and your idea about the world in a way that
them resonate. can be understood by the viewer and can stir emotion.
What is the first ingredient we need to accomplish this? It is that There is no other purpose of art than to express
sparkle of genius and divinity called VISION. the inner world of an artist.
THERE IS NO ONE
ELSE IN THE WORLD WHY DO YOU NEED VISION It helps him give a shape to his representation of the world, so that
WHO THINKS he understands it in the first place and he then communicates his
AND FEELS EXACTLY You need a vision to communicate through art. conclusions to the world. Therefore....
THE WAY YOU DO Fine art photography and vision are synonym terms.
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 35 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
MOVING AWAY FROM OBJECTIVE REALITY CHAPTER 04 ABOUT VISION
TO DISCOVER A PERSONAL VISION
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(EN)VISIONOGRAPHY - THE NEW PHOTOGRAPHY CHAPTER 05 WHAT IS (EN)VISIONOGRAPHY
- A NEW NAME FOR PHOTOGRAPHY IN THE DIGITAL ERA
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(EN)VISIONOGRAPHY - THE NEW PHOTOGRAPHY HOW TO CORRECTLY WRITE (EN)VISIONOGRAPHY AND WHY
CHAPTER 05
- A NEW NAME FOR PHOTOGRAPHY IN THE DIGITAL ERA - THE MANIFEST OF (EN)VISIONOGRAPHY
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 49 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
THE GUIDE TO VISION - 35 RULES TO DISCOVER ARTISTIC VISION
THE GUIDE TO VISION CHAPTER 06
AND CREATE A PERSONAL STYLE
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 56 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
COMPOSITION AS BASE FOR CREATION CHAPTER 08 WHAT IS COMPOSITION
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 72 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
PHOTOGRAPHY DRAWING (PhtD) CHAPTER 10 DRAWING PHOTOGRAPHS AND PHOTOGRAPHY DRAWING
- BLACK AND WHITE (EN)VISIONING AND PROCESSING METHOD
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PHOTOGRAPHY DRAWING (PhtD) CHAPTER 10 THE RULES OF PHOTOGRAPHY DRAWING
- BLACK AND WHITE (EN)VISIONING AND PROCESSING METHOD
The place where the lights and shadows will be visible on a volume How light is disposed in the frame has to do not only with correctly
depends on the direction of light falling on it, the areas closer to the rendering volumes but it also affects the composition. Keep in mind
light will be brighter and the ones farther away from the light will be that different textures and materials behave differently as for how
darker. We have to keep in mind that the direction of light has to be they show light. Some absorb light, others reflect it, some create
THE DIRECTION OF the same for all the volumes in the scene, unless we have multiple lower contrasts, others higher contrasts when they are lit. Consider
LIGHT HAS TO BE sources of light and then the light/shadow chart of the image will be their behaviour both when composing the image you capture and
THE SAME FOR more complex. A rule that stands for all kinds of visual representa- when you process it, so as to be able to emphasize the areas you
ALL THE VOLUMES tion and that some tend to forget since it is not obvious when we need to emphasize and subdue the rest. In principle you do not want
IN THE SCENE watch volumes in real life. to have in the foreground an object that absorbs the light and have
lower contrast surrounded by objects that reflect the light and have
stronger contrast. The object in the front will seem deprived of life
surrounded by the other contrasty objects. If you need to have such
an object in the foreground you will need to find a way to emphasize
it consciously and keep the rest of the objects at a lower contrast so
they do not compete with it. You may want to change your composi-
tion or point of view to improve the light balance in the image.
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 142 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
PHOTOGRAPHY DRAWING (PhtD) CHAPTER 10 PROCESSING STEPS IN PHOTOGRAPHY DRAWING
- BLACK AND WHITE (EN)VISIONING AND PROCESSING METHOD
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THE RULE OF GRAYS CHAPTER 12 WHAT MAKES A GOOD BLACK AND WHITE PHOTOGRAPH
SINCE WE ARE First, of course, a good black & white photograph, any photograph
TALKING ABOUT for that matter, needs to have a good composition. Composition is
JUST ONE TONE elementary but probably even more for a black & white photograph,
CORRESPONDING since there are no colours to compensate for a poor composition.
TO ONE HUE Good composition is the strongest way of seeing, to use a familiar
OF COLOR, THE quote.
DIFFERENCE
BETWEEN THE Now I want to go into some specific black and white aspects of a
TONES WILL photograph only in this section, assuming that when we ask our-
ONLY BE SHOWN BY selves what makes a good black and white photograph, that the
LIGHT OR composition is already strong. If you have a strong composition
THE ABSENCE OF and your black and white interpretation reveals mastery, then you
LIGHT, NOT BY will have a winning combination that is hard or even impossible to
SATURATION beat by a colour photograph. Having set the limits of this topic here,
let me start by saying that creating black and white photographs
is done in post-production, not in-camera. Due to the absence of
colour, the artist needs to decide how to translate a specific colour
to just one tone. What it comes down to is that, since we are talking LA GRANDE ARCHE DE LA DÉFENSE – VISUAL ACOUSTICS I
- © JOEL TJINTJELAAR 2014
about just one tone corresponding to one hue of color, the differ-
ence between the tones will only be shown by light or the absence
of light, not by saturation or other colours.
In black and white other rules apply and I call them the
RULE OF GRAYS
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THE 10 MONOCHROMATIC COMMANDMENTS FOR GOOD BLACK
THE RULE OF GRAYS CHAPTER 12
AND WHITE PHOTOGRAPHY
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EXAMPLE AND ANALYSIS OF HOW TO USE THE RULE OF GRAYS
THE RULE OF GRAYS CHAPTER 12
IN CREATING A BLACK & WHITE PHOTOGRAPH
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TIPS AND PRINCIPLES FOR PHOTOGRAPHY IN GENERAL
CAMERA SETTINGS IN TRADITIONAL AND ARCHITECTURAL PHOTOGRAPHY CHAPTER 15
AND ARCHITECTURAL PHOTOGRAPHY IN PARTICULAR
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EXAMPLES OF DIFFERENT FILTER ACCESSORIES FOR ARCHITECTURAL
EQUIPMENT AND ACCESSORIES FOR ARCHITECTURAL PHOTOGRAPHY CHAPTER 16
LONG EXPOSURE PHOTOGRAPHY
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WHY IS THE TILT-SHIFT LENS THE BEST TOOL FOR SHOOTING
THE TILT-SHIFT LENS AS MAIN TOOL IN ARCHITECTURAL PHOTOGRAPHY CHAPTER 18
ARCHITECTURAL PHOTOGRAPHY
The only other lens that can come close to the tilt-shift lens as for
keeping the verticals relatively parallel is a long lens, but this lens is TILT SHIFT LENSES FOR ARCHITECTURE
generally used more for details than for general shots, as we never
have enough empty space in front of, around or inside a building to
be able to capture general views with a long lens. Besides, a long
lens will compress the perspective so much that the image will lose
the depth that would be shown in the image when using a wide-an-
gle lens, as the 17 mm and the 24 mm tilt-shift lenses, which are the
most popular and suitable among the tilt-shift lenses for shooting
architecture. See the next image example of how a long lens is com-
pressing the perspective. This happens because the subject a long
THE TILT-SHIFT LENS lens can capture has to be too far away and the lens cannot retain
REMOVES THE any foreground in the frame, which we know by now, adds depth to
“KEYSTONE the image. If you see the depth in this image, you have to know that
EFFECT”, OR RATHER it was created in post-processing, by using light and shadow and the
IT DOES NOT method of Photography Drawing in an effective way. Which shows
INTRODUCE IT IN once more how useful this method is and how well it works to trans- THE 24 MM AND 17 MM TILT SHIFT LENSES - THE BEST AND MOST POPULAR
THE FIRST PLACE form an image to suit our vision. TILT-SHIFT LENSES FOR ARCHITECTURAL PHOTOGRAPHY
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SUBJECTS IN ARCHITECTURAL STREET PHOTOGRAPHY
ARCHITECTURAL STREET PHOTOGRAPHY CHAPTER 22
- ARCHITECTURE AS SUBJECT OR BACKGROUND
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LONG EXPOSURE PHOTOGRAPHY - TECHNICAL ASPECTS AND PRINCIPLES CHAPTER 26 INTRODUCTION
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 263 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
LONG EXPOSURE PHOTOGRAPHY - TECHNICAL ASPECTS AND PRINCIPLES CHAPTER 26 AN OVERVIEW OF NEUTRAL DENSITY (ND) FILTERS
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 276 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
LONG EXPOSURE PHOTOGRAPHY CHAPTER 26 EXAMPLES AND IMAGE ANALYSIS
THE FINE ART APPROACH
SHAPE OF LIGHT II
© JOEL TJINTJELAAR 2012
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FINE ART LONG EXPOSURE PHOTOGRAPHY LANGUAGE CHAPTER 27 MY SHOOTING AND PROCESSING WORKFLOW
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 307 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
FINE ART LONG EXPOSURE PHOTOGRAPHY LANGUAGE CHAPTER 27 TIPS AND PRINCIPLES - EXAMPLES AND IMAGE ANALYSIS
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 309 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
FINE ART LONG EXPOSURE PHOTOGRAPHY LANGUAGE CHAPTER 27 TIPS AND PRINCIPLES - SHOOTING
FROM BASIC TO FINE ART BLACK AND WHITE PHOTOGRAPHY - ARCHITECTURE AND BEYOND 319 CONTENTS © JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
CONVERTING BLACK AND WHITE IMAGES USING ITERATIVE SELECTIVE
BLACK AND WHITE POST PROCESSING USING iSGM CHAPTER 28
GRADIENT MASKS – iSGM
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BLACK AND WHITE POST PROCESSING USING iSGM CHAPTER 28
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BLACK AND WHITE POST PROCESSING USING iSGM 2.0 CHAPTER 29 iSGM 2.0 - THE ADVANCED VERSION OF ISGM
Luminosity masking is a very popular technique used to increase However, by using regular selections based on the shapes or lines of
local highlights or shadows in an image with superior control. The a subject in your image and by combining them with the software
luminosity masking technique also creates and saves the selections generated luminosity masks you can increase the control over your
that you have created with the luminosity masks automatically. The black and white photograph in a way that is very powerful.
selections that are created by creating luminosity masks are so in-
credibly subtle that the transitions from selected parts to non select- Luminosity masks are easily created by going to the channels tabs,
ed parts are hardly or completely invisible to the eye. In some cases click CMD+the RGB icon (or CTRL+RGB icon) which will result in a
you do not see the ‘marching ants’ but they are really there, only bright selection. Then save that selection as ‘bright’. While the se-
invisible due to the subtlety of the selections. The only downside of lection is still active, load the saved bright selection and intersect
luminosity masks is that they are based on the intensity of pixels in it with the current active selection. This results in a selection that
an image (highlights or shadows or midtones) and opposite to the reveals only the even brighter parts. Save that as ‘brighter’ and while
normal selections created with the quick selection tool for example, the brighter selection is still active, load the saved brighter selec-
MY VIEW ON are not based on the shapes of a subject in your photo. tion and intersect again. Which again results in an even brighter
FINE-ART selection. Save that as brightest. You can repeat this a few times till
PHOTOGRAPHY AS Creating presence and depth in a building for example is possible no brighter parts can be selected anymore. The same can be done
AN ART FORM, THE with luminosity masking but it is pre-dictated by the original place- for shadows by inverting the bright selection, save it as ‘dark’, load
ARTIST SHOULD ment of the highlights and shadows. While in my view on fine-art the dark selection while the current dark selection is still active and
DICTATE WHERE HE photography as an art form, the artist should dictate where he intersect it and you have a ‘ darker’ selection, and so on as with the
WANTS TO PLACE wants to place the highlights or shadows, or he may even decide to bright selections until you cannot create any darker ones. If you
THE HIGHLIGHTS make black what was originally white or vice-versa by altering the would look at the channels then you can see your saved luminosity
OR SHADOWS tonal relationships. masks based selections there: white reveals, black conceals and you
will see that the selections are so refined that it is impossible to cre-
ate finer selections than that.
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FINE ART PHOTOGRAPHY - PRICING GUIDELINES CHAPTER 30 PRICING GUIDELINES 2014 FOR PROFESSIONAL PHOTOGRAPHERS
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BOOK CONTENTS
THE GALLERY
OF LIGHT AND SHADOW
FINE ART PHOTOGRAPHY
BY JULIA ANNA GOSPODAROU & JOEL TJINTJELAAR
31
PREVIOUS CHAPTER NEXT CHAPTER
FINE ART PHOTOGRAPHY
THE GALLERY OF LIGHT AND SHADOW CHAPTER 31
BY JULIA ANNA GOSPODAROU
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FINE ART PHOTOGRAPHY
THE GALLERY OF LIGHT AND SHADOW CHAPTER 31
BY JOEL TJINTJELAAR
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OUR FAVORITE GEAR, SOFTWARE AND PHOTOGRAPHY RESOURCES CHAPTER 32
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OUR FAVORITE GEAR, SOFTWARE AND PHOTOGRAPHY RESOURCES CHAPTER 32
BLACK AND WHITE LONG EXPOSURE MASTERCLASS VIDEO TUTORIAL BY JOEL TJINTJELAAR
This is a video tutorial created by Joel Tjintjelaar in association with FOTOTV.com (world’s largest pho-
tography related WebTV). The tutorial has been released in May 2013 and is Joel Tjintjelaar’s first video
tutorial series. This video tutorial will guide you step-by-step through his Black and White workflow using
his self developed method of iterative Selective Gradient Masking or iSGM. At the same time Joel gives
you a look on how he approaches architectural and landscape photography using Long exposure tech-
niques. The video includes an exclusive interview with Joel.
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OUR FAVORITE GEAR, SOFTWARE AND PHOTOGRAPHY RESOURCES CHAPTER 32
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OUR FAVORITE GEAR, SOFTWARE AND PHOTOGRAPHY RESOURCES CHAPTER 32
STARK MAGAZINE – FINE ART PHOTOGRAPHY MAGAZINE AND SITE, PHOTOGRAPHY AWARDS
Founded and lead by Jason Lowry and being a very inspiring and fast growing printed and electronic
fine art magazine and also a community of photographers, Stark Magazine promotes originality and
high quality in art. Stark-Magazine aims to do something revolutionary, to reach beyond the norms and
to create a product and community of artists focused more on their creativity rather than seeking ap-
proval. Always close to the artists whose work they host and feature, Stark Magazine and the people
involved in its activities are helping the photography community get better and better, while providing
inspiration and helping new artists get exposure. Stark Magazine also organizes the Stark Photography
Awards, an opportunity for photographers, especially fine art photographers, to create a name and find
recognition in the world of art.
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