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GPO Box 606, Sydney NSW 2001 Yaffa Photographic Group includes: Australian Photography, Capture, www.australianphotography.com www.facebook.com/ australianphotographymag Publisher: James Ostinga Marketing Manager: Lucy Yaffa Production Director: Matthew Gunn Art Director: Ana Maria Heraud Studio Manager: Lauren Esdaile Designer: Ana Maria Heraud All editorial contributions should be sent to contact@australianphotography.com Australian Photography welcomes freelance contributions. Please check with the editor before submitting your story. Editorial guidelines are available via email and include full details on all requirements for story and image submissions. Please note that stories should be embedded in the body of the email, or supplied as email attachments in text format (.txt), rich text format (.rtf) or Microsoft Word format (.doc). Ideally, images should be supplied in JPEG format (.jpg) with a separate list of captions. JPEG compression should be no lower than 9/12 (75%). Digital images should be supplied at a resolution of 300ppi, at a physical size of at least 20cm and not larger than 42cm on the longest side.
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LEFT TO RIGHT, TOP ROW: Paul Hammond, Karen Duffy, Bridget Gibson. MIDDLE ROW: Aimee Glucina, Christine Goerner, Kerry Faulkner. BOTTOM ROW: Margherita Standing, Christine Rocher, Michelle Knight.
MARVELLOUS MONO MIKE O’CONNOR, EDITOR
I
f three years of running Australasia’s largest competition for black and white photographers has taught us one thing, it’s that black and white photography remains more popular than ever. Over the years there’s been plenty of trends in photography that have come and gone – think the initial waves of panoramic imagery, the HDR boom in the mid-2000s, and maybe even the use of filters on Instagram - and objectively, you would think black and white might have waned in popularity along with them. Just think about it - we use high resolution sensors today that can capture a huge array of colour information, and the days of publications only printing in black and white are long gone. What is it about black and white that’s kept it relevant? and I’m not just talking for older photographers, but a new generation as well. I think the arguments for capturing black and white are pretty well known by now – stripping away the excess, getting to the soul of your subject, and paying tribute to the history of photography. But one that’s often forgotten is the extraordinary number of ways you can approach black and white imagery. From using it subtly, like how Cody Nahirny has done with his evocative entry A moment within a moment in the Mono Awards People category on page 25, or choosing
to make it the star of the show with high contrast and deep, rich blacks, like with Diana Fernie’s jaw dropping image Just chill on page 40, black and white can truly open the doors for your creativity just as well as any colour image can. But if you still have your doubts, or are wondering where to begin with taking your own black and white images, well this issue, our annual black and white special edition, might just help sway you. This year we’re proud to showcase some of the best black and white images taken in the last couple of years, along with a few tips for capturing powerful black and whites from some of the best in the business. Finally, as a self-confessed lover of black and white photography, there’s something very special about being able to publish a magazine dedicated to work in this most amazing of formats, especially so when it’s almost entirely the work of our readers and followers. I hope you enjoy it as much as I do. ❂
| 3 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
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FOR A BRIEF WRAP-UP OF THIS YEAR’S ENTRIES (AND THEIR MERITS!), TURN TO PAGE 23.
40 THE MONO AWARDS – ANIMALS CATEGORY Showcasing a cross section of the wonderful world of animals, check out the 50 photographs that made the judges’ cut in the Animals category this year.
32 THE MONO AWARDS – PLACES CATEGORY Representing the best of landscape, have a look at the 50 images that took out the top spots in the Places category.
DEPARTMENTS
24 THE MONO AWARDS – PEOPLE CATEGORY
10 QUICK SNAPS
It is no easy feat to capture the essence of a person in a photograph. Check out the 50 entries that our judges picked as the finest black and white portraits and people shots this year.
The latest news and products from the world of photography.
16 STRAIGHT SHOOTER Darran Leal looks at how reading a scene can maximise your success with black and white imagery.
18 YOUR BEST SHOT Take a look at the best images from our ‘Black and White’ photo competition.
8 BEHIND THE LENS
58 APS ONE FRAME AND COLUMN
Photographer Nick Melidonis has turned his lens on his home country of Greece many times over the years, but never with conditions as perfect as these.
News, views and images from the Australian Photographic Society.
64 FUJIFILM IMAGE DOCTOR Saima Morel critiques a selection of readers’ images, and picks the winner of the WD 8TB My Cloud Home Hard Drive valued at $479 and SanDisk 1TB Extreme Portable SSD Black valued at $254.
49 FORBIDDEN COLOURS A crash course in shooting the beauty of black and white, Steve Thomas breaks down his shooting and editing workflow for more powerful pictures in this special feature.
THIS MONTH’S COVER A top 20 finalist in the Animals category of the Mono Awards this year, Jaydene Chapman’s image Django’s Profile was captured in a rare moment where Django the dog turned and looked at the photographer’s studio light. You can see more of Jaydene’s work at jaydenechapman.com.
BEHIND THE LENS
ROUSSANOU NICK MELIDONIS
At the time of writing, I have a large 20-year retrospective exhibition open at the warehouse PSAS Gallery in Fremantle. 60 works are on exhibit, celebrating over two decades of photographing and leading tours to the Greek Islands and mainland Greece. This image is one of them. The images in the exhibit not only capture the changing face of Greece during the last two decades, but also a story of the changing technology from film to digital cameras and onto the modern-day compact wonders we now enjoy. This image was captured at dawn over one of the iconic monasteries on the World Heritage site of Meteora. Roussonou is one of just six remaining monasteries from the original 24, and it was built in the 16th century on top of what appears to be impossible spires rising from the earth. For this image, we clambered to a high vantage point overlooking two of the monasteries, Roussonou and St Nicholas. The monasteries are surrounded by high mountains, and dawn is always later until the sun breaks through from one of the mountain peaks. Often the site is surrounded by clouds which can also provide amazing light as shafts break through the cloud cover to light the spires and the tiny town of Kalambaka below.
On this particular morning, the sun burst through the thin cloud cover to bathe the monasteries in a golden glow - a landscape photographers’ delight. The image was taken in 2004 with Canon’s first foray into large digital SLR cameras, in this case, the massive Canon EOS 1D S. The batteries were like bricks and looked like they could be used to kick-start a Jumbo. Anything over 400 ISO meant a lot of noise so I set the camera to 100 ISO on a tripod. Fortunately, I was able to capture a single frame without blowing out the highlights. Recently, a lot of work took place on the exhibition file using Topaz AI software to clean the image and maximise the information to be able to make a good A1 sized print. I was lucky as I haven’t been able to repeat this particular scene, although Meteora seldom disappointed me over the years that I’ve made the journey. The Greek Consul of Perth opened my exhibition and mentioned that my last tour to the Greek Islands and Meteora would be in June 2022. When asked about COVID, she smiled and repeated an old Greek saying; “When mortals make plans, the Gods laugh”. Here’s hoping they’ll be smiling next year. CANON EOS 1D S, 135MM LENS. 1/8S @ F13, ISO 100.
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QUICK SNAPS
QUICK SNAPS ENTRIES IN GREAT WALKS’ WILDERNESS PHOTOGRAPHER OF THE YEAR CLOSING SOON
W
ILDERNESS Photographer of the
Year 2021, a new photography competition run by our sister title Great Walks magazine, is set to close for entries in September. Aimed at promoting and celebrating the best photography of our natural world, a prize pool of more than $14,000 is up for grabs. Great Walks editor Brent McKean says the competition offers a genuine possibility for amateur, semi-professional and professional photographers to have their work published and win some serious prizes. “Winners and runners-up will share in a prize pool of over $14,000 including $4,000 cash, and prizes including the latest Nokia smartphones, a threeday walking tour of Tasmania, a trip to NZ’s Milford Sound, and a team entry into Oxfam Trailwalker,” he said.
The best 20 images in each category will be published in the DecJan 2022 issue of Great Walks and appear online. There are two categories for Wilderness Photographer of the Year – People and Places. • People: Your best photos with people in the frame – the ones you hike with or meet on your walk, the rangers, wardens and guides, and maybe people who live on the trail. • Places: The sweeping panoramas and dramatic horizons, the spectacular coastlines and inspiring wilderness here and overseas that fills your senses and fills your lenses! The competition is set to close on 5 September, and entries are $25 per photo. Find out more at greatwalks.com.au/wpoty. FROM TOP: Matt Beaver, The Fog; City/Street winner, Waking up in the fog by Jana Luo; Astrophotography winner, Moonrise at Horsehead Rock by Tony Law.
SONY ALPHA AWARDS ANNOUNCES 2021 COMPETITION WINNERS THE winners of this year’s Sony Alpha Awards have been announced, with photographer Matt Beaver named Grand Prize Winner for his image The Fog. Now in its sixth year, the annual awards recognise the talent of amateur and professional photographers across Australia and New Zealand. Images must be captured using Sony Alpha cameras and lenses. Beaver takes away AUD $10,000 worth of Sony camera gear for his win. Across the competition’s 12 categories, more than 4900 images were submitted in 2021, with a panel of 24 judges selecting a final shortlist for each category. Above: Cradle Mountain National Park, Tasmania, by Todd Brewer.
You can see all the category winning images at australianphotography.com. | 10 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
QUICK SNAPS
CANON ANNOUNCES RF 14-35MM F/4L IS USM LENS CANON has announced the RF 14-35mm f/4L IS USM lens, its widest RF lens to date. According to Canon, the new zoom lens completes the company’s RF trinity of ‘kitbagfriendly’, compact f/4 lenses, and promises quiet autofocus via a Nano USM focus motor, a 5.5-stop optical image stabiliser (7-stops when using the EOS R5 and R6) and a build that includes aspherical and UD elements. The RF 14-35mm f/4L IS USM will be ideal for landscape and architectural photography, as well as vlogging. The new lens weighs just 540g, and shares the same 77mm filter thread as the other F4 lenses for RF mount. It has a minimum focus distance of 0.2m and a 0.38x magnification. The RF 14-35mm f/4L IS USM employs three ultra-low dispersion and three glass moulded aspherical lens elements one of which is both UD and aspherical. These all feature a non-spherical curvature which gathers light at a single point to reduce aberration and help sharpness. The glass also features Canon’s Subwavelength Structure Coating (SWC) and Air Sphere Coating (ASC), to prevent ghosting and flare.
LEICA LAUNCHES 'BLACK PAINT' M10-R LEICA has announced a new design variant for the Leica M10-R rangefinder that features a new sleek look with a black paint finish. While the camera shares the same technical specifications as the original M10-R, including an 'ultra-quiet' shutter and a 40 megapixel sensor, the main difference between the models are cosmetic.
Get even closer.
Canon says that a new rear focus design (used to enable the close focusing ability of the lens) also reduces focus breathing to less than a third of the EF 16-35mm f/4L IS USM. Other features include a control ring for direct control of the TV, AV and ISO settings, and a full-time manual focus ring with L-series weatherproofing. The lens is expected to ship by the time you read this, however no pricing has been confirmed as yet. You can find out more about the new lens at Canon.com.au. SP 150-600mm F/5-6 Di VC USD G2 (Model A022) Di: For full-frame and APS-C format DSLR cameras.
Created to embody the classic Leica ‘look and feel’, the new model has been designed so that the finish will wear over years of use to reveal tinges of brass beneath the high-gloss black paint. Over time each camera will become marked with a unique patina specific to the touch of its owner. Leica says the intention behind this was to produce a camera that “not only captures moments in time, but also tells a story of its own.” Other differences between the original model and the new design include the ISO and shutter speed dial both featuring diamond-pattern knurling; the shutter button has a silver-chrome finish; the classic Leica lettering on the top plate and the red Leica dot has been omitted. The new model will set you back $13,900 AUD. To find out more, visit leica-store.com.au.
| 11 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
www.tamron.com.au
QUICK SNAPS
PANASONIC LAUNCHES M43 25-50MM F/1.7 LENS PANASONIC’S latest Micro Four Thirds lens, the LEICA DG 25-50mm f/1.7 Vario-Summilux, is here. Announced alongside the GH5 Mark II, the new zoom lens is designed to complement the 10-25mm f/1.7 Leica DG Vario-Summilux, with both lenses sharing the same size, shape and design. This will be particularly useful in video production where tools like follow-focus gears and similar accessories are used on each lens, as well as for camera balance and weight when using gimbals and similar devices. The new lens has a minimum focusing distance of 0.28m (at wide end, 0.31m at tele end) and a maximum magnification ratio of 0.42x (35mm camera equivalent). The lens system comprises 16 elements in 11 groups, with an aspherical lens and three ED (Extralow Dispersion) lenses that suppress axial and chromatic aberration. The lens takes a 77mm filter, and also has a rugged dust and splash-resistant design. It’s freeze-proof down to -10° Celsius. The LEICA DG VARIO-SUMMILUX 2550mm / F1.7 ASPH. will be available locally from August and has an RRP of $2,899.
CAMERAPRO LAUNCHES 2021 EXPLORERS’ GRANT PHOTOGRAPHIC retailer CameraPro is now accepting applications for its 2021 Explorer’s Grant. For the third year running, The Explorer’s Grant will provide $12,500 to assist worthy causes and raise awareness of them through photography and video. CameraPro describes the grant as an outstanding opportunity enabling photographers and filmmakers, either established or emerging, to enact real, positive change through their work.
The grant offers the opportunity for both financial support and exposure for a chosen cause through photography and/or videography. Supported projects can last for up to 6 months, with a focus on Australian creatives making a positive social or environmental impact within Australia. Entries close August 31.
You can find out more about the new glass at Panasonic.com.au.
You can find more info at camerapro.com.au/explorersgrant.
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| 12 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
C AP T U RE YO U R ICON IC MOM ENTS
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Awards (IPPAWARDS) have been announced. The 14th Annual awards recognise photographs captured on Apple iPhone, and were taken over a ‘remarkable year of grief and loneliness,’ say event organisers. Out of submissions from thousands of photographers from all over the world, the Grand Prize Winner and Photographer of the Year Award goes to photojournalist Istvan Kerekes of Hungary for his image, Transylvanian Shepherds. In it, two rugged shepherds traverse an equally rugged industrial landscape, bearing a pair of lambs in their arms. The grit of the men and the bleakness of their environment are a moving contrast to the hope and innocence of the lambs in their care. First Place Photographer of the Year Award goes to Sharan Shetty of India for his image, Bonding, where a man and his horse commune in an empty landscape, offering each other comfort and soft words. Top-three winners in an additional 17 categories were awarded to photographers from almost every corner of the world, with Australia also well
represented. Glenn Homann from Ipswich, QLD took first place in the abstract category for his colourful architectural image, and also won second place in the environment category for a striking photo of plastic cups, along with honourable mentions in the People, Portrait and Sunset categories. Glenn’s photos were captured on iPhone 11 Pro. Christian Horgan from Fremantle, WA won first place in the Nature category for his image of a Waterlily, Pondering The Positives, and also took first place in the People category for his image Black Summer Blue Montaigne. Christian’s photos are shot on iPhone X. Finally, Theresa Lee from Sydney, won third place in the Animals category for her image of a dog, titled Hair Raising. She also received an honourable mention in the same category. Theresa’s photos were shot on iPhone XR. You can see all the winning images at australianphotography.com.
CLOCKWISE FROM BELOW LEFT: Grand Prize Winner and Photographer of the Year Award winner, Istvan Kerekes; Hair Raising by Theresa Lee; Winner, Sunset category, Claire Droppert; Winner, Abstract category, Glenn Homann.
www.tamron.com.au | 14 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
STRAIGHT SHOOTER
THE WORLD IN MONO You can’t escape the fact that we generally see the world in colour and most people are most comfortable shooting in colour. So why black and white? It all comes down to simplicity, explains Darran Leal.
I
love black and white photography, and while I’ll be the first to admit I don’t shoot to produce black and whites very often, with the right subject, it is very satisfying. As I see it, when its visual simplicity you’re after, few things compare to black and white. It can be so creative and strips away all distractions from your subject.
VISUALISE! I’m not one of those photographers who changes my camera settings to black and white when I’m taking images. However, I do try to think of the world as mono at the given moment I’ve decided to shoot in black and white. For that period of time, I’ll try to set my
brain to a ‘mono mode’ so I can visualise the various tonal ranges from white to black in the final result. This visualisation process is important, and I find is often the difference between ending up with a ‘true’ black and white image or a general grey mid tone only result. Just look at the examples here – while shooting I decided on black and white for both of these images because of their punch and contrast. I knew when I was capturing the silhouette shot that the backlighting would lend itself to black and white, and for the gaucho the bright subject and flat lighting made it a smart choice. Of course, identifying the right image before you shoot is also key. A good tip is
to look for subjects that only have little colour to start with. Some landscapes for example, offer this in the middle of the day. Then, look for changes in light and consider how you can incorporate this into your final image.
EDITING The most important step with editing black and white images is in the processing. Personally, I like high contrast black and whites. This means I try to achieve deep blacks in the shadow areas and strong whites in the highlights, with mid tones filling in other parts of the image without being the main tone throughout. Back in the day, I would use Polaroid Instant Slide film rated at 125
| 16 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
STRAIGHT SHOOTER
ISO, and I would use a red filter to give me the same high contrast result. Today, I use Adobe Lightroom and a couple of favourite Presets as the starting point for processing. I have three - a high contrast black and white, a standard black and white and a high contrast preset with Graduated Filters. One click can offer amazing results on the right image. If you fancy trying them out, email me and I’ll even include how to add them to your Lightroom Presets for free - darran@worldadventures.com.au. Finally, if you like to keep it simple and want a great black and white subject, at your next shoot I suggest you look for something backlit - perhaps a landscape with a single tree in after-
noon light, or a subject against a clean background with the sun behind them. So many great black and white images are captured by just reading the light, and it can offer you a whole new world of creative fun. ❂ DARRAN LEAL Darran has been teaching photography since 1981. His company, World Photo Adventures, takes small groups of photographers on professionally guided photo tours around the world, including a once-a-year trip with AP in 2021. More info: worldphotoadventures.com.au
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OPPOSITE PAGE: Patagonia, Chile. This image is not a great example of a high contrast B&W, yet it works well here due to content and story. Canon 5DS, EF24105mm f/4L IS USM lens @ 85mm. 1/125s @ f11, ISO 100. ABOVE: Gemstone diggers in Madagascar edited using my high contrast with Graduated Filters Preset. I took images with the light to my back that resulted in good colour images. These same images would have been poor in B&W as the lighting was too “straight”. Instead, I moved to the opposite side of the ridge and purposely used the high contrast lighting to my advantage. I visualised this result exactly, timing the digging for maximum effect and using Adobe Lightroom as my final tool. Canon 5D, EF24-105mm f/4L IS USM lens @ 24mm. 1/1500s @ f8, ISO 200.
YOUR BEST SHOT
YOUR BEST SHOT BLACK AND WHITE
It’s our black and white special issue, so of course this was always going to be our theme this time around! Tear your eyes away from The Mono Awards winners and check out the best images in Your Best Shot this month.
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LINDA CUTHBERT Swell Time at Avoca EDITOR’S COMMENT Captured during a large East coast low off the coast of Avoca beach, NSW, Linda Cuthbert’s image is an evocative capture that puts the viewer right in the face of a big swell. There’s great texture in the water in the foreground, and you’ve balanced the whites nicely to capture the spray too. We’re suckers for a good wave shot, and this is a cracker.
TECHNICAL DETAILS Nikon D800, Nikon 200–500mm f5.6 lens @ 200mm. 1/2000s @ f8, ISO 160.
JAMES MITCHELL Prowed HOW I DID IT I have long admired this harbourside building in view of its stylised resemblance from certain angles to the prow of a ship, so for this photograph I sought a position and composition with the aim of emphasising that illusion. It has been processed using DxO OpticsPro and Adobe Photoshop CS6. The sky was kind of bland, so I replaced it with some beautiful wispy clouds I photographed recently. The forms and features of the buildings have also been enhanced using selective curves and levels adjustments. Nikon D810, Nikkor 24-85mm lens @ 66mm. 1/80s @ f/7.1, ISO 450.
KYM DOUGLAS Tulips Black v White EDITOR’S COMMENT Kym Douglas says that during Covid she started photographing still life objects, with this shot taken on her kitchen bench using natural window light from the right and foam board as a background I think one of the reasons this still life image is so effective is its simplicity – two flowers and two backdrops and little else to draw the eye away. Black and white works best when we use it to strip away distractions, and you’ve done that here, while keeping the frame beautifully balanced. Bonus points for producing such a graphic and striking image without relying on Photoshop trickery to get there too. Well done!
TECHNICAL DETAILS Canon 7D Mark II, Canon 24-105mm IS lens @ 31mm. 1/15s @ f6.3, ISO 100.
Thanks to the team at Blonde Robot, Kym Douglas has won a Peak Design Everyday Backpack 15L Zip v2 bag valued at $399. Ideal for everyday carry and light photo carry, the bag is accessible on the top and sides via a single weatherproof 270-degree zip. Inside, configurable FlexFold dividers keep photo, drone, or everyday gear organised and protected, while outside, a 100% recycled 400D weatherproof shell keeps everything safe.
MORE INFO: PEAKDESIGN.COM
| 19 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
YOUR BEST SHOT
MAREE WOOLLEY The journey HOW I DID IT This image was taken in Vava’u, Tonga, and it was a truly amazing and grateful experience to be in the presence of these amazing creatures. Watching this young calf cruising into the distance on their long journey ahead was something I’ll never forget! Sometimes you just have to take an image, put the camera aside and watch in awe.
TECHNICAL DETAILS Sony A7R Mark III, Sony FE 16-35mm F/4 ZA OSS lens @ 20mm. 1/640s @ f6.3, ISO 640.
THERESA LEE Floral Flamenco HOW I DID IT The composition of these fully bloomed tulips arranged in the vase inspired my imagination. In natural light they took on the look of flamenco dancers’ dancing. Luckily, I had my iPhone on hand, and by shooting from slightly above, the vase is hidden, and the flowers appear to float. I chose black and white to bring a timeless look to this image. Apple iPhone XR, 1/50s @ f1.8, ISO 250.
| 20 | SEPTEMBER 2021| AUSTRALIANPHOTOGRAPHY.COM
RAN FUCHS Tell me why I don’t like Mondays HOW I DID IT Monday morning. Instead of the spring in people steps after a long weekend, the weight they were bearing while starting a new week’s work was apparent in their silhouettes. I positioned myself at the
crossroad, facing the sun and closed the aperture to get the beams of light illuminating their heavy silhouettes. I chose a high ISO of 800 to get the ‘dirty’ feeling I was seeking.
BACKSTORY BACKPACK
TECHNICAL DETAILS Olympus OMD EM1 Mark II, Olympus 12-40mm f/2.8 lens @ 12mm. 1/500s @ f20, ISO 800.
HOW TO ENTER YOUR BEST SHOT IS OPEN TO AP SUBSCRIBERS AND APS MEMBERS. TO ENTER AN IMAGE IN THE COMP, CHECK THE COMPETITION THEMES AND INSTRUCTIONS BELOW AND EMAIL YOUR BEST IMAGE TO YOURBESTSHOT@AUSTRALIANPHOTOGRAPHY.COM
MODERN DESIGN PROVEN RELIABILITY
UPCOMING COMPETITION THEMES
FEBRUARY ISSUE BLUE November 30, 2021
NOVEMBER ISSUE PETS August 31, 2021
MARCH ISSUE EYES December 15, 2021
YOUR ENTRY DECEMBER ISSUE SEASONS September 30, 2021
JANUARY ISSUE INSECTS October 31, 2021
1. Email your entry to yourbestshot@ australianphotography.com with the name of the competition theme in the email subject line, for example: Weather, Abstract, Landscape, etc. 2. The image file must be the same as your name, for example Jane Smith.jpg. If you enter multiple images, each new image file name should be appended with a unique number, eg Jane Smith2.jpg 3. A maximum of three images can be entered per person. 4. Images must be in JPEG format. 5. Email file size must not exceed 7MB. 6. Please include the following information about your entry in the body of your email: Name, image title and up to 200 words explaining how you created your image. Please also include technical details including camera, lens, focal length, shutter speed, aperture, ISO, tripod (if used) and a brief summary of any software edits.
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THE CHOICE OF WORKING PROFESSIONALS
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A beautiful and heartbreaking landscape from Canada, an evocative shot that challenges our ideas of portraiture and a nail biting underwater image have shared the honours in The Mono Awards 2021. Now in its third year, the Mono Awards 2021 featured a prize pool of more than $12,000 thanks to sponsors SanDisk, Momento and Momento Pro, in our hunt for the best black and white imagery in the region. Thousands of images from photographers in Australia and New Zealand were entered in the competition, with photographers Susan Sventek, Mel Sinclair and Diana Fernie taking out the People, Places and Animals categories, respectively. The competition was judged by a panel of eight professional photographers, selected for their expertise in the black and white format. For judge Alex Cearns OAM, the competition was a ‘visual feast’ of incredibly crafted images. “The high number of exceptional mono photographs entered made the judging process intense but thrilling. There’s so much talent out there!” she said. This year we’ve published more finalist photos than ever, and over the next few pages you can see the top 50 images across the three categories in the competition, as well as
judges’ comments on the winning and runner-up images, and tips for strong black and white imagery. A huge thank you to our major sponsor, SanDisk, and supporting sponsors, Momento, Momento Pro and Midland insurance, who have contributed to a prize pool of $12,500, including $9,000 cash. Without them we simply couldn’t run The Mono Awards, and their support of Australasian photographers is hugely appreciated by all of us here at AP. Also, a huge thank you to our star studded judging panel of Helen Whittle, Chris Reid, William Long, Jackie Ranken, Douwe Dijkstra, Alex Cearns, Anthony McKee and Matt Palmer. You can read their full bios at themonoawards.com.au. Finally, and most importantly, a huge thank you to everyone who entered The Mono Awards 2021. Even after three years of running the competition we continue to be amazed by the depth and quality of images entered, proof that black and white remains a hugely important and exciting medium. To learn more about the 2022 edition of the competition, head to themonoawards.com.au.
| 23 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
PEOPLE
Winner WHAT THE JUDGES’ SAID
SUSAN SVENTEK PENITENT
People category winning photographer Susan Sventek only started photography in 2017 after raising her two children, but has since completed a Certificate IV in photography and photo imaging at Chisholm Institute, Melbourne. “My real passion is portraiture, but I have a keen interest in all genres of photography,” she says. “I am always looking to create something different and unusual, and I especially love Monochromatic images.” Her image Penitent is a photograph of her husband, the subject
HELEN WHITTLE
of most of her work. Captured in her home studio, it was taken with a strobe and an umbrella feathered, along with a large reflector as fill light. “I wanted a thought-provoking image that was not your typical portrait,” she says. “The Penitent man hides his face from judgement, he displays feelings of remorse, shame and regret without any facial expressions.” @Luvs2click PRIZE: $2,000 CASH, SANDISK PRIZE PACK VALUED AT $500.
| 24 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
This faceless portrait carries a wonderful air of mystery, leaving the viewer wanting to know more. With the combined assembly of beautiful textures, skilful lighting, and the fantastic use of monochrome tones, this image is breathtaking and perfectly executed. ALEX CEARNS This image has an immediate “wow” factor. The strong pose and central placement of the subject appearing from the surrounding blackness commands your attention. His mysterious hat dip leaves us asking who he is and wondering about his story. Expert use of exposure, shading and lighting has produced a masterful portrait, which is completely at home in black and white. A true work of art!
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CODY NAHIRNY
A MOMENT INSIDE A MOMENT Perth photograper Cody Nahirny describes his double exposure A moment inside a moment as like building a puzzle you can’t quite see yet. “You hope the pieces are in the right place and you try your best with the limited amount of knowledge you have, but at the end of the day we all need a little bit of luck to capture something like this,” he says. The subject is one of his best friends, Rasheed. “We actually never really plan our shoots, we just meet up somewhere, skateboard around an area and take some photos,” he explains. “I entered this competition because my sister believed in me enough to pay for my entry and I wanna make her proud - love ya Jade!”
Runner up
@35mm_cody PRIZE: $1,000 CASH, SANDISK PRIZE PACK VALUED AT $250, MOMENTO VOUCHER VALUED AT $250.
WHAT THE JUDGES’ SAID DOUWE DIJKSTRA This is a beautiful multi-layered portrait, both mysterious and captivating. Two layers are intertwined but are hard to separate. As he’s looking straight at you, his eyes are what you see first and it’s almost like you’re looking into his soul. But then a second layer appears, and it reveals a wider (outside) context. A grainy texture adds to the dreamy look. It leaves the viewer believing that there’s more to this person than meets the eye. JACKIE RANKEN Gesture, expression and composition come together to make this multiple exposure compelling to look at. The aligning of the dark silhouetted shape of the body to the forearm and face put emphasis on the eyes and the expression. I feel like the young man is looking through me and past me, while totally focused on his own thoughts and circumstance.
| 25 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
PEOPLE
3 KAREN WALLER
9 MAX MAUJEAN
15 ANGELINA LAMBROPOULOS
4 DAVID COSSINI
10 PEPIJN THIJSSE
16 CRAIIG STAMPFLI | 26 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
5 REZA BAGHERI
11 JEANETTE SCALES
16 FERNE MILLEN
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6 MICHELLE YOUNG
11 NATALIE MEREDITH
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7 PETER HOLTON
8 JULIE GILBERT
13 SUSAN SVENTEK
14 DAVID COSSINI B&W TIPS FROM THE JUDGES
Matt Palmer In a black and white image, there isn’t any colour to create differentiation. Utilising the full range between full white and full black allows a photographer the opportunity to create a visual hierarchy that guides the viewer’s eye around the image. This typically occurs where the image is brightest, or where there is the greatest area of contrast between bright and dark.
Alex Cearns
18 SANDRA CHETWYND
By removing all colour from your images, you take away a layer of distraction. Everything has equal status and so to emphasise what the photographer wants others to see, elements like tone, contrast and exposure need to be tweaked. It’s a balance of these things, combined with strong and interesting subject matter, which makes impactful and memorable black and white images.
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PEOPLE
19 JARVIS SMALLMAN
20 ANDREA JAMES
25 AMBER BOTTERILL
26 JENNY DETTRICK
21 KERRY FAULKNER
27 MICHELLE YOUNG
30 DIANE CROWE
31 BETH BAKER | 28 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
32 JAYNE MCLEAN
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22 AIMEE GLUCINA
24 BRIDGET GIBSON 23 JESSE HARVEY
B&W TIPS FROM THE JUDGES
William Long Work on a calibrated monitor and regularly calibrate it with a proper hardware calibrator. I judged a lot of images which lacked shadow detail which may have been due to the brightness being turned up too high on your monitor. Ensure that your monitor is correctly calibrated. I can’t say that often enough!
28 RUTH WOODROW
Jackie Ranken 29 DAVID COSSINI
Be authentic and believe in yourself. Be brave and follow your instincts. Sometimes we make images that thrill and excite us but we are too scared to show others because they are not “the usual”.
Douwe Dijkstra When shooting in black and white, change the setting of your camera to mono. Looking through the lens, the world you’re familiar with will appear completely different. There are no colours to distract or wow your viewer. You’ll have to concentrate on the essentials: the light, your subject and composition.
33 MICHELLE YOUNG
34 AMBER BOTTERILL | 29 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
PEOPLE
36 ADRIAN BULLOCK
37 KERRIE BUROW
35 KYSEMI LOW
41 LENNA FADLE
42 JAYNE MCLEAN
43 BRITTANY TAYLOR
B&W TIPS FROM THE JUDGES
Chris Reid When it comes to black and white photography, keeping it simple is the best plan. Keep the information where it is needed and don’t be afraid to lose detail if it becomes a distraction. Sometimes too much detail can lose the centre of focus. Capture the images in the camera and not via post production. Make sure to be bold because drama is key to black and white photography, where the dominant mass draws in the eye and the highlights and shadows let the eye wander around the image.
Helen Whittle Learn to see in black and white. We are all drawn to a punchy black and white photo with lots of contrast, but how is this achieved? This is done by understanding tonal contrast and how colours translate into black and white. What colour is red when it’s converted into the grayscale? What colour is green? By acquiring this knowledge, you can quickly scan a scene and decide if it will convert well into a dramatic black and white image. This type of study can take a bit of practice, but it can be done.
47 FIONA BIRT
| 30 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
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39 IRMA FERREIRA
40 BEC WHETHAM
38 JODIE STALLARD
44 LAURA WALKER
48 DAVID COSSINI
45 LUCIA STAYKOV
48 NANCY MORRISON | 31 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
46 DIANA FERNIE
48 NATALIE FINNEY
PLACES
MEL SINCLAIR
WHAT THE JUDGES’ SAID
PICK UP STICKS
Melanie “Mel” Sinclair is a landscape and creative photographer from Brisbane. A Master of Photography with the Australian Institute of Professional Photography (AIPP) as well as an Associate of the New Zealand Institute of Professional Photography (NZIPP), she says it is the time alone in the landscape that is her meditation, an escape from the busyness of modern life. Her Places category winning image Pick up sticks was taken during a trip to Parkway, Canada, in November 2019, and depicts piles of trees killed off by a Mountain-Pine Beetle infestation. “Mountain after mountain of dead trees fallen next to the most breathtaking forests, glaciers and lakes - it was such a juxtaposition,” she says. “The image reminds me of absent-minded doodlingsketches that I used to do as a kid, while on the phone to a friend. Yet, lying haphazardly, these trees also remind me of pick-up sticks, a fun game of skill and dexterity. In a way, I liken this game to photography and finding the balance between capture and expression.” melsinclair.com.au
JACKIE RANKEN There is something quite mesmerising about this semi-abstract image. The interesting composition of textures, line and pattern pull me in and capture my attention straight away. On further inspection, I am stunned to see what looks like a devastated forest that is incongruously shown to us covered in snow. This adds another level of interest that makes me want to know more. My heart becomes concerned about the outcome of the event and the future of the environment. ANTHONY MCKEE Melanie Sinclair’s image of a snow-covered tree plantation might be a simple single capture, but it is an exceptionally interesting capture. Like a beautiful layer cake, every element of this image is visually engaging from the foreground to the dark central image and then into the background. What makes this image so strong though, are the diagonals created by the fallen trees both in the front and back of this scene along with the various pathways that my eyes want to wander up through. This image deserves to be printed big, and printed properly, it will reward viewers for a long time.
PRIZE: $2,000 CASH, SANDISK PRIZE PACK VALUED AT $500.
Winner
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Runner up TEBANI SLADE
WHAT THE JUDGES’ SAID
WINTER PLAYGROUND A photographer since she was in high school, Queenslander Tebani Slade has exhibited nationally, and picked up a few national and international awards along the way. She says her passion lies in travel and documentary photography, and a favourite quote is that of Magnum Photographer David Alan Harvey: “Don’t shoot what it looks like, shoot what it feels like.” Her image Winter playground was taken in the Pyrenees town of La Molina. “I woke to this view from my window very early one morning,” she says. “There had been light snowfall over night and the playground was still lit by the night lights as the sun hadn’t risen yet. They cast an eerie feeling over the park.” tebani.com.au PRIZE: $1,000 CASH, SANDISK PRIZE PACK VALUED AT $250, MOMENTO VOUCHER VALUED AT $250.
DOUWE DIJKSTRA As a judge, you want to be surprised and swept off your feet. Epic mountain ranges or architectural masterpieces easily impress. But I’m more interested in familiar and mundane places, captured beautifully. This kids’ playground was shot on a cold winters’ day, and the emptiness due to the weather conditions adds to an eerie look and feel. A place that is usually full of life, colour and noise is left here abandoned and quiet. This ordinary scene has been captured beautifully. WILLIAM LONG I love this image. Quite simply, the photographer has taken an everyday place or structure and presented it in a striking and unique way. It’s a great observation and a great composition, and using the weather, the snow, and time of capture, the scene has been reduced down to a seemingly simple, but very effectively communicated image. Well done!
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PLACES
4 PAULA MCMANUS 3 GRAEME GORDON
5 WAYNE RILEY
11 BOB WALPOLE
8 JACQUELINE HAMMER 10 ANDREA BRYANT
15 BALA KRISHNAN 17 DENNIS RICKARD 16 DEAN MAGUIRE | 34 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
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6 LOUISE WOLBERS
12 CHRISTINE GOERNER
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7 CHRISTINE ROCHER
8 DAVID MUNRO
12 JANINE DAWES
14 PHILIP BETTS B&W TIPS FROM THE JUDGES
Alex Cearns Shoot in RAW to ensure the best tonal results in your black and white images. This also makes it easier to edit shadows and highlights. RAW files enable you to manipulate your images the most and give you full control over all enhancements. You can truly produce the result you saw in your mind’s eye.
William Long 18 MICHELLE KNIGHT
With respect to contrast, ensure that the black and white has some punch. In my experience, there isn’t an instant black and white conversion that fits all images.
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PLACES
19 GRAEME GORDON 19 CHRISTINE ROCHER 21 CAMERON MEACHAM
B&W TIPS FROM THE JUDGES
Matt Palmer Setting your camera in RAW and then in monochrome mode can allow you to ‘see’ in black and white on the back of your camera. You will still have the colour data to work with later if you desire, but you will have the benefit of instantly seeing what is working and what isn’t in black and white. I find this a great way to shoot in any situation where I do not have control over the environment or its colour because it simplifies the to what you can immediately control.
25 ANTHONY COSTER 26 PAM DAVISON
Jackie Ranken Practice, practice, practice. The more time that you can dedicate to your passion the more you will enjoy it and be rewarded by it. Additionally, before your final edit, check the levels and see if your image looks better after you set a true white and black points in your file.
30 STEVE DAY | 36 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
31 CASEY PALMER
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23 WENDY COAD
24 CASEY PALMER
21 DENNIS RICKARD
29 CALLIE CHEE 27 IAN NORD
32 GRAEME GORDON
28 XIAO BIN WANG
33 ALEXANDER SMILEY
| 37 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
34 PAUL ELLIOTT
PLACES
36 KAREN WALLER 35 HEATHER ROSE
37 PETER REICHSTEIN
41 ROB OYSTON 43 KAY CYPHER 42 STEPHANE THOMAS
46 JANNICK CLAUSEN
48 MICHELLE KNIGHT 48 RALPH DOMINO | 38 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
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39 STANLEY ARYANTO 38 MICHAEL GLASS
40 RUSSELL TURNER
46 DENNIS RICKARD 44 MING CHUN CHUNG
45 ANTON GORLIN B&W TIPS FROM THE JUDGES
Helen Whittle Pay attention to textures, shapes and patterns. By stripping an image of its colour, we are paring it down to the bare essentials. It could be arguably said that we are simplifying our photo. Therefore, to create interest and drama, we should be paying extra attention to textures, shapes and patterns. This could be the texture of the clothes your subject is wearing, the shapes of clouds in your scene or the repeated patterns of a landscape. But by bringing these eye-catching elements together in one frame you can add intense interest and emotion.
Douwe Dijkstra Don’t be afraid to use big areas of rich blacks or bright whites. Compositions with negative space can beautifully isolate and/or highlight your subject and add impact.
48 RICHARD TONKIN | 39 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
ANIMALS
DIANA FERNIE
WHAT THE JUDGES’ SAID
JUST CHILL
England-born professional diver Diana Fernie today calls Adelaide home, with the globetrotting photographer previously living in Europe, Russia, Asia, the Middle East and South America. She describes her passion as diving and photographing some of the world’s most exotic locations. She had to call on all her skills in the water to capture her Animals category winning image Just Chill, named after the exact words she used as she swam up to this saltwater crocodile in the mangroves of Jardines de la Reina, Cuba. “Snorkelling two at a time to save confusion in the water, we were warned to back right off if two crocs approached each other as they are territorial and that is the time that they are at their most dangerous,” She recalls. For our judges, this image has the kind of one-in-a-million wow factor that marks the very best of wildlife photography. oceanincolour.com.au PRIZE: $2,000 CASH, SANDISK PRIZE PACK VALUED AT $500.
Winner
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MATT PALMER The dynamic range from darkest black to brightest whites is used well here to help us experience the murky depths below, the home of this grinning primordial crocodile. The bright whites draw our attention to the big crocodile grin and then along its back, highlighting its eye. This control of the image leads us to the stunning crocodile skin textures that are abstracted and reflected back from the waterline above. JACKIE RANKEN There is a sinister feeling to this environmental portrait that is so apt. Perfect lighting, great camera angle and technique. The teeth are so white, sharp and menacing, I can feel the eye looking at me, sizing me up for dinner. To top it off, there is an interesting reflection of the creature gliding above it that adds to this emotional impact.
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Runner up
ASHLEE KARAS TWO TO TANGO Born and raised in Melbourne, Ashlee Karas currently lives in Coral Bay, Western Australia, where she works as an underwater photographer. “I have a passion for wildlife photography, and especially capturing subjects such as sharks, rays or turtles and pairing them with the incredible sunsets and shallow corals that the Ningaloo Reef has to offer,” she says. Manta Rays are known to perform an acrobatic move called barrel rolling, allowing them to scoop up and feed on a concentrated patch of plankton, while rolling over and over, eating as much as they can. Occasionally multiple Mantas will flock to these areas, synchronising their rolls with one another, and creating the illusion of a perfectly choreographed dance. ashkarasphotography.com PRIZE: $1,000 CASH, SANDISK PRIZE PACK VALUED AT $250, MOMENTO VOUCHER VALUED AT $250.
| 41 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
WHAT THE JUDGES’ SAID ALEX CEARNS This image depicts the elegance of manta rays in a beautiful and elegant manner. The dark depths of the ocean provide an excellent background for the lighter aquatic subjects who seem suspended in motion, with impeccable timing of the image capturing them crossing over in a graceful glide. The underwater lighting is expertly handled to meticulously illuminate both subjects and to show the intricate details of their underbellies, even in the shaded areas. Such brilliant photographic execution worthy of high praise. MATT PALMER The two manta rays have a ballet-like quality, soaring through the ocean's depths as if performing under stage lights. Black and white is effectively used to create this feeling, showing the sculpture and shape of the animals and the wonderful textures of their skin. The suckerfish help remind us that these animals are part of a broader ecosystem of various creatures that mutually support each other and the ocean habitat.
ANIMALS
3 ANDREW DICKMAN 4 DANIEL TOWNS
9 MARDI HARRISON
10 MICHAEL SCOTT
5 DIANA FERNIE
11 STEPHANE THOMAS
15 JULIA NANCE 16 JAYDENE CHAPMAN | 42 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
17 LOUISE WOLBERS
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6 JOHN WISEMAN
12 THERESA PITTER
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6 PAULA MCMANUS
8 DAVID MUNRO
13 DANIELLA CORTIS
14 ROBIN MOON B&W TIPS FROM THE JUDGES
Douwe Dijkstra Be creative, challenge yourself and think outside the box. Captivate the viewer with a surprising angle. Capture a unique subject that looks mundane and make it look special, or add more surrounding or foreground content to add more layers of context to your photograph.
Helen Whittle Learn how to enhance your black and white images in post-processing. Learning how to use your editing software effectively when processing your black and white images can change your image from average to award-winning. By making global and local adjustments to the contrast, clarity and tone curve, you can skilfully direct your viewer around the frame, adding depth and story to your image.
18 LOUISE WOLBERS | 43 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
ANIMALS
19 JAYDENE CHAPMAN
25 NICOLAS REMY
19 SHARON JONES
26 STEPHANE THOMAS
21 NICK THAKE
27 ROBERT SMITH
B&W TIPS FROM THE JUDGES
Alex Cearns For colour images it’s often recommended to avoid grain, or digital noise – but for black and white images, digital noise can add a layer of texture and depth, which elevates the overall look and feel of the image and emphasises areas you want the viewer to notice most.
William Long Adobe’s black and white conversion options have improved immensely over the years, however it’s worth exploring and creating your own through Photoshop, as opposed to choosing one of the instant, oneclick options.
31 PAUL HAMMOND | 44 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
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22 SHANNON SMITH
23 REBEKAH DEBREY
28 THERESA LEE
29 NAVIN CHANDRA
32 ADRIAN BULLOCK
33 MARGHERITA STANDING
24 SHEREE ALLSOP
30 KETUT SUWITRA
34 MELISSA JANE CACHIA
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ANIMALS
35 GUY DRAPER
41 LOUISE WOLBERS
46 JAYDENE CHAPMAN
36 GARY TINDALE
37 LOUISE WOLBERS
42 ADRIAN BULLOCK
43 NICOLAS REMY
47 BRAYEDON HINGSTON
48 BRONWYN KELLER
| 46 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
MAJOR SPONSOR
38 JAYDENE CHAPMAN
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38 KAREN DUFFY
40 SHARON JONES
B&W TIPS FROM THE JUDGES
Matt Palmer The strength of black and white photography is highlighting shapes, lines, composition and the qualities of texture. In choosing a shortlist per category I gravitated towards images that leant heavily on these strengths while introducing atmosphere, feeling and even narrative.
44 RICHARD MISQUITTA
48 CATHERINE WILLIAMS
45 EMMA ROLLS
48 MARIA MAZO | 47 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: BLACK AND WHITE IMAGERY
Very early morning on a remote Laos hillside and I was waiting for a bike race to ride past. Two old ladies came walking past and the site of a foreigner with a car in such a remote location must have been very strange! It was burning season, and the light was awful, but luckily I speak some Laos and so smiled and asked for a photo. The flatness of the scene and her face were perfect for black and white. Fujifilm X-T2, XF18-55mmF2.8-4 R LM OIS lens @ 55mm. 1/1000s @ f4, ISO 1200.
FORBIDDEN COLOURS BY STEVE THOMAS
Black and white photography is both addictive and immersive, but it’s the genres’ ability to strip your work back to its barest essence that makes it something every photographer should explore. | 49 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: BLACK AND WHITE IMAGERY
I was shooting some local Turkish cyclists for a travel feature during the midday heat. The colour images went into the magazine, but for my own use I chose black and white to focus the attention on the riders and their expressions. Fujifilm X-T1, XF10-24mmF4 R OIS lens @ 10mm. 1/640s @ f11, ISO 320.
I
t’s always been something of a mystery to me as to just why black and white photography somehow lost its perceived value and oomph when colour printing became mainstream. After all, if you step back half a century or so, black and white imagery has always been at the very core of photography. The grand masters like Ansel Adams and Henri Cartier-Bresson were seen as artistic geniuses then, and it’s a tag that still very much holds true today. When I started shooting for a living (in the early 1990s) black and white was still the mainstream page currency for most publications. For my magazine work I always shot in colour transparency film, but for around 75% of the pages of a magazine those images were converted to black and white, as colour pages and their printing were a premium. However, by the mid-late 90’s magazines were almost all in full colour and the process of reversing a colour image to black and white had become an expensive one. By then, people simply did not want to see
black and white and it was almost as if they felt shortchanged when sold pages without colour. Like many working photographers who shoot colour day in day out, I do find myself with a very strong personal preference towards black and white images. There’s something simply complex about black and white images - if that juxtaposition makes sense. I think this is because once you strip out the colour distraction you really get to the bare soul of an image. A well thought out, composed, captured and processed black and white image may not have the mass appeal to a thumb flicker on their iPhone, but to viewers who appreciate the art and meaning of photography it will force them to look closer and deeper into what the meaning of the image truly is. This is why black and white images should be shown big; be that in print form or on a website - they need to be appreciated, much like a fine cognac or a true work of art. So, let’s look at some of the skills for mastering them.
| 50 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: BLACK AND WHITE IMAGERY
“A WELL THOUGHT OUT, COMPOSED, CAPTURED AND PROCESSED BLACK AND WHITE IMAGE MAY NOT HAVE THE MASS APPEAL TO A THUMB FLICKER ON THEIR IPHONE, BUT TO VIEWERS WHO APPRECIATE THE ART AND MEANING OF PHOTOGRAPHY IT WILL FORCE THEM TO LOOK CLOSER AND DEEPER INTO WHAT THE MEANING OF THE IMAGE TRULY IS.” SUBJECT MATTER AND SCENE SETTING There are unfortunately still plenty of photographers out there who think that turning a badly lit image to black and white can somehow save it. And although this may work in some cases, it’s not really the way to go about it. For best results, the images you choose to shoot or process to black and white should be well thought out and suitable, and preferably shot with that scenario in mind – otherwise they won’t have impact. Needless to say, you can capture any subject in black and white, although there are those that work particularly well without colour. Portraits of characterful people, those with distinguished wrinkles, faces, or with traditional costumes work really well here. Architecture and scenes with strong lines or deep shadows are also well suited to black and white, and it can be a good option for harsh midday light too. Street scenes, and subjects with un-coordinated or clashing colours or reflections are great. Sports and action can also be very dramatic in black and white, although you do need to look for lots of contrast, or for harsh weather conditions to make the best of them. With wildlife, images with a clear distinction between the subject and the environment often work well. Landscapes can be tough; to make them work there needs to be lots of contrast, perhaps rippled mountains, and also either deep blue or strongly clouded skies. The risk otherwise is that they can look quite drab.
SETTING UP AND SEEING IN BLACK AND WHITE One of the great benefits of modern mirrorless cameras is their what-you-see is what-you-get electronic viewfinders (EVFs), which can make capturing black and white images easy. Almost all mirrorless cameras offer black and white film simulation modes, and although most photographers, including myself, will prefer to shoot in colour and process later, switching to black and white even for a short time can be quite fun to try as a challenge. Otherwise, if you want to have the best of both worlds, try setting up your camera to capture black and white JPEGs and colour RAW files at the same time.
ABOVE: Stopping off in an Omani village and three old men immediately came to greet me. They were exceptionally friendly, and after a chat I asked to pose them in a shady area. The photos made for great colour images, but I knew I wanted mono, especially with this guy. Without the distraction of bold colours it allows us to focus on his eyes and wrinkles. Fujifilm X-T2, XF55-200mmF3.5-4.8 R LM OIS lens @ 164mm. 1/680s @ f7.1, ISO 400.
| 51 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: BLACK AND WHITE IMAGERY
I'd walked past this stall in a Balinese market a couple of times, and I’d noticed this young girl playing beneath her mother's table. For a while I smiled and made faces, playing peekaboo, until she relaxed with me and I got this show. It does work well in colour, but I'd always intended it for black and white to focus attention on her eyes. Fuji X-T1, XF10-24mmF4 R OIS lens @ 24mm. 1/250s @ f5.6, ISO 320.
| 52 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: BLACK AND WHITE IMAGERY
“WHEN EDITING GROUPS OF BLACK AND WHITE IMAGES IT IS IMPORTANT TO HAVE A CERTAIN CONTINUITY OF LOOK WITH YOUR IMAGES, OR AT LEAST WITH PARTICULAR COLLECTIONS. TRY TO KEEP A CONSISTENCY IN YOUR EDITING.”
| 53 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: BLACK AND WHITE IMAGERY
RIGHT: In a Balinese side street I saw this old man pull up and park his bike. Initially I was intending just to shoot his bike, but asked if I could take a picture of him. The colours were very mixed, so I knew it was a black and white capture. Fujifilm X-T1, XF18-55mmF2.8-4 R LM OIS lens @ 55mm. 1/220s @ f4, ISO 400. OPPOSITE: This Cappadocia scene was a scene I'd shot before with a leading trail runner, and this time around I knew exactly what I wanted - a distant shot. The image now hangs on his wall, and is one of my all time favourites. Fujifilm X-T2, XF1855mmF2.8-4 R LM OIS lens @ 21mm. 1/4000s @ f4.5, ISO 200. -1 EV. BELOW: I go out with my phone and try to make different images on the same short stretch of beach on most evenings. I noticed this short rippled sand bar and worked it to make for a curve and then balanced the lines out. The sky was blue and clouded, and so I shot using the Infrared filters in the Firstlight app and then converted to black and white in Snapseed. Apple iPhone 12 mini.
POST-PROCESSING BASICS My regular post processing workflow is with Adobe Lightroom, although you can do pretty much the same with your chosen processor. First, I import Raw files only. If I want to use the ready processed JPEG’s I can pull them out from Bridge (or a similar image viewer) and file them separately. If doing this, I batch rename the files I want to tweak later, otherwise Lightroom will struggle with duplicate file names. Once imported, I select which images I want to process and do all of this in colour, and then export the files. With Fujifilm, you can apply in-camera film simulations directly from Lightroom (from a pull-down tab at the top of the main tool bar), although I rarely use these. Once I have my colour editing done, I then go back to any images I earmarked or shot with black and white
MANAGING SKIES If you are aiming for the dark sky look in your image then you will need a strong blue sky to start with, if it has a few clouds then all the better for the contrast. To tweak it, head to the HSL panel, reduce the blue luminance and up the saturation to suit, but don’t push it too far as you will end up with blotches in your sky. If you have white clouds then try a slight increase in the whites/highlights, or even air brush their exposure to increase the contrast.
in mind. First off, I would suggest looking in Lightroom’s own Preset folder within the develop module as there are some really good black and white presets in there. Simply pull up an image and then go though the presets to see how they look. If you find one that works for you then apply it, and to tweak it, go back to the develop panel. Otherwise, you can convert to basic black and white or just fully desaturate the images from the develop panel. When editing groups of black and white images it is important to have a certain continuity of look with your images, or at least with particular collections. Try to keep a consistency in your editing.
and halos around edges. Likewise, Texture – it’s used to decrease or increase the appearance of “texture” in a photograph while still retaining fine details, but can make your image look overly sharpened if used too heavily. I suggest you play around to see what suits your desired outcome. And lastly, while you’re in this box you can tweak the Shadows and Highlights – remembering that a little darkness in the shadows sits well with black and white images. Finally, at the bottom of the develop panel you can add a vignette, a classic like-it or loathe-it feature. Like anything when it comes to editing, try not to go overboard with it if you do decide to use it.
NEXT STEPS
PIECES OF SILVER
There are some very powerful tools in the Develop panel, and the curves are my first stop every time. From here, you can create contrast and mystery by playing with a slight S curve pull. This is often as simple as pulling the line up or down from its starting point. To flatten the image, which will give a retro ‘subdued’ look, just pull the far left of the curve line up some. The next steps are Clarity and Texture. My advice is to use both sparingly, and preferably not together. Clarity will make your subject look more three dimensional by adding contrast to the edges, with the bright side of edges getting brighter, and the dark side darker. Too much clarity can add distracting and obvious shadows
Most of my own black and white conversions are rarely finished in Lightroom. Initially I go through the same Raw colour process as above, and then my chosen few will be worked on one by one through a program called Silver Efex Pro. It’s an amazing piece of dedicated black and white processing software I highly recommend. It’s part of the Nik Collection from DXO, and I use it as a Lightroom plug in. From the overhead Lightroom menu I select open in Silver Efex Pro (with Lightroom adjustments applied). I’m running an old MacBook, so it takes a while, which is good – as it slows me down and makes me appreciate the process even more.
| 55 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: BLACK AND WHITE IMAGERY
There is a preset panel here, which I recommend starting with. Scroll down and you will see how each preset works with you image, and then select which you want to start with (if any). You can also save/create your own presets, and it memorises recently used processes, which is particularly handy. Next, I move to the develop panel, which has some great tools. My first stop here is always the film simulation – there are some classic film stocks in there, just click and see which suits, or simply do things 100% manually. Once the film preset is applied I then go to the filters panel. This is very useful as you can apply classic black and white filters if they suit. You can also use the selective tool for micro adjustments here, and I’ll often go into the curves panel to flatten an image. On occasion I also go to the tone menu, which has some interesting options to give your images a completely different tone/look such as sepia. My final step is to export the file as a Tiff (to retain more detail) back to Lightroom. This is where I may remove a little grain (a personal preference) or add a vignette. Job done – an extra 10 minutes worth of work per image on average, but one that makes a big difference to the end result.
WRAPPING UP Slowing down your photography, thinking in terms of black and white and then working with a sense of the darkroom when editing, will really help to define every aspect of your photography. Finally, be sure to treat the images with respect, show them big and print them out - it’s sacrilege to only show them on a phone screen! ❂
QUICK TIPS 1. Light is always crucial, so look for shadows, which are bold and defined during mid-day for architecture, and long and strong in the evening. 2. Set your camera to shoot JPEG & RAW, with the JPEG to a black & white film mode if possible. This allows you to see on the go how it works and teaches you to think in this medium. 3. Look at the work of the old masters of photography. You will see that images do not need to be overcontrasty, flattened, have sepia tones or scary big vignettes to be effective, so tread lightly and experiment in post.
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| 56 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
CHR IS BR AY PHOTO TOURS
S P E CI A L P RO M OT I O N
SOMETHING TO LOOK FORWARD TO... With COVID-19 vaccinations finally underway, the once distant dream of international travel is slowly seeming more attainable. Join Chris Bray on a workshop in 2022 and beyond.
H
aving been cooped up at home for too long, I’m as desperate as you are to take a journey somewhere, to soak in some new sights and sounds, see amazing wildlife in strange new environments, taste some new foods, meet new people, new cultures and once again be inspired and reinvigorated by the magic of some of the world’s most wonderful places. I’m ready. I’ve created flexible COVID-19 booking terms and refund policies to give you confidence to secure a spot now, despite not really knowing what the future holds - but I’m banking on things being more positive by early 2022 and have booked some of my favourite destinations to share with you. After shooting for Australian Geographic, I’ve been lucky to spend the last decade seeking out the world’s most extraordinary wildlife, landscape and cultural experiences and then touring small groups there in comfort, providing unique access away from the crowds with exclusive charter of ships, aircraft, vehicles and remote lodges. My goal has been to not only provide the most incredible, unhurried photography
opportunities on Earth, but also an amazing holiday, loved by non-photographer partners too. Chris Bray Photography has grown into one of the world’s most respected small-group photography tour companies, and my friendly, professional photography guides are always on hand to help you improve your photography (be that on a full-frame body or smartphone) and we pride ourselves in always putting you and your photography first. We’re passionate about conservation too. Many of the incredible species we delight in sharing with you are endangered, and many of the pristine environments under threat. We strongly believe in giving back - not only to the local people, but also directly to conservation and education projects. I am proud to donate many thousands of dollars to both community and wildlife projects around the world each year. Picking the right company to travel with can be difficult. While there are cheaper alternatives, you get what you pay for and the fact that more than 50% of my guests have already come away with me again on a second, third or even a ninth photo tour is a pretty powerful indication that we’re delivering what you want, the way you like it. If you’re tempted by any of the trips below, I’m happy to put you in touch with several guests who’ve already done it if you like. www.ChrisBrayPhotography.com ❂
Clockwise from top: Sitting quietly ashore as brown bears catch salmon beside you in Alaska is an experience you’ll remember for the rest of your life; Lock eyes with a leopard in Kenya and you won’t be able to look away; The perfect puffin portrait - worth staying up for the endless golden hour(s) in Iceland!
UPCOMING WORKSHOPS • • • • • • •
Tasmania (6 days): 23-28th April 2022 Namibia & Botswana (14 days): 11-24th May 2022 Christmas Island (8 days): 7-14 June and 14-21 June 2022 Iceland & Greenland (13 days): July 2022 Alaska (13 days): 17-29 August 2022 Kenya (14 days): 4-17 September 2022 Galapagos, Amazon & Hummingbirds (14 days): 21 October - 4 November 2022 • Antarctica fly-in, fly-out (16 days): 20 December 2022 - 4 January 2023
| 57 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
APS ONE FRAME
STAYING DRY IN KYOTO
A frustrating change of plans put APS photographer Wallace Close in the right place to capture this classic street image. WITH WALL ACE CLOSE
W
hen I was young my family travelled widely in eastern Australia. On these camping trips I was the designated photographer and used a second-hand Paxette, which was quirky and had a habit of shredding the film if it wasn’t wound on correctly. With this camera I developed a love of landscapes, both natural and urban, and this has remained with me. It was after I retired that I joined the Camberwell Camera Club and one of the results has been a keen interest in creating audiovisual sequences. I have also become very keen on street photography and taking candid shots of a wide variety of people going about their daily lives. When in Japan in autumn one year, my wife Diana and I stayed in Kyoto for two weeks. Our b&b was a short bus ride from Kyoto Station, which became our preferred travel hub for moving within the city but also for taking day trips to nearby regions. One such trip was to Miho, a wonderful museum in the mountains to the east. That night, we returned in the dark and pouring rain to find our b&b without electricity. Our calls to emergency numbers went unanswered, so we packed by torchlight and made our way to Kyoto Station where we were fortunate to get a room in an adjacent hotel. The station has some very interesting vantage points for taking photographs of parts of the architecture, but also of the many people passing through. I had calmed down somewhat by the next evening when this image, ‘Staying Dry in Kyoto’, was taken. I found this vantage point to look down on people entering the station on their way home. This is a lucky shot. Umbrellas are everywhere in Japan but here are four different colours and the arrangement of the women carrying them appeals to me. It was clear they were not members of a group because they were moving at different speeds, but they came together just at the right time. In post-processing I have done some perspective correction and removed some of the haze caused by the pelting rain. The shoes on the feet in the background had bright white soles which I also darkened. I’m grateful that the image has done well in national and international competitions - this has somewhat compensated for our forced relocation to Kyoto Station on that rainy evening! NIKON D750, 18-105 F3.5-5.6 LENS @105MM. 1/160S @ F5.6, ISO 1400. | 58 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
APS ONE FRAME
THE AUSTRALIAN PHOTOGRAPHIC SOCIETY Membership with the Australian Photographic Society caters for enthusiasts, amateurs and professionals in photography. The APS can help you improve your photography, increase your level of satisfaction and achievement with your images, and make lasting friendships with other photographers throughout Australia. All that is required is that you take two steps; the first, joining the society; the second, becoming involved in what it has to offer.Find out more at a-p-s.org.au.
| 59 | SEPTEMBER 2021 | AUSTRALIAN PHOTOGRAPHY.COM
APS FOCUS
THE POWER OF PROJECTS Found yourself in a photographic lull? A project might be just the ticket to get those creative juices flowing. WITH HELEN CARPENTER
C
Starting a new series has helped photographer Helen Carpenter get out of a creative rut.
oming out of COVID I found that my photography was in a lull – I couldn’t find inspiration like I had before. I was looking for something to kick start my photography again, so started to look at old images I had taken and ones I had entered into competitions. I revisited my Bronze CAPA submission from 2019, “Beauty in the Dust and Dry”. Looking back through my old images was a great reflection on my journey as a photographer and how far I had come. This process of reflection is something everyone should do from time to time. I started looking at images in the portfolio section on the webpage of the Australian Photographic Society, and at other CAPA submissions for inspiration and new techniques. I also utilised my past editions of Australian Photography articles and images for inspiration, and I built a mood board of images, ideas and techniques I wanted to try and experiment with.
I decided I wanted to put a series of images together, so I began to plan a project. Gathering ideas, time of day, locations around our farm, environmental factors whether it should be dusty or wet, the light and the mood I wanted to capture. After weeks of thinking and jotting down points for consideration, one afternoon whilst out walking the dogs with one of my sons, I took the camera and started to walk up the air strip track. The sun was starting to set behind the trees, and because of fires the sunsets for the past week had been quiet orangey red. The dogs started to run, play and kick up dust. I then bent down and looked through the dust, quite by accident. These were the images I wanted to capture. The dust caused by the dogs running and playing ticked the boxes in so many ways, the light, the mood, the environment at the moment and a true reflection of my life and its daily activities. So, I snapped away and captured a series of images of the dogs in the dust at sunset. A few weeks later, with the change of the season we had a cold foggy morning. Again, out walking early in the morning as
the sun started to rise in the sky, I took some photos of the spider webs jewelled by mist in the fog along the old fencing and the old windmill and tank standing beside the dam. Often, we forget how beautiful the environment is when the seasons change and the different effects the weather causes. My lull in photography was over and I started to look again for points of interest within my local environment and the farm to broaden my project. Benedict Brain sums up the idea of a project. “Some are short-form and completed in an afternoon, while others rumble on in the background for years. Sometimes they can be deep and meaningful, and at other times they can be more trivial and superficial - or both at the same time.” In the short term my Dogs n’ Dust series helped me to find inspiration again and appreciate the environment around me. In the long term, documenting our life on the farm is a long-term project, capturing each year, the changing seasons, and both Agricultural activities and natural events which take place. No two seasons are the same. ❂
| 60 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
IMAGE DOCTOR
IMAGE DOCTOR
Images need a pick-me-up? The doctor will see you now.
BY SAIMA MOREL
ICY MYSTERY
This image is from Cameron Hanks’ visit to Iceland. He said, “I had heard of this magical beach [Diamond Beach] in which glacial ice was washed out to sea only to be brought back to shore with the incoming tide. The combination of crystal clear and sometimes deep blues in the glacial ice on the jet black volcanic sand beach is something I will never forget.” This is an impressive image with a sense of mystery regarding scale, as that ice in the foreground could be two inches high or six foot - we don’t know, but as a viewer it is intriguing to look at as a result. A longer exposure would have been nice, but then it is a matter of how fast things - including the ice - are moving. The black sand background really helps make the light and colour in the block of ice quite dramatic. The colour also seems to be fairly accurate (according to a friend who has been there). SAIMA’S TIP: A lone foreground subject with water swirling around it makes for a simple and powerful image. TITLE: Diamonds of Iceland PHOTOGRAPHER: Cameron Hanks DETAILS: Nikon Z 7, 24-70mm f/4 lens @ 24mm. 0.3s @ f9, IS0 100.
| 62 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
TITLE: The Crabber PHOTOGRAPHER: Amy Neale DETAILS: Canon EOS 50D, EF70-200mm f/2.8L USM lens @ 70mm. 1/1600s @ f5.6, ISO 200. Adjustments to contrast and exposure in Lightroom, converted to blackand-white, gradient applied to clouds and foreground, vignette to final image.
KEEPING IT SIMPLE
According to Amy Neale: “Creating the image itself was straightforward; my husband (the figure), wanted to spend a day scooping for crabs in a popular estuary. As he was walking out, I noticed the clouds rolling in overhead which made him seem tiny”. She applied a gradient “to the clouds to give them a more foreboding appearance. I feel I have been a little heavy-handed with this though…. I’m very new to editing and have so much to learn (clearly), and I am currently using a cheap hand-me-down monitor from a chain store”. In this case, I don’t think you have been heavy-handed at all in enhancing those deep rolling clouds. They form a dramatic and
majestic backdrop for that small, clearly defined and off-centre human silhouette. They fill so much of the scene, and hold our attention well. Even those messy mud flats in the foreground don’t detract, but just add to the story. That said, we wouldn’t know what he was doing without a title, but it doesn’t really matter since the image is so strong. Black and white is also a great choice for a wonderfully simple image like this. SAIMA’S TIP: The small figure of a man contrasted with the great power of nature can make a powerful statement.
FOREGROUND FOCUS
Bob Johnston wrote about this shot, “Coming down from the rocky mountains (behind me) is this beautiful stream of sparkling cool water. Sitting in the middle of the stream taking the picture looking at the bleached white sands which squeak under your feet as you walk across was not only enjoyable but very cooling on the warm day. The water flowing down to the sea weaving its way through the rocks. It’s just a privilege to be there, absolutely stunning”. This image is clear and sharp, and there is good colour in the red and white on the rocks, with brilliant turquoise in the sea beyond and cloud interest in the sky. It also has a good rule-of-thirds composition with the leading line of the stream. That said, the weakest part of the scene is the foreground and that stream. It has a slushy snow effect and is just unkempt-looking. It may have seemed “bleached white” on the day, but that hasn’t come across that well. Stronger foreground interest would be nice, but a better option at this point would be a crop off about 30 per cent off the bottom to bring those large colourful rocks closer to the viewer, with a foreshortened leading line and a panoramic format.
TITLE: Squeaky Beach, Wilson’s Prom, Victoria PHOTOGRAPHER: Bob Johnston DETAILS: Nikon D850, Tamron 24-70mm lens @ 29mm. 1/200s @ f8, ISO 64.
SAIMA’S TIP: The impact of colour varies according to its juxtaposition with other colours in a scene, so what looks white on its own, may look off-white compared to other ‘whites’ in a scene.
| 63 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
IMAGE DOCTOR
A FEW WEE TWEAKS
Glen Geason’s image was taken at the end of the street where he lives “on beautiful Budgewoi Lake, Central Coast NSW. I hope my photo shows that beauty is all around us, we just have to look to see it”. This image ticks a number of boxes. It is clear, has good composition, and strong, interesting colour. Its initial impact is stunning, but when we start to look a little closer, we see where a few improvements could make it even better. It may not look at an angle because of the dark mass of land on the horizon right, but it is. The image needs to be turned anti-clockwise just a little to get it level. The tree in the foreground is great, but it does have a few dead branches that are a little distracting – without being able to shoot again you could try to clean these up in Photoshop. Another suggestion would be to dodge the foreground to make the small tree brighten up a little. Finally, if you were lucky enough to shoot a sunset like this again, I’d consider shooting from a lower angle to make those foreground rocks and tree the stars of the image, and exclude the top foliage. SAIMA’S TIP: It is not necessary to fill a frame completely to get a great image. TITLE: The Lake PHOTOGRAPHER: Glen Geason DETAILS: Canon R5, RF15-35mm lens @ 15mm. 1/8s @ f11, ISO 100, handheld three shot exposure bracket, edited in Adobe Lightroom.
TITLE: Untitled PHOTOGRAPHER: Jessica Jones DETAILS: Samsung Galaxy S21 Ultra. 1/160s @ f2.2, ISO 50.
ALL SIGNS POINT TO…?
Just starting out in photography, Jessica Jones took this photo in her “little coastal hometown called Minnie Water which is in northern NSW”. I can see the attraction in the nice colour in the water and sunset, but it is a shame that the sign near the middle is so distracting, and although it gives us a location, it doesn’t add much here. Speaking of the sign, it’s a little unfortunate the creative joke tweaking of the letters in the word “knowledge”
to create the word “weed” gets a little lost here, even if it isn’t the main attraction! The other issue is that when zooming in to look at the sign you realise the image is quite low resolution, most noticeably in the water and sky. This picture also has some branches jutting into the frame so I would suggest tidying these up. SAIMA’S TIP: While mystery regarding subjects in a scene can create interest, some can leave the viewer puzzled.
| 64 | SEPTEMBER 2021 | AUSTRALIANPHOTOGRAPHY.COM
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IMAGE DOCTOR
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