Page 21 - Capture magazine Aug-Sep-Oct 21

SUPPORTING SPONSORS
19 JULIUS PANG
20 ALLEN KOPPE
25 LIZ BARKER
JACKIE RANKEN
Technically, be aware of over-sharpening or adding too much structure to your image. To check this, zoom into your file and look to see if you have a halo or white line around the areas of high contrast. If you have, then reprocess it and check it again. Otherwise the halo or white lines will be distracting to the viewer.
DOUWE DJIKSTRA
Don’t be afraid to show areas of dark blacks and/or bright whites, even if it’s two thirds, or more, of your composition. It creates great contrast and your highlighted subject will pop.
NATALIE GRONO
Firstly, visualise your scene in B&W, as not all situations will make amazing B&W images. You should get in the habit of visualising in monochrome, not just converting the images later as an afterthought. Consider why and what you are trying to communicate through black and white.
ANTHONY McKEE
Black and white is still the best training ground for anyone wanting to become a better photographer, and the reason why is simple
– it teaches you to work within the core elements of good image making, namely good design, lighting, and emotion. Colour is merely a distraction. If you can learn to master black-and-white image-making, everything else becomes rather easy.
20 STEVEN ALGIE
26 PETER MORTON
30 PETER YATES
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B&W TIPS FROM THE JUDGES