D-800e, 85mm f/1.4, 1/200, f/8, ISO-100, WB-Auto. Two speedlights, one shining through a steel fire exit staircase above the subject’s head and another to camera left at head height.
On Tuesday of this week I spend another day at the Nikon School and attended the Film-Noir part 2 course. This time working with naked speedlights no light modifiers fitted and using between one and three lights. All these images were taken with normal room lighting and the background ambient was simply controlled with shutter-speed.
On Saturday, I attended the Nikon School in London for their ‘Film-Noir, Part 1’ course. The day consisted of lighting techniques just using portable speedlights with demonstrations and practical hands-on exercises with between one and two speedlights to create stylized ‘film-noir’ images, typical of the Hollywood age of the silver-screen. This is a shot using two remote speedlights, one in a soft-box the other naked.
Some more examples of the work I made on this great day!
Working in Black & White, by David Prakel, Basics Photography, Published by AVA.
I have just read this book on black-and-white photography which covers both for film and digital with advice on developing and darkroom techniques for those unfamiliar with it and for digital post-production editing with Lightroom and Photoshop. The book covers all aspects, including going about thinking about tones rather than colour; but explain a bit of colour theory to help with understanding the mental and physical grey-scale conversion. If using film cameras there is also an explanation of filters for both cameras and darkroom enlargers, how and why they are used and how digital software that mimics filters that can be used and again why. This book also looks at returning or adding colour to black and white prints either digitally or manually for various artistic effects. This book offers allsorts of fresh ideas that can be brought to your work.
I began photography with a Pentax K1000 SLR working with Ilford Black and White film that I used to develop and print myself. I would recommend any modern photographer who has only experience with digital cameras to have a go converting some images to black-and-white and playing with the effects.
The main reason I chose to read this book now is because I am going on a couple of courses at the Nikon school in London doing Film-Noir style black and white portrait photography.