Ed Schlotzhauer

An artists journey

Blog

  • Is Black & White a “Thing”?

    Is Black & White a “Thing”?

    Is Black & White photography an art form in its own or is it a way to salvage images that just didn’t work in color? Hear me out before you flame me. I love B&W and believe it is a special medium.

    History

    Black & White is where we started. It is our history and beginning. Looking only at commercial films, the early world was totally black & white. There were a variety of film designs, with tradeoffs of speed, contrast, fog level, etc. Because processing was done chemically, the entire roll had to be exposed at the same speed. Generally, a photographer became familiar with a handful of films. Lots of work was required to become familiar with the film’s exposure characteristics. Different films were selected for different uses and effects.

    In the black & white days lots of work was done in camera to adjust the tone values. Filters, usually red or orange, were used while shooting. Their selection was based on the artist’s subjective judgement of predicting the outcome.

    The system worked pretty well for decades.

    Color

    Then along came color. It really took off in the 1950’s with the introduction of Kodachrome.

    Finally ordinary consumers had what they thought they were missing – a color image. Color film sales dominated black & white.

    Digital

    In the early 2000’s digital cameras became practical and affordable. Now color film was eclipsed and it virtually disappeared from the market. Digital had better resolution, better dynamic range, it was cheaper, and we could print our own pictures on cheap inkjet printers.

    So why, with all these advances, does anyone care about black & white anymore?

    Digital saved black & white

    The technological benefits that made digital imaging take over mainstream photography also brought huge advances to black & white images. A modern sensor is amazing. It captures more information than black & white film and it captures and retains the color information. This can be used later to tailor the tonality of the b&w image. And it allows far more control than color filters and a chemical darkroom.

    The tools we have, like Lightroom and Photoshop, are very advanced and are able to exert a degree of control that would have been unthinkable in the film days. At the same time we have highly mature multichannel inkjet printers with sophisticated inks giving us archival prints. Added to that the development of many types of papers for printing and the options available to a black & white artist today makes this a golden age.

    Why black & white?

    But color is readily available and everyone can print it cheaply. Why would anyone still want black & white?

    This gets to the heart of the issue. A black & white print is perceived as an entirely different experience. Black & white sheds the distraction of color. What is left is tones, shades of gray. These emphasize the shapes and forms of things. Composition and graphic design comes more to the fore. It is an alternate view of reality. That causes us to look at the image differently.

    This difference is the beauty of it. It is a different interpretation of the world. The viewer immediately sees it is different and the artist can lead them through his composition more easily to see what he wants to emphasize.

    I have heard photographers say “this didn’t work in color, lets try black & white”. That is a very limited perspective. I would turn it around and say “this image really needed the color information to make it work, so we can’t do it in black & white”.

    Ansel Adams once said “the negative is the score, and the print is the performance”. This is still true, except the negative is a raw file and the print and processing are all done digitally. No dark room. No chemical mess.

    So is black & white a thing in its own right? Definitely! It is a great art form with a long and glorious history. Today is the best time ever to be doing or viewing black & white images!

  • Art or Craft?

    Art or Craft?

    Is photography a “pure” art or is it a craft? One of the arguments against photography is it is too quick and easy. Anyone can do it. It only takes a moment, not days or weeks to create. Let’s examine that.

    It’s a medium

    Photography is a medium. It is a technology for expressing images. It seems to me that any medium that produces the results the artist wants is a valid medium. I know people with formal training in painting who switched to photography because it better expresses what they want. I have also known people to go the other way, moving to painting after doing photography. That indicates they are equivalent medium.

    Any art form is a craft

    An artist is a craftsman. To be at the top of your field you have to develop an excellent ability to use the medium you have selected. For photography that is one thing that distinguishes the person who “just takes pictures” from the artist. A tremendous depth of craft and technique has to be mastered to make great fine art photography. I have used photoshop for nearly 20 years and I am still learning new ways to use it all the time. Hardly a day goes by that I don’t spend some time learning and practicing to improve my craft.

    What is art vs. craft?

    Some have said that art is based on creativity while craft is skilled application of technique. Something you learn from practice. That is a little obscure, basically that if you build the same things over and over it is a craft. Hmm….. That might sweep out a lot of artists.

    Most of us have an inherent understanding of the difference between art and craft, even if we can’t articulate it clearly. Hardly anyone would claim that selfies at Disney World are art.

    The harder part seems to be asking ourselves if the “art” we are presented is really art. What is that indefinable but perceptible thing that takes a work from just a well executed piece of craft to being called art? We often call it creativity, but that is hard to define. But we all have our values and preferences. I know the things I call art. I’ll leave it to you to define your own.

    The point for this blog, though, is that the question of art or craft is independent of the media.

    Photography is too easy

    The story here is that you just point at something, click the shutter and you have an image you are trying to sell as art. It was too quick and easy. You have to suffer for art. It isn’t art unless it required hours of labor.

    So if it is easy it’s not art? But a good painter thinks painting is easy. A good sculptor thinks sculpting is easy. A good writer thinks that is the hardest thing in the world. Oops – wrong argument. The point is that easy is relative and subjective.

    It seems to me the discussion should revolve around did you, could you, would you. Did you take a picture just like that? Or did you look past it? Could you have done this? Ignoring the “my kid could have painted something like this splotch of color” reactions, could you really have captured this image? Do you have the technical knowledge, the equipment, the time to invest, the image processing skill, and the eye to have seen and composed the image? And would you? Would you really see this, or would you have walked by in a fog of busy thoughts that occupy most of us too much?

    Capturing an image in the way the artist wants it can take days, months, even years. Realize that some of the images you quickly dismiss were long term projects. And for an artist, an image is never finished out of the camera. Each one requires extensive processing. This is one of the great creative processes in photography.

    Are you ready to say it can’t be art unless it was hand carved from marble?

    It’s a creative act

    The same amount of creativity goes into photography as any other work that considers itself art. The technology may be very different, the process may be different, but it is still creativity. Creativity is hard and requires a lot of work on the part of the artist. Good art is art and craft. There is something that sets some works apart as not just craft. It is easy to recognize but hard to define.

    Because it is so hard to define, be careful. It is fair to say that an image doesn’t appeal to you. Be careful judging that it is not art.

  • Why Hang It On Our Wall?

    Why Hang It On Our Wall?

    We’re all on a journey. Life is a journey, not a destination. Having guides or at least signposts on the journey helps us to hold to our path. The Images we choose to feature on our walls are representative of our signposts.

    I’m not going as deep as the introduction sounds. This is not an offer to be your guide and I am not hanging out a “Life Coach” sign. My point here is that images are one of our guides in our journey. And they are ones we get to choose.

    Through recorded history, and even earlier, people have made, commissioned, kept, and wanted to see images. There is something inherent in our makeup that makes these valuable to us. Why is that?

    I think images help us in various ways and those ways evolve with time and maturity.. We are alone on our journey, but we are all together. Our journey is unique, but very similar to each of the billions of people who have come before. Pictures can help remind us that we are not a freak. We are a lot like everyone else. They can represent goals we aspire to or document moments we want to remember. Images on our walls can calm us down or make us think. Our moods are influenced by our environment. Our selection of pictures to surround ourselves with is a significant tailoring of that environment.

    Telling a story

    OK, that’s pretty dense. Let’s unpack it some. People tell me that pictures tell a story, or at least good ones should. I’m not sure that is as true as many artists think. To me a good image gives us the raw material we use to construct our own story. Story is at the heart of our being. We are so tuned to think in stories that when we see a picture we often construct a story for it in our mind. Where was it taken? What were they doing? Why was this happening? What does it mean? I’m sure most of us have found ourselves looking at an image that intrigues us and asking these questions.

    The old saying is that a picture is worth a thousand words. This isn’t literally true, of course. But a picture can capture a whole story for us. The story we construct for ourselves for an image can have great symbolism and a deep meaning. Or it could just take us to a happy place and give us peace when we consider it. Looking at an image on our wall that we see every day brings us into that story we have made in an instant.

    Why have pictures

    What are we looking for, then? There are many reasons to surround ourselves with images. Some that come to mind:

    • Remembering friends or relatives. We want to be reminded of those who are important to us. Pictures can keep them close to us, even take us back to significant events or times. The pictures are there even after they are gone.
    • Remember a peak event in our life. Maybe it is a wedding or starting a business or graduating from college. Whatever it is, looking at the picture brings back the memory of the event.
    • Pictures can feed our aspirational needs. Maybe we love the sea and fill our walls with sea images. If we love to hike or bike we might have grand landscapes showing the areas we want to be in. Maybe it is a mountain we plan to climb or a river we want to kayak. No matter what it is, we tend to surround ourselves with images that give us a warm feeling.
    • Pictures can make us think. Sometimes surreal or abstract images serve to stimulate our imagination. Or, depending on your makeup, it may be an image with lots of detail or strong composition. They can give us a little shot of energy when we glance at them.
    • Pictures can just be calming. Many people appreciate images that are peaceful, pastoral. This often involves nature or natural things. Because it gives us a sense of connectedness to our environment. It reminds us of the natural world out there that we don’t see enough of.
    • Pictures can also give us a sense of continuity. Historical subjects or old things can give us a sense of being part of a longer story. One day I will write on wabi-sari. That’s a Japanese philosophy that reveres things that age with character. But it is a lot more than that. It requires more space than I have here.

    So why do we choose pictures to hang on our wall? It varies with each individual and their situation in life at the time. But in general, good images give us a sense of place and a continuity with the longer story of humanity. Choose your environment carefully.

  • The Sensor

    The Sensor

    Putting up a nice safe technical post this week. What is the sensor and why do I care? If we just click the shutter button and expect to see magic happen on our screen, isn’t that enough? No, I obviously do not think it is enough or I wouldn’t be writing about it. The sensor is the heart of the technology of image capture. Without a great sensor none of this would be possible.

    History

    Going back, there was rubbing pigment on the wall of caves – Oops, too far. Photography as we would recognize it started in the early 1800’s. Motivated photographers had to mix their own chemicals and wet coat their own glass plates, in the field, in the dark, right before exposing them, then processing them quickly, in the dark, in the trailer they brought. Not for the short attention span crowd.

    In the late 1800’s Kodak produced commercial coated transparent film, on a nitrate base. Keep it away from your candles – poof. A few years later cellulose based safety film was invented and replaced the dangerous nitrate film.

    Around this same time roll film was also invented, so more than one exposure could be made before changing film. This was a contribution to most photographers. Leica’s adaptation of the 35mm film size and the development of an excellent, small hand held camera system greatly advanced the use of photography. In 1935 Kodak released one of the greatest advances in photography – Kodachrome film. Color photography was finally practical and it became very popular. A very large market for both color and black and white film developed with Kodak, Fuji, Agfa and many other brands vying for position.

    This is not an exact history of the development of photography and all of its branches. The point is that the technology of recording images has always been central to photography and it has been a subject of heated discussion/argument by photographers. I have witnessed people almost coming to blows about Kodachrome vs Fuji Velvia.

    Film Was Our Sensor

    Most “serious” photographers had their 2 or 3 favorite films that they used regularly. They learned the characteristics of each well enough that they could predict the results. This is very important, because photography has always been a mixture of technology and art. How the sensor (film) records light is necessary to know so the artist can determine how to use it to achieve the results they want. Pushing the limits of the sensor technology was a common artistic effect.

    But then photography’s “shot heard around the world” happened in 1975. From Kodak’s web site: “Kodak invented the world’s first digital camera. The prototype was the size of a toaster and captured black-and-white images at a resolution of 10,000 pixels (.01 megapixels).” From that trivial sounding start, Kodak killed it’s own business and the multi-billion film business around the world. Digital sensors forever changed the course of photography. And this was a good thing for photographers.

    Digital Image Capture

    Image capture in a digital sensor is completely different from film. Instead of photons of light causing a chemical reaction in the film, the photons caused the emission of electrons in the sensor chip. These electrons are accumulated over the duration of the exposure, then transferred out serially and sampled to “count” the electrons. From this, complex and high speed processing reconstructs an array of “pixels” (picture elements) which is so dense it fools our eye into seeing a smooth image. This constructed data set is recorded onto a memory chip in the camera. Then usually transferred to a computer.

    Over the years, good engineering has improved the process so much that few people still argue that images from film are superior to digital captures. My personal transition happened in about 2004. I finally concluded that the Nikon D70 was at least at parity with 35mm film. That was a 6 Mega Pixel sensor. The image accompanying this post was shot with that camera. Now, when I look at a good quality scan of a 35mm slide compared to a capture off my 47 Mega Pixel Nikon Z-7 sensor I have to shake my head and marvel at the improvement of our photographic technology. Yes, some of this comes from greatly improved lens design, but the sensor is one of the biggest effects.

    So with digital sensors I am free to push the limits more, to experiment more, to have more fun with photography, to post process to a much larger degree. Sensor development has removed many of the barriers of resolution, dynamic range, reliability, noise, etc. Photography now can be driven more by artistic vision than by a struggle to produce a usable image.

    Do We Need To Understand the Technology Anymore?

    Do we as artists need to know about the technology of our sensors? I believe YES. Photography is unique in being a strong mix of technology and art. A good craftsman cannot ignore either of them. These marvelous devices must be understood to be used to their full potential. Digital sensors have limitations and their own quirky characteristics. Dig in; understand the transfer curves; understand the dynamic range; understand the behavior at maximum brightness or darkness; understand noise; understand moire patterns. Understand other related things like the focus system in your camera. Nothing is trivial. But have a very high regard for the sensor.

    Much more can be written about the sensor. I may in the future if requested. As an engineer I enjoy digging into the technology.

    To the sensor developers at Kodak and Nikon and Canon and Sony and Fuji and all the others – Thank you!

  • Process

    Process

    Outcome vs. process. I believe this is a source of frustration and confusion for many people. I know it took me a long time to learn the difference. Outcome is the result we would like to achieve. Process is what we do.

    We seek an outcome like being selected for a gallery or winning a certain award or being published. The reality is, we have no control over these things happening. We can seek them and create opportunity, but other people make the decisions. If we are not chosen we will likely never know why. Not getting the outcome we want may be no fault of ours and it is not an indication that we are a failure.

    Should Have Given Up?

    J.K. Rowling’s synopsis and sample chapters for Harry Potter was rejected by 12 publishers. Stephen King’s first novel, Carrie, was rejected 30 times. He was so discouraged he threw it away. Luckily his wife retrieved it from the trash. The winner I could find was Kate DiCamillo’s 473 rejections before Because of Winn-Dixie was published. The persistent and popular Chicken Soup for the Soul by Jack Canfield was rejected 144 times. Canfield later wrote. “I encourage you to reject rejection. If someone says no, just say NEXT!”

    All of these examples are for novels, because that seems to be the easiest to find documentation for. I believe it applies to all art, and to most of life.

    Most of us will never be a J.K. Rowling or a Stephen King. That is not the point. They almost weren’t them either. If they had gotten discouraged and given up they would not have made it. The gatekeepers making the determination of who is worthy are not all knowing and all wise. Sometimes they are very blind. Coming to the realization that I cannot control their decision is a significant step in my growth.

    What We Can Control

    Anthony Moore had a great post recently that resonated with me. HIs point is that true champions focus on the process. They practice; they develop their craft; they become the best they can be. They realize they have to put in the long, boring, lonely work to achieve excellence in their field.

    He says “Ordinary people focus on the outcome. Extraordinary people focus on what they can control — the process.” This is a hard message. I want to be chosen. I want to win. But I need to realize that I cannot make someone pick me. All I can really do is continue working to become the best I can be. Maybe that is not good enough. But if I am the best I can be, that is all I can do.

    As a matter of fact, life gets a lot easier when we stop trying to run the world and instead focus on what we can control.

    I don’t want to oversimplify or get tripped up in words. The world is not neat and simple. Sometimes the outcome is critical. If you are doing work for a client, it has to meet or exceed their expectations. If you are shooting a wedding, for instance, you can’t say “oops, I didn’t get it; we need to redo the wedding”.

    This kind of outcome is the work we deliver. We can and do control that. The outcome we cannot control is whether or not we get selected to shoot the wedding.

    Commitment

    So when I am discouraged, when I have been rejected, what I can do is commit to doubling down and focusing on my process. I will intensify my technical and artistic effort and I will also become good at marketing. I realize that I cannot make anyone select me, but I can do important things to increase the likelihood that they will.

    All of this: technical, artistic and business is part of the process required to succeed in my art. More importantly, I need to always realize that my goal is not to beat someone else, it is to be my best.