Forty years ago when I purchased my first SLR camera-a Nikkormat FTN that I still have-I immersed myself in the world of black and white photography. Naturally, one of my heroes was, and still is, Ansel Adams. I learned how to develop film and make acceptable black and white prints from the negatives. I was hooked.
Fast forward to the present day: Photography has changed in ways no one could have imagined in that long gone time when a computer was still a large room-sized machine with unknown purpose and potential. Most of my work since switching from film to digital has been color landscapes. The portraits I have made are also (mostly) in color. Why? The answer is twofold: First, I lost that connection and, with it, the ability to visualize the scene and the image in the frame of my viewfinder in black and white. And, I just could not make a black and white print that matched those that slowly emerged from the developer under that red safelight. Granted, some of the shortcoming was due to my lack of expertise, but much of it had to do with the inability of the available technology to make an acceptable conversion
Recently, however, I have been re-connecting with that which I had lost in terms of visualizing my images in monochrome, and, with the ongoing development of new and better software, I find that I can once again produce a black and white or toned print that lives up to my expectations. Once again I can get excited about a black and white image the way I used to.
This image was made on a lonely highway in northern New Mexico. A storm was rapidly approaching from the south and the heavy clouds added to the feeling of desolation in the scene. The arrow-straight road with the mountains in the distance suggests a lack of any creature comforts. Even the rough texture of the road and the dark silhouette of the tree compound the sense of total isolation.
I did not pre-visualize this image as a black and white photograph. I like the way it looks in color, but I decided to experiment with it. I used Silver Efex Pro to do the conversion and I am very happy with the results. I think stripping the color adds even more to the bleakness of the scene. It lays bare the basic elements and structure of the image. Sometimes making a change in your pattern can help you to revitalize your passion and creativity. Even something as simple (or as complicated) as returning to your roots can breathe new life into your work.
This final image was made in the Mesa de Cuba badlands in the San Juan basin of northwestern New Mexico. It is a three image exposure fusion which I then converted to a sepia toned image in Silver Efex Pro. What caught my eye when I first happened upon this scene was the almost visceral appearance of the erosion channels. It had just snowed and the thirsty ground was sucking the moisture from the newly-fallen snow emphasizing the tonal contrast between the channels and the surrounding earth. At first I was concerned that it may be a little over the top in terms of the tonality, but I realized that I was merely presenting the scene as I had interpreted it. In the end, that’s what matters. Be true to your vision and you will evolve as an artist.