By Larry Bartlett, Jon Tarrant
Larry Bartlett's Black & White Photographic Printing Workshop distils years of non-public adventure, and gives a useful and revealing perception into how his operating tools ensured the luck of others.
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Extra info for Black & White: Photographic Printing Workshop
And at the ends of the day, during golden hour (see below), the intensity of rich, warm sunlight set off against deep shadows gets many landscape photographers excited, particularly those shooting in stark landscapes like the Arizona desert. What hard light does have going for it is hard shadows and an intensity that, with a suitable subject, can deliver a degree of abstraction. Abstract imagery is a move away from the real, turning a scene into something else, at least until the viewer’s eye has settled down to seeing what is really going on.
The best candidate for this turned out to be the Olympeion, also known as the Temple of Olympian Zeus: 2nd-century marble columns set against a 1970s apartment block. It had the added advantage of being graphic— verticals against horizontals. What light would work best? A pretty end-of-day, or something starker and more in keeping with the idea? I used a similar setup for the forlorn traffic junction on the right, which is not, as you may suspect, the scene of recent heavy shelling, but yet another Chinese city block in the process of redevelopment.
The image has structure, and leads the eye. W. Turner, as the illustrations show. A key addition to moving the eye from shade to light was that classical landscape paintings also needed human figures, and both Lorrain and Turner used another special technique to coax the viewer’s attention. They created a pool of light within the foreground-to-middle ground. Two great examples are Lorrain’s “Rest on the Flight into Egypt,” painted in 1644 (his “Moses Saved from the Waters,” 1639 is startlingly similar) and Turner’s “Crossing the Brook” from 1815.