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We’re ob­sessed with black-and-white this month – but what are our favourite sub­jects?

Chris Ge­orge Edi­tor | D800 & D200 chris.ge­orge@fu­turenet.com

We’ve got a spe­cial on black-and­white on page 26. I grew up with HP5 and red fil­ters, but still love shoot­ing stormy skies in moody shades of dark grey!

Roddy Llewellyn Art Edi­tor | D90 richard.llewellyn@fu­turenet.com

Amer­i­can and Aus­tralian land­scapes. The skies, and the scale of the nat­u­ral fea­tures, can lead to some amaz­ing black-and-white shots.

An­gela Ni­chol­son Head of Test­ing | D7100 an­gela.ni­chol­son@fu­turenet.com

I shoot sub­jects with shad­ows in black-and-white. Tak­ing out the colour al­lows you to re­move dis­trac­tions and em­pha­sise vari­a­tions in light lev­els.

Miriam McDon­ald Op­er­a­tions Edi­tor | D3100 miriam.mcdon­ald@fu­turenet.com

Any­thing with a strong tex­ture works bril­liantly in mono­chrome, so I love macros of wool and fab­ric. You can get bril­liant ab­stracts from them.

Rod Law­ton Tech­nique Edi­tor | D300s rod.law­ton@fu­turenet.com

It’s got to be ar­chi­tec­ture – whether it’s rough stone, gleam­ing glass or black iron­work, ev­ery build­ing looks its best in a mono­chrome pic­ture.

Siân Lewis Staff Writer | D3100 sian.lewis@fu­turenet.com

I love shoot­ing mono­chrome por­traits, as black-and-white adds a re­ally time­less feel to people shots. It’s easy to do in-cam­era, too.

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