“BLACK AND WHITE HAS A LOOK AND FEEL THAT’S UNIQUE AND BEAU­TI­FUL, WITH AN IN­HER­ENT SENSE OF MYS­TERY”

Digital Photograper - - Welcome - DPHOTOGRAPHER.CO.UK. MATT BEN­NETT, ED­I­TOR matthew.ben­nett@fu­turenet.com

For me, at least, there’s some­thing spe­cial about black and white pho­tog­ra­phy. When it’s done well, it has a look and feel that’s unique and beau­ti­ful, with an in­her­ent sense of mys­tery that’s hard to beat.

Black and white is per­fect for pho­to­jour­nal­ism, ideal for cre­ative ex­per­i­men­ta­tion and, when it comes to por­trai­ture, it can be used to ei­ther flat­ter the sub­ject or cre­ate a strong sense of char­ac­ter. But achiev­ing good black and white is ex­tremely dif­fi­cult, and much harder than it per­haps ap­pears. That’s why in this is­sue we’ve dis­tilled seven se­crets be­hind great black and white, from cre­ative think­ing through to de­vel­op­ing a style. Turn to p36 to be­gin read­ing it.

Also this is­sue, lead­ing land­scape pho­tog­ra­pher Mark Bauer has looked at the es­sen­tial skills re­quired to shoot sharper land­scapes. You’ll find it over on p50 of the magazine. If you pre­fer a com­pletely dif­fer­ent set­ting for your pho­tog­ra­phy, how­ever, then start­ing on p64 we’ve got a guide to suc­cess­ful live mu­sic pho­tog­ra­phy.

As al­ways, we’ve got a great mix of in­ter­views, prod­uct re­views and news to keep you abreast of any in­dus­try de­vel­op­ments, and to help in­form your next kit pur­chases.

We’d love to see your own images of course, so as al­ways please up­load them to our web­site at

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