STRONG70 Collection 1

Collection 1

See in Mono is composed of photography enthusiast and

professionals based in the U.S.A., China, India, Indonesia and Phil ippines.

This project is a product of self less volunteerism of t ime and talent.

THE TEAM:David Mar Quinto

Mahesh BalasubramanianChaerul Umam

Haswa WedhaswaraErick MendiolaJasper Resari

Red OgnitaRaymond CruzJeff Mercader

Rocel Ann Junio

SEE IN MONO GUIDING PRINCIPLES INTEGRITY: Honest work above all

EXCELLENCE: Anything less than the best is not acceptable

SERVICE: Passion in sharing ideas and resources.

https://www.facebook.com/groups/seeinmono/

Editor’s note

Dear members,See in Mono (SIM) has gone a long way in promoting and spreading the love

for black and white images online and offline. Our humble fan page now gathers amazing individuals all over the world, and the exchange in culture, aesthetics, and vision are truly remarkable and promising.

SIM has also become our way of sharing our vision for photographers to promote their respective works, and for photography to be recognized and respected as a form of visual art and expression. And with that, we’d like to extend our deepest gratitude for contributing not only to the page but also to the projects we initiate.

We now present to you the fruit of all our dedication: Strong70, an e-magazine showcasing 70 sublime and inspirational images handpicked by SIM’s core group of senior admins. While SIM values quality and not quantity, the creative process that came with sticking to a certain number of images was a meticulous yet rewarding one. The result was truly astonishing and the different genres are well represented, with each photo having its own unique interpretation of metaphors, similes, and facts of l ife and nature.

Strong70 does not only aspire to showcase awesome images, but also to inspire a lot of promising photographers who may want to embrace the art of black and white photography. But above all, we do hope you enjoy this publication. Thank you so much for your support!

Yours, SIM admin

Copyright © 2014, See In Mono. Published by See In Mono. All rights reserved

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and

Featured Artists:

Uwe Langmann

Yalçin Varnali

Keith Aggett

Hengki Koentjoro

4

14

26

44

In another time 12

© Yalçin Varnali

56

60

66

68

71

72

76

80

84

86

88

91

92

94

96

100

102

104

106

110

116

118

120

124

128

132

134

142

144

146

150

152

154

158

160

162

Alain Baumgarten

Andy Lee

Arthur Kenneth Sy

Bence Zanyi

Bruno Blais

Chaerul Umam

Correy Bratton

Dariusz Klimczak

Demaret Didier

Derek Toye

Edwin Martinez

Gittan Beheydt

Gerald Berghmmer - Ina Forstinger

Guy Cohen

Haswa Wedhaswara

Hideyuki Katagiri

Ivana Stojakovic

Jacob Tunenga

Jasper Resari

Jeff Mercader

Joel Tjintjelaar

John Kosmopoulos

Krzysztof Jedrzejak

Lionel Orriols

Mahesh Balasubramanian

Mark Oliver Mercader

Martin Rak

Massimo Margognoni

Matthias Schroeter

Michael De Guzman

Miftachus Sa’idin

Neil Hulme

Okto Ahadi

Rohan Reilly

Till Muller

Yury Bird

4 STRONG70 COLLECTION 1

Uwe LangmannFeatured Artist :

See in Mono: When and how did you start your photography?Uwe Langmann: I started ser ious photography around 2009 when I was working on a movie and decided to make a screenplay accompanied by a ser ies of photographs that i l lustrated the mood and surrounding landscapes of the movies scenes.

SIM: I ’ve seen your short f i lm tra i ler “verfal / dis intregat ion” v ia Vimeo, and I real ly l ike i t . I t was classic and was very nostalgic. Did you do f i lm pr ior to photography, or did you do both?UL: I d id make short f i lms for quite a long t ime after I f in ished school. L ike I wrote before, my passion for photography was more or less born out of the passion for shoot ing f i lms. At the moment I ’m doing almost exclusively photography.

SIM: Both your black and white and colored photos represent your ident i ty. What is your general ru le on taking wonderful images?UL: I don’t have a set of ru les in doing my images, except that the images have to resonate something inside of me, my feel ings for something

or someone, or just for expression.

SIM: Why take or present photos in a square format?UL: I th ink the square rat io is the most harmonic format you can give an image, s ince almost al l of my images are supposed to have a kind of meditat ive feel . I t helps create a calm and wel l-ordered image and composit ion.

SIM : How do you descr ibe your photography this ear ly in your career?UL : My images are part ly inspired by ear ly pictor ia l ist landscape photographs and modern-day minimal ist paint ings. I t ry to make images that appear very clean, s imple and direct on their aesthet ical surface but are mult i layered and open for indiv idual interpretat ion concerning i ts content.

SIM : Are you very part icular with gears and equipment? What software do you use for your post processing?UL : No, I ’m not a fan of equipment or fancy

www.uwelangmann.com

2010 - Winter 005

© Uwe Langmann


technical stuff at a l l . In my opinion al l the fancy gear just distracts you from feel ing the surroundings and concentrat ing on making the images you want. I just use a Canon 5D MKII , a lmost exclusively the 24-70mm Canon lens, a grey f i l ter, a t r ipod and a remote release. That’s a l l .

SIM : Who are your inf luences, and how much of your sty le can you attr ibute to them?UL : My inf luences are most ly painters l ike Mark Rothko, Gerhard Richter, Kazimir Malevich, and Andy Warhol , and some photographers l ike Hiroshi Sugimoto and Jean-Bapt iste Huynh. At the beginning Micheal Kenna also was a big inf luence on the decis ion to shoot in black and white and to using countryside landscapes as a backdrop. After a whi le I started creat ing my own style. That was a natural process, I th ink.

SIM : What is f ine art photography for you?UL : F ine art photography is photography made by people who want to express something of their own in a way they couldn’t do otherwise.

SIM : Do you pr int your own images? What are your preferences in terms of pr int ing your photos?UL : No, there’s a pr int studio that I t rust, so I don’t need to pr int them myself . I prefer inkjet pr inters with pigment ink over Lambda pr ints because my images tend to have a rather painter ly look which can be better represented with the f ine nuances from inkjet pr int on good f ine art papers l ike those by Hahnemühle.

SIM : How do you f ind social media helping you get your creat ive works out there?UL : I t ’s very good when you start out and you are not so sure what is good and what isn’t . You get lots of feedback very quick (posit ive and negat ive) that can motivate you to go on. But after a whi le, I th ink you should know for yoursel f what is good and what is not. I t might a lso be a good f i rst step for publ ishing your work or gett ing in touch with gal ler ies, but you have to take things out of the Internet after a whi le and br ing i t into the real wor ld again.


2011 - Four Trees

© Uwe Langmann


2011 - Silent Running

© Uwe Langmann


2012 - 180

© Uwe Langmann


2013 - Windowseat II

© Uwe Langmann


2012 - T ime

© Uwe Langmann


2013 - A New Beginning

© Uwe Langmann


2013 - Nothing Is Everything

© Uwe Langmann


2013 - Rhythm I

© Uwe Langmann


Yalçin VarnaliıFeatured Artist :

See in Mono: Tel l us more about you and your photography.Yalçin Varnal i : I was born in Adapazar i in 1966, a ci ty at 150km east of Istanbul , and stayed there unt i l I was 11 years old. Then I was inscr ibed to Galatasaray High School, a histor ical school in the most v iv id center of Istanbul . Not only was my cultural wor ld changed with too much new ideas, new fr iends and l i festy les, but I had to move constant ly every weekend to my fami ly’s c i ty, taking the regional t ra in back and forth. On the road over the years, I th ink I had a constant v is ion of f luent images of the landscape. Paradoxical ly, these blurred images had been one of the sources of inspirat ion in my photographic sty le, which is based on immobi l i ty.

This may be interpreted with two explanat ions: f i rst , a need to stop f luency in images of t ranqui l p laces in t imeless moments; and second, a

pictographic real izat ion of those memories of my teenage years on the tra in, not as mixing colors and forms, but instead as objects that seem to be frozen whi le in fact they move too quickly. Of course, there should be other reasons why I preferred this minimal ist aesthet ic, but I th ink the tra in memories and their v isual project ions are the most inf luent ia l .

After graduat ing from Galatasaray High School, I went to Medical School at Istanbul Universi ty. When I was studying there, in 1987, I started taking photographs with my SLR f i lm camera. Due to the di ff icul ty of my program, I couldn’t cont inue to shoot. After s ix years of studies, I got or iented to oto-rhino-laryngology. I started to shoot again in 2006, went to some photography workshops, and I have been involved in some projects and have been a part of some exposit ions and presentat ions.

Into the l ight

© Yalçin Varnali

www.yalcinvarnali.com


I am now an ENT surgeon and I l ive in Istanbul , a c i ty that’s sometimes melanchol ic but most ly chaot ic. As a person who is fascinated by empty places with weird atmospheres, I consider photography a therapy, an escape and isolat ion from the chaos of th is big ci ty.

SIM : When did you start doing long-exposure techniques, and who and what inspired you to do this?YV : I th ink with an art ist ic perspect ive l ike mine, which systematical ly t r ies to el iminate the charged aspects of everyday l i fe, minimal ism was the most substant ia l aesthet ical concept ion that I needed. For this reason, minimal ist art ists have been inevitably the most inf luent ia l f igures in my concept ion of photography.

The modern l i fe is too much accelerated. I t is f lowing at a speed which often keeps us from

catching moments of sensual concentrat ion. In the global culture, we certainly have plenty of cultural components in our hands, at the t ip of our f ingers, for expressing ourselves in everyday l i fe as wel l as in the arts. But they f low too quickly and they are seen in so much complex forms that we only enjoy contemplat ing them or maybe make of them an incessant jugglery on forms. Since 2007, I ’ve been try ing to s low down this hurr ied everyday l i fe course with long exposure technique. Besides, objects I choose to focus on are also immobi le things. Al l of these create a sense of t imelessness in a world where t ime has a strategic importance.

SIM : Can you tel l us a l i t t le more about your v is ion and creat ive process as an art ist?YV : I t ry to see movement in i ts most inert form, thus simpl ic i ty is the core of my art ist ic concept ion. As my character a lso is calm, I can have suff ic ient pat ience for seeking the


good object to be photographed, and wait ing for the good moment. I l ike lonely bal lads in the countryside, in distant areas, abandoned industr ia l faci l i t ies or sea sides. My method of f inding out the object is in paral le l with the sty le I ref lect in my images.

SIM : Why do you prefer taking and present ing photos in black and white?YV : Black and white is commonly thought to be a more intel lectual way to ref lect real i ty, by impl ic i t ly erasing too-much sharp edges. I don’t agree with this point of v iew. For me, black and white is the natural real izat ion of a minimal ist ic percept ion of the world, without any need to support the image with the complexity of color junct ions. As I want to atta in the most reduced inner layer of real i ty, detai ls seem, in this perspect ive, often der isory. Therefore black and white v is ion corresponds best to this desire to obtain s implest state of the matter.

SIM : Would you l ike to share any one of your favor i te photos and the creat ive process behind that?YV : “Home Sweet Home,” for example, is a photo that attracts me too much because I found in i t not only al l the basic character ist ics of my photographic v is ion, but a lso, a phi losophical dimension which expl ic i t ly and i ronical ly proves that real i ty is a social construct and i t is a lways intertwined with the unreal . In modern world, we tend to classi fy th ings, s i tuat ions and events in rat ional ly c i rcumscribed categor ies. Nevertheless l i fe is not so predictable.

As a photographer of remote places and abandoned spaces, I am very much excited by sudden discover ies. And bel ieve me, they are more frequent than we think. The armchairs s l ight ly submerged in water—one in re lat ively upr ight posit ion, the other upside down beneath a rock—were an unexpected discovery for me. I know that most people would think that i t cannot be real or authent ic, but rather a scene special ly created by myself . Wel l , i t is not.

Al though Turkey had made considerable progress in environmental issues, we can st i l l see sometimes, most ly in poor neighborhood, old furnishings discarded and abandoned in deserted areas. But th is is not the point. The important th ing here, I th ink, is the suddenness, unexpectedness, unreal i ty in the middle of a rat ional ly managed real i ty. This is a universal


Come away with me

© Yalçin Varnali


In another time 12

© Yalçin Varnali


pecul iar i ty of the real i ty. This can be other th ings or other forms of unreal , but everywhere in the world you would f ind such surpr ises. The photographer should have, in my opinion, a k ind of inst inct to discover them.

SIM : Where do you f ind inspirat ion from?YV : I th ink that every space has i ts story. Some are more glamorous and vis ible, some have mute appearance. I t ry to decipher this unvoiced state, especial ly in places where human presence is near ly inexistent. This can be considered as a technique for str ipping the real i ty down to i ts s implest form.

SIM : Do you have interest in other arts l ike paint ing or music and get inspirat ion from them for your work?YV : Minimal ist painters and sculptures are my f i rst-rank sources of inspirat ion, such as Bl ink Palermo or Donald Judd. Composer Arvo Pärt ’s works corresponds most to my photographic v is ion. I am not a good cinema-lover, but I th ink the art ist ic language of Ingmar Bergman touches somewhere in my photographic insight. I am part icular ly amazed by haikus, the Japanese short-versed poems. The art of haiku is to be able to resume a universe of s igni f icat ions in the s implest form possible. This is what I t ry to do in photography.

SIM : Would you l ike to share your upcoming project?YV : An exposit ion named “Iceland: The place where the world begins” wi l l be my third personal exposit ion in Istanbul . The others were “Lost in Time” and “In Another Time.” Fol lowing that, I have a book project containing the photos of these exposit ions.

SIM : Any suggest ions, t ips, or advice for upcoming long exposure f ine art photographers?YV : The only advice that I can give to photographers is that long exposure technique is not only a technical process. There are two pr incipal aspects: one is aesthet ical and the other one conceptual . Long exposure consists of render ing l ight as a purely plast ic component in the hands of the art ist . There is a v is ible intent ional i ty, in contrast to the photos pr ior i t iz ing the magic of the instant. Of course, th is is another magic of the instant again, but i t does not stem from temporal i ty but f rom spat ia l i ty together with an aesthet ical design. Second, long exposure should be an expression of a conceptual guidel ine of the art ist . Without that, the photo wi l l be a disor iented and f loat ing signi f ier.


In another time 23

© Yalçin Varnali


In another time 28

© Yalçin Varnali


Lost in time

© Yalçin Varnali


Parallel dreams

© Yalçin Varnali


Pier

© Yalçin Varnali


The day after

© Yalçin Varnali


Keith AggettFeatured Artist :

See in Mono : How do you descr ibe your photography? Keith Aggett : Surreal , dream-l ike, minimal, uncompl icated composit ion using only a couple of focal points within the frame to te l l the complete story

SIM : Who are your inf luences, and how much of your sty le can you attr ibute to them?KA : Michael Kenna and Michael Levin have both played the biggest part in my photographic journey, both masters of black and white yet with very di fferent sty les. Kenna produces wonderful tonal ranges within his work and sometimes composit ion doesn’t seem to be very apparent unless you look deep into the image. Levin’s work is very clean and sty l ish, pure blacks and whites (except for his new work which is in color ) and very strong in composit ion. His images have the wow factor for me! These aspects have def in i te ly inf luenced my sty le and the way I see the shot before the shutter is pressed.

SIM : Why do you prefer black and white format over color? KA : Black and white is easier to v iew, and i t g ives more str ik ing and powerful images. Light and shadow can be used to their fu l lest , tonal ranges pushed to their l imits. Color, on the other hand, c louds my vis ion. I f ind myself bored, f l icking from one image to the next without knowing what I ’d just looked at. Black and white captures my imaginat ion, draws me in so I can absorb the whole scene which comes al ive with so much to see.

www.keithaggettphotography.com

27 STRONG70 COLLECTION 1© Keith Aggett


SIM : I t seems that there is a lways water as an element in your images. Why? KA : I suppose the answer l ies in my locat ion. I l ive in the southwest of the UK and water surrounds me. After buying my 10-stop f i l ter back in January 2009, the coast was the f i rst place I headed for, just a 10-minute dr ive to the nearest shorel ine. I couldn’t wait to see what a three-minute exposure on water was going to look l ike, and when I did, I was blown away by a surreal image. This was what has determined the direct ion of my photography, and i t cont inues to give me that same buzz as i t d id then.

SIM : Why take or present photos in a square format? KA : Ninety-nine percent of the t ime my images wi l l be square. Why? Truthful ly, a l l my f i rst attempts at black and white were in landscape format, but I soon fol lowed the trend. When viewing some other great photographers’ works in the square format, I found I could focus more on what was actual ly going on in the frame. The square format stops your eyes from straying from left to r ight and f ixes your focus. Every t ime I look through the v iewfinder I t ry my hardest to capture that scene in square.

SIM : What is f ine art photography for you?KA : Images that are created with your own vis ion

SIM : You seem to be very passionate in what you do. What motivates you in doing f ine art photos? KA : I want to show my work to other l ike-minded photographers and get their feedback, good or bad. I want to keep improving and moving forward, so I suppose viewing other art ists’ work is what motivates me.

SIM : Are you very part icular with gears and equipment? What software do you use for your post processing?KA : I do think a decent amount of megapixels is required in the type of work I do. When I look at some of my older images shot with 6MP and 12MP cameras, I real ly couldn’t achieve the qual i ty I do now. I wouldn’t want to shoot with a camera below 16MP as my images are al l cropped and there is a lways processing being done. I use middle-pr iced glass and have always been happy with the results i t produces. My tr ipod is a basic Manfrotto carbon version which also works wel l .


Post-processing is probably the most important to me at the moment. I wi l l take anything from 30 minutes to 10 hours to produce something I ’m happy with. I t real ly does need to look good i f i t ’s to be pr inted large, plus I real ly do enjoy this part of the digi ta l process to create that in i t ia l v is ion.

SIM : Do you have any t ime and weather preferences when you shoot? How important is planning to you? KA : Sunr ise is my preferred t ime of the day, and also cloudy overcast skies seem to work best for me, but I ’ve taken shots at a l l t imes and in al l condit ions. I t ry to adapt and go with what works on the day. Planning my locat ion is a lways on top of the l ist ; there’s nothing worse than dr iv ing aimlessly around for a few hours and then heading back home with nothing to work on. Due to my t ime being l imited, I research the area as much as possible using Google Maps to v iew images of the area.

SIM : They say that in f ine art photography, i t ’s the v is ion of the photographer that gives soul and l i fe to i ts f inal image? Do you agree with this? Why? KA : Without doubt i t ’s the photographer’s v is ion that makes the image compel l ing and come al ive. The or iginal shot that’s captured in the camera seems l i fe less and f lat and just wait ing for the art ist to breathe l i fe into i t .

SIM : How do you f ind social media helping you get your creat ive works out there? What do you think are i ts advantages and disadvantages? KA : Shar ing one’s own work for me is very important; i t ’s been a great way of improving and moving forward in the photographic journey I ’m on. Viewing other photographers’ work gives me inspirat ion, and I hope mine does the same for them. There are also some great f r iendships to be made with l ike-minded photographers. The only disadvantage I can see is your work being used by other people without permission for their own ends, which is a shame.


Hengki KoentjoroFeatured Artist :

See in Mono : Can you tel l us a l i t t le bi t about how you started your photography career?Hengki Koentjoro : On my 11th bir thday, my mom gave me a Kodak pocket camera as a present. Even though I was young and the camera was more of a toy to me than anything else, I was hooked. I fe l l in love with the idea of preserving what I was seeing. From that moment forward, I began documenting, photographical ly, the act iv i t ies of my fami ly as wel l as the community surrounding me.

SIM : Did you go to go to formal school to learn photography? HK : I graduated from Brooks Inst i tute, ended up as a v ideographer, but photography is a ser ious hobby. I started dur ing my teen years and never stopped t i l l now. I t is my passion as wel l as a tool to communicate. At Brooks, I learned the discipl ine and valuable techniques of photography

when f i lm photography was st i l l k ing. That’s a lso when I was exposed to the work of Ansel Adams who inspired me to know more of black and white photography. His method cal led Zone System got me learning about tonal i ty and contrast in order to create mood and atmosphere. At school, they prepare you technical ly as wel l as mental ly so you are ready to face the real industry with conf idence.

SIM : How would you descr ibe your work in three words? HK : Yin-and-yang hyper-real i ty photographs

SIM : Why take or present photos in a square format? HK : Square is balanced and equal ; i t is more int imate in my opinion. The rule-of-thirds very much appl ies to the square format so I base everything on this theory.

Conversation

© Hengki Koentjoro

www.koentjoro.com/profi le.php


SIM : You also take underwater photos, and in black and white. Is there any special reason for th is?HK : Black and white is more pl iable for me, so i t is easier to create and express my emotion. The appeal l ies in the tones and the abi l i ty to play with them in order to create nuances, mood, or ambience.

SIM : Can you share some t ips on how to take good photos in such an environment?HK : The abi l i ty to control your buoyancy is of utmost importance. This gives you the abi l i ty to hover over your subject with ease and precis ion. You have to dive safely before you can take pictures. The amount of t ime you spend underwater mainly depends on your div ing ski l ls . The rule is safety f i rst , then have fun.

SIM : What gives you ideas and inspires you to create such amazing imagery?HK : The ocean possesses a calming effect. This is essent ia l for a ci ty dwel ler that needs to regain sanity. I a lso l ive in Indonesia, dubbed as the biggest archipelago on earth. We have around 14,000 is lands and r ich marine biodiversi ty to match. Many avid divers consider the eastern part of Indonesia as the last f ront ier for div ing.

SIM : What do you st i l l hope to achieve in your photography?HK : I ’m not real ly looking for any special achievements; whatever comes, comes. Photography can never be separated from the aspects of making the common things unusual , welcoming the unexpected, and indulging ourselves with the joy of photography.


Atlantis

© Hengki Koentjoro


Breath

© Hengki Koentjoro


Fallen

© Hengki Koentjoro


Free Dive

© Hengki Koentjoro


Hallow

© Hengki Koentjoro


S

© Hengki Koentjoro


V

© Hengki Koentjoro


Water Falls

© Hengki Koentjoro


Alain Baumgarten

Born in the early 1980s near the Franco-German border, Alain considers nature as his playing field since he was a child. He moved to the big city for his studies but his love of nature drew him in again. He escaped from the walls of the urban life and went back to the countryside with a camera in hand and a fresh pair of eyes. The flowers, insects, and landscapes were never the same, and he was unable to put down his camera since. Alain, also a saxophone teacher, believes his photography and his music complement each other mainly by the concepts, technique and interpretation shared by both arts. At present, he lives in the countryside near Metz, France

About the photos: Alain places his style somewhere

between fine art and nature photography. In his photographic explorations, he often finds subjects that carry strong symbolic dimensions and evoke emotions and feelings from the depths of his unconscious. These come out especially in certain weather conditions, l ike in the mist or in the snow, “when our perception of the world and the options for composition are reduced to the essential,” Alain says. Calmness, sweetness, and sensuality are some of the feelings he experiment with when composing elements and shapes in nature. He is currently exploring techniques such as long exposure and infrared photography, and shooting and creating in black and white, which helps him reinforce the surreal and spiritual dimensions in his subjects.


Duetting

© Alain Baumgarten


Heavy Mist

© Alain Baumgarten


Un Nuage S’Envole

© Alain Baumgarten


Andy Lee

Andy says he has been taking pictures all his life, but started photographing obsessively about 10 years ago when he was filming a documentary for a charity in Ethiopia. With an old Hasselblad film camera, he also took photos of the scenes he had set up to fi lm. “From that moment, I was hooked,” he says.

While the usual route was moving from photography to video, Andy chose the reverse route and found producing stil l images much more rewarding than video. He was into portraiture and ‘capturing the moment’ but has recently started photographing landscape. While he is practicing to combine the two in his photographs, Andy says that the key component in his imagery is light. “Light is key to developing my narrative and how I want the image to be conveyed,” he says.

About the photos:Andy loves shooting in monochrome

as it helps him convey an image without distraction, transforming it to its bare elements with the use of texture, tone, contrast, form, light and negative space. He especially likes to explore the range of emotions that light and dark tones can bring to an image. He uses light to direct the viewers’ eye to the image and navigate through a hidden or subtle narrative. For him, monochrome is an interpretation of reality with these elements adding to the scene and telling the story.


That Dam Cloud

© Andy Lee


The Pole

© Andy Lee


One Two Tree II I

© Andy Lee


One Two Tree XX

© Andy Lee


Arthur Kenneth Sy

Deeply inspired by the beauty of nature, Kenneth has emerged from his quiet, routinary life in business into the exciting world of photography. He started this hobby barely six years ago, and learned to capture significant moments and record unforgettable experiences along the way. A man who always seeks perfection in everything he does, Kenneth never gets tired of pursuing his dream of becoming one of the best photographers whom present and future generations will remember.

Kenneth’s photo was taken en route to Huang Long in China early morning winter time in 2013, when he saw the magnificent combination of tones, contrast and layers in the scene. For him, black and white photographs have a simple yet classic appeal.


Bence Zanyi

Bence have been interested in the arts since he was a child but his love for photography started 7 years ago. He loves all forms of creating images but chooses landscape photography in monochrome his favorite. “It is already abstract since it veers from our color vision, but also the lack of colors makes you focus more on shapes, moods and feelings,” he says. He adds that long exposures make it even more surreal as a single frame captures not just a moment but the passing of time. That ultimately pushes him to go out and discover new places.

About the photos:“Road to the Lighthouse” was taken

near Hurst Castle in Dorset, England on a particularly windy and cold day, recalls Bence. “I was about to leave the peninsula when I saw this beautiful cloud formation over the lighthouse. The road worked as a great leading line that left me with an impression that I was somewhere desolate, a feeling I’m always chasing during my photography trips.”

“The Durdle Door” may be considered as the trademark of the Jurassic Coast. It has been photographed often but Bence wanted to try something different. “Normally I am after interesting cloud formations but this time, the opposite proved to work. What I wanted to capture was the smoothness of the clear sky and the calm sea, with the rigidity of the arch as an accent or contrasting element.”


Road to the Lighthouse

© Bence Zanyi


The Durdle Door

© Bence Zanyi


Bruno BlaisA professional artist in a theater and dance company since 1992, Bruno

took on photography in 1998. He created an association in 2004 and a magazine-type photography review publication called L’Autre, showcasing black and white photographs. Printed in France, L’Autre has already produced seven volumes.

About the photos:When Bruno was a child, he remembers his grandmother tell ing him stories

when she opens a box full of photos. “I used to imagine the life of people shown in the photos, and promised that one day I will take my own as well. I love trekking to the mountains, and during winter I l ike taking black and white photos of snow, and the deep forest with fog and great light. I hold mountains and shooting in black and white precious in my life.”

© Bruno Blais


Chaerul Umam

Chaerul was born in the coastal city of Java island in Indonesia in 1979. He has been studying photography since 2007 and, after trying various genres of photography, he chose landscape photography as his visual identity. He loves black and white landscape photography, which taught him that beauty and permanence are essential. He became part, and later an admin, of Siksa Kamera, an online community of Indonesia-based photographers specializing in long exposure photography. “It was an honor to be sharing my knowledge about long exposure photography in various workshops in major cities in Indonesia,” Chaerul says.

About the photos:The Ballerina Project is a

photography project about trees perceived by Chaerul as ballerinas dancing amongst the waves in the middle of the ocean. “I documented them in black and white to encourage modesty and for us to enjoy natural beauty,” Chaeul says. “Ballerina II” was taken at the Pelni Beach, Merak – Banten, while “Ballerina III” was taken n Laguna Beach, Labuan – Banten. “In Ballerina III, mangrove trees with skinny twigs grow in the middle of the ocean, like a ballet dancer tiptoeing in an attractive stage. And the stones, they are the audience.”


Ballerina II © Chaerul Umam


A Colloquial Dream

© Correy Bratton


Correy Bratton

Correy is a self-taught amateur photographer who started long exposure photography in 2011. Currently based in Okinawa, Japan, he found himself captivated by the place’s beautiful coastlines, crystal clear blue bodies of water, and rock formations and defenses that are outlined with fast moving cloud formations. “Having an extreme fascination with simplicity, my goal is to capture this in every scene through the use of black and white long exposures,” says Correy.

About the photos:“A Colloquial Dream” is a jetty that

is commonly used by local fishermen during high tide. A song performed by one of Correy’s favorite jazz artists Charles Mingus inspired the image and its title. The song speaks of a struggling artist that truly loves his craft.

“The Last King” is a rock formation located at a popular tourist beach located on the west side of Okinawa. “I wanted to give the sense of survival in emptiness,” says Correy.


The Last King

© Correy Bratton


Dariusz Klimczak

Dariusz’s “Acrobats” was chosen by US-based photographic portal Pixoto.com as Photo of the Year in 2011. He was the only Polish to qualify for the international photo project, which concluded in an exhibition at the Centre Al Gazira in Cairo, Egypt in February 2012. He was also part of the feature “New Visionaries in 21st Century Photography” published in the prestigious UK publication “Altered Images” in 2012, and a winner of the Mayor of Slupsk, Poland scholarship in May 2012. He sells limited editions of his work at home and abroad, including England, Canada, United States, Switzerland, France, Australia, Germany, India, Sweden and Norway.


Demaret DidierDemaret is a self-taught amateur photographer from Belgium. He

discovered photography in 2006 and was immediately attracted to landscape photography in black and white and in square format, providing a plurality of compositions. He loves playing with lines and shapes in a minimalist approach. Most of his landscapes are done in low light, in the rain or fog, with long exposures that create a mysterious atmosphere.

About the photos: Demaret says his favorite subjects are snow and rain, and that black and

white photography is perfect in creating minimalist and high-contrast images of those. “It allows me to center on the subject without being distracted by all the colors,” he says.

© Demaret Didier


Derek Toye

Derek Toye is a self-educated, amateur photographer from Sarnia, Ontario. He first started taking photos in 2011 for fun, but after viewing other photographers’ works, he soon became interested in photography. Landscapes are his favorite subjects and he works primarily in black and white to try and create either a moody and dramatic or calm and silent atmosphere to his photos.

His motivation and inspiration to shoot his pictures come from a list of favorite photographers: Michael Kenna, Uwe Langmann, Keith Aggett, Mark Littlejohn, Nilgun Kara, Ebru Sidar and Pierre Pellegrini. Each does such amazing work in capturing different moods and atmospheres in their landscape photos.


Edwin Martinez

Considered as one of the Philippines’ premiere landscape photographer, Edwin has been shooting travel and landscape photos from the cold temperatures of North America to some parts of Europe. He also photographed various rugged coastlines all over the world. He is currently one of the brand ambassadors of Canon Philippines, and the managing partner of Chasing Light Team, the country’s leading landscape workshop.

About the photos: Edwin believes that the

most successful black and white photos always convey a universal theme. “It may be about beauty or surrealism, but black and white conveys solid emotions in one simplified message. My photos are usually about landscape as nature, for me, is the greatest artist and we are only witnesses and curators of this art.”


Based in Belgium near the city of Antwerp, Gittan is a passionate self-taught amateur photographer. She was fascinated by photography since she was a child, but it was in late 2009 that the craft started to become her second nature. “Through my images, I’m trying to reflect the beauty of everything that surrounds us.” While her main subjects are landscapes and seascapes, trees and flora, she believes her photographic journey is in constant evolution.

About the photos:Gittan prefers minimal scenes and wants to reflect the beauty of what she sees,

bringing it back to the essence in a play of shapes and lines.

Gittan Beheydt

© Gittan Bheydt

Gerald Berghmmer - Ina Forstinger

Gerald and Ina have been teaming up in projects for years, and shared a passion for photography for an even longer time. During their joint travels worldwide, they made sure that they preserve what they experience together through photography. But in 2010, they decided to make their hobby into a profession. After Gerald successfully completed his training and got his professional photographer certificate, he launched SilverFineArt.com with Ina. Since then, the tandem have been spending just about ever free minute they have outdoors with their cameras, which sometimes stretch out to days until they have the perfect motif l ighted in just the right way.

“Our method for getting the perfect image is to recognize the right way to look at something beautiful, then to have technical grasp of the right equipment, and time,” says Gerald and Ina. “Photography is so much more than just pressing the button—it is a craft with thousands of possibilities, and every negative becomes something unique.”

They shoot with medium- and large-format analog cameras, and they consider developing film in the darkroom as their reward at the end of a long day. “Every picture we choose is scanned at high resolution and digitally processed to enhance our pictures’ expressive effect. For us this is perfect photography. It makes us happy when you like our pictures. If you have any questions about individual works, printing procedures, or about our home page, we would be happy to answer them at any time.”


Guy Cohen© Guy Cohen


Guy Cohen

Guy is a 24-year-old photography student in Jerusalem, Israel. He says he has his own way of looking at the world through the camera, on creating an interesting and intriguing experience for his audience often through silhouettes and shadow. He also uses the inversion of frames and playing with colors to add some final touches to the creation of magical pictures, his personal signatory of art. For Guy, black and white photos have a powerful look and transcend or blur the so-called boundary between the real world and the “world of shadows.” Recently he opened his mind to new genres such as portraits and landscapes. “I think it’s very challenging to take out the colors from the frame and stil l get people interested in it,” says Guy.

About the photos:“Boulevard” was taken in the

dark hedges in Northern Ireland during a photography trip Guy made with four friends. “A few weeks before we began our trip, I saw many wonderful sunrise pictures from this location and I wanted one like that too–with a strong golden ray of l ights. Unfortunately, when we arrived at the location, there was almost no sun at all, and I thought it will be interesting to capture a dramatic silhouette instead. We were the only people visiting the location that day so we sent one of our photography members to the middle of the road and started shooting. The moment I took the shot, I knew I was going to edit it in black and white to give it a dramatic, powerful look.”


Haswa Wedhaswara

Born in Blitar in 1983, Haswa Wedhaswara currently lives in Balikpapan, East Borneo in Indonesia. He got interested in photography in 2006 and started to explore more about it in recent years after seeing the masterpieces of Alpen Cukur and Nilgun Kara which have inspired him. He is the founder of a long exposure photography community in Indonesia called Siksa Kamera, and also the editor of Siksa Kamera e-magazine, a free electronic magazine devoted to long exposure photography. The publication has four volumes to date.

About the photos:Haswa’s pictures include a shot of

fire debris off the coast in the suburbs and a scene at Manggar Water Reservoir in Balikpapan. The first shot, unlikely seen as a photography object, is his way of proving that good photos aren’t always taken from good places. The second picture, on the other hand, was taken early in the morning with the purpose of capturing the calm shades and the layer effect formed by the morning dew.


Hideyuki Katagiri

Katagiri l ikes shooting landscapes and snapshots of local scenes. He is most interested in subjects and situations that evoke human warmness. He likes trains and photographing in trains.


Ivana Stojakovic

Ivana, who lives and works in Belgrade in Serbia, is a graduate of industrial design from the University of Belgrade. She describes her work as a combination of photographs and her own drawings, using ordinary elements and combining those in various ways to tell her story.

“Like painting, I love the way I can precisely control the making of the photo montage from the very beginning to the very end. The world is complex and so my picture of the world at any given moment has to be complex. It’s just a living image of my inner experience,” says Ivana.

About the photos:For Ivana, it’s not enough to

use the camera to capture and freeze reality. She always wanted to add more to the photograph to the point that it becomes surreal. “It gives me immense opportunities to explore my own self, in ways that cannot be done solely by personal reflection. In this way, I get answers to how I feel and how much I can recall. It’s the same with dreams. I believe they are a reflection of our deep subconscious and each of us has a unique way of describing and portraying the imagination. Anyone who finds beauty in my work will find their own reasons and their own stories in it. The meaning is not limited and fixed in what I have imagined because that would be my story. I invite people to discover their own.”


Jacob TunengaJacob lives in the city of Franeker in the north of Holland.

He has been photographing for a few years and considers the site 1X.com as a big source of inspiration. He discovers beautiful images in the website selected carefully by the screening team. Jacob was co-facilitator of workshops organized by his friends.

He thinks that he makes images more by following his feelings than by following rules and advice. “The amount of processing depends on my mood and the mood I want to create, plus also on the theme. When I do documentary photography, I only do some essential corrections but never change whatever is in the composition, l ike removing disturbing objects,” says Jacob.


About the photos:Jacob was passing by his usual route to and from work, where a particular stretch of the

road was lined with trees. One time, he pulled over and walked around the place to search for the best possible position to take the photo.

“I made the choice to photograph with an opening of f/11 for a little more depth of field because in my opinion some blur can create a stronger effect for the mist. After choosing my position, I was taking some test shots to find a good subject and composition for the photos. I was satisfied with the result and was ready to drive home when I saw a boy on his bike coming near the place. Without thinking too long, I took my position again and waited until the boy passed between the first and second tree. I was enchanted by this unexpected shot and I went home a happy man.”


Jasper Resari

Jasper started as a photography enthusiast in 2010. He’s into landscape and fine art photography, and both give him so much joy, curiosity, and inner peace. “Black and white photos are how I best convey my emotions,” he says. “The silence it brings is where I see the soul of every creation. It’s more of an expression of a curious enthusiast like me.”


Jeff Mercader

Photography is a form of self-expression for Jeff. He works predominantly in black and white format as it presents an elusive visualization of character, mood and emotion. He also likes to create a feeling of depth in the mind of individuals looking at his photos. “Being a simple guy, I appreciate nature in its simplest form. I try to interpret God’s creation with my intimate connection with nature as seen in my photographs. I love what I do and I devote a lot of time enhancing and perfecting my work. It’s a lifetime journey, it’s a passion!” says Jeff.

Joel Tjintjelaar

Joel is an award-winning black and white fine art photographer specializing in architecture. He conducts workshops in fine art architecture all over the world with Vision Explorers and other master classes online. He shares his knowledge and success so others will have the tools to express themselves and be successful as well, in their profession and in their artistic craft. Personally, Joel uses photography as a means to step away from reality in order to get to his real identity and what makes him unique as a human being. He is inspired by the classic black and white portraits of Yousuf Karsh, Irving Penn and Richard Avedon, the stil l l ife work of Robert Mapplethorpe, and the classic fine art photographs of Jeanloup Sieff and Ralph Gibson.

About the photos:“Zenith” was shot in 2010 along

a beach/dike in Holland in between rainstorms. “When the rain stopped, I got out of my car to shoot this bench on top of a dike while the clouds raced by. It was as if this lonely bench was laughing at the storm and couldn’t be hurt by it,” says Joel.


John Kosmopoulos

John is an international award-winning photographer specializing in architecture, abstract, long exposure, and minimalist black and white fine art photography. His fine art photography has been featured in galleries and several national and international publications. His philosophy of photography can be summed up in four words: “eclectic aesthetic fine art” (EAFA). He resides with his loving family in the great city of Toronto where he balances his passion for the photographic arts and writing with his love of the behavior sciences as a consultant and educator.

About the photos: “Prelude to Silence” was an

exercise of patience for John. “I notice this particular composition during my travels but wanted to wait until the winter to offer a minimalist black and white photograph as part of my overall vision. The zen-like simplicity of the moment when I took this photograph stil l resonates with me today. The silence was realized in black and white. It was as if I was cocooned by an unforgettable silence.”


Krzysztof Jedrzejak

Born in May 1984 in Gdynia on the Polish Baltic coastline, Krzysztof is a self-taught photographer attracted to monochrome landscape photography mostly in square format. He likes to use long exposure technique and express his vision in a minimalistic way. He tries to show in his photographs the world as a dreamy land full of speeding clouds and blurred waves, and giving the subject its own unique meaning.

About the photos:“Iced Pier” is one of Krzysztof’s

favorite black and white winter long exposure photos. “I was inspired by raw nature of Baltic Sea. It was so cold that I almost couldn’t put my grey filters on the lens,” he says. The photo was given the recognition Honorable Mention at the 2013 International Photography Award in non-pro fine art landscape category.

“Curve and the Lighthouse” was taken as the sun sets in Gdynia city, Poland. “My main goal was to create a play between shapes. Clouds were drifting straight from the top of the lighthouse that completed this seascape,” says Krzysztof.

“Snowy Forest” was taken during his annual trip to the Tatra mountains. “I used this small forest to create a clean composition with a line between snowy foreground and darker sky. Conversion to black and white made it more minimalistic,” he says.


Curve and the Lighthouse



Snowy Forest



Lionel Orriols

Based in South France, Lionel has been looking for ways to express his vision of the world. In the 1980s, he saw Ansel Adams’ “Moonrise” which touched him deeply. Several years later, after seeing the works of other photographers like Micheal Kenna, he got more interested in black and white photography. He took on photography in 1999.

About his photos:Lionel focuses on ephemeral

moments and footprints of humans in nature. Black and white, long exposure photos allow him to create timeless images that delve between reality and imagination, and touch a wide mix of personal feelings that he tries to reveal by writing with light.


Mahesh Balasubramanian

Mahesh is a software professional from Chennai, India. He learned to love photography during his college days, and used to shoot using his friend’s fi lm camera during tours. He rekindled his passion in 2008 as a way to de-stress from his hectic corporate life. It has become a serious passion for him ever since. He likes taking portraits and street moments, and prefers black-and-white as a medium to present his photos.

About the photosThe photo was taken in Valparai,

one of the hill stations in Tamilnadu, India. He’s always liked going early to the estate to reach the top by sunrise, and capture mystical l ights and layers of mountains.


Mark OliverMercader

Mark is an information technology graduate who works for a government agency. He began exploring photography as part of a vocational course, which introduced him to the fundamentals of the craft. For him photography is one way of expressing one’s self through art, emotion, and ethics. “It soothes my soul and is the best outlet I have found to express my creativity and capturing our Creator’s thoughts,” he says. Mark is into shooting landscapes, whose features such as rocks, trees and mountains become compositional elements to play light, texture and tonal contrast with. “Sometimes I find myself sitting on a rock overlooking a placid sea with mountains in the distance while sipping my favorite cup noodles, and I say to myself, the Philippines is a beautiful country and I thank God I am able to enjoy the blessed earth.”

About the photos:“Triboa Mangroves” are preserved

in Subic, Olongapo in the Philippines, and serve as a perfect habitat for fingerlings, mud crabs and mud skippers. This destination is easy to find so even those who are new to the place will not experience difficulties locating it. Mark says he almost didn’t get to shoot because the premises were closed when he got there, but he got in anyway. “We prayed for the sun to sneak out and it did but I preferred to choose these marching clouds for a different kind of approach. The clouds made me feel l ike they’re going to swallow me up.”


Martin Rak

Martin was born in 1984 in Prague, and has been living there all his life. He got his first camera from his grandfather when he was six and since then has been interested in photography. But it was in 2007 when he bought his first digital SLR camera that he started taking photographs seriously.

He enjoys spending his free time traveling and does mostly landscape photography, but admits to liking shooting nature and architecture as well.

Martin says he loves black and white photography because it captures lines, tones and shapes in their purity and expresses atmosphere and emotions better than color photography.

About the photos:“Chapel” is a long exposure shot

of Cappella di Vitaleta in Tuscany, Italy. “Misty Morning” is a shot of the Tuscan Belvedere which is a popular subject among photographers from all around the world. “The mist and clouds really made the atmosphere that morning,” says Martin. “6” is a long exposure shot taken last winter in Martin’s favorite photo location–the Bohemian Switzerland, Czech Republic. “Road and Dancers” was shot one afternoon in the Ore Mountains, Czech Republic. “There was thick mist everywhere. Thanks to the snow and frost that created an amazing dreamy feeling,” recalls Martin.


Massimo Margognoni

Photographer and author Massimo is inspired by landscape and documentary photography. For him, his photography expresses the evolution of nature and climate change in relation to human beings and other aspects of l ife. His photographs won numerous awards in major international competitions in contemporary photography, were exhibited in various galleries in New York City and the Museum of Fine Arts in Las Vegas, Nevada, and were published in National Geographic USA and Italy and in books and magazines in France and the USA. In 2013, he published his first photo book “Fotografia Dell’Essere: Manuale per la fotografia di alto libvello.”

About the photos:For Massimo, black and white

photography is part of his being and identifies with the drama that he wants to express through monochrome. “I wanted to capture this waterfall because in it you can feel the true essence of nature and the force of the Creator. Another reason was that there’s a legend that tells of a hidden treasure guarded by the water.”


Matthias Schroeter

Born in Germany in 1981, Matthias currently lives near the German Baltic Sea Coast in Stralsund. While studying economics at the University of Applied Sciences near his hometown, he led a student club with over 150 members with the objective of cultural development. It was during this time that he discovered his love for photography. He is now working on studies about the German Baltic Sea Coast and wishes to inspire his daughter to try out photography.

About the photos:Matthias thinks good black and

white images have special qualities such as lighting, mood, and structures compared with colorful images. It’s also through monochromes that he can reflect his emotions very well. “I l ike the variations of grey and the game between black and white. I can put a lot of power in the contrast or make very delicate tones. When I look at my pictures, I can see a part of my soul. It’s like a mirror. I cannot find this in color photographs.”


Michael De Guzman Michael, or MDG,

is a Filipino fine art photographer known for his black and white landscape photos. He strives to create images as food for the soul. He sees himself l ike a chef collecting raw materials when shooting in the field and prepares them on post processing

ready to be consumed by anyone who wants landscapes beyond black and white. His images have been in numerous local and international publications, both online and in print. He also won awards including PX3 Prix De La Photographie Paris and IPA Lucie Award. He is now a regular contributor to the landscape section of a local photography magazine, and assists and conducts workshops for landscape and fine art photography.

About the photosSampaloc Lake is the largest and most

beautiful among the seven lakes in San Pablo, Laguna in the Philippines. The lake is dotted with fish pens, cottages and water li l ies. He took a long exposure shot with a group of li l ies somewhat pointing towards Mt. Banahaw. “This image is memorable to me because this was my first long exposure shot after learning the basics from a workshop,” MDG says.

“Waltz and the Wind” is a shot of Mt. Fuji, one of Japan’s holy mountains. It is a majestic creation of nature that has inspired artist and poets on their journey in discovering and understanding the beauty it represents. What makes it more interesting is that Mt Fuji is actually a three-layer volcanic mountain that is also surrounded by a number of lakes. “This shot was taken on a windy cold morning in December 2012. My Japanese friend brought me to a viewing deck somewhere around Lake Shojiko. Although Mt. Fuji is regarded as a male figure, for me this image is like a woman with a lavish dress dancing the Waltz so gracefully.”


Miftachus Sa’ idin

Miftachus lives in Malang, East Java in Indonesia. He holds a degree in communications and discovered photograph three years ago. He has a passion for visual symbols, and black and white photography lets Miftachus share his imagination about light and darkness. He names Hengki Koentjoro and Ansel Adams as his inspiration in creating images in mono.

About the photos:“Water and Sun” shows the flow

of life that is rarely recognized and most often neglected. “Can we live without them?” asks the curious Miftachus.


Nei l Hulme

A self-taught photographer, Neil took up photography three years ago when he realized his kids had grown up and that he’s left with more time to himself. His interest and knowledge, especially in black and white long exposure photography, has developed through reading books, magazines and resources from the Internet. “With black and white images, you can create moods and contrasts that are just not possible in color images. I love sitting in front of my computer trying to bring out as many tones as possible,” he says.

About the photos:Neil says that he had noticed the

lonesome tree for a while. “All I had to do was to wait for the right weather conditions, to capture the image that I had envisioned in my head. It’s a very simple composition but I feel it was very effective.”


Octo Ahadi

Octo was born in Sumbawa Besar in Indonesia in 1981 and now lives in West Java.

About the photos:Photos from the “Lost in Time”

series were taken in the diminishing forest in Bogor in West Java. It was inspired by the works of Michael Kenna, Hengki Koentjoro, Hengki Lee and Johanes Januar.


Rohan Reil ly

Rohan is a landscape photographer who works produces black and white images and often uses long exposures. Through the use of these techniques and minimalist compositions, Rohan creates serene and wonderful moments that are earthy and organic, yet otherworldly at the same time.

His work has been recognized in international photography competitions, winning awards in The International Photography Awards in 2012 and 2013 as well as in the International Fine Art Photography Awards and Landscape Photographer of the Year in 2012.

Rohan regularly gives talks about photography to camera clubs in Ireland and runs workshops, where he loves to share his knowledge and insights into creating fine art black and white photographs.


Ti l l Muller

Till was born in 1984 and lives in Cologne, Germany. He took on photography in 2006 and, after several years of self-introduction and trying almost every genre in photography, he ended up in black and white long-exposure photography in 2011. He is especially interested in capturing modern, urban architecture and seascapes around the world. The passion for seascapes has taken him to several countries like Great Britain, Denmark, The Netherlands and several spots in the United States. Unlike other photographers, he prefers to shoot in bad weather conditions with cloudy skies to create minimalistic photos focusing on the essential. He gets most of his inspirations just by walking down the shore or around urban areas looking for the right spots to shoot. Til l’s works were published in several online and print magazines and books.


Yury Bird

Yury was born near the sea in a small port town Skadovsk in Ukraine and spent a lot of time on the seashore—piers in the sunset light, boats, and the silence. He stil l remembers the sunset sky and the dawns over the horizon from his childhood. Many years later, having moved to Dnepropetrovsk city, he came back to his homeland, traveled around Asia, and he started to visualize his recollections and new perception through the lens of his camera. “I can call myself a self-reliant seascape photographer; most of my works are dedicated to the sea,” he says.

About the photosYury tends to prefer black-and-white

photography and usually crop photos to a square. Why black-and-white photo? “Because it is creative photography, first of all. Such photography allows to focus on shapes and interrelations of elements and objects of the image, not to be distracted by color. This photography combines light and shadows, thus describing a scene or subject’s three-dimensional character and stories in a frame.” Yury thinks “color dilutes and breaks down the frame, where it loses its integrity and takes a spectator’s attention away from the main scene with its plenty of colors.”

STRONG70 Collection 1

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