{"id":72979,"date":"2021-01-22T14:00:52","date_gmt":"2021-01-22T14:00:52","guid":{"rendered":"https:\/\/fujifilmnxtc.wpenginepowered.com\/stories\/simply-beautiful-black-white-2\/"},"modified":"2021-01-22T14:00:52","modified_gmt":"2021-01-22T14:00:52","slug":"simply-beautiful-black-white","status":"publish","type":"story","link":"https:\/\/www.fujifilm-x.com\/global\/stories\/simply-beautiful-black-white\/","title":{"rendered":"Simply beautiful black & white"},"content":{"rendered":"

The duo behind a photography partnership that spans Budapest and London, The Orbital Strangers Project, discuss why they love black & white photography and offer insight into how to master monochrome yourself<\/h5>\n

Csaba Aknay and Gabor Kotschy have spent 20 years building individual reputations as respected professional photographers and it was only relatively recently that they decided to combine their vision and creative energy by forming The Orbital Strangers Project<\/a>. However, in that short time they have worked on many projects together, with clients including everything from magazines and advertising agencies to corporate and movie productions.<\/p>\n<\/p>\n

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FUJIFILM GFX 50R – F1.0 ISO 2000, 1\/80 sec<\/p>\n<\/div>\n

A significant amount of The Orbital Strangers Project\u2019s work is in black & white. So, with Csaba and Gabor being undoubtedly masters of monochrome, we asked them about their process when making such striking images, as well as why they chose FUJIFILM cameras and lenses to do it. \u201cThere\u2019s no better technique for expressing moods than black & white,\u201d Csaba says. \u201cThat\u2019s the reason why it\u2019s ideal for conveying emotion or for portraying striking individual concepts. We photograph in black & white across a wide range of subjects and it\u2019s an approach that\u2019s suited perfectly to the way we work.\u201d<\/p>\n<\/p>\n

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FUJIFILM X-Pro2 – F2.0 ISO 1250, 1\/200 sec<\/p>\n<\/div>\n

The pair became FUJIFILM X-Photographers in 2017, but as with their fascination for monochrome, their history with the system began long before that. \u201cFrom the very first time we had the opportunity to use the FUJIFILM X-Pro1, we were amazed by the way that FUJIFILM thinks about cameras and photography. For a while, we had been looking for a professional digital system with a rangefinder style design and traditional control,\u201d remembers Csaba.\u00a0\u00a0<\/p>\n

\u201cAnd despite the original X-Pro1 being upgraded, it\u2019s meaningful that Csaba still has that camera,\u201d adds Gabor. \u201cHe decided to keep it, and not only for sentimental reasons. Through aspects like its emphasis on manual control, FUJIFILM\u2019s cameras provide us with a traditional and a modern approach to photography at the same time, and this design concept perfectly fits our style and the way we want to make photos.\u201d<\/p>\n<\/p>\n

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FUJIFILM X100T – F2, ISO 200, 1\/1000 sec<\/p>\n<\/div>\n

As experts in black & white photography, the pair have plenty of advice to share. So, what\u2019s the most important thing about making monochrome images for them? \u201cDue to the lack of colour, black & white photography seems like it should be quite simple,\u201d explains Gabor. \u201cHowever, it\u2019s a deceptively complex, ancient genre that can ambush an inexperienced photographer easily. The real trick is to start \u2018seeing in black & white\u2019. That all comes from practicing how to dismiss colours, but it can be harder than many people imagine.\u201d<\/p>\n

Why would they say this can be difficult? \u201cWell, everything we can see around us carries colour information,\u201d explains Gabor, \u201cand that\u2019s how we naturally perceive the world, so depriving our sight of colours is a very big change indeed. Since it\u2019s an entirely different way of thinking compared to colour photography, this all starts with making a deliberate decision to photograph in black & white. This is the most important step in the process, and every further step is going to relate to this decision later.\u201d<\/p>\n<\/p>\n

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FUJIFILM X-H1 + XF35mmF1.4 R – F1.4, ISO 250, 1\/125 sec<\/p>\n<\/div>\n

This idea of learning to see the world differently, and the fundamental change to your approach that\u2019s required when making images in black & white, is echoed by Csaba. \u201cThe most common mistake that people make when photographing in black & white is sticking to a colour mindset, instead of switching their inner vision to monochrome,\u201d he emphasises. \u201cAnd since the original colours in a scene command limited influence when translated into black & white photography, other aspects become more important. For example, things like the rhythm of compositional elements, the shadows, the relationship between grey tones and the overall contrast in the photo, stand out more clearly, as you can see from the image below.\u201d<\/p>\n<\/p>\n

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FUJIFILM X-Pro1 + XF18-55mmF2.8-4 R LM OIS – F9, ISO 250, 1\/125 sec<\/p>\n<\/div>\n

While the pair ultimately prefer to create their black & white images in post-production using RAW files from their FUJIFILM cameras, Gabor says a monochrome preview displayed in the EVF or on screen can help photographers in the process of moving away from colour. \u201cRAW files give us both quality and versatility, but switching the camera to a black & white Film Simulation mode can still be very helpful when it comes to the process of seeing in black & white,\u201d he explains.<\/p>\n

As an example of the way that working without colour can affect composition, Csaba describes the typical changes that would be seen in a monochrome image versus a colour landscape image. \u201cThe most spectacular difference is usually in terms of the sky,\u201d he says. \u201cThe sky is pretty emphatic in most of the colour landscapes, but without colour, it\u2019s more avoidable, and that influences composition. With a white or grey sky, there\u2019s a chance to fill the image with something more useful, like trees. And while The Orbital Strangers Project\u2019s natural habitat is the street, it\u2019s interesting that images of the urban environment follow the same approach, as with the image below.\u201d<\/p>\n<\/p>\n

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FUJIFILM X-Pro2 – F1.4 ISO 200, 1\/200 sec<\/p>\n<\/div>\n

What some may see as limitations imposed by black & white photography, Gabor instead sees as opportunities. \u201cThe chance of letting go of the burden of white balance or any other issues related to colour may open up a new frontier,\u201d he explains. \u201cPhotography is a field of a billion solutions. Take the following image, for example. This shows how we can create a dynamic composition in a high-contrast environment. In images like this, contrast can be raised in a way that\u2019s impossible in colour.\u201d<\/p>\n<\/p>\n

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FUJIFILM X-Pro2 + XF18-55mmF2.8-4 R LM OIS – F5.6, ISO 500, 1\/8000 sec<\/p>\n<\/div>\n

One of the most important things, however, is not to expect that photographing in black & white can suddenly make an image a good one, and the pair are keen to stress this. \u201cSome people think that a lack of colour can cover a lack of concept, vision or knowledge,\u201d Csaba explains. \u201cThis is perhaps the biggest mistake that anyone can make when working in monochrome. Black & white is not the ultimate photographic tool and that means a portrait that\u2019s made in black & white is not automatically artistically worthy or good.<\/p>\n

\u201cFrom that same point of view,\u201d says Csaba, \u201cwe don\u2019t think, for example, that black & white technique is automatically superior to colour in the street or documentary genres. Though the golden era of documentary photography spanned the 1920s to the late 1960s, and this was a time when monochrome film was the medium for it, since then technology has developed, and many amazing full-colour street and documentary photos have been created. But a black & white route can still be useful for photographers who want more room for manoeuvre. For instance, in extreme situations, colour photos can look forced or overdone, which is less likely to be the case in monochrome images. And a lack of colour can help when those hues are contrary to the composition or the mood that the photographer is trying to create. Black & white instead directs attention straight to the point.\u201d<\/p>\n<\/p>\n

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FUJIFILM X-Pro2 – F9 ISO 250, 1\/60 sec<\/p>\n<\/div>\n

Just as they see black & white as a precise and specific tool to achieve their artistic vision, the pair feel that the specific advantages of their FUJIFILM cameras complement their own aesthetic outlook. \u201cWe don\u2019t believe in multifunction cameras that work like Swiss army knives, because purpose always determines the equipment,\u201d says Csaba. \u201cHowever, we believe that FUJIFILM has found the perfect balance when it comes to function, design and handling. That\u2019s the reason why The Orbital Strangers Project decided to use the FUJIFILM X Series.<\/p>\n

\u201cThroughout our careers, we\u2019ve had the opportunity to use many camera systems, but there was always something missing until we came across the FUJIFILM X Series,\u201d he continues. \u201cLike monochrome, these cameras aren\u2019t just blunt tools, but a precise medium through which we can more easily realise our ideas. We believe that the right camera can provide inspiration and help us unleash our creative energies. The feeling of being inspired is one of the most important values for us about FUJIFILM.\u201d<\/p>\n

Gabor nods in agreement, adding that build quality and reliability also allow them to concentrate on what matters. \u201cWith FUJIFILM, we don\u2019t need to worry about our equipment, so instead we can keep our focus on completing our mission. In a word, FUJIFILM adds reassurance to our work.\u201d<\/p>\n<\/p>\n

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FUJIFILM X-T1 + XF18-55mmF2.8-4 R LM OIS – F11, ISO 200, 1\/200 sec<\/p>\n<\/div>\n

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Do you want to create stunning black & white photography like The Orbital Strangers Project? Here are some tips on how to make black & white work best in different subjects\u2026<\/p>\n

Using filters in black & white<\/h2>\n

Your camera\u2019s MONOCHROME and ACROS black & white Film Simulation modes can be set to Red, Green and Yellow variations, with each one giving your monochrome photos a different look and feel.<\/p>\n

These sub-options are more convenient than having to physically put optical filter in front of the lens and can be used for similar purposes.<\/p>\n