Posted by Andrew on April 12th 2011

There’s a gap in my ‘The Magic of Black & White’ eBook series – Lightroom doesn’t get a mention – mainly because I used Photoshop CS when I wrote those eBooks (and still do). Luckily, Piet Van den Eynde has stepped up and filled in the gap with a superb new eBook: The Power of Black & White in Adobe Lightroom and Beyond (A Masterclass).
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Posted by Andrew on January 19th 2011

Winter in the Canadian Rockies is the latest Craft & Vision eBook. It’s written by Canadian fine art and landscape photographer Darwin Wiggett. You may well have seen some of Darwin’s work already – he was the winner of the Travel Photographer of the Year competition a couple of years ago and his photos have been published in numerous photography magazines (including EOS magazine).
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Posted by Andrew on November 22nd 2010

Anthony Loved to Fish
There’s a genre of photography that has always appealed to me and that I dabbled with a little when I first started using Photoshop, but have never pursued. I think of it as ‘surreal photography’ and like to see it when it is done well, especially in black and white. Which is exactly why I like the work of Michael Ticcino so much. His imaginative photos show how it is possible to use Photoshop to create imagery that exists only in the imagination.
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Posted by Andrew on August 17th 2010

Summer Moon
What is fine art photography? The term covers a broad subject range – it seems that photographers working in just about any genre of photography can produce photos good enough to exhibit and sell to the fine art photography market.
Photography magazines sometimes take a different tack, and publish articles showing you to create black and white images, usually still lifes overlaid with textures, that you can put on your wall. But is this fine art, or merely an imitation of it?
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Posted by Andrew on June 15th 2010
In my eBook ‘The Magic of Black & White: Part II – Craft‘ I wrote about the advantages of digital photography for black and white photographers. It’s true, black and white photographers have never had it so good. Yet in spite of all the advantages and speed of digital photography, there’s a significant movement of black and white photographers who choose to work with black and white film.
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