Rangefinder Magazine
January 2005

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Insight/On the Cover by Bill Hurter

“The world is black. The world is white. It turns by day and then by night.”

While the Three Dog Night lyric wasn’t intended to sing the praises of black-and-white photography, it nevertheless defines how many photographers see the world. This is Rangefinder’s first ever black-and-white issue. Long overdue, this issue is devoted to those image-makers who define visual reality in shades of gray.

Jon Warren (whose profile begins on page 46) explains, “With color the viewer has a preconceived idea of what is right and wrong… Black and white is nothing like reality. Everything is reduced to shades of light and dark. There is no color to tell us what is right or wrong about the image. We have the first step to distilling the subject to its essence, and a better chance for clear, powerful communication.” While many would agree with Jon, each of the photographers featured in this issue also has his/her own reasons for choosing black and white over color photography.

Sometimes it’s about the timelessness and fine aesthetic quality of black and white, like for Tom Millea (page 38) and Pamela Ellis Hawkes (page 102). Sometimes it’s about a way of seeing the world. When it comes to Scott Streble’s urban landscapes (page 24), black and white is a way of showing positive and negative space. Scott says, “To me, black and white is the obvious choice for capturing these images. It best shows shape, form and texture. I feel color would add a layer of distraction.”

Ernie Brooks (page 18), expert ocean shooter (first with spears, now with cameras) claims that while color has its place, “I don’t think that blue, an inherent color of the ocean, really adds to many photographs, especially of mammals.”

Jim Krantz (page 66) sees in black and white, a medium he finds expressive and demanding. Jeff Dunas (page 8) has been chronicling our life and culture in black and white since his career began in 1971, never going anywhere without his Leica M6. Dunas, more than most photographers, has raised black and white to the highest levels of fine art.

Bill Hurter, Editor

ON THE COVER

PHOTOGRAPHER: Michael Kahn
TITLE: Bow of Idem
COMMENTS: Michael Kahn believes that man has seldom created something as beautiful and functional as the sailboat. It symbolizes the ability to harness the power of the wind and endure the strength of the sea. In his artist’s statement on his web site he says, “Rarely has man made a machine that perfectly meets his needs and is as beautiful and graceful as the sailing vessel.”

Aesthetically, he feels that “few inventions evoke more emotion than the majestic yachts and square-rigged ships fighting through storms and calms to reach a new land and deliver its passengers and cargo safely on a new shore.”

He continues, “Through my photographs, I celebrate the aesthetic, architectural and emotional qualities of the sailboat and applaud the preservation efforts of the people who sail the classic ships.”

Michael Kahn handprints his images using a process he developed over many years researching and working in the darkroom. Michael’s warm, sepia-toned, silver gelatin photographs are printed in limited editions of less than 50. They are signed by hand by the artist. For more on Michael Kahn, see the Larry Singer profile of him which begins on page 78.