Author: Steve Gosling

Landscape photographer, Steve Gosling shooting the world’s first 100-megapixel Achromatic Digital Back.

Steve Gosling’s inspiring landscapes

Published by Steve Gosling

At this year’s International Black and White Spider Awards, photographer Steve Gosling achieved six nominations and one Honourable Mention in three different categories (Architecture, Fine Art, and Nature) for his breathtaking pictures. Four of Steve’s pictures were shot with Phase One equipment. Below he shares the stories behind the captures. ‘Dragons Teeth’ (Dunmore Head, Ireland) “Taken at a beautiful spot on the west coast of Ireland looking out towards the Great Blasket Islands. It took me some time to refine the composition to my satisfaction to ensure that there was a clean flow of line and shape from the foreground to the islands in the distance. Having worked hard to successfully resolve the design of the image to my satisfaction it’s a photograph I’m very pleased with.” “Taken with an Alpa TC camera with Schneider 35mm lens, Phase One P20+ Digital Back, Lee Filters, Gitzo tripod, and head.” The Call of the Wild’ (Trotternish Penisula, Isle of Skye) “I was attracted by this remote telephone box for two reasons. Firstly, these traditional red boxes are …

Landscape photographer, Steve Gosling shooting the world’s first 100-megapixel Achromatic Digital Back.

Black and White landscape photography with Steve Gosling

Published by Steve Gosling

To honor the photographers who dedicate themselves to the classic tradition of black and white photography, Phase One designed the world’s first 100-megapixel Achromatic Digital Back. Landscape photographer, Steve Gosling, kindly shared his thoughts on black and white photography, and we found out what makes him so passionate about the genre.   “I’ve been taking photographs since the age of seven, and when I started out, black and white film was the only realistic option (color film was expensive to buy and to process) so I grew up seeing the world as a black and white photograph. So, although I do occasionally shoot color, my default is to see the world in black and white. Learning to see in black and white requires the photographer to develop a new vision that reduces the landscape to interlocking shapes and tones. This requires practice and experience. “Personally, I like the fact that working in monochrome removes the distraction of color. There are times when color doesn’t add anything – or worse, just seems to get in the …