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20 Simple Steps To Correcting Black And White Photographygraphy.

Look for Contrast, Shape and Texture. The complimentary and opposing colours that bring a colour image to life are all reduced to black and white or shades of grey in a monochrome image and you have to look for tonal contrast to make a shot stand out. In colour photography, for example, your eye would instantly be drawn to a red object on a green background, but in monochrome photography these two areas are likely to have the same brightness, so the image looks flat and dingy straight from the camera. happily , it’s possible to work adjust the brightness of these two colours discretely to introduce some contrast. However, a good starting point is to look for scenes with tonal contrast. There are always exceptions, but as a general rule look for scenes that contain some forceful blacks and whites. This could be achieved by the light or by the brightness (or tone) of the objects in the scene as well as the exposure settings that you use. The brightness of the bark of a silver birch tree for example, should inject some contrast (and interest) in to a woodland scene. Setting the exposure for these brighter areas also makes the shadows darker, so the highlights stand out even more. Look for shapes, patterns and textures in a scene and move around to find the best composition.

Dodge and Burn. Dodging and burning is a lane that comes from the traditional darkroom and is usually used to burn in or darken highlights and hold back (brighten) shadows. Photoshop’s Dodge and Burn tools allow a level of control that film photographers may only hope of because you can target the highlights, shadows or mid-tones with both. This means that you should use the Burn tool to darken highlights when they are too bright, or the Dodge tool to perk up them to increase local contrast. It’s a great mannerism of giving a sense of superior sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you could build up his effect gradually so the impact is subtle and there are no hard edges.

Shoot RAW + JPEG. The greatest monochrome conversions are made by editing raw files which have the full colour information, but if you shoot raw and JPEG files simultaneously and set the camera to its monochrome picture Style/Picture Control/Film Simulation mode you get an indication of how the image will look in black and white. As numerous photographers struggle to visualise a scene in black and white, these monochrome modes are an invaluable tool that will help with composition and scene assessment. most cameras are also capable of producing decent in-camera monochrome images these days and it’s worth experimenting with image parameters (usually contrast, sharpness, filter effects and toning) to find a look that you like. Because compact avenue cameras and compact cameras show the scene seen by the sensor with camera settings applied, users of these cameras are able to preview the monochrome image in the electronic viewfinder or on rear screen before taking the shot. DSLR users could also do this if they kick in her camera’s live feeling lane , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are just as useful in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more useful . An ND grad is supportive when you require to retain detail in a bright sky while a polarizing filter can be used to decrease reflections and boost contrast. Alternatively, see taking two or more shots with different exposures to create a high dynamic range (HDR) composite. Don’t be anxious to use a ND grad with a standard neural density filter if the sky is brighter than the foreground in a long exposure shot. Coloured filters, which are an essential tool for monochrome film photographers, could also be useful for manipulating contrast in digital images. They work by darkening objects of their opposite colour while lightening objects of her own. An orange filter, for example, will darken the blue of the sky while a green one will lighten foliage.

Try Long Exposure. Long exposure shots can work really well in monochrome photography, especially where there’s moving water or clouds. During the exposure the highlights of the water, for example, are recorded across a wider place than they would with a short exposure and this should help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If necessary , use a neutral density filter such as Lee Filters’ Big Stopper or Little Stopper to reduce exposure and extend shutter speed (by 10 and 4 stops respectively). naturally , when exposures extend farther than re 1/60 sec a tripod is wanted to keep the camera still and avoid blurring. It’s also advisable to use a remote release and mirror lock-up to minimise vibration and produce super-sharp images.

Take Control. Although coloured filters may still be used to manipulate contrast when shooting digital black and white images, it’s more common to save this work until the processing stage. Until a some years ago Photoshop’s Channel Mixer was the favored means of turning colour images monochrome, but now Adobe Camera Raw has more powerful tools (in the HSL/Grayscale tab) that allow you to adjust the brightness of eight individual colours that make up the image. It’s possible to adjust single of these colours to make it anything from white to black with the sliding control. However, it’s important to keep an eye on the whole image when adjusting a particular colour as subtle gradations may become unnatural looking. And adjusting the brightness of a red or pink shirt with the red sliding control, for moment , will have an impact on the model’s skin, especially the lips. The Levels and Curves controls could also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create differentiation between objects of the same brightness but with unique colours.

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Sometimes even using the B&W mix sliders the resulting image still looks a bit flat and dull looking.  Take it up a notch by adding some punch to your image.  I do the following to most of my B&W images:

Adjustment brush used to paint in saturation at -75 to the whole image except for the wool

You will see sliders for both Highlights, and Shadows.  My personal tip on how to keep a nice clean sepia or toned image is to use ONLY the Shadows sliders and do not touch Highlights.  That will leave you with clean, crisp white highlights even after you’ve applied the toning.

Notice the blue slider is pulled all the way to the left to -100.  That is what is darkening my sky.  Also worth noting is the green and yellow sliders are moved in the opposite or plus direction.  This lightens both yellows and greens (most grass and trees are often a mix of green and yellow, sometimes more yellow than green).  I have not done any selective adjustments to darken the sky here, just the sliders you see to the right!  How very different this image is from the desaturated one, and so simple to do using this method!

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Now get out there and go make some images and let’s see what you can do in Black & White!

Black and White Photography Tip #7: Use a polarizer. When shooting around reflective surfaces such as water or leaves, use a polarizer to cut the reflections of the sun’s light.  When color is removed from the photo, these specular highlights can be distracting the overall composition.

Black and White Photography Tip #9: Use the correct terminology: Black and white, monochrome, grayscale. “Monochrome” means that a color is placed on a neutral background.  Therefore, black and white images, which put black on a white background, are a type of monochrome image.  Grayscale is merely a way to show black and white images on a computer, which uses a reduced set of shades of gray.

Black!  That’s it.  Make sure you actually have some black, and some white in your image.  Check the histogram and use my little tip on seeing the clipped bits. Add contrast or increase the blacks, whites, or both to get a full range of tones.  No matter what the subject is in the photograph, having enough contrast to have pure white, and pure black is key to having a stunning B&W image.  Otherwise you’re just left with a bunch of grey mud.

As always I encourage experimentation.  If you have another way that you like better, that’s awesome!  Please share it with us if you will.  Another way to do some really quick B&W inside Lightroom is to find some good presets. There are literally tens of thousands of Lightroom Develop presets available for free on the internet.  Try a Google search for:   Free lightroom b&w presets.  Then just pick the ones you like and install them.

Black and White Photography Tip #6: Find a wide range of grays. Having white and black in the image will help add interest to a picture, but if other areas do not have a wide range of varying tones of gray, the photo will most likely look dull.  You can achieve a a wider range of grays by using flash to throw highlights and shadows over certain areas of the photo.

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Black and White Photography Tip #11: Long exposures love black and white. I read this tip on the fantastic Digital Photography School website and decided to try it on an image that I took a few months ago.  I didn’t like the picture and had almost deleted it until I read that tip and applied black and white to the photo.

UPDATE: Learn more about Black and White Photography with our new Essential Guide to Black and White Photography.

Ever wondered how the professional photographers get those dreamy black and white or sepia toned images? Wonder why yours come out looking dull and flat looking?  I’m going to give you 3 tips to help you do better black and white conversions using Adobe Lightroom, and solve that problem!

Black and White Photography Tip #14: Shoot in HDR!!! I’m actually surprised how little attention is given to black and white HDRs on the web.  I am so convinced of the merit of the black and white HDR that I spent an entire chapter in my HDR eBook talking explaining how to do it.  HDR is great for black and white photography because it exaggerates the dynamic range and edges.  Nothing pops quite like a black and white HDR.

First a quick note about my background. Back when I took my photography degree (dare I say, in 1987-88, and date myself) I spent the entire first year shooting black & white only, using a 4×5 view camera no less. I processed my own film and made my own prints. I spent a lot of time in a black & white darkroom, so I’m pretty well versed in how it works and how to control it to my advantage.

increase the clarity:  if it’s a scenic I’ll push it quite far like +60 or higher, if it’s a person I keep it under +30 or they start to look a bit crunchy and overly wrinkled (especially if the photo is of your mom or your spouse, they tend not to be too happy about that) lower the black slider, until it looks good.

 Highly scientific, yes! Here’s a little trick for you as well using the Blacks slider:  if you click and hold the Opt/Alt button while you slide it, you will get to see exactly where your blacks are clipping (meaning going off the chart on the histogram and having no detail).

You can use that information to make sure you have just enough blacks, but make sure you keep all the detail in important areas. increase the contrast either using the Contrast slider or Curves

Black and White Photography Tip #8: Watch for texture. As long as texture is not front-lit, it will show contrast in fine details, which makes it a compelling subject for black and white.  This is why black and white photos of old items such as barns or antiques are so compelling–they have a lot of weathered texture.

Also on this panel notice there is an “Auto” button.  Clicking it will allow Lightroom to apply a predetermined B&W mix for you.  You can also set up in your Lightroom preferences to apply that for you when B&W mix is selected, then you can just fine tune from there.  Otherwise all the sliders will start at “0”.

Lastly you can use the sliders in the HSL panel.  By sliding selected colours to the left you can desaturate only those colours.  You can also use the little Click and Drag tool we used earlier to do the B&W Mix to click on your image and pick the areas to fade.   Here’s an example using each of these methods.  None is right or wrong, just give you a different look and some have more control than others.  Choose the one that works for you on in individual image basis.

Secret to making great B&W images that the pros won’t tell you . . .

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A “duo” tone using different colours for the Highlights and Shadows. Shadow settings: Hue 232, Sat 70 – Highlight settings: Hue 52, Sat 37. I did move Balance to -27 to skew the colours more towards the Shadows as well.

Note:  for the most part these tips will work in Photoshop as well, using the Adobe Camera Raw features and sliders.

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Black and White Photography Tip #1: Shoot in RAW.  Many times when I shoot for black and white, the photo just doesn’t turn out right when I finally review it on the computer.  By shooting in RAW, you’ll be able to change your mind later if the photo wasn’t as great in black and white as you’d hoped.

Notice the last image where I’ve added in colour to the Highlights and how it completely changes the look of the image. The whites have a yellow tint now instead of a nice clean look. I personally prefer the third one but there are times I do use this option. Do what feels right for your image, you’ll know what to do.

Black and White Photography Tip #4: Pay special attention to noise. With the outstanding low light performance of modern DSLR cameras, in addition to the noise removal programs at our disposal, photographers are used to getting away with noise.

3 Tips for Better Black and White Conversion using Lightroom

In Lightroom’s Develop module (and ACR) there are a few ways that you can convert your images into B&W.  You can just pull the saturation slider all the way to left to -100. You can also do similar with the Vibrance slider, but it may not give you a 100% B&W image, depending on the image. Both of those options will give you a black & white result. However, they give you no control over how the colours render into the various shades of grey. A better choice, in my opinion, is to use the B&W mix, located on the third panel down on the right in Develop – see below.

In Landscape/Nature, Post-processing by Jim HarmerMay 11, 201141 Comments

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In Lightroom and ACR (Adobe Camera Raw) in Photoshop you have the same tools at your disposal!  So without the use of filters, you can adjust how the scene is rendered in B&W.  That brings me to the first tip.

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Black and White Photography Tip #13: Don’t get fooled. I confess to have made this mistake many times.  Sometimes I have shot a photo that includes very little color.  For example, a close-up of a penguin, or a night sky, or a dalmatian dog.  When I see these photos in Lightroom, I often reach for the black and white tools immediately, but I am always disappointed.  If the photo is practically colorblind to begin with, it probably won’t look as good in black and white as in color.

Black and White Photography Tip #5: Look for contrast. In my experience, the best black and white photos usually have some portion of the photo that is near to pure white, and some portion of the photo that is near black.  This increased contrast adds interest to the scene.

Occasionally after making these contrast adjustments it will affect the overall image and you may want to go back and rework the B&W sliders a bit too.  It’s a dance, play them back and forth until you get a mix you like.   Here’s the final version of the image above, with contrast and punch adjustments applied.

Black and White Photography Tip #10: Look for patterns. Patterns are interesting because of their ordered repetition.  Color merely distracts us from giving the pattern our attention.  By using black and white, images of patterns are far more compelling.  Once you start looking for patterns to shoot in black and white, you’ll notice them everywhere: cars in a parking lot, the shoes of a wedding party standing in line, or a row of bushes.

There are a couple ways to make selectively coloured images, and also to create that faded look that is really popular. Once again you can use the Vibrance and Saturation sliders in the Basic panel, however they will affect colours in the entire image the same.  You can also use the Adjustment Brush and paint in a lower saturation onto parts of your image where you want to fade out the colour.  I use that method quite often, even on full colour images, to do tone control on items in the background that are distracting.

In the images above, notice how the blue sky went really light using the desaturate method?  This is often the case when you have a lot of blue sky in an image, as I explained above.  Using the B&W mix and pulling a few of the sliders I was able to get very different tones.  This is what my sliders in the B&W Mix panel look like on the third image:

Black and White Photography Tip #15: HSL is the secret sauce. The last black-and-white tip is probably the most important.  When post-processing a black and white, you absolutely MUST tweak the colors in the HSL panel in Photoshop or Lightroom.  An exact tutorial on how to do this would be a blog post of its own, but your black and whites will look TEN TIMES better with an HSL adjustment.

Another little known trick for using these sliders is the funny looking little double circle thing on the top left.  As you move the mouse over it, you will see this:

For this final example I’ll show all the steps we’ve just covered using a portrait.  This is applicable to any people photos, you don’t need to make portraits to use this information.

This is very helpful if you do not know which sliders to adjust.  Just select the area of your image you’d like to adjust the tones on and drag away!

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A little extra bonus tip for you.  Adobe has made it super easy to create a really nice duotone (just means two tones, go figure!) image, which includes Sepia.  Just go to the Split Toning panel after you’ve done your B&W conversion, it’s the fourth one down.

Black and White Photography Tip #12: B&W isn’t a replacement for bad lighting, but it can soften the blow. The photo of the deer on this page is an example of a photo that looked terrible in color, but which looks nice in black and white.  I shot the photo at high-noon.  Because I used a polarizer, I was able to cut out the reflections on the leaves and mask the fact that it was shot in terrible light.

Black and White Photography Tip #2: Give your photo some Silver Effex. Silver Effex Pro 2 is a Photoshop or Lightroom plugin that does one thing–make black and white photos look incredible.  In theory, you could replicate everything that Silver Effex Pro 2 does using Photoshop, but I have to confess that I have never been able to do it.  Black and whites look absolutely stunning in Silver Effex Pro 2.  The program is a bit pricey, but it is worth the money if you love black and white.  In fact, when I look at black and white produced by other photographers, I like to think I can tell if Silver Effex Pro 2 was used on the image.  Check it out here.

First start by choosing the Hue slider (for Shadows).  If you want a nice brown colour, start with it around 40-45. Each image tones slightly differently, so start there and adjust to your taste and style.  You may notice that nothing happened, right?  That is because you need to increase the Saturation slider before the tone will show up.  The more you increase saturation, the deeper and more vibrant the colour tone will become.  Again, there is no right or wrong, it’s all about preference.  For a subtle, dark, chocolate brown try 10-20.  For a deeper colour go higher with saturation (NOTE: make sure the “balance” slider is set to zero)

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To grab some info from those film days, it’s important to note and understand that your camera sees light and colours differently than does the human eye. Black and white film sees blue tones much lighter than our eyes, for example.  Coloured filters were used to shift how the B&W film “saw” and rendered the scene.  Using a red filter would lighten anything red in the image and darken blue tones.  So if you were a landscape photographer you’d often use a red filter to darken the sky and make it less washed out.   A green filter would lighten green and blue tones and darken red and orange.  So photographers used the appropriate filter to capture the scene as they envisioned it.

Today’s cameras are pretty smart, and many of them offer a black and white setting or shooting mode. I recommend using those to start, especially if you’ve never done any black and white (B&W) or if you are not currently doing any post processing or image editing on your files. BUT, if you have some experience with b/w photography, and you are processing your images, I recommend doing the conversion yourself as you have more control over the look of the final image.  I’m going to show you a few ways of converting them into B&W using Lightroom.

Black and White Photography Tip #3: To visualize in black and white, only pay attention to lines, shadows, and shapes. This trick is very helpful to aid photographers in pre-visualizing a black and white image even though we live in a color world.

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Adjust Black & White Mix by dragging in photo. So what on earth does that mean, you may wonder?!  If you click on the little circle your mouse pointer will now have little up and down arrows, as well as your cursor showing the same icon as you hover over the image. Click anywhere on the image, hold and drag, and it will adjust ONLY the colours that you’ve clicked on.   Drag up to move the sliders to the right (+) and drag down to move them to the left (-). How cool is that?!

Notice how much more snap it has, while still maintaining that nice rich, dark sky!

If you want a different tone just move the Hue slider.  You can create some really neat affects this way including Blue Tone or a true Duotone.

This post is in response to a question from Matthew Tapley, who is interested in learning how to improve his black and white photography skills.  I hope this article has information that is valuable enough to you that you’d consider sharing it on Facebook or Twitter.

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