Best Conditions For Black And White Photography

best black and white pictures Best Conditions For Black And White Photography

best black and white pictures Best Conditions For Black And White Photography

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Contained in galleries black and white landscape photography snow in the ground and hazy atmosphere are just the best conditions for highly graphical and

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.

While it’s now simpler than ever to convert your images to black and white, especially now with the host of smartphone apps like Instagram that offer an array of filters, for truly impressive results it pays to think about how and what you shoot, and then know how to use your photo editing software’s powerful tools to get the most from your shots.

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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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.

When it comes to black-and-white imagery, being able to ‘see’ how your final shot will look is a key skill. It’s important to understand how the color image you see through your camera’s viewfinder or on the rear screen will translate into a striking monochrome image. To get the best results, you have to look beyond the colours, and instead try to visualise how a shot’s shapes, textures and tones will be recorded.

Black and white photos actually include a whole range of greys, which add subtlety to your images. Normally, you look for subjects that will translate into a range of tones from black to white, but you can also get great results where the subject is mostly light (high-key) or dark (low-key).

There’s no absolute right or wrong when it comes to choosing a subject for black and white photography, but you’ll come across subjects and scenes that rely on colour for their impact, and also lighting conditions that don’t work well in monochrome.

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One of the fundamental aspects of black and white photography is that your whole composition relies on contrast (for on composing images, see our 10 rules of photo composition – and why they work). For this reason, look out for subjects that feature simple, strong lines and shapes. It’s often the shadows that define shape and form, so pay attention to areas of darkness, as well as light.

It’s possible to adjust one of these colours to make it anything from white to black with the sliding control.

Because compact system 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.

Thanks to digital technology, monochrome photography is easier today than ever before. Check out these six black and white photography tips for getting great results.

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.

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.

It’s a great way of giving a sense of greater sharpness and enhancing texture.

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Here’s a run-down of the most common elements that you should look for when identifying a suitable subject for the black-and-white treatment. Remember that these elements can be used individually, or even combined to produce marvellous mono images with clout.

It’s easy to think that because you don’t need bright colors you can shoot black and white photography in any light or in any weather.

The Levels and Curves controls can also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create separation between objects of the same brightness but with different colours.

Don’t be afraid to use a ND grad with a standard neural density filter if the sky is brighter than the foreground in a long exposure shot.

Fortunately, it’s possible to work adjust the brightness of these two colours separately to introduce some contrast. However, a good starting point is to look for scenes with tonal contrast.

Although coloured filters can 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.

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.

This can 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, could inject some contrast (and interest) in to a woodland scene.

Dodging and burning is a technique that comes from the traditional darkroom and is usually used to burn in or darken highlights and hold back (brighten) shadows.

An ND grad is helpful when you want to retain detail in a bright sky while a polarizing filter can be used to reduce reflections and boost contrast. Alternatively, consider taking two or more shots with different exposures to create a high dynamic range (HDR) composite.

They work by darkening objects of their opposite colour while lightening objects of their own. An orange filter, for example, will darken the blue of the sky while a green one will lighten foliage.

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There are always exceptions, but as a general rule look for scenes that contain some strong blacks and whites.

Plus, because you can set the opacity of the tools, you can build up their effect gradually so the impact is subtle and there are no hard edges.

In colour photography, for example, your eye would immediately 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 dull straight from the camera.

During the exposure the highlights of the water, for example, are recorded across a wider area than they would with a short exposure and this can help enhance tonal contrast.

As many 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.

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Along with our best black and white photography tips, we’ll reveal how to get creative with high-contrast graphic compositions and create moody landscapes, and show you how dramatic high- and low-key effects can be used to transform your still life photography and portrait photography.

The timeless quality of black and white photography makes it a must-try subject for any photographer to try.

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Long exposure shots can work really well in monochrome photography, especially where there’s moving water or clouds.

When you use photo-editing software to remove the color from an image you instantly lose one element that the viewer relies on to interpret the scene. So other elements become even more important for successful black and white images.

It’s tempting to think that white balance doesn’t matter if you’re going to remove the color, but because the success of any conversion relies on successfully translating colors into attractive tones, it’s important to capture an image without any colour casts.

Fine detail, or strong textures such as weather-beaten stone, foliage or clouds, can help to give your black-and-white shots depth and interest. Strong side lighting is perfect for bringing out the texture in any subject. You can use strong natural light, or get creative with flash to create side-lighting on the subject.

It’s certainly true that with some skilful conversion and adjustment in Photoshop post-shoot you can add drama , but the sturdier the building blocks the better your finished image will be.

The success of your black-and-white shots relies on several different factors, but the main thing to look out for is a main subject that will appear in a significantly different shade of grey to the background. Then look out for subtleties of tone and texture that will add depth to your images.

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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).

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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.

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 and white images need strong compositions to really work. Keep an eye out for strong lines or features in your scene that can be used as leading lines, or positioned diagonally across the frame to create dynamic images.

The best 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.

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About the author: Jeff Meyer is the editor of PhotoVenture, a photography blog for everything post-capture — improving photos, image management, sharing and more. This article originally appeared here.

And adjusting the brightness of a red or pink shirt with the red sliding control, for instance, will have an impact on the model’s skin, especially the lips.

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.

This means that you can use the Burn tool to darken highlights when they are too bright, or the Dodge tool to brighten them to increase local contrast.

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.

Subjects that rely on contrasting colors – such as a purple crocus against a green lawn – generally don’t work well in black and white. This is because the two colors will end up looking similar in tone when converted.

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.

Tags: blackandwhite, blackandwhitephotography, monochromatic, monochrome, Tips

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.

Here are some examples of what to avoid when looking for suitable subjects for black and white photography.

Until a few years ago Photoshop’s Channel Mixer was the preferred 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.

Coloured filters, which are an essential tool for monochrome film photographers, can also be useful for manipulating contrast in digital images.

DSLR users can also do this if they activate their camera’s live view system, but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

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.

Many 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.

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Recognising potential shots when out in the field can take practice, so why not try converting some of your existing images to black and white to get a better feel for what will work.

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.

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If the scene you’re shooting relies on color for mood or impact, chances are you’ll be better off keeping the image in color, as in our mushroom image above. Sunrise or sunset shots are another good example; you should always ask yourself whether the image loses some impact without the subtle hues.

Photoshop’s Dodge and Burn tools allow a level of control that film photographers could only dream of because you can target the highlights, shadows or mid-tones with both.

Naturally, when exposures extend beyond about 1/60 sec a tripod is required 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.

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.

In our expert guide, we’ll show you how to see in mono, choose your subjects, set up your camera and then explore how simple but effective adjustments in Photoshop or Lightroom can make your images really stand out.

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.

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.

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.

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So, unless you’re trying to create a minimalist image it’s worth taking the time to capture maximum detail in the best lighting conditions possible.

Look beyond colors, and try to visualise how shapes, textures and tones will be recorded

However, it’s important to keep an eye on the whole image when adjusting a particular colour as subtle gradations can become unnatural looking.

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.

Best Conditions For Black And White Photography