Dodge and Burn. 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. Photoshop’s Dodge and Burn tools allow a level of control that film photographers can only hope of because you may 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 brighten up them to grow local contrast. It’s a good technique of sharing a sense of greater sharpness and enhancing texture. Plus, because you can set the opacity of the tools, you may build up his effect gradually so the impact is crafty and there are no hard edges.
Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are merely as advantageous in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more useful . An ND grad is cooperative when you want to retain detail in a bright sky while a polarizing filter may be used to reduce reflections and boost contrast. Alternatively, assess taking two or more shots with diverse exposures to create a high dynamic range (HDR) composite. 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. Coloured filters, which are an essential tool for monochrome film photographers, can also be useful for manipulating contrast in digital images. They work by darkening objects of her 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.
Take Control. Although coloured filters could still be used to manipulate contrast when shooting digital black and white images, it’s more prominent to save this work until the processing stage. Until a some years ago Photoshop’s Channel Mixer was the preferred means of turning colour images monochrome, but now Adobe Camera Raw has more strong 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 could become unnatural looking. And adjusting the brightness of a red or rosy 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 should also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create segregation between objects of the same brightness but with different colours.
Shoot RAW + JPEG. The unsurpassed monochrome conversions are happen on 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. 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. Because compact idiosyncrasy 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 his camera’s live conceptualization road , but the usually slower responses mean that most will find it preferable or check the image on the screen post-capture.
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 straight away 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 dreary straight from the camera. happily , it’s possible to work adjust the brightness of these two colours discretely to introduce some contrast. However, a great 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 powerful 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, can 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 most excellent composition.
Try Long Exposure. Long exposure shots may 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 can help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If required , use a neutral density filter such as Lee Filters’ Big Stopper or Little Stopper to decrease exposure and extend shutter speed (by 10 and 4 stops respectively). characteristically , when exposures extend farther than about 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.
Related Images of Best Program For Black And White Photography
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Tiffen Dfx 3.0 is a robust suite of filters and effects that includes customizable presets specifically for black-and-white photography. With its 125 individual filters, Dfx 3.0 gives you the ability to layer multiple effects, creating infinite possibilities. Analog-type filters include film grains that emulate Kodak, Fujifilm, Agfa, Polaroid and Ilford. Dfx 3.0 also includes filters that simulate Tiffen glass optical filters, specialized lenses, natural light and photographic effects. In addition to filters, the software includes basic nondestructive cropping and scaling, masking tools, batch processing, denoising and vignette tools, making it a stand-alone editing tool or a powerful plug-in. List Price: $129 (stand-alone); $169 (plug-in). Contact: www.tiffensoftware.com.
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With more than 200 filter effects packed into the Topaz B&W Effects plug-in, black-and-white conversion is as fun and easy for the amateur as it is for the professional. Topaz B&W Effects is loaded with authentic grains developed from scanned film, as well as vignettes and borders with an effects preview. Customize and save your own presets for use later. For more advanced, in-depth work, use global contrast controls and local dodging, burning, smoothing and detail control. List Price: $59. Contact: www.topazlabs.com.
While most software gives you the ability to customize and personalize your images through individual edits to highlights, shadows, contrast, color filters and grain, many also have preset filters. These presets are useful, as they can be used to match specific analog film grains for a desired look or as a starting place for your own experimentation.
The designers at Alien Skin worked with professionals who shot with different types of film, as well as researched archived stocks of discontinued film types in order to create the wide variety of textures and exposure presets that are available with Exposure 5. Each monochrome preset can be modified for personal preference and saved for batch processing. Exposure 5 integrates with Photoshop, Elements, Lightroom and Aperture, and works as a stand-alone application. Exposure 5 also includes color filters in addition to black-and-white filters. Estimated Street Price: $199 ($99 upgrade). Contact: www.alienskin.com.
It doesn’t take too much expertise to make creative images of the world that exists just outside our perception, just patience and the right tools and techniques
Silver Efex Pro (above), part of the Google Nik Collection, is the go-to plug-in for many pro photographers. The Dynamic Brightness and Soft Contrast features allow you to customize brightness and contrast, emphasizing lines and shapes while maintaining highlight exposure and defining depth of field. As you edit, the built-in histores your changes side by side, so you can undo any unwanted edits at anytime. Preset filters include 18 popular film types, as well as additional toners, borders and vignettes. Customize your own presets and import additional presets from company updates and other users. List Price: $149 (entire Nik Collection). Contact: www.google.com/nikcollection.
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Unlike analog film photography, where you would choose either color or black-and-white film before even touching your other camera settings, in the digital era, photographers generally shoot in color and then convert their images to black-and-white using digital software.
While many experienced black-and-white photographers previsualize their images in monochrome, knowing which images they’ll convert as they’re composing the shot, others make the black-and-white decision during their postprocess workflow as they spontaneously experiment with individual images.
onOne Software’s Perfect B&W has a fully stocked effects library that you can add to with custom presets. Browsing this library is easy with the Quick View browser, which creates a full-screen thumbnail gallery of your image in each effect for you to preview. Making individual changes to an image is quick and easy. The dodge and burn tool can be used to control local contrast and detail. The tool is compatible with the Wacom tablet for pressure-sensitive brush size and strength changes. The software also recognizes edges for smooth line adjustments and has additional film grains, borders and vignettes, plus you can add layers, allowing for composites, blends and HDR exposure processing. The Standard Edition works as a stand-alone app, while the Premium Edition can also act as a plug-in for Photoshop, Lightroom and Aperture. List Price: $99 (Premium); $29 (Standard). Contact: www.ononesoftware.com.
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Whether you previsualize every image, experiment as you process or fall somewhere in between, using specialized software to convert your images from color to black-and-white can make the process easier and help achieve better results.