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Black And White Digital Portraits.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are purely 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 cooperative when you want to retain detail in a bright sky while a polarizing filter can be used to reduce reflections and boost contrast. Alternatively, put down as,take for,account,reckon,treat,adjudge,size up,value,rate,gauge,sum up,weigh up taking two or more shots with unique 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, can also be useful for manipulating contrast in digital images. They work by darkening objects of his opposite colour while lightening objects of his own. An orange filter, for example, will darken the blue of the sky while a green single will lighten foliage.

Take Control. Although coloured filters should 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 few years ago Photoshop’s Channel Mixer was the favored 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 should become unnatural looking. And adjusting the brightness of a red or pinkish 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 can also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create demarcation between objects of the same brightness but with varied colours.

Look for Contrast, Shape and Texture. The complimentary and opposing colours that bring a colour image to life are all decreased 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 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 drab straight from the camera. happily , 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. There are always exceptions, but as a general rule look for scenes that contain some powerful blacks and whites. 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, 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 greatest composition.

Try Long Exposure. Long exposure shots should 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 could 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 decrease exposure and extend shutter speed (by 10 and 4 stops respectively). classically , when exposures extend beyond in respect of 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.

Shoot RAW + JPEG. The unsurpassed monochrome conversions are run against 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 photograph Style/Picture Control/Film Simulation mode you get an indication of how the image will look in black and white. 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. numerous 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 manner 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 should also do this if they activate her camera’s live assumption mode , but the usually slower responses mean that most will find it preferable or check the image on the screen post-capture.

Dodge and Burn. Dodging and burning is a attribute 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 should only dream of because you can target the highlights, shadows or mid-tones with both. This means that you can use the Burn tool to darken highlights when they are too bright, or the Dodge tool to perk up them to grow local contrast. It’s a great system of giving a sense of better sharpness and enhancing texture. Plus, because you can set the opacity of the tools, you may build up their effect gradually so the impact is subtle and there are no hard edges.

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Use low-contrast RAW conversion settings to retain as much of the tonal range as possible. However, with high-contrast images, it may make sense to produce several versions at higher contrast settings: when combined in various ways, this allows for more latitude in manipulating the tones. For example, you might want to convert three images at the High contrast setting at different degrees of digital exposure compensation (say, -1, 0, +1) for combination in post-processing. In an ideal situation, you will have no blown-out highlights and rich tones near what will be the highlight end of your print; never mind if the image looks flat and gray. Of course, bracketing in-camera works marvelously for extending the camera’s dynamic range, and is especially suited for black-and-white.

There’s a lot of debate on both sides of the argument, but for me and many others it’s a simple matter of aesthetics. A good black and white treatment has a way of stripping unneeded information from an image, helping you to emphasize specific elements to your viewer without the distractions color can provide.

The picture is starting to look pretty good to my eye already: just the finishing touches to go. I wanted to bring out the girl’s eyes a bit — as Shutter suggested, ‘Eyes make a photo for me’ — so I added a Levels adjustment layer where I shifted the gamma to brighten up the picture, masked everything out except the eyes (i.e. filled the layer mask with black, then used the eraser in airbrush mode to get in the eyes), and turned down opacity until it looked nice. Then I added a Levels adjustment layer, clipping the histogram a bit from the right and turned up the gamma a tad to get the overall tonality to click into place, and finally, I cropped out the blurry bit (part of my mother-in-law, actually) at lower right. Here’s the result:

An actual-pixels crop of one of the B/W pictures I processed for this article. No grain, and just a touch soft, too.

Now I can just open up my saved grain field, slap it on the picture, set it to Overlay, and I’m done. Faster than waiting for the Film Grain filter to calculate its stuff, and the result is miles better. If I want finer grain, I just scale down the grain field (it’s big enough for that!), if I want more accentuated grain, I increase its contrast, if I want subtler grain, I turn down the opacity or apply some Gaussian blur to it. Easy!

The nice thing about this setup is that you can get a tremendous amount of control over the overall tonality of the image — simply by playing around with the opacity sliders of the layers! I could try to explain exactly what each of the layers does, but that would take longer and be less informative than this: just try it. Set the sliders to various opacity settings, click the layers on and off to see what each of them does, and use your eye; that’s what it’s for. Try balancing the effect of the Soft Light layer against the effect of the Curves layer — they do a bit of the same thing, only differently. Oh, and why not try Hard Light instead of Soft Light, or some of the other blend modes too?

Here is an exercise you can do with your portrait subjects to get a mixture of great expressions. Prepare a list of words or phrases and ask them to react to how they feel to each one. The words you choose can be simple descriptors of emotion like: love, sad, joy, angry and melancholy. For more diverse expressions try more abstract words, or funny ones like: cheeseburger, politics, Teletubbies or Hulk smash. As a bonus, this sometimes works extremely well to lighten the mood when you have a subject who’s tense or nervous during a sitting.

Villagescape. Saignon, France, 2003. EOS-10D with Tokina 17/3.5.

If you’re new to black and white photography, do remember that these are guides and not rules. If you need to stray from them to get the result you’re after, do so without hesitation.

Use levels and curves adjustment layers with masks to bring out detail in the extremes. For this picture, I treated the background and the subject separately, to bring out the detail in the chainmail and shields behind him, while getting enough contrast on the gentleman’s face.

Consider shooting RAW. If you shoot in RAW, you can convert with several settings, to pull out the detail that’s just below the blow-out point. Since black and white is all about tonality, RAW can actually help a good deal. Another advantage of RAW is that the deeper images are less prone to posterization — something that can happen easily for example if you manipulate curves or levels in flat areas like the sky: you can convert to a close approximation of the tonality you want directly from RAW, and avoid this issue.

Hopefully, you can see that even though bold colors can make for vivid imagery, their absence can as well.

If you’re working on an image that you feel isn’t up to scratch and you ask yourself if it will work in black and white, the answer is probably no. A black and white treatment will often emphasize the flaws that made you question the image in the first place, and a bad photo is a bad photo regardless of its color scheme or lack thereof.

It’s all about personal preference here. If you’re not sure what yours is, try finding the first ten black and white portraits that stand out to you the most and see if you can deconstruct them in terms of lighting.

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The big difference between digital and “silver” black and white is in dynamic range. Black and white film has so much latitude that it’s not much of an exaggeration to say that no matter how you expose it, you’ll get a usable picture. Moreover, black-and-white particularly likes overexposure: in fact, it’s common practice to shoot B/W film at one stop below its rated sensitivity — ISO400 film at ISO200, and so on. With digital, it’s the other way around: to get a good picture, you need to be pretty careful with the exposure, especially at higher sensitivities, and especially careful not to overexpose — otherwise you’ll lose the highlights.

Apply simulated filter effects in the developing phase. If you want a red, yellow, or amber filter effect, weight the red and green channels against the blue ones. If you want a graduated neutral density one, add a graduated layer mask. You can easily do graduated tinted filter effects this way, too. For example, here I simulated a graduated red filter: the sky is mostly the red channel, while the bottom (foreground) is mostly an even mixture of blue and green.

In the developing phase, concentrate on extracting tonal detail. Layer and mask the channels especially for the extremes — shadows and highlights. By looking at each channel individually, you’ll find that there’s a surprising amount of detail in nearly blown-out or blocked areas. Use layer masks to make the most of them. For example, I shot this picture in direct sunlight, yet it turned out that no area was completely blocked or blown out: by weighting the red channel for the sky and rock and the green channel for the shaded foliage, I could get tonal detail everywhere. In the “printing phase,” I masked the dodge and soft light layers to get the look I wanted.

The objective of the printing phase is to use the tone detail present in the “digital negative,” and produce a pleasing final image out of it. There is no 1-2-3 technique for this: it’s eye-work and in any case depends a great deal on personal preference. What’s needed from technique is a way to control the tonality of the “print” as precisely and as easily as possible. We will use Jim’s technique to achieve this — a “digital darkroom” where tone can be controlled simply by adjusting the opacity slider of image and adjustment layers.

On this image, by the way, I noticed that the Dodge level tends to flatten out the tonality in the girl’s shirt, so again I used a layer mask to mask it out from that area. Here’s what I got after a bit of playing around:

A small sample of the grain field I prepared. You can download the full-sized PNG from David Gandy’s website — thanks for the bandwidth, Dave.

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Like the eyes, other facial features become more prominent in a black and white portrait. You can use this to your advantage by conveying emotion in your images. Even tiny changes in your subject’s expression can make a difference. Things like a raised eyebrow, a twitch at the corner of a mouth, and smile lines under the eyes can all be used to great effect.

The objective of correct exposure in film black and white photography is to capture as much of the dynamic range of the scene as possible, with as much contrast in the critical midtones as feasible. The same applies for digital, only the rules are reversed.

We will set up our virtual darkroom by adding three control layers and a tone correction layer: the dodge layer, the soft light layer, the curves adjustment layer, and the tint layer.

Portrait photography is a genre where black and white images can really shine. Like any technique, there are considerations that you should regard that can help to make sure your images have the most impact.

Editor’s Note: This is one of a series of articles this week featuring black and white photography tips. Look for earlier ones below and more daily over the next week.

‘should I shoot in black and white mode or convert my colored shots later into black and white on my computer?’

The key to this is mixing the red, green, and blue color channels in nice proportions. The “standard” way of doing this is by using the channel mixer, although there are others — there’s a nice summary of them at Russell Brown’s website. However, I prefer another method: extracting the channels into layers: simply copy the contents of each channel into a layer. This has a number of advantages over the quick-and-dirty channel mixing: for one thing, you can visually control the contribution of each channel to the final image simply by adjusting the opacity of the channels, and by using layer masks, you can select different mixes for different parts of the image. For a picture like this, with faces the main interest, I’d tend to emphasize the red channel, add a dollop of green, and finish with just a touch of blue. (Incidentally, this approximates the effect of using an amber filter on black and white film.)

However most photo editing packages have a very quick and simple way to convert your shots to black and white – often with just one click.

The craft of traditional black-and-white photography consists of three stages: exposure, development, and printing. Each has its niceties and techniques with which specific “looks” or other effects can be created. With digital black and white, the latter two phases, “developing the negative” and “printing” happen in post-processing. However, there is a digital analogy to this three-step process. Here’s the short version:

Plus – whether you shoot in black and white or color you’ll find that most pictures can do with a little editing, sharpening and cleaning up – so the conversion to black and white isn’t too much of a drama.

For many photographers, black and white is more than a creative choice at the post-production stage; it’s a mindset. If you can start the creation of an image knowing that you intend it to be black and white, you can take steps to ensure that all of the elements of a good monochrome image are in place before you press the shutter. Things like contrast in tonality, contrast in lighting, and appropriate expressions from your subjects are all elements that are difficult, if not impossible, to fix after an image is taken.

Black and White Digital Photography – In Camera or Post Production?

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Guess what? It worked. Miles better than anything else I’ve tried. I guess the folks at Grain Surgery were right all along, but I’ll be damned if I’m going to pay for software that just adds and removes grain.

If you have trouble imagining how an image may look in black and white, try setting your camera to a monochrome setting. While it isn’t recommended to do this for a final image, as long as you shoot in RAW file format, then all of your image’s color data will still be present in the file, and Lightroom and Adobe Camera Raw will reset the photo back to color once it’s imported. Doing this will allow you to have an idea of how an image will work in black and white, while still providing the highest amount of versatility in post-production.

My approach to this has always been to shoot in full color and to edit later if necessary.

The tricky part was preparing the field of grain. After that’s done, it’s so simple it’s hardly even worth calling a technique:

You do not lose any quality in your image in doing this and keep your options open.

However, by switching the channels on and off, I noticed that the green channel has the richest tonality for the girl’s shirt, so I decided to create a layer mask for the red channel, and airbrush in a mask on the shirt: this gets the green channel to dominate in that area.

Straightforward enough? Maybe, but it might be some of the steps need a bit of elaboration, so here’s the long version.

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This shot was underexposed about a half-stop, and converted at the Low contrast setting. Looks drab and has bad color balance, too… but rather nice tones.

Be as it may, while with digital color photography blown highlights are an issue to be managed, with black and white, they must be fought. In fact, the main issue while behind the camera becomes to make the most of the dynamic range there is. There are a number of approaches to this.

By the way, Russell Brown has a QuickTime tutorial on adding film grain that uses a pretty elaborate mask-and-screen technique. The advantage is that the scanned grain field doesn’t need to be a uniform gray.

The disadvantage is that it doesn’t work — not with Photoshop CS anyway. He says so himself on the site. I get a feeling that it actually exploits a bug in older versions of PS to work. To my mind, screening an image through the grain and the negative image of the grain should cancel out the grain, and in fact this is exactly what happened when I tried it — perhaps older versions of Photoshop had a rounding error somewhere that kept the grain in.

In any case, it’s a lot more complicated than my technique, once you’ve prepared your even grain field, that is. Tips and techniques

This picture would be a good deal more effective had I underexposed a stop and retained the detail in those waves.

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Take your prepared grain field. Copy and paste it into a new layer on top of the image you want to grainify. Set mode to Overlay. Pick up jaw from floor. To control the look of the grain, adjust opacity, apply Gaussian blur, or scale the grain field up or down.

The problem with shooting in these modes is that you are making all of your creative decisions about your shot at the time of shooting and that in most instances shooting in these modes means you cannot recover full colored shots.

The nice thing about this layered “soft light and dodge” technique is that it allows very dramatic changes to the tonal range while minimizing degradation of the image data. The operations shift tones around, but the translucency ensures that they tend to fall between each other: after all this manipulation, including that pretty severe levels clip at the end, my histogram looked very neat — barely toothcombed at all. More importantly, there’s no shadow posterization that I can see either.

My father Shosta enjoying his vacation in Provence (2003). EOS-10D with EF 35/2.

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This can be a difficult concept to understand without seeing it, so I have included an example of a color version of one the images above. Ask yourself: How did your perception of the photos change? What did you notice first in each of the images? Do you feel differently or think differently of it when you view it in color than in black and white?

Certain subjects scream out to be shot in black and white. Other subjects may not be so obvious. Bright, punchy colors obviously make for vivid color photos, but by removing the color element you can completely change how a subject or scene is perceived. When you want to ensure your viewer is focused on a particular element, color as a graphic element, can become a distraction. Try removing it.

Why would you choose to create black and white photographs in the era of digital cameras that are capable of accurately capturing millions upon millions of colors? Black and white photography seems to be a constant in the history of the medium, with color technology only propagating itself into wide use around halfway between Nicéphore Niépce’s first heliograph and today.

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There, all done: we have our digital B/W negative. It contains as much tonal detail as I could easily extract from the color original. However, as expected, it looks pretty flat. It’s time to “print” it. Let’s merge the layers so we have one B/W image, and have at it.

In digital development, the objective is to extract as much of the captured tonal range as possible, and produce a roughly balanced version of the final image. Simulated filter effects (GND, yellow, amber, or red filter) should be applied in digital development. The objective is not (yet) to produce the best-looking final image, but rather, an 8-bit black and white image that contains as much tonal information as possible. There are several tricks that can be used to further this objective.

Set your digital camera to black and white or sepia and the natural colors in the shot are lost. On the other hand if you shoot in color you can always convert to black and white later and keep your full colored version also.

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There is another important difference about black and white and color: grain or noise. Noise generally looks pretty bad in color photography, while in black and white it can actually add interest to it — so much that at times it might even be advisable to add noise to the final product.

Setting up Duplicate the bottom layer twice, naming the first copy Dodge and the second copy Soft. Set blend mode to (Color) Dodge on Dodge, and opacity to 4%. Set blend mode Soft Light on the second one, and opacity to 25% Add a Curves adjustment layer on top of the whole stack, using an over-aggressive S curve, pulled up a bit towards the highlights if your “negative” is slightly under.

Turn down opacity on the curves layer until the effect looks about OK. Add a Hue, Saturation, Lightness adjustment layer, and name it Tint. Check the Colorize box, set Saturation to 50%, and pick an orange hue.

Set Opacity to 4% on Tint.

If you’re going to create high contrast black and white photos, the best advice is to add it with light, not in Photoshop. Small global adjustments are okay and won’t hurt your images, but definitely do not crank the contrast slider to 100. Try to limit it between +15/-15. For local adjustments, use a dodging and burning technique of your choice. The key point in this, and all post-production, is subtlety.

The same image after adding grain. Is it real, or is it Photoshop? — Actually, this is rather more grain than I would want for the picture; for the one I eventually ended up with I downsampled the grain to about 75% and turned down the opacity too, for a subtler effect. I decided to show this version anyway, since it illustrates the effect better.

Finally, if you try black and white and you like it: welcome to the addiction!

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Expose for the highlights. In-camera, do everything you can to get strong highlight detail — underexpose, bracket, shoot RAW; whatever you can and whatever it takes. Develop a “B/W negative.” Convert your color original to black and white with your favorite method — “canned” film actions, channel mixing, Russell Brown’s “filter and film” technique, the “layered channels” technique I describe below, or any of a number of others.

Your objective should be to retrieve as much tonal detail as possible from the color original. “Print” the B/W negative with tone control layers. Duplicate the “neg” twice, set blend mode to Color Dodge on the first one, and Soft Light on the second one.

Add a Curves layer to control contrast, and a Hue-Lightness-Saturation layer with Colorize to correct the “cold” look. Then play with the opacities of the layers to control the look of the “print.” Finish.

Dodge and burn locally, add the final touches to the tonality with Levels or Curves layers until satisified.

This is what the “neg” looks like after simply applying the above steps mechanically. Not bad, but it’ll get even better.

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Black and white was what first got me “seriously” into photography. While I never attained real mastery in black and white printing, I have spent a long time in various darkrooms. I still enjoy the aesthetic of black and white a great deal, and of course have tried to get the “look” I like in digital as well. Thanks to a lot of experimentation, some reading up, and tips from people who are a lot better at it than I am, I’m finally starting to see the kinds of results I wanted. In particular, thanks to Jim Fuglestad, aka Shutter at DPReview, who thought up the “dodge and soft light” technique described in this essay.

When it comes to lighting a black and white portrait image, there are no hard and fast rules. If you like high contrast images with hard gradations in tone, then choose a harder source of light. If you like soft tones and subtler images, then you want a softer light source.

Senate Square, Helsinki, 2003. Provia 100F with Tokina 17/3.5. Yep, shot on film — but digital B/W works just as well on color slide as on digitally originated pictures.

Of course some will argue that this approach means that you will need to spend a lot of time later on editing your shots to make the black and white. There is some truth in this and if you’re not used to using photo editing software it can be a put off.

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

Digital cameras are designed to mimic color slide in their response. In fact, blown highlights are less distracting in color photography, since the color adds another dimension to the picture: the blown-out bits aren’t necessarily the ones that stick out. Black and white lives and dies on tonality, and blown-out bits are much nastier… unless you work them into the look of the picture, that is. Moreover, “digital highlights” even below the blow-out point are often flattish, lacking in tonal detail.

I like grain, especially black and white film grain. I’m not too particular about the brand, T-Max looks just about as good to me as Tri-X or one of the Ilfords. But I like it to be there; it gives a sense of structure and texture to the image that’s quite pleasing. I don’t like grain in color images at all as much, though, and the grain in color neg isn’t nice at all. Therefore, even though I like to think of digital B/W as a whole new medium and feel quite strongly that trying to imitate B/W film is usually not the best way to go about it, it’s not very surprising that I’ve tried any number of techniques of simulating grain on clean digital captures. I’ve tried a variety of noise-adding and Photoshop grain filter techniques, until I finally decided to try the obvious: get off my lazy ass, scan in a frame of B/W neg with some boring flat sky, and try to incorporate that into digital B/W images.

When in doubt, underexpose. Digital cameras actually gain in capture fidelity the closer they are to blowing out. However, they tend to be economical of their highlight detail in their default conversions, in order to keep noise down: rich highlight detail has to be pulled from the midtones, which have to be in turn pulled from the shadows, which boosts noise. With black and white, richer highlights are more important than low noise. Therefore, it pays to underexpose and pull up the tonal detail into the highlights instead of increasing sensor sensitivity — you’ll buy richer highlight tonality with increased shadow noise. Of course, this only makes any sense if there’s any detail in there to work with — underexposing so much that the histogram “flatlines” completely isn’t a good idea. On a DSLR, a stop under won’t mean a thing at ISO400, and has minimal impact even at ISO800. By putting the exposure well under, you’ll avoid clipping highlights — an annoyance for color, it can seriously lessen the impact of a black-and-white print. This is especially true if you’re shooting JPEG rather than RAW: the richer tonal detail nearer the midtones will end up looking a lot better in the final print.

Scanned in a frame of B/W neg at 16-bit gray (since I would be doing violent things to it in post-processing). I picked one I took in Budapest, that consisted mostly of boring, uniform, flat gray sky. One specially shot for the occasion would’ve saved a bit of work later, of course.

Since I wanted a big chunk of grain, I copy-pasted the scan four times flipping each copy so that there wouldn’t be abrupt lightness changes, and cloned out the seams. Because of vignetting, my cheap-o scanner, and the fact that it was, after all, cloudy sky, my grain field was rather variable in lightness.

Did stuff to it to get rid of lightness variations. I don’t recall exactly what I did, but in essence I duplicated the background layer, added Gaussian blur to get rid of the grain in the top layer, inverted it, and jiggled with the blend modes and opacity until the grainless negative canceled out the lightness variations in the grainy positive.

Adjust Levels so that the histogram ends up neatly in the middle. Makes a nice Gaussian bell curve too. Convert to 8-bit, since the violent parts are now over. Apply the Dust and Scratches filter to get rid of, well, dust and scratches (but leave the grain structure alone).

Then clone out the rest of the bigger boogers. Apply Unsharp Mask pretty aggressively, to sharpen and accentuate the grain. Voilà, I had a moby frame of grain — uniform, very nearly 50% gray, and structured.

Save as PNG — grain doesn’t compress well at all, so JPEG is a no-no. Lossless compression is the way to go.

Once you have your RGB image, preferably somewhat underexposed (either digitally or actually), it’s time to create your digital B/W negative from it.

Bracket the exposure, if needed. Bracketing works especially well for black and white. I merged two exposures for this picture — although one of them only contributed the wall around the streetlight, which was blown out in the main picture.

Fantastic, we’re all set up to get the tonal control over the print that we deserve.

The most important part of the majority of portraits are the eyes. They are usually the focal point that the rest of your image is built around. This is especially true with black and white. With the omission of color, a black and white image often breaks down into graphic forms and shapes. Eyes are shapes that everyone recognizes and they draw immediate focus from your viewers. Make sure that your subject’s eyes are well lit, and focus is critical.

As a special reward for anyone who made it this far… here’s a selection of canned actions for working in black and white. They automate many of the steps described in this article. Download and enjoy!

Digital Camera manufacturers are increasingly adding ‘in camera editing’ features and modes to the cameras that they release that allow digital photographers to do all kinds of tasks that they would previously have done from their computer. These include in camera cropping, the addition of frames to shots and being able to shoot in different types of colors/filters including black and white and sepia.

5 Simple Ways to Create Expressive Photos in Black and White Tips for Black and White Wildlife Photography Read more from our Tips & Tutorials category

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