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Black And White Glass Artwork.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are merely as useful in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more advantageous . An ND grad is supportive 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 varied 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 advantageous 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.

Dodge and Burn. Dodging and burning is a system 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 should 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 good technique of sharing a sense of better sharpness and enhancing texture. Plus, because you can set the opacity of the tools, you could build up his effect gradually so the impact is subtle and there are no hard edges.

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 area than they would with a short exposure and this may 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 concerning 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 few years ago Photoshop’s Channel Mixer was the favorite 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 crafty gradations can become unnatural looking. And adjusting the brightness of a red or rosy shirt with the red sliding control, for instance , 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 varied colours.

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 at once 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 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 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, may 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.

Shoot RAW + JPEG. The unsurpassed monochrome conversions are got up to 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 most 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 peculiarity 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 his camera’s live conception routine , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.

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Print on Glass – Giraffe hunting – Glass Wall Art Square 1:1

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Artwork Specifications Medium Mixed Media Sub-Medium Layered Kiln-formed Glass with Enamel Height 24 inches Width 16 inches Signature location On back of artwork Region of Origin Portland, OR Frame Information Framed No

XXL Glass print / picture AG312502042 London England Big Ben Wall deco 49.2 x 19.7 inches (125 x 50 cm) Deco Glass, Design & Handmade

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XL Glass picture / print WATERFALL NATURE LANDSCAPE BLUE Size 19,7 x 39,4 in (50 x 100 cm) EG4100502051 Deco Wall Art

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Product Dimensions: 1 x 16 x 24 inches ASIN: B00KY9EGIE Date first listed on Amazon: June 12, 2014

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Abi Spring grew up in rural Vermont, where she began her studies as an artist. She continued these studies at the Maine College of Art where she received a BFA in painting and at the Australian National University where she received her Masters Degree in Glass. Currently a resident of Portland, Oregon, she has also lived in the southwest. She has been recipient of numerous awards including a grant from the Regional Arts and Culture Council for travel to the Czech Republic to study glass casting, a 2011 Emerging Artist in Residence at Pilchuck Glass School, a residency at the Museum of Contemporary Craft in Portland, Oregon, and a Ford Family Foundation funded Golden Spot residency at the Oregon College of Art and Craft. Her work was selected for the New Glass Review in 2014. She has had several solo exhibitions. Influenced by natural events like erosion, decay, ripples on water, and drifting, she is exploring how work made via repetitive processes in glass, paint, and natural material installations, can be imbued with the meditative state required of the artist to make it.

Print on Glass – Window view Paris – Near the Eiffel Tower black and white – Glass Wall Art Portrait Format 3:2

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B/W photographic artworks printed on glass Prints on Glass – Black and White

ASINB01N38YVSP Shipping Weight5 Kg Manufacturer reference1363 Date First Available29 Jan. 2017 Customer Reviews Be the first to review this item Best Sellers Rank 2,610,340 in Home & Kitchen (See top 100) #632 in Home & Kitchen > Artwork > Prints > Glass Prints   

Glass Print – Nighttime Manhattan Bridge II – Glass Wall Art Landscape Format 3:4

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Growing up in the northern United States, a world of ice, snow and clouds, I was often transfixed looking at mysterious patterns: blue shadows made by wind on the surface of a snow covered field, cracks and bubbles in black ice, the ripple of water and the meander of a stream or the patterns made by clouds. I became interested in the way that these visual phenomena affected me; engaged me in the act of seeing. I experienced a sense of inner peace and connection with the larger world during these interactions. Viewing became a state of meditation. I want to create art that recreates this feeling for the viewer. Work that operates as directly on the viewer as nature: objects, that when viewed, stimulate an intense but mysterious emotional response, a response that avoids semiotic interpretation. I believe that work made via repetitive processes can be imbued with the meditative state required of the artists to make it. For certain viewers the use of subtly and repetition draws them into the work, it allows them to enter into a suspended state, a mysterious state of uncertainty. To explore repetition and the effect that it has on the viewer, I make marks in enamel on a clear glass layer, add another layer and respond to the first, and so on, finally stacking and firing them. The work exists as a record of the meditative and repetitive mark-making process that created it and also as a mysterious object in and of itself. I try to allow myself to be an element in the process, like a stone in a stream, diverting the current, reflecting the patterns made in nature and the also the process that makes them.

Glass Picture Printed Decorative Handmade, 125 x 50 cm Waves of Sea Storm ag312502347 Glass Deco, DISEnO & Hand Crafted

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