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 instantaneously 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 monotonous straight from the camera. luckily , 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 should 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. 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.
Dodge and Burn. Dodging and burning is a path 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 could only thought of taking a degree 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 brighten up them to grow local contrast. It’s a great plan of sharing a sense of superior sharpness and enhancing texture. Plus, because you could set the opacity of the tools, you may build up their effect gradually so the impact is subtle and there are no hard edges.
Take Control. Although coloured filters could 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 a couple years ago Photoshop’s Channel Mixer was the favorite 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 one 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 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 may 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.
Shoot RAW + JPEG. The most excellent 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. 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 rule 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 can also do this if they activate his camera’s live image mechanism , but the usually slower responses mean that numerous 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 purely 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 collaborative when you want to retain detail in a bright sky while a polarizing filter may be used to reduce reflections and boost contrast. Alternatively, view 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, should 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.
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 compulsory , 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 concerning 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.
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Save your adjusted image. Once you are satisfied with the changes, save your new image. Make sure that you give it a new name so that you don’t overwrite the original image.
Most programs allow you to print in black and white, but this will result in a sharp and hard to look at image. If you have a few minutes, you can convert the image using the Channel Mixer in your favorite image editing program. This will allow you to make the photo black and white while ensuring that the exposure and levels look good.
Two Parts:Converting the Image to Black and WhitePrinting the ImageCommunity Q&A
Gather your tools. In order to do this, you’ll need an advanced image editing program. The most popular option is Photoshop, which costs an arm and a leg. You can also use GIMP, which is a free, open-source image editing program.
It offers many of the same features as Photoshop, but is known for being a little less user-friendly. You can download GIMP from gimp.org/downloads/
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Understand why you’d want to convert first. While you can open any picture and quickly print it in black and white, you may want to use image editing software to convert it first. This will result in much better detail and shading, and will lead to more artistic photos.
It may take a while to convert your first image, but once you get used to the process it will go much quicker. If you don’t want to convert the image and just want to print it in black and white, click here.
Insert and select the proper paper. Some printers support photo paper that can make your printed picture look like an actual developed photo. The method for inserting this paper varies depending on your printer, so refer to your printer’s documentation and indicators on the printer itself.
The method for selecting the proper paper size depends on what program you are using to print. In the Windows Photo Viewer, for example, you can use the “Paper size” drop-down menu to select the size of the paper you inserted in your printer.
Open the image you want to convert in your image editor. You can use your image editing program to open image files in almost any format.
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Open the Channel Mixer. This tool allows you to adjust the color levels of your image. Photoshop – Click “Layer” → “New Adjustment Layer” → “Channel Mixer”. This will create a new channel mixer layer and open the Channel Mixer tool.
GIMP – Click “Colors” → “Components” → “Channel Mixer”. This will open the Channel Mixer tool.
Open the Printer Properties window and select “Black and White” or “Grayscale”. For most programs, you’ll need to open the Printer Properties or Preferences window in order to select black and white or grayscale.
The options you get when printing vary from printer to printer and in different programs. For example, in the Windows Photo Viewer program, you’ll need to click the “Options” link in the Print window, and then the “Printer properties” link.
This is not necessary if you’ve already converted your image into black and white using the method outlined above.
Find the most beautiful black and white stock photos on this page ranging from photos of people to landscape, city and skyline photography. Scroll down and discover amazing black and white images that can also be used as desktop wallpapers. You are free to download all of these free stock photos. All photos are licensed under the Creative Commons Zero (CC0) license.
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Open the Print window. You can usually find this in the file menu or toolbar, or you can press ⌘ Cmd/Ctrl+P.
Browse through beautiful high-resolution black and white photos. These free photos are CC0 licensed, so you can use them in both your personal or commercial projects without attribution.
i Advanced search tips Go to Pexels Videos to find free black-and-white videos. Exclude a word by adding a dash before it (E.g. technology -apple) Search for colors: E.g. color: blue
Use the sliders to adjust the levels. Once you’ve applied the black and white preset, you can use the sliders to make fine adjustments to the shading. There are three sliders: Red, Blue, and Green. Adjusting these sliders changes the strength of the original colors.
For example, putting the Red slider at 100 and the other two at 0 will make the red parts of the image much lighter and the blue and green parts much darker. Keep the total value of all three sliders at exactly 100 to preserve the exposure of the original image.
Values above this will result in a much brighter image, and values below will be darker.
Print the photo. If your photo is color, make sure you’ve selected the black and white or grayscale option. If you’ve already converted your image, you can just print it. Photos take a lot longer to print than text, but black and white photos are a little faster.
Select the black and white preset. Both Photoshop and GIMP include a preset for converting the image to black and white. Photoshop – Click the “Presets” menu in the Channel Mixer and select “Black & White”.
GIMP – Check the “Monochrome” box in the Channel Mixer.
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Open the image. You can open the image in any image editor or preview program.