Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are just as advantageous in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more advantageous . 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, look on taking two or more shots with unique 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, may also be advantageous for manipulating contrast in digital images. 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.
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 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. 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 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 may 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 unique 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 right now 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 featureless 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 strong 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, 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 greatest composition.
Dodge and Burn. Dodging and burning is a scheme 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 aspiration of because you can target the highlights, shadows or mid-tones with both. This means that you may 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 good plan of giving a sense of greater sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you may build up their effect gradually so the impact is crafty and there are no hard edges.
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 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). naturally , when exposures extend beyond relating to 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 best monochrome conversions are stumbled 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 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. 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 course of action 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 may also do this if they kick in his camera’s live concept means , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.
Related Images of Black And White Landscape Photography Courses
. . . . . . . . . . . . . . . . . . .
Ansel Adams understood the dynamics of black and white photography along with other essential elements and principals of design and photography. A part of this could be that he didn’t meddle with color, since we often get distracted by color and loose the value of the composition. To truly understand composition shooting black and white photography is something you have to try as not just an “effect”, but as a teaching tool.
Dates Availability Location Duration Price Nov tba Trossachs Day £520 Coming soon Dec tba Trossachs Day £520 Coming soon
Histograms break down the value of a photograph. Once you understand value you can use it to create stark contrasts or to create soft, subtle compositions. Value in the photography world really just translates to light. If you have a heavily lighted photography it is high on the value scale. If you have a low lighted photograph then it is low on the value scale.
Please see examples below taken from recent workshops. All were taken using the techniques I teach and using your camera. (No photoshop)
Bad weather makes great photographs! Pull on your big coat and join Moose Peterson on the stormy Oregon coast for inspiration and new ideas on how to create your own black and white masterpieces. Moose has a long history and a strong passion for black and white photography, and he shares his wisdom as he walks you through the steps he takes, from planning to pre-visualization and from capture to post-processing. You’re sure to leave the class itching to get outside in any kind of weather to practice what you’ve learned.
High value is white and low value is black, you can see below a visual representation of value scale.
Black and White Photography in the Digital Era (free video) Black and White Landscapes (free video)
Current courses are sold out. Dates to be announced for in November & December.
Master Black & White Landscape Photography Lesson 1: Introduction Published: April 2013 with Moose Peterson
There are two reasons to shoot black and white photography. One reason is because you think it looks old fashioned and it’s a cool effect. A better reason to shoot black and white photography is because of the lessons it can teach you. Black and White Photography teaches you about values. We’re not talking about ethical values but the value in a monotone sense where color is taken out of the picture and we can focus on value as a single element.
It goes without saying that black and white images have that certain timeless appeal that stands the test of time. This one day course is all about capturing those images of the landscape in black and white. In the workshop, I will show various techniques to “see” in black and white as well as some advanced techniques for correct metering for high and low key black and white photography. The aim of the course is to capture flawless images in camera therefore I will teach you the inner workings of the settings in your DSLR to make dramatic monochrome images, without the need for photoshop.
India vs West IndiesBrooke HendersonLpgaA&WFan ExpoAustralia vs EnglandTitanicAmazon firesPopeyes chicken sandwichesJonathan BettezBill GuerinAaron RodgersRemi GardeApple CardMichael JacksonDaniella PickFire in MississaugaBombshellGreenlandDancing With the Stars