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Black And White Motif.

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 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 system 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 funny feeling strategy , but the usually slower responses mean that many 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 helpful when you want to retain detail in a bright sky while a polarizing filter could be used to decrease 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 different 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 his opposite colour while lightening objects of his own. An orange filter, for example, will darken the blue of the sky while a green one will lighten foliage.

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 instantly 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. providentially , it’s possible to work adjust the brightness of these two colours singly 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 strong 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, 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 unsurpassed composition.

Dodge and Burn. Dodging and burning is a characteristic 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 could 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 great process of sharing a sense of superior sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you could build up their effect gradually so the impact is subtle and there are no hard edges.

Try Long Exposure. Long exposure shots can 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 should 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). typically , when exposures extend beyond with reference 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.

Take Control. Although coloured filters can 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 preferred means of turning colour images monochrome, but now Adobe Camera Raw has more forceful 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 may 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 separation between objects of the same brightness but with different colours.

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The Motif of Black and White in OthelloAn annotated list of relevant passages. Trying to arouse Brabantio’s anger at Othello, Iago yells at him in the middle of the night, “Even now, now, very now, an old black ram / Is tupping your white ewe” (1.

1.88-89). “Tupping” (or “topping”) is a nasty term for having sex. [Scene Summary] When Brabantio and his followers try to arrest Othello, Brabantio charges Othello with using magic to seduce Desdemona.

This must be so, says Brabantio, because his daughter, “a maid so tender, fair and happy”(1.2.66), would not naturally have “Run . . . to the sooty bosom / Of such a thing as thou — to fear, not to delight!” (1.

2.70-71). The word “fair” means both “beautiful” and “white.” [Scene Summary] After Othello and Desdemona have proved to the Senate that theirs is a love match, the Duke tries to talk Brabantio into accepting the marriage.

The very last thing that the Duke says to Brabantio is, “And, noble signior, / If virtue no delighted [delightful] beauty lack, / Your son-in-law is far more fair than black” (1.3.288-290). “Fair” means “white,” but also “beautiful” and “good.

” The Duke’s point is that Brabantio would be much wiser to quit focusing on Othello’s color and start appreciating his virtue. [Scene Summary] In Cyprus, waiting for Othello’s ship to arrive, Iago amuses the company with some banter about women.

Desdemona challenges him to say something about her, and Iago expresses some reluctance to answer Desdemona’s challenge, but Desdemona keeps after him until he starts in again. He says, “If she be fair and wise, fairness and wit, / The one’s for use, the other useth it” (2.

1.129-130). He means that a woman who is both smart and beautiful will be smart enough to know how to use her beauty to get what she wants. Because Iago is still talking about women in general, this isn’t exactly what Desdemona asked for, but she plays along, asking him, “How if she be black and witty?” (2.

1.131). “Black” can mean “brunette,” just as “fair” can mean “blonde,” but here Desdemona is asking about a woman who is smart and ugly. Iago answers, “If she be black, and thereto have a wit, / She’ll find a white that shall her blackness hit” (2.

1.132-133). The word “white” is a pun on “wight” (a person, a man), and also on the “white” (the center) of an archery target. “Hit” has the same sexual connotation as it does in modern phrases such as “hit on her.

” Iago is saying that no matter how ugly a woman is, she can use her intelligence to attract a handsome man. [Scene Summary] After Iago has gotten Cassio drunk and made him lose his job, he advises him to appeal to Desdemona to use her influence with Othello.

We know that Iago plans to use whatever Desdemona says on Cassio’s behalf as evidence that Desdemona is in love with Cassio, but Iago asks us why we should think he’s a villain. He points out that his advice is good advice because Desdemona is a kind-hearted woman and Othello loves her so much he’ll do anything she says.

How then, Iago asks, can he be called a villain? Answering his own question, Iago gleefully comments, “When devils will the blackest sins put on, / They do suggest [tempt] at first with heavenly shows, / As I do now” (2.

3.351-353). [Scene Summary] When Iago has lured Othello deep into the agony of jealousy, Othello reflects on the way his image of Desdemona has changed by saying that “Her name, that was as fresh / As Dian’s visage, is now begrimed and black / As mine own face” (3.

3.386-388). Diana is goddess of the moon, so “Dian’s visage” is the pale and shining face of the moon.

Later, after Iago’s treachery has been revealed, Othello looks at the body of his wife and says, “Now — how dost thou look now? O ill-starr’d wench! / Pale as thy smock! when we shall meet at compt, / This look of thine will hurl my soul from heaven, / And fiends will snatch at it” (5.2.272-275). In death, white Desdemona is a paler shade of white. She is as white as her nightgown, as white as her own ghost, which will hurl Othello from heaven to hell. [Scene Summary]

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A few minutes later Othello says farewell to love and summons up hate to take its place: “Arise, black vengeance, from thy hollow cell! / Yield up, O love, thy crown and hearted throne / To tyrannous hate!” (3.3.447-449). [Scene Summary] After Othello berates Desdemona about the handkerchief, Desdemona tries to rationalize his bad treatment of her. She comes up with the idea that some problem on the job “Hath puddled his clear spirit” (3.4.143). “Puddled” means “muddied.” [Scene Summary] At the opening of the last act Othello is looking at Desdemona, preparing himself to kill her. He says, It is the cause, it is the cause, my soul,–Let me not name it to you, you chaste stars!–It is the cause. Yet I’ll not shed her blood;Nor scar that whiter skin of hers than snow,And smooth as monumental alabaster.Yet she must die, else she’ll betray more men.Put out the light, and then put out the light:If I quench thee, thou flaming minister,I can again thy former light restore,Should I repent me; but once put out thy light,Thou cunning’st pattern of excelling nature,I know not where is that Promethean heatThat can thy light relume.   (5.2.1-13) The “chaste stars” and the flaming candle both help make Desdemona’s whiteness shine forth as she lies asleep in the night under the gaze of black Othello.

With her dying words Desdemona protects Othello by telling Emilia that she killed herself. After a moment of pretending innocence, Othello says of Desdemona, “She’s, like a liar, gone to burning hell: / ‘Twas I that kill’d her” (5.2.129-130). Emilia shoots back, “O, the more angel she, / And you the blacker devil!” (5.2.130-131). In Emilia’s view, Othello has his morality all turned around; he thinks black is white, and white is black.

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Thesis: The white and black motif is shown through the characters’ personalities and actions. The author uses this motif to demonstrate the two sides of human nature in order to memorably illustrate the effects of choosing evil.

Ugly: Quote #2“Isabelle-Marie, is it possible? Were you lying,please tell me that my eyes are deceiving me” (Blais 82)Happiness: Quote #1:”All the sweetness which Lanz had taken away from him was now lavished again on Patrice.

With it, the child rediscovered his love for himself, his confidence in the perfect harmony of his own body” (Blais 87)Argument 1: Beauty v. UglyThesis: The white and black motif is shown through the characters’ personalities and actions.

The author uses this motif to demonstrate the two sides of human nature in order to memorably illustrate the effects of choosing evil.Argument 3: Good vs EvilThesis: The white and black motif is shown through the characters’ personalities and actions.

The author uses this motif to demonstrate the two sides of human nature in order to memorably illustrate the effects of choosing evil.Aaron- Beauty vs UglyAndrew- Happiness vs SadnessFrederik- Good vs EvilAlex- Love vs HateThe Black and White MotifSadness: Quote #2:”Louise did not believe that she deserved the same fate, and though she no longer had faith in Patrice’s beauty, nor in her own, she still counted on her wealth and possessions” (Blais 101)Thesis: The white and black motif is shown through the characters’ personalities and actions.

The author uses this motif to demonstrate the two sides of human nature in order to memorably illustrate the effects of choosing evil.Argument 3: Good vs EvilEvil: quote #2:”The anguish which she had felt that day on the train was coming over her again.

she held her hand against her mouth and grew purple with rage. (Blais 23)Argument 2: Happiness vs SadnessAnalysis:Patrice being selfish leads to bad behaviorWants all of his mother’s loveHis mother’s love gives him his beautyCannot rely on his sisterMad Shadows Written by Marie-Claire BlaisThesis: The white and black motif is shown through the characters’ personalities and actions.

The author uses this motif to demonstrate the two sides of human nature in order to memorably illustrate the effects of choosing evil.Thesis: The white and black motif is shown through the characters’ personalities and actions.

The author uses this motif to demonstrate the two sides of human nature in order to memorably illustrate the effects of choosing evil.Argument 2: Happiness vs SadnessAnalysis:Author evokes pathosNothing to live forLouise depends on materialistic goodsLoneliness Beauty: Quote #1″In the seats nearby, the passengers were looking at her son, weary at having nothing to think about, the child yielded to sleep gently and a drop of perspiration on his brow” (Blais 16)Analysis:delicate imageryPatrice seen as very handsomeseeks for attentionAnalysis:suggests HamartiaIsabelle-Marie is never lovedugliness plays a huge roleGood: Quote #1:”Weary of having nothing to think about, the child yilded to sleep, gently, with a drop of perspiration on his brow.

” (Blais 16)Argument 4: Love vs. HateHate- Iasabelle marie, give me some bread.’ he could not remember why these words were so painful” (Blais pg.111). this quote highlights the hateful and envious acts isabelle marie brought upon Patrice because he was well more respected when she was ignoredanalysis:- craves attention- wants love- feels unwantedArgument 4: Love Vs.

HateLove – “Isabelle Marie’s solution to her jealousy, of making Patrice so ugly that he loses his mothers …” (Blais pg. 128). when patrice does eventually lose his good looks, his mother does not lov him anymore and isabelle is banished from the farm.

Louise is now without any natural beauty in her lifeanalysis- needs beauty- shallow- selfishAnalysis:-Innocent, mindless -thirst for attention -signal of imageryAnalysis: -Evil, anger -seeks revenge against patriceThesis: The white and black motif is shown through the characters’ personalities and actions.

The author uses this motif to demonstrate the two sides of human nature in order to memorably illustrate the effects of choosing evil.- display’s his inner beauty

Almost as soon as he has killed Desdemona, Othello is so overwhelmed with grief that he says, “My wife! my wife! what wife? I have no wife. / O insupportable! O heavy hour! / Methinks it should be now a huge eclipse / Of sun and moon . . . .” (5.2.97-100). Such an eclipse would cover the whole world in darkness. To Othello, it is as though his wife was the source of all light.

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