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Nature photography in black and white tips and examples
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Monos not something that works for every shot as well explain alongside a few other tips thatll help make your mono work shine

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Black And White Nature Photography Tips.

Take Control. Although coloured filters may 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 some 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 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 subtle gradations may become unnatural looking. And adjusting the brightness of a red or pinkish 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 demarcation between objects of the same brightness but with unique colours.

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 can 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). naturally , when exposures extend farther than with regard 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.

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 dull 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 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.

Dodge and Burn. Dodging and burning is a lane 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 ambition of because you can target the highlights, shadows or mid-tones with both. This means that you could use the Burn tool to darken highlights when they are too bright, or the Dodge tool to brighten them to increase local contrast. It’s a good route of giving a sense of better sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you may build up her effect gradually so the impact is subtle and there are no hard edges.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are just 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 cooperative when you want to retain detail in a bright sky while a polarizing filter may be used to decrease reflections and boost contrast. Alternatively, count 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 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.

Shoot RAW + JPEG. The unsurpassed monochrome conversions are came upon 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 numerous 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 drive 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 could also do this if they activate her camera’s live perception route , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

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On the other hand, photographs that have a light and bright mood will tell an entirely different story. Choices including your subject, composition, lighting, weather, and processing can all make a big difference in the mood conveyed through your photographs, so seek out the type of conditions and processing choices that will help tell the stories you want to tell through your photographs. 

This helps you see in black and white, without being distracted by color. It’s useful because it makes it easier to see tonal contrast, texture, lines, shapes, patterns, and light.

Neutral density filters give you control over shutter speed, which you can then use creatively to create more interesting black and white landscapes.

A Bird on an Iceberg: This seabird helps give scale to the massive icebergs that float through the Jökulsárlón glacial lagoon in Iceland. This photo is an example how lighting can create a more dramatic mood. Here, a clearing storm created dappled light across the scene. Without the misty clouds and the light, this scene wouldn’t feel as dynamic. 

As I mentioned in my first post in this series, I generally feel more restrained when presenting a photograph in color. While I do not hold others to the same principles, I personally think that my color photographs need to be mostly grounded in the reality of the moment I experienced in the field. While working within this constraint is my choice, it does highly influence my work in a way that applies boundaries. With my color work, I often seek to portray simplicity, quietness, elegance, and contemplation. Many of my color photos are light and bright, or soft and quiet. With my black and white work, I often choose to portray drama, grandeur, and darkness in a way that just does not work for me when working in color.

When looking at a group of trees, for example, start training your eye to identify elements like the lines created by the trunks and repeating patterns in the leaves or needles, or when viewing sand dunes, learn to recognize sensual curves, textures of the sand, repeating patterns, and lines. In these cases, you are looking beyond the literal subjects – trees and sand – to see the abstract qualities that you can use to craft your photographs.

Foggy Forest: This photo is also of the trees in Redwoods National Park but was taken on a day with thick fog. The fog gives the scene a much different mood than the photo above, even though the subject of both photographs is similar. 

10 Tips for Creating Better Black & White Nature Photographs

When I think about contrast choices in my own photography, I always try to be deliberate in matching up my processing choices with my goals for the photo. The initial grayscale conversion is the place to start and then I can increase or decrease the tonal range depending on my goals. 

With color landscape photos, you can rely on the strength of the color to create drama and interest. The key to good color landscape photography is to find a dramatic scene and photograph it in the most beautiful light possible. That’s why so many color landscape photos are taken during the golden hour or just after sunset.

If you would like to learn more about black and white nature photography, you might be interested in our new ebook + video course, Black & White Photography: A Complete Guide for Nature Photographers (188 page ebook, plus 9 videos including almost 5 hours of content – sold separately or as a bundle). You can save 20% for a limited time with the code BW20. 

Flooded Playa: Under flat light, the salt patterns fade into their surroundings. With direct light and shadows, the patterns stand out in a way that makes them far more obvious. While both lighting situations can work, the direct light helped create a much more compelling black and white photograph. Death Valley National Park, California. 

Hens & Chicks: This patch of hens and chicks had a lot of fresh growth when I took this photo. The older rosettes are darker green whereas the new growth is light pink. This color contrast helps make converting this photo to black and white easier. The greens can be darkened and the light pinks can be brightened, creating tonal contrast. 

For my photography, this allows me the freedom to take a lot of liberties during the processing phase. While I never add or delete major elements from a scene, I do regularly take stormy light and accentuate the drama and darkness in a way that would look overdone in a color photograph. I also exaggerate contrast, enhance a photo’s mood, or emphasize lighting to help reach my creative goals. 

Infusing a photograph with emotion and feeling is essential in storytelling, personal expression, and connecting with your viewers. For example, you can look through the portfolio of photos included with this article and see a number of photos that convey a sense of drama, darkness, and foreboding – all qualities I often seek to express with my black and white photographs. Dark processing choices, stormy weather, and rugged features of a landscape help convey these qualities and define the mood of a photo.

My workflow for black and white photo processing can be distilled into the following general steps (all of which are discussed in much more detail, with many examples, in my ebook + video course on black and white nature photography): 

Looking for scenes with natural tonal contrast can also be helpful. For example, think of a beach with dark rocks and white waves (like the photo above). The dark sand and light waves create natural tonal contrast (the difference between the darkest and lightest tones in a photo). Such scenes are easier to process in black and white, and thus provide a good place to start for anyone who is new to black and white photography.

In working with photographers who are new to black and white photography, one of the early challenges I often see is viewing the grayscale conversion as the end point for photo processing. Thus, do not be afraid to go far beyond an initial grayscale conversion as strong contrast can often help bring a black and white photograph to life.

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Neutral density filters are the secret weapon of the landscape photographer. They are made of glass that blocks light so that less reaches the camera’s sensor.

All the photos that I have shown you so far were taken in northern Spain. Unless you are lucky enough to live in an area like this, it is likely that, like me, you need to travel to find similar inspiring landscapes to photograph.

Learn to visualize scenes in terms of how they will translate to black and white, as this knowledge will help you identify opportunities while in the field (note: my ebook on black and white nature photography includes multiple exercises on building this important skill). 

One of my favorite things about black and white photography is the fact that it is, by its very nature, a departure from reality. Since we do not experience scenes in monochrome, black and white photographs do not have the same emotional tethers and expectations as color photographs might. 

Strings: This is an agave, photographed at a botanic garden in Arizona. This plant has a lot of natural contrasts, with the strings adding visual interest. I chose a somewhat shallow depth of field to help focus the viewer on the most interesting parts of the plant in the center of the frame.

By departing from a more literal interpretation of the scene above (stormy but non-descript), I was able to create a photo that better conveys the dark and difficult weather that many experience when spending time in Iceland, which was my goal when I took this photograph in the field. 

With black and white photography, the constraints of conveying “reality” do not come into play since there is no reality conveyed in shades of gray. Thus, I can take an image file and create something that reflects my interests, visual preferences, and emotions about a scene or place in a much different way than I can with a color photograph. By shedding the expectations that come along with color photography, I have the opportunity to share my photographic concepts with greater latitude. For me, black and white photography feels like a more expansive pursuit than color photography because of the opportunities and creative freedoms I discuss below.  

If you have any additional tips on creating stronger black and white photographs, please share them in the comments below. Thank you for reading!

In the simplest terms, composition is the arrangement and flow of elements within a photo. As the photographer, you are able to make the choices about what to include or leave of out of your photograph and how to arrange fixed elements within the frame. In creating black and white photographs of natural scenes, I believe that the most important element in developing stronger compositional skills is learning to see beyond the literal qualities of your subject matter. 

Black and white photography is as popular as ever, and landscape is a genre in which many photographers have chosen to work in monochrome. But working in black and white is different to working in color. It takes time, and practice, to develop your eye for black and white. These tips will help you make better black and white landscape photos.

6 Tips to Help You Make Better Black and White Landscape Photos

I took the photo above under a bright blue sky in the middle of the day. In finishing the photo in black and white, I could play up the contrasts in the sky and foreground. The bright white clouds and geothermal steam stand out against the darker sky. Also, the brighter light of midday helped add contrast to the rocks in the foreground, which blend together under the lighting conditions at sunrise and sunset. So, if you want to create photos in black and white, be open to opportunities throughout the day.

← Field to Finished: Free Video Tutorial on Creating a Black & White PhotographBlack & White Nature Photography Portfolio #3: Plants →

Without travel, I would never have experienced and photographed places like this (photo taken in Bolivia).

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Geothermal Flow: I took this photo in the middle of the day, a time that is not normally thought of as conducive for landscape photography. However, for a black and white photo, the light worked well in helping draw out the contrasts in the scene. Northern Iceland. 

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I’ve never taken this idea to its extreme because I believe it’s important to research an area before you go to find its most photogenic parts. But the problem with this is that the most powerful images you see during your research tend to stick in your mind. The natural tendency is to want to create similar images. The problem is that you then end up with photos that look like everybody else’s.

Death Valley Dunes: Of all the places I have visited, I have spent the most time in Death Valley National Park. During each of my trips to the park, I always return to this dune field because it is such an excellent place to explore curves, patterns, and textures. Here, I used a long lens to help compress the layers. 

It doesn’t feature the arches the beach is famous for, but it’s more personal to me and was more satisfying to make.

To understand why they are so useful let’s think about the typical settings used for a landscape photo. First of all, you set your ISO as low as possible for the best image quality (ISO 100 or 200 on most cameras). Next, you set an aperture that ensures everything in the scene is in sharp focus while avoiding the smallest apertures on your camera because of diffraction related softening. Most landscape photos are taken at f/11 or f/16.

Tip #5: All Types of Light Can Work for Black & White Photography

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One of the benefits of working with digital cameras is that they can help you learn to see in black and white. All you have to do is set your camera to its black and white (monochrome) mode. It then shows you the scene in black and white in Live View, and if your camera has one, in the electronic viewfinder as well.

Of all the tips in this post, this is the most important one. This article is based on the idea that nature photography is a creative pursuit and that a person’s photography can serve as a means of personal expression and storytelling. All of the ideas I have shared here work for me and help me tell the stories I want to tell about the places I visit and photograph. You will likely find ways to adapt these ideas for your own photography since you will likely have different goals for your work than I have for mine.

When you look at their work, ask yourself why their black and white landscape photos are so dramatic and powerful? What light are they shooting in? What photographic techniques are they using? How do they approach composition? The answers will teach you a lot about black and white photography.

You can educate yourself about black and white landscape photography by looking at the work of masters like Ansel Adams and Edward Weston who worked predominantly in black and white. Also look at what modern day photographers are doing by browsing 500px. Some names to search for include Cole Thompson, Rob Dweck, Arnaud Bertrande, Thibault Roland, Joel Tjintjelaar and Nathan Wirth.

Deep blacks, bright whites, and a range of tones in between are often necessary to elevate an initial grayscale conversion to a work of creative black and white photography.

Ruby Beach Storm: This photo is an example of how midday light can work for black and white photography. During our time in this park, high tide happened in the early afternoon and during the middle of the night, so I was happy to see this stormy weather at high tide. Here, the storm light helps add darkness and a sense of foreboding to the scene. Olympic National Park, Washington.

Here’s an example. This photo was taken at dusk with an aperture of f/11 at ISO 200, and a shutter speed of 1/5th of a second. This was slow enough to introduce some blur into the water, which you can see in the foreground.

Then I added a neutral density filter and made this photo (below) with a shutter speed of 180 seconds (3 minutes). The water is completely blurred, and the clouds have moved across the sky, creating a streaked effect.

Medicine Lake: I included this photo as an example of a composition that has a lot of strong graphic elements – the trees, the rocks in the foreground, and the strong lines in the mountains. I share the steps that went into taking this photo in a free video tutorial for our subscribers. You can download the 32-minute video through this Dropbox link (be sure to download the video to be able to watch the full tutorial). 

Depending on the photo, this workflow might take 10 minutes and include 2 to 3 layers in Photoshop (example: the photo below). For other photos, like the two at the top of this post, this workflow might involve more complex techniques like exposure blending or double-processing a RAW file plus a lot of time and many layers in Photoshop to fine-tune specific areas of the scene. The humble levels adjustment is my favorite tool, followed by luminosity masks and dodging and burning. Each photo is different and this process is always iterative – I take a few steps forward, assess my progress, and then possibly reverse a decision or two, eventually moving forward in the right direction until I have a finished draft or final version to share.

Stormy Sand Dunes: This is a photo that I first processed in color but now prefer in black and white. When stripped of color, the core elements shine through to a greater degree and I decided to take more liberty in bringing out the drama of the scene for this version.

Even if you do live somewhere with spectacular landscapes, you will need to travel to expand your experience and add depth to your portfolio. All my favorite landscape photos were taken while traveling. The two activities go together very well. Travel is more interesting and exciting when there’s a purpose behind it. Landscape photography is one of the things that can give you that sense of purpose.

Black and white is different. Without color, you have to work harder to create strong compositions. You need to learn to look for the building blocks of photographic composition, such as leading lines, shapes, patterns, tonal contrast and texture. Really, what you are learning to do is see in black and white.

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Tonal contrast is the term used to describe variations in brightness between different parts of the image. Take the photo below as an example. The jetties, silhouetted against the evening sky, are dark. The sky is much lighter. This is tonal contrast. The sea is mid-grey – darker than the sky, brighter than the jetties.

If you think about the sort of things that appear in landscape photos – cliffs, rocks, grass, trees, mountains, sea and man-made objects like piers and jetties – they all have distinct textures.

For example, this photo works well in black and white because of the contrast between the twin waterfalls and the dark rocks.

Black and white photographs can also work without maximum tonal contrast. Some photos work well when they contain only darker tones or only lighter tones. The two photos of redwood trees above help demonstrate this concept. The first photo has a full range of tonal contrast, from deep blacks to bright whites. The second photo only has tones of gray and a few bright highlights. Although both photos are of the same subject, the different amounts of contrast, along with the overall mood and composition, helps tell two very different stories. 

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I touched on this in the previous tip, but I want to emphasize them here because they are so important.

With those variables set, the shutter speed depends on the ambient light level. In bright sunlight, it might be around 1/125 second. In low light, it could be as low as 1/2 a second. But what if you’d like to use a slower shutter speed for creative effect? If ISO and aperture are fixed, the only way you get longer shutter speeds is by using neutral density filters.

Through your choices of subject matter, composition, mood, and processing, you share a part of yourself – your vision. I encourage you to pursue photography as an expression of yourself and your interests – from your time in the field through processing and presenting your photographs. Experiment a lot, try new things, take risks, embrace failure as a means of learning and most importantly of all – enjoy the creative process. 

Beams: Weather is often a key element in conveying mood within a photo. Here, the combination of clearing fog, sunbeams, and massive trees lends a bright, hopeful feeling. The same scene with thick fog would feel much more melancholy (below).  Redwoods National Park, California.

Generally, having an artistic motivation to create a black and white photograph produces far more compelling results than viewing this pursuit as an occasional last ditch effort for saving a poor color photograph. This often means seeking out black and white photographs while in the field and visualizing the final result in black and white before even clicking the shutter.

The most common question I get about my black and white photos: “do you use Nik Silver Efex Pro for processing?” No, I do not. While some photographers get good results from this software and it can be a good place to start learning about processing black and white photos, I much prefer the more manual controls of Lightroom and Photoshop. 

If you want to see a simple version of this workflow in action, I share the steps that went into taking the Medicine Lake photo above in a free video tutorial for our subscribers. You can download the 32-minute video through this Dropbox link (be sure to download the video to be able to watch the full tutorial). Or, if you want to dive into more details and see start-to-finish examples, you can learn more about my black and white photography ebook + video course here. 

I start with initial technical adjustments in Lightroom. This often includes cropping, noise reduction, balancing the exposure, and other initial steps for processing RAW files. (Note: I could process many of the photos in this post using only Lightroom.

 While it is possible to do many of the same tasks in both Lightroom and Photoshop, I prefer the ease and fine-tuned control of the tools in Photoshop.)Next, I take the photo into Photoshop and convert it to black and white using the black and white adjustment layer.

I sometimes use the color sliders to make initial adjustments to contrast in the photo, which I fine-tune later with other tools. For example, by darkening or lightening a blue tone (like a sky), I can darken or lighten the equivalent grey tone in the black and white conversion.

Repeating this step for each color present in the photo can help adjust the contrast in a scene. After the file has been converted to black and white, I move on to global adjustments, which are adjustments that apply to the full photograph.

This step typically includes adjustments to overall exposure and contrast using tools like levels and curves adjustments. Next, I use layers and masks to make more targeted local adjustments. Here, I typically use levels, curves, and luminosity masks to make changes to luminosity (brightness/darkness) and contrast within specific areas of a photo.

I also use various dodging and burning techniques to adjust the lighting, contrast, and mood within specific parts of the scene.My final step is typically cleaning up dust spots and adding other finishing touches (Orton Effect, selective sharpening, adjusting the texture of clouds, etc).

 

In the photo below, the arch, the cliffs in the distance, and the rocks in the foreground are all heavily textured. The sea and the sky are much smoother. There is a strong contrast between the roughness and tactility of the rocks, and the smoothness of the sea and the sky.

When a color photograph is converted to black and white, the color tones are mapped to their equivalent tones in gray, from deep black to bright white with many shades of gray in between. Let’s take the example of a photo that has a lot of color contrast, with a lot of midtone greens and reds (think of green leaves with red berries). Converted to tones of gray, the greens and reds might be very similar and thus lose the contrast the same scene had in color. 

For digital photographers, the choice to create a black and white photograph is often seen as easy – just click a preset and the photo is complete. Or, if a color photograph didn’t quite work out, black and white processing is seen as a fallback rather than a deliberate artistic decision. While this latter process can sometimes produce good results, I think digital photographers can learn a lot from the deliberate, intentional processes practiced by our colleagues working with film. 

After sharing selected photos from my black and white portfolios in my last three blog posts (landscapes, nature’s small scenes, and plants), I am going to turn to discussing tips for how nature photographers can create more compelling, interesting, and dynamic black and white photographs. While it is hard to distill years of reading, trial and error, and experimentation into a few bullet points, I consider the following ten items to be the most important things I have learned along the way in creating my photographs. 

Don’t forget to set your camera to shoot in Raw format. Raw files contain all the information captured by your camera’s sensor, and give you the freedom to process the images in color if you want, even if you initially shoot in black and white mode.

Some color photos can succeed due to the sheer overwhelming power of dramatic, colorful light even with a less then compelling composition. With black and white photography, the emotional reaction associated with strong color is gone. This means that composition plays an elevated role in creating compelling black and white photographs. Thus, learning to integrate strong graphic elements and abstractions into your compositions can help elevate a black and white portfolio.

Photographer Cole Thompson has an interesting idea. He practices what he calls photographic abstinence, and doesn’t look at the work of other photographers. The theory is that it enables him to see the landscape through his own eyes, without being influenced by other people’s photos.

In Black & White Photography Tags landscape photography, Nature Photography, Photography tips, Creativity, Personal Expression

This basic concept is important to learn for two primary reasons. First, learning to see colors as their tonal equivalent can help identify scenes with natural tonal contrast while in the field. This helps create opportunities for black and white photography. Second, colors can be adjusted in processing software to add or reduce tonal contrast in a scene. For example, using the black and white mix adjustment panel in Lightroom or the black and white adjustment layer in Photoshop, a photographer can brighten or darken individual colors within a scene. These changes can increase or decrease contrast within a photo. Although it seems unintuitive, adjusting colors can be an essential step in a black and white photo processing workflow. 

Many landscape photographers limit themselves to the golden hour at the beginning and end of the day. While this practice can work for color photography, it can be quite limiting for black and white photography. Since a black and white photograph can often benefit from strong contrast, mixed lighting, and midday weather, all times of day and all kinds of lighting situations can work quite well.

If personal expression is one of your goals for your photography, learn to make your own processing decisions. By relying on presets, you are allowing an algorithm or another photographer to decide what your photo should look like. Also, presets often convert a photo to grayscale and add some contrast but often not enough and in some of the wrong places. While presets can be a great learning tool and offer a good place to start in processing some photos, learning how to make manual adjustments in your favorite processing software can help you finish your photos in a way that is true to your vision. 

If you are new to black and white photography, it can be a challenge to learn how a scene will translate from color to black and white. Your digital camera can be a big help in this regard since many cameras have a monochrome preview mode. By switching to this mode, you will see a monochrome preview on your LCD. Since processing can make a big difference for your final result, this kind of preview is just a place to start but can be a very helpful learning tool. Just be sure that you are only previewing in monochrome and that your camera is still set to record high-quality files in color (why? retaining color information is important to processing digital files in black and white – more on that later). 

Let me give you an example. Earlier this year I visited the Playa de las Catedrales (Cathedral Beach) in northern Spain. Search for it on 500px and most photos will look something like this, showing the cathedral-like arches for which the beach is named.

Hopefully, this article has given you an insight into why I love black and white landscape photography so much and that it inspires you to give it a go yourself. Do you have any tips for black and white landscape photography? Please share in the comments below.

Let’s say the scene has light reds/pinks and deep greens (like the color version of the photo above). This scene, when converted to black and white, would have more tonal contrast than the example above because the light reds/pinks would render as lighter grays and the deep greens would render as darker grays.

Another example is the photo above Tip #1 (Flooding at Badwater Basin). Although the light is pretty harsh, I knew when I took this photo that the bright parts of the salt would contrast well with the shadows, an ingredient that can help create a successful black and white photograph. The clouds were an unappealing combination of yellow and grey but still had a nice shape and interesting texture. Thus, being able to see past the less appealing parts of the color scene, I could see an opportunity for creating a black and white photograph. 

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Vik Beach, Iceland: This photo shows an example of a scene with natural contrast – dark rocks and white waves. A scene like this makes for a straight-forward conversion, which is one reason I recommend seeking out natural contrast as a place to start with black and white photography. Early success is encouraging.

Anybody who visits this beach will naturally want to take photos of those arches. They are why the spot is famous. But this can be a hindrance when it closes your eyes to other possibilities. After getting my rock arch photos, I really started looking. I saw some rocks in the sea that made an interesting minimalist composition. So I made the following photo.

For film photographers working in black and white and using traditional methods, creating a photograph requires a lot of deliberate choices. This includes the selection of film, careful use of filters in the field, and making a series of technical and artistic choices in the darkroom. 

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