Monochrome photography awards 2017 are open final deadline is november 19 2017 monochrome photography awards conducts an annual competition for
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Black And White Photo Competition 2017.

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 a couple 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 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 pink 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 can also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create delineation between objects of the same brightness but with varied colours.

Shoot RAW + JPEG. The best monochrome conversions are ended up at 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 photograph 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. numerous 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 characteristic 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 her camera’s live thought custom , but the usually slower responses mean that most will find it preferable or check the image on the screen post-capture.

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 place than they would with a short exposure and this could 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 decrease exposure and extend shutter speed (by 10 and 4 stops respectively). classically , when exposures extend farther than apropos 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 right away 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 singly 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, 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 most excellent composition.

Dodge and Burn. Dodging and burning is a convention 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 should 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 grow local contrast. It’s a great means of giving a sense of greater sharpness and enhancing texture. Plus, because you could set the opacity of the tools, you can build up his 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 merely 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 collaborative when you require to retain detail in a bright sky while a polarizing filter could be used to decrease reflections and boost contrast. Alternatively, see taking two or more shots with diverse 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 his 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.

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All names of the Honorable Mention winners will also be included in the book.

The 2nd Half of B&W Child 2018 Photo Competition is OPEN for submissions!

The Results of The First Half will be published from 20-22nd August 2018!

The work of the first, second and third place winners (together with further entries that the judges feel are worthy of commendation) from both the professional and amateur categories will be published in the Monochrome Photography Awards annual book.

Win $3000 and international recognition in the prestigious Monochrome Awards honoring black and white photography.Monochrome Photography Awards conducts an annual competition for professional and amateur photographers.

Our mission is to celebrate monochrome visions and discover the most amazing photographers from around the world. The winners of the Professional and Amateur categories will receive the titles: Monochrome Photographer of the Year and Monochrome Discovery of the Year along with cash prizes.

We are open to all points of view, all levels of expertise, and all ideas of black and white photography.

Monochrome Photography Awards 2018 are open. Final Deadline is November 18, 2018. CLICK HERE AND START NEW ENTRY

The Results of The Second Half and The Grand winner will be published in February 2019!

MONOVISIONS PHOTOGRAPHY AWARDS 2018WINNERS ANNOUNCED SERIES CATEGORY WINNERS

Patrick ChungTaylor SwiftIndia vs West IndiesOvercomerTitanicLarry SwearingenDancing With the StarsBombshell movieTee GrizzleyGreenlandCelso PinaXFLAmazoniaKeanu ReevesDan CrenshawBraxton MillerWayne Allyn RootSusan BoyleJay InsleeCarli Lloyd
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