Black And White Photography Cameras

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Fine detail, or strong textures such as weather-beaten stone, foliage or clouds, can help to give your black-and-white shots depth and interest. Strong side lighting is perfect for bringing out the texture in any subject. You can use strong natural light, or get creative with flash to create side-lighting on the subject.

It’s tempting to think that white balance doesn’t matter if you’re going to remove the color, but because the success of any conversion relies on successfully translating colors into attractive tones, it’s important to capture an image without any colour casts.

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For those who don’t want to spend as much on a monochrome-only digital camera, there’s the third-party company LDP LLC (MaxMax.com), who sells modified versions of the Fuji X100S-M and Fuji X-Pro1-M. They convert Fuji’s X-Trans color sensor cameras to monochrome by removing the color filter array, and, according to MaxMax.com, they perform very well: “Fuji monochrome cameras can compare quite favorably to the Leica M but with higher performance in many respects and with a much lower price.” You can currently purchase the Fuji X-Pro1-M for $2,425 and the Fuji X100S-M for $2,600.

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There is: a monochrome camera. The sensors in monochrome digital cameras don’t have color filter arrays because there’s no need. Thus, they record all the light (per the sensor’s quantum efficiency) that falls on each pixel; none is lost to color filters, so sensor sensitivity is, in effect, higher. There’s no demosaicing, and thus no color moiré and no need for the blurring AA filter. So images from a monochrome sensor are inherently sharper than converted color images, and sensitivity is higher. Of course, the monochrome camera can’t produce color images, so you have to consider your needs. Monochrome cameras are quite costly, so most photographers probably will be better off doing monochrome with their regular digital cameras—which can deliver excellent monochrome images despite the drawbacks. But for the monochrome connoisseur, the monochrome camera is the way to go.

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In our expert guide, we’ll show you how to see in mono, choose your subjects, set up your camera and then explore how simple but effective adjustments in Photoshop or Lightroom can make your images really stand out.

How To How to master black and white photography How to master black and white photography

Note that all digital images can suffer from aliasing—when you sample real-world scenes with a fine grid array, some aliasing (“stair-stepped” edges, moiré, etc.) will occur if the pattern of the subject is the right size and at the angle to conflict with the sampling grid. The finer the pixel grid, the less likely this is to happen, so more and more DSLRs and mirrorless cameras today are doing away with the AA filter as pixel counts go up. And medium-format digital cameras have never used AA filters. Aliasing—when it occurs—can be corrected in post-processing, as medium-format users have operated from the start.

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When you use photo-editing software to remove the color from an image you instantly lose one element that the viewer relies on to interpret the scene. So other elements become even more important for successful black and white images.

Today, there are three basic monochrome digital cameras on the market, from Leica, Phase One and RED. They range in price from over $7,000 to over $40,000, and that’s their primary drawback. But in terms of monochrome image quality, they offer the best there is.

Many still photographers may think of RED as being only for video. However, RED’s DSMCs (Digital Still and Motion Cameras) can produce superb still images, as well as feature-quality video. The EPIC Monochrome features the RED Mysterium-X Monochrome sensor, a 30x15mm unit that can deliver 14-megapixel still images, as well as video up to 5K (5120×2700) at rates up to 59.94 fps. Native ISO is 2000; dynamic range is 13.5 stops (up to 18 stops with RED HDRx). Adapters are available for PL, Canon, Nikon and Leica lenses. RED offers two electronic viewfinders and LCD monitors from 5.0 to 9.0 inches, some with touch-screen capability. Images are saved to REDMAG 1.8-inch SSD units from 48 GB to 512 GB, or the RED MINI-MAG 512 GB. There are two versions of the EPIC Monochrome: the EPIC-M is handmade in California and carries a two-year warranty and a $25,000 price (Brain only), while the production EPIC-X (also made in the U.S.) carries a one-year warranty and a $20,000 price (Brain only). The RED EPIC-M Dragon Monochrome adds 6K (6144×3160) video, 19-megapixel stills and a 16.5-stop dynamic range to the above features, thanks to the Dragon-M sensor with interchangeable DSMC Monochrome OLPF. It sells for $31,500 (Brain only). www.red.com

It’s a bit ironic considering the Leica cachet, but the M Monochrom is far and away the lowest-cost monochrome digital camera available today. It’s essentially a classic Leica M rangefinder camera, but with an 18-megapixel, full-frame (35.8×23.9mm) monochrome CCD sensor that has no RGB filter grid and no AA filter (but it does have an IR filter to cut off wavelengths longer than 700nm). Like all M-series Leica cameras, the M Monochrom can use the full lineup of legendary Leica M lenses (from 16mm to 135mm), and each frames just as it does on a traditional 35mm Leica M camera, thanks to the full-frame sensor. ISO range is 320-10,000 (and there’s even an auto ISO feature). Unlike most digital cameras, the M Monochrom has a histogram that displays the unprocessed, unmodified raw data, rather than data for a camera-processed JPEG image—very helpful for nailing those RAW exposures (the camera shoots DNG RAW files, as well as JPEGs). You can tone JPEGs in-camera. Digital aspects aside, the M Monochrom is a Leica M camera, with quick and easy rangefinder focusing, quiet operation, and a rugged body featuring top and base plates of machined brass and a housing manufactured from a single piece of magnesium alloy. Dimensions are 5.5×3.1×1.5 inches, weight is 21.2 ounces (body only). Estimated Street Price: $7,200. us.leica-camera.com

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The timeless quality of black and white photography makes it a must-try subject for any photographer to try.

There’s no absolute right or wrong when it comes to choosing a subject for black and white photography, but you’ll come across subjects and scenes that rely on colour for their impact, and also lighting conditions that don’t work well in monochrome.

When it comes to black-and-white imagery, being able to ‘see’ how your final shot will look is a key skill. It’s important to understand how the color image you see through your camera’s viewfinder or on the rear screen will translate into a striking monochrome image. To get the best results, you have to look beyond the colours, and instead try to visualise how a shot’s shapes, textures and tones will be recorded.

Here are some examples of what to avoid when looking for suitable subjects for black and white photography.

Editor’s Note: If you’re looking for a more affordable option, we suggest looking into the Sigma dp3 Quattro ($899+). It’s not a true monochrome camera, as its Foveon Quattro sensor can still capture color, but the sensor doesn’t use traditional light filters and it instead derives colors without demosaicing, resulting in more accurate monochrome photos.

(You can read more about the technology, here.) All Sigma’s new dp1, dp2 and dp3 Quattro compacts have a Foveon sensor.

If the scene you’re shooting relies on color for mood or impact, chances are you’ll be better off keeping the image in color, as in our mushroom image above. Sunrise or sunset shots are another good example; you should always ask yourself whether the image loses some impact without the subtle hues.

There are three basic ways to produce a monochrome (black-and-white) image with a digital camera: Shoot it that way using your camera’s monochrome mode; convert a color image to monochrome using your RAW converter, Photoshop or specialized monochrome software; or shoot with a monochrome digital camera.

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Here’s a run-down of the most common elements that you should look for when identifying a suitable subject for the black-and-white treatment. Remember that these elements can be used individually, or even combined to produce marvellous mono images with clout.

While it’s now simpler than ever to convert your images to black and white, especially now with the host of smartphone apps like Instagram that offer an array of filters, for truly impressive results it pays to think about how and what you shoot, and then know how to use your photo editing software’s powerful tools to get the most from your shots.

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One of the fundamental aspects of black and white photography is that your whole composition relies on contrast (for on composing images, see our 10 rules of photo composition – and why they work). For this reason, look out for subjects that feature simple, strong lines and shapes. It’s often the shadows that define shape and form, so pay attention to areas of darkness, as well as light.

Black and white images need strong compositions to really work. Keep an eye out for strong lines or features in your scene that can be used as leading lines, or positioned diagonally across the frame to create dynamic images.

The success of your black-and-white shots relies on several different factors, but the main thing to look out for is a main subject that will appear in a significantly different shade of grey to the background. Then look out for subtleties of tone and texture that will add depth to your images.

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Sigma’s DSLRs and compact cameras with Foveon X3 image sensors don’t use Bayer filter arrays and demosaicing. Instead, they derive color from the fact that different light wavelengths penetrate silicon to different depths. Foveon sensors stack three pixel layers, in effect, the top layer recording short (blue) wavelengths, the middle layer, medium (green), and the bottom layer, long (red) wavelengths. (It’s really more complicated than that, especially with the latest-generation Foveon Quattro sensors, but it’s simpler to think of it this way.) The result is that these sensors record all three primary colors (as well as full luminance data) at every pixel site, no demosaicing or interpolation required—and, thus, no AA filter required, either. The result is sharper images than produced by Bayer sensors of equal horizontal-by -vertical pixel count—and better monochrome images. The Foveon monochrome images aren’t as good as those from dedicated monochrome sensors, but they’re better than those from Bayer sensors—and the Sigma cameras cost a lot less than the monochrome digital cameras. The Sigma SD1 Merrill DSLR sells for around $1,999, the DP1, DP2 and DP3 Merrill compact cameras (with built-in wide-angle, normal and short tele lenses, respectively), for around $799, and the new dp1, dp2 and dp3 Quattro compacts (with wide, normal and short tele lenses, respectively) for $999. www.sigmaphoto.com

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Monochrome photography is a bit different than traditional photography — things like light, shadows, shapes and textures play much more prominent roles. (Since most photographers see in color… this adds another level of difficulty.) But for those who really have a passion for monochrome photography, and they want to take the best quality photo, they should really look into a dedicated monochrome camera. Be forewarned, there aren’t many options and they are all pretty expensive.

A monochrome (or black-and-white) photo can be nostalgic, timeless, beautiful and these days there are a few ways to capture one. Many digital cameras have monochrome modes. You can also edit photos with programs like Photoshop and Lightroom, or by using a RAW converter, that turn your color photo into a monochrome photo. For the best monochrome photos, however, you really want a camera that doesn’t collect color information at all, and they’re a decidedly rare breed.

It’s certainly true that with some skilful conversion and adjustment in Photoshop post-shoot you can add drama , but the sturdier the building blocks the better your finished image will be.

So, unless you’re trying to create a minimalist image it’s worth taking the time to capture maximum detail in the best lighting conditions possible.

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Using your camera’s monochrome mode has several advantages. You can use the camera’s built-in filters (including the old black-and-white standbys red, yellow and green), you can view the image in monochrome on the LCD monitor, and if you shoot RAW rather than JPEG, you have the ability to process the resulting file into monochrome or full color after the fact. The primary drawback is that conventional digital sensors, with their Bayer RGB filter arrays, don’t provide optimal monochrome image quality—more on this in a bit.

Recognising potential shots when out in the field can take practice, so why not try converting some of your existing images to black and white to get a better feel for what will work.

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Conventional image sensors consist of a fine grid of millions of pixels or photodiodes that record light in proportion to its intensity. Each pixel can detect how much light strikes it, but not what color that light is. To provide color information, most manufacturers position a grid of primary-colored filters called a Bayer array (named after the Kodak scientist who devised it) over the pixels, with one primary color, red, green or blue, covering each pixel so that each pixel receives only light of that color. Then, through a process known as demosaicing, the camera’s processor (if you shoot JPEG) or your RAW converter (if you shoot RAW) creates a full-color image, using color data from neighboring pixels and interpolation via complex proprietary algorithms to furnish the missing color data for each pixel.

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Black and white photos actually include a whole range of greys, which add subtlety to your images. Normally, you look for subjects that will translate into a range of tones from black to white, but you can also get great results where the subject is mostly light (high-key) or dark (low-key).

This process works quite well—all major-brand digital cameras except Sigma’s use this method on amateur as well as pro-oriented models (see the “Sigma/Foveon” sidebar). However, the demosaicing process does have some drawbacks. First, a lot of light is wasted, since the colored filters block two-thirds of the light from reaching each pixel. Second, the demosaicing process produces aliasing—moiré, color artifacts and the like. To combat this, most sensors also include an anti-aliasing (AA) filter, or optical low-pass filter (OLPF), which slightly blurs the image at the pixel level to minimize moiré. This, of course, also slightly reduces overall image sharpness.

Look beyond colors, and try to visualise how shapes, textures and tones will be recorded

What makes a monochrome camera better? Most conventional digital cameras have color filters laid over its sensor that capture a full-color image — this process is called demosaicing — but these filters also interfere with the sensor’s ability to capture the full spectrum of available light. This means that even though a digital camera’s monochrome mode can do a good job, it’s not going to be able to reach the same black and white levels of a monochrome camera. The advantage of using a conventional digital camera when shooting in monochrome mode, on the flip side, is you can turn black-and-white RAW photos into colored photos after they’ve been taken.

Subjects that rely on contrasting colors – such as a purple crocus against a green lawn – generally don’t work well in black and white. This is because the two colors will end up looking similar in tone when converted.

Along with our best black and white photography tips, we’ll reveal how to get creative with high-contrast graphic compositions and create moody landscapes, and show you how dramatic high- and low-key effects can be used to transform your still life photography and portrait photography.

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Phase One’s IQ3 100MP Achromatic is a digital back that allows any IQ3 XF medium-format camera to shoot black-and-white-only photos. Announced in 2017, the digital back has a brand new 101-megapixel CMOS sensor with a max ISO of 51,200, making it that most light sensitive medium format digital back that you can currently purchase. It also has an electronic shutter button, built-in wifi and can capture up to 60-minute long exposures. This camera back is really designed for photographers looking to take super high-resolution photos of architecture and landscapes. At at $50,000 for the back alone, they probably need to be serious photographers.

It’s easy to think that because you don’t need bright colors you can shoot black and white photography in any light or in any weather.

The Leica M Monochrom is a rangefinder-style digital camera and a true black-and-white shooter. Released in 2012, it’s beloved by most serious photographers, but it’s also known for being quite difficult to use. It doesn’t have autofocus, so you’ll have to adjust the lens’s focus ring — any of Leica’s M-Series of lenses are compatible with the M Monochrom — to capture in-focus photos. Aperture is also controlled by the lens. It doesn’t have great bursting or video shooting (up to 1080p) abilities, either. And it lacks wi-fi, GPS, and NFC, which are all common features on today’s digital cameras. However, the M Monochrom has a 24-megapixel full-frame sensor and flexible ISO (320-25600) and can capture stunningly crisp black-and-white photos. For expert photographers who aren’t scared away by this Leica’s price tag, this is the best monochrome camera you can buy.

So when you use your camera’s monochrome mode, or convert a color digital image to monochrome in your computer, you’re working from a color image that was fabricated from a monochrome image using colored filters and complex image processing, and then turned back into monochrome. There must be a better way.

When DSLR users talk about full-frame, they mean 35mm full-frame: a sensor measuring about 36x24mm, the size of a full 35mm film frame. To medium-format users, full-frame means the size of a full 645-format film frame. That would be 6×4.5cm, in theory, more like 56×41.5mm in terms of actual image area. Phase One’s IQ260 Achromatic medium-format digital back (available as a kit with the Phase One 645DF+ camera body, or with mounts to fit many popular medium-format and technical cameras) features a 60-megapixel, full-frame medium-format monochrome CCD sensor that measures a whopping 53.7×40.3mm—more than 2.5X the area of a full-frame 35mm DSLR sensor and 1.5X the area of the 44x33mm sensors found in lower-end medium-format cameras. Besides the huge sensor size and 60 megapixels (and the resulting superb image quality), the back offers a 3.2-inch, 1150K-dot touch-screen display, 13 stops of dynamic range and ISOs from 200-3200. The back is ruggedly constructed of 100% aircraft-grade aluminum, and can be operated as an independent unit, tethered to a computer or wirelessly from an iPad or iPhone using Phase One Capture Pilot. Besides having no Bayer filters or AA filter, the IQ260 Achromatic has no IR cutoff filter, so it can also be used for infrared photography. Estimated Street Price: $44,495. www.phaseone.com

Converting a color image into monochrome in your computer offers the advantages of lots of control—your home computer is more powerful than the one built into your camera, and can handle more complex algorithms, and specialized monochrome software such as Nik Silver Efex Pro provides powerful conversion and finishing tools. And you can convert any digital image, whether it was shot recently or it’s a scan from an old Kodachrome transparency. Photoshop’s Channel Mixer gives you tremendous control over the tones in the image. (See “Monochrome Conversion” by Ming Thein in this issue for more about using the Channel Mixer.) The main drawback to converting a color image is the same as with using the camera’s monochrome mode: That color original image suffers the effects of demosaicing.

Black And White Photography Cameras