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Black And White Photography Canon 60D.

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 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 dreary straight from the camera. providentially , 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 should 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, may 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.

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 collaborative when you want to retain detail in a bright sky while a polarizing filter may be used to reduce reflections and boost contrast. Alternatively, make of,find taking two or more shots with different exposures to create a high dynamic range (HDR) composite. Don’t be anxious 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 useful for manipulating contrast in digital images. They work by darkening objects of her opposite colour while lightening objects of his own. An orange filter, for example, will darken the blue of the sky while a green single will lighten foliage.

Take Control. Although coloured filters may 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 favorite 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 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 should become unnatural looking. And adjusting the brightness of a red or rosy 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 discrimination between objects of the same brightness but with diverse colours.

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 should only thought of taking a degree of because you should 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 them to grow local contrast. It’s a good technique of sharing a sense of better sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you should build up her effect gradually so the impact is subtle and there are no hard edges.

Shoot RAW + JPEG. The unsurpassed monochrome conversions are happen 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 photograph 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 oddity 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 should also do this if they kick in their camera’s live hypothesis oddity , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.

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 compulsory , use a neutral density filter such as Lee Filters’ Big Stopper or Little Stopper to reduce exposure and extend shutter speed (by 10 and 4 stops respectively). characteristically , when exposures extend farther than on the subject of in connection with 1/60 sec a tripod is wanted 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.

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Like Just.in Musing said, I’m shooting RAW + Large JPEG. Camera settings: RAW + Large JPEG: In camera Monochrome, Green Filter on, Sharp +1, Contrast +2. then process in DPP. Play around with the Green & Red filters and up and down on contrast. If your JPEG’s look like crap you can still go back to your RAW files and re-adjust. Originally posted 74 months ago. (permalink) fallacious respect edited this topic 74 months ago.

If the 60D is the same as the 40D and 5D2 which I use, the Monochrome setting has no contrast added as a default, whereas the colour Standard setting does. You’ll also notice the Landscape setting has sharpness set at 4.You can modify any of these settings or create up to 3 presets of your own.I would advise that you always shoot in the large RAW format as this gives you the best options for processing later.If you are shooting in JPG, the camera will have applied processing to the images for you. If you don’t want to control how your images look, JPEG is fine, but you will find all serious photographers shoot in RAW. 71 months ago (permalink)

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I shoot with a 60D and agree completely with what Chuck said. The one qualification I’d make is that you might consider shooting in RAW+JPEG, setting the JPEG to monochrome. This way, the feedback on the LCD will be b/w, but the RAW file will be in full color. If you don’t shoot like to shoot in RAW, then I would definitely shoot color JPEGs and convert them in post. You give up way too much flexibility letting the camera do the conversion for you. 75 months ago (permalink)

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I have 60D and I shoot in color then turn it black and white. you may want to keep the color so why shoot it black and white? 75 months ago (permalink)

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I have a Canon 60D with a 50mm f1.8 lens. I love shooting in b/w but whenever I have the camera set to monochrome the pictures always looks washed out. Q: Do you shoot in colour THEN post process or is it to do with the parameters that I set within the monochrome setting in my 60D?… I want to take b/w with a nice range from black, white and inbetween.Thanks in advance 11:49AM, 13 June 2012 PDT (permalink)

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