Try Long Exposure. Long exposure shots may 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 area 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). naturally , when exposures extend beyond as regards 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.
Take Control. Although coloured filters could 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 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 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 could 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 diverse colours.
Dodge and Burn. Dodging and burning is a thoroughfare 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 aspiration of because you can target the highlights, shadows or mid-tones with both. This means that you can use the Burn tool to darken highlights when they are too bright, or the Dodge tool to perk up them to increase local contrast. It’s a good manner of sharing a sense of superior sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you could build up their effect gradually so the impact is crafty 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 useful . An ND grad is helpful when you require to retain detail in a bright sky while a polarizing filter could be used to decrease reflections and boost contrast. Alternatively, contemplate taking two or more shots with unique 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 her own. An orange filter, for example, will darken the blue of the sky while a green single 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 right now 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 dingy straight from the camera. fortunately , 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 strong blacks and whites. This may 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.
Shoot RAW + JPEG. The best monochrome conversions are reached 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 plan 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 hunch fashion , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.
Related Images of Black And White Photography Contest 2018
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Rachael Talibart, Winner – Black + White Photographer of the Year 2018
MONOVISIONS PHOTOGRAPHY AWARDS 2018WINNERS ANNOUNCED SERIES CATEGORY WINNERS
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.
Monochrome Photography Awards 2018 are open. Final Deadline is November 18, 2018. CLICK HERE AND START NEW ENTRY
Talibart’s image was selected for its combination of technical skill and artistry, which tipped the balance in favor of the landscape photograph. In a field heavily peppered with imagery including people, Talibart’s win proves that this type of photography is just as powerful as portraiture or photojournalism.
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.
Take a look at the other winning and shortlisted entries from the Black+White Photographer of the Year 2018 competition.
Celebrating the best of monochromatic photography, the Black+White Photographer of the Year (BPOTY) contest has awarded the winners of the 2018 competition. The biennial contest is organized by Black+White Photography Magazine in partnership with Fujifilm and is open to amateur and professional photographers.
Black+White Photography Magazine: Website | Facebook | Instagram My Modern Met granted permission to use photos by Black+White Photography Magazine. Related Articles: Hasselblad Announces 2018 “Masters” of Its Iconic Photography Competition Winners of the 2017 MonoVisions Photography Awards Explore the World in Black & White Winners of the Sony World Photography Awards 2017 Open Competition Revealed Winners of the B&W Child Photography Contest Capture the Universal Essence of Childhood
All names of the Honorable Mention winners will also be included in the book.
Striking Winners of the 2018 Black + White Photographer of the Year Competition
Rachael Talibart was awarded the top prize for her striking image of a breaking wave captured off the southern coast of England. The ocean spray, frozen in time, is a dramatic shot that takes on even greater mystery in black and white. “With the right image, I find that shooting black and white can powerfully enhance the emotion I’m trying to evoke and, being one step removed from reality, it can offer a fresh perspective,” she shared.
Celebrating creativity and promoting a positive culture by spotlighting the best sides of humanity—from the lighthearted and fun to the thought-provoking and enlightening.
Talibart, who is both an experienced sailor and professional photographer, beat out a field of talented international photographers to win the title of Black+White Photographer of the Year. Participants were asked to submit images across three categories: The World of People, The World Around Us, and The Creative World. The winners were judged by an expert panel that included Elizabeth Roberts (editor of Black + White Photography Magazine), Shoair Mavlian (assistant curator of Photography at the Tate Modern), and 2015 BPOTY winner Vicki Painting.
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