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Black And White Photography Effect.

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 can be used to decrease reflections and boost contrast. Alternatively, contemplate 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, may 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.

Dodge and Burn. Dodging and burning is a process 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 may use the Burn tool to darken highlights when they are too bright, or the Dodge tool to perk up them to grow local contrast. It’s a good scheme of giving a sense of superior sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you could build up his effect gradually so the impact is subtle and there are no hard edges.

Take Control. Although coloured filters could 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 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 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 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 unique colours.

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 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 discretely to introduce some contrast. However, a good 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 forceful 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, 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 most excellent composition.

Shoot RAW + JPEG. The most excellent monochrome conversions are met 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 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 style 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 can also do this if they kick in their camera’s live postulation manner , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

Try Long Exposure. Long exposure shots could 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 may help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If necessary , 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). classically , 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.

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One of the questions I’m being asked about more and more lately is about Black and White Digital Photography.

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Not all photos look great in black and white and one of the arts of photography is ‘seeing’ how the image will look before you take it.

In film photography you needed to decide prior to taking a photo whether to use black and white film or colour but we now have the luxury with digital photography to choose to convert a colour image into black and white.

I love black and white photography, it is part of how I take photos and I couldn’t imagine photography without it. A frequent question I am asked is how and when to use black and white. So I thought today we could have a little chat about black and white in photography.

Variety“I find the creative process with black and white images is so… artistic. It’s like molding clay – you can shape it into a myriad of shapes. Black and White images can be strong, high contrast and powerful – or they can be so soft, gentle and subtle.” – Belle

When you take away colour you are taking away one of the primary ways the viewer can ‘read’ your image. Therefore there needs to be strong dimensions.

UPDATE: Learn more about Black and White Photography with our new Essential Guide to Black and White Photography.

With digital conversions we have the choice over contrast and how we want to manipulate the image afterwards. I use a program called DXO filmpak and when I bought it I spent almost a day going through every film option on a series of photos to see the effects that I like. I arrived at a couple of favourites Kodak Tri-x 400 and Ilford Pan F Plus.

When converting colour it is important to have different tones in the photo so your subject will jump out of the background or surrounds ie.. there needs to be contrast in the image. Often if the subject has the same tone it can look a little flat in black and white.

If the big response to the assignment is anything to go by readers of this blog LOVE black and white photography too (I’ve used a few of the images submitted in the assignment on this post to whet your appetite).

Black and White Photography – How and Why We Use It – Carla Coulson

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Have a look at the following photographers style of black and white and let me know in the comments what you learn about the differences in the style of black and white and what it says about their styles and how it enhances their photos. (sorry you will have to google as their sites are under construction).

When converting images from colour to black and white make sure you don’t have any strong colour ‘casts’ otherwise the colour cast will be converted to the same grey tone and applied generically to your photo.

No Distractions“I find that colors can be terribly distracting in some images and can take the focus away from your subject. I do portrait work and find that taking the color out of an image lets the subject speak for themselves. Its raw, it’s stripped back, it’s honest and it allows you to show the true person.” – Shane

Film photographers would choose a type of film based on it’s effect. Low ISO films produce fine grain and strong contrast and the higher ISO film produce prominent grain and generally a softer contrast.

I hope this helps you make some decisions about your black and white photography.

Subtlety of Tones“I love the subtlety of tones that black and white images can have. In a world that often boasts about how many millions of colors a TV or monitor is able to produce – I love that in ‘Mono’ there is such a variety of what can be achieved in a photo. Black and White sounds so boring – but the fact is that there are so many shades in between – I love the challenge of bringing them all out in an image!” – Jim

“To photograph is to hold one’s breath, when all faculties converge to capture fleeting reality. It’s at that precise moment that mastering an image becomes a great physical and intellectual joy.”  Henri Cartier-Bresson

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Black and White Landscapes: Weekly Photogrpahy Challenge 6 years ago

Tone and Contrast – The photo subject will work best when it has a varied range of blacks, greys and whites. Always look for dark and light areas in your images as this creates tone and contrast. Lines, Shape and Form – Images that have graphic elements, strong lines, geometric shapes or form make wonderful subjects for black and white especially when the image has good contrast between the elements.

Always look for lines that run diagonally, horizontally or vertically through the image and try and create interesting compositions with them. Textures and Detail – All details in photos add to the message and depth of a photo.

Black and white works well with textural walls such as brick, sandstone or whitewashed stone especially when the subject is of a contrasting tone. Strong skies and clouds also are wonderful subjects (check out Sebastiao Salgado’s work).

A person or detail strongly lit can make a wonderful subject in black and white. Portraits – People and the environment you find them in make for strong subjects in black and white particularly when there is good contrast in their clothes, the background and surroundings.

Look for interesting hats, clothes or textures in their environment that would make a strong portrait in black and white. Reportage/life photography– Storytelling of an event albeit sporting, religious, musical or cultural can be strengthened using black and white and add to the weight and message of the photo.

In my interview with Toros he discusses the character of a photographer depending on his taste in black and white. ‘There are some photographers that come to me and say “Toros,  I want my photos very dark, very black and deep. There are others they tell me “I don’t like grey; I want black and white without details.” This says a lot about their characters. Once Cartier-Bresson told me, “Toros, don’t print my photos with too much contrast, don’t print them too dark because my character is soft and light.”

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These are just my personal preferences but I would encourage you always to try all options and find your favourites as this is part of your photographic style.

My fabulous printer in Paris ‘Toros’ of Toroslab, in an interview in Paris Tango said “Black and white is an attitude, a different way of looking at things. I knew many photographers like Cartier-Bresson and Robert Doisneau who preferred to work in black and white. There is an indescribable magic in black and white that is impossible to explain, it is the shadows and the highlights, in the details and in the mystique. Black and white treads that fine line between reality and fantasy.”

I have a few friends who are into Black and White photography and I asked them what it was that attracted them to it. Here are a few of their reasons for getting a little obsessed with Black and White:

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The art director on a book once said to me ” a colour image is only valid when the colour is great colour.”  Hence if the colours jar, or they are not harmonious or are distracting that is when I convert an image to black and white.

Versatility“I love that it’s a format that suits almost any type of photography. Portraits, landscapes, urban landscapes, architecture. Not only that, it’s a medium that adapts really well to all lighting situations. Whereas color photography often works best on sunny days or in brightly lit studios – low light just makes a black and white image moody.’ – Sol

Of course the black and white vs color debate is a very personal one. For every person I ask who loves shooting mono there are others who much prefer the vibrancy of color photography.

I use black and white often when an image is graphic (like in the fashion pic above), when the photo has been taken in a ‘reportage’ or ‘lifestyle’ way and I want to make this image stronger (like the family in Naples), when I want to cut to the core of a portrait and let the person stand out not the colours  like in the first picture in this post.

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As I said yesterday in the post announcing our Black and White Assignment it seems as though Black and White images are making something of a comeback of late as digital camera owners rediscover the beauty of mono images.

Which do you prefer – Black and White or Color?What do you like about your preference? Have you experimented much with Black and White digital photography? Interested to hear your thoughts in comments below.

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