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Black And White Photography Lessons.

Shoot RAW + JPEG. The best monochrome conversions are bumped into 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. most 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 rule 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 activate his camera’s live supposition plan , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.

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 straight 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 dingy straight from the camera. luckily , it’s possible to work adjust the brightness of these two colours separately 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 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, 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 unsurpassed composition.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are just 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 supportive when you require to retain detail in a bright sky while a polarizing filter should be used to decrease reflections and boost contrast. Alternatively, look on 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 advantageous 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 one will lighten foliage.

Take Control. Although coloured filters can 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 few 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 crafty gradations should become unnatural looking. And adjusting the brightness of a red or rosy 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 segregation between objects of the same brightness but with different colours.

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 could 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). typically , when exposures extend farther than re 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.

Dodge and Burn. Dodging and burning is a use 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 thought of taking a degree of because you could 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 brighten them to grow local contrast. It’s a great custom of sharing a sense of better sharpness and enhancing texture. Plus, because you could set the opacity of the tools, you should build up her effect gradually so the impact is subtle and there are no hard edges.

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Histograms break down the value of a photograph. Once you understand value you can use it to create stark contrasts or to create soft, subtle compositions. Value in the photography world really just translates to light. If you have a heavily lighted photography it is high on the value scale. If you have a low lighted photograph then it is low on the value scale.

Ansel Adams understood the dynamics of black and white photography along with other essential elements and principals of design and photography. A part of this could be that he didn’t meddle with color, since we often get distracted by color and loose the value of the composition. To truly understand composition shooting black and white photography is something you have to try as not just an “effect”, but as a teaching tool.

Tones are the most important element of black and white photography. As humans we don’t really think about the world in tonal ranges. For us when we see light blue and then we look else where and see yellow, we are in fact seeing two different colors. However, when you take a black and white photograph with light blue and yellow in the same frame, the camera may not actually communicate the difference to your viewers since the colors have almost the exact same grey tone.

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There are two reasons to shoot black and white photography. One reason is because you think it looks old fashioned and it’s a cool effect. A better reason to shoot black and white photography is because of the lessons it can teach you. Black and White Photography teaches you about values. We’re not talking about ethical values but the value in a monotone sense where color is taken out of the picture and we can focus on value as a single element.

High value is white and low value is black, you can see below a visual representation of value scale.

It’s here! ON1 Director of Product Dan Harlacher takes you on a deep-dive into the world of black and white photography. Learn how to think in black and white to compose and properly expose for this, the pinnacle of photographic expression. Then learn how to convert to black and white, control tonality, simulate film and darkroom techniques and even get the best black and white prints. Dan has been a passionate practitioner of black and white photography going back to his days in the darkroom where we was a college instructor. In this all-encompassing course you will learn everything you need to know about shooting and converting black and white using the latest modern digital technology.

Many photographers specialize in black and white photography due to its sheer power, elegance and beauty. However, it is important to note that black and white photography is not simply color photography with black and white film (or a black and white digital setting). Black and white photography has its own set of rules that it needs to abide by. Black and white photography, since it is colorless, needs to find other ways to set moods.

For great black and white photos you also must understand tonal range.

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Lesson 1IntroductionLesson 2Seeing B&WLesson 3Exposing for B&WLesson 4Camera FiltersLesson 5Digitally Converting to B&WLesson 6Controlling Tone & ContrastLesson 7Making Local AdjustmentsLesson 8Detail & TextureLesson 9Film Darkroom LooksLesson 10InfraredLesson 11Using PresetsLesson 12PrintingLesson 13Editing an Architectural PhotoLesson 14Editing a Waterfall PhotoLesson 15Studio Shoot & Edit: FloralLesson 16Studio Shoot & Edit: A Portrait

Black and white photography: Tonal range Photography complexity vs. simplicity Photography amputation Photography lighting

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Therefore as a black and white photographer you have the extra responsibility to think about how the world looks in tones. You need to think about the whiteness of whites and the darkness of darks (known as tonal range). You need to see colors as tones, and your shadows will not become more intimate parts of your photographs. Likewise, you can use colors to help draw emphasis to a subject or idea anymore, now you will need to find other ways to draw emphasis to the main subject or smaller details within the photograph.

Black and White Photography in the Digital Era (free video) Black and White Landscapes (free video)

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