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Black And White Photography Raw.

Dodge and Burn. Dodging and burning is a road 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 may only aspiration of because you can target the highlights, shadows or mid-tones with both. This means that you could use the Burn tool to darken highlights when they are too bright, or the Dodge tool to brighten up them to increase local contrast. It’s a good technique of giving a sense of greater sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you can build up his effect gradually so the impact is crafty 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 common to save this work until the processing stage. Until a a couple years ago Photoshop’s Channel Mixer was the favored 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 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 can 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 diverse 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 can 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 decrease exposure and extend shutter speed (by 10 and 4 stops respectively). typically , when exposures extend beyond relating 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.

Shoot RAW + JPEG. The greatest monochrome conversions are attained 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 process 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 could also do this if they activate her camera’s live understanding practice , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

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 advantageous . An ND grad is supportive when you require to retain detail in a bright sky while a polarizing filter may be used to reduce reflections and boost contrast. Alternatively, view taking two or more shots with varied 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 their 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.

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 at once 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. happily , it’s possible to work adjust the brightness of these two colours separately 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.

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Ideally, you should make sure the image has the correct white balance and any color casts have been removed before converting. This will make the colors purer, which will, in turn, maximize the quality of any color filter you use.

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Pro Tip: Most editing programs will convert to B/W with their interpretation of the conversion (like your camera). If you want to start from neutral, you’ll have to research how to do that in your editing program of choice or restore the sliders manually.

This look was created using Nik Software’s Silver Efex Pro — Photo Credit: Teryani Riggs

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Once primarily a product of technical limitation, black-and-white photography is still going strong today. Great black-and-white photos deconstruct a scene, while at the same time transforming distracting colors into subtle shades of gray. Whether you’re shooting landscapes, portraits, still life, or documenting the world as you see it, converting your RAW photos to black-and-white can breathe new life into your photography.

Mackenzie Moltov from our abandoned fine art series “The Last to Leave”

Editor’s note: If you like shooting in B&W so you can review the image in-camera in B&W, show a client in B&W, or even transfer to your smartphone for immediate social sharing without having to do further B&W conversions, remember that you can shoot RAW+JPEG and get the best of both worlds. You’ll see the B&W image in-camera and that’s what will transfer to your phone, but when you import to Lightroom or whatever app you’re using, you’ll have the full color RAW file to work with.

In the days of film, black-and-white photographers would usually choose a color filter when making a shot. Without them, many colors would end up looking the same. Color filters allow you to accent the colors complementary to the filter, bringing out reds, greens, or blues that would otherwise blend together into a gray sameness. For example, Ansel Adams’ use of red filters would increase the texture in water, sky and foliage and was part of his signature style.

Model Lily Cheshire poses on Broad Street for a styled bridal shoot

the smoothest grayscale tone transitionsthe greatest flexibility when using color filterseffortless white balance changeseasy, non-destructive editing (the data in RAW files is never changed, so you can work with them as much as you like and always return to the original safely)

Bride and groom pose in front of the receiving vaults in West Laurel Hill Cemetery

You are hereHomeTipsConverting Raw Images to Black and White

The only disadvantages to using the RAW file format are that the files are much larger (you need more storage space) and you’ll need an editing program capable of processing them (i.e. Photoshop with a plug-in, Lightroom, Luminar (2018 version), etc.). From there, there the conversion is relatively easy.

There are a whole host of black-and-white plug-ins on the market these days, many of which can take your images to the next level (especially if you’re not yet experienced in black-and-white photography). Some of the oldest and most renowned are Nik Software’s Silver Efex Pro (now owned by Google and free) and Topaz’s B&W Effects. Newer on the market but no less exceptional is MacPhun’s Tonality plug-in. All of these work with both Photoshop and Lightroom and offer numerous looks, as well as powerful and precise editing tools. They’re well worth a look. There are also a number of free (and paid) presets available for both Lightroom and Luminar, as well as actions (for the more advanced editor) for Photoshop.

If you’d like to begin seeing in black and white but want to retain all of the color information, check to see if your camera will allow you to change its viewfinder mode. Many of today’s cameras have an option to change the viewfinder to monochrome, giving you a black-and-white simulacrum while still recording the photo in color.

If you want the best images possible (whether color or black-and-white), shooting in RAW is essential. RAW files are uncompressed files that contain all of the information your camera’s sensor recorded in each shot. JPEGs, on the other hand, are compressed image files that lose a fair amount of the original data during your camera’s processing of them. When you shoot in RAW, you get all of the information, and that gives you the ability to make significant adjustments to the image without damaging image quality. The benefit is vastly more editing options with much smoother conversions.

Sepia is a much-loved form of black-and-white photography — Photo Credit: Teryani Riggs

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While some purists may believe black-and-white photos should be taken in-camera, you’ll have a lot more options if you first take your photos in color and then convert them afterwards. By shooting in color, you preserve the image’s information regarding exposure, white balance and color tones. This will give you a much greater editing range in your post-processing. When your camera does the converting for you, it loses all of the color information, thereby severely limiting your editing options (especially where color filters are involved). Also, most camera conversions are often of poor quality, yielding flat, washed out photos.

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Shooting in Raw will give you complete control over your image’s final look — Photo Credit: Teryani Riggs

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So, no matter what your style is, you should be able to find your stride in black-and-white photography with at least one of these converters and/or plugin packages. Just take your photos in RAW (if you aren’t already) and go from there.

Black, White and Raw Photography: Philadelphia Wedding Photographer

With today’s advanced editing software, you have a number of options for converting your photos into black and white. If you’re a beginner, you might want to choose a program with numerous black-and-white presets. Then you can simply pick the preset that most closely matches the look you’re going for and adjust from there. If, on the other hand, you want to be involved in every adjustment, start with your global RAW adjustments (exposure, white balance, color temperature, blacks, whites, etc.). You can do this first in color and then convert to black and white, or convert to black and white first and make your adjustments from there.

Any software that works with RAW and provides black-and-white conversion will have color filter options. You can either choose the actual filter (often set in a line of respectively colored dots) or adjust the sliders in the HSL panel.

Multiple exposure bridal portrait from a real wedding using the bride’s bouquet for texture

The only time you might want to have your camera take black-and-white photos for you is if you’re not planning on editing them (or editing them much). 

These days all dSLRs and most high-end point-and-shoots have the option to shoot in RAW. You can make the change in your camera’s file format menu.

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