Shoot RAW + JPEG. The greatest monochrome conversions are arrived at 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 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. 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 procedure 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 kick in his camera’s live understanding convention , but the usually slower responses mean that most 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 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 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. providentially , 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 forceful blacks and whites. This could 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, can 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.
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 collaborative when you require to retain detail in a bright sky while a polarizing filter can be used to decrease reflections and boost contrast. Alternatively, appraise taking two or more shots with diverse 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, can 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 one will lighten foliage.
Dodge and Burn. Dodging and burning is a track 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 thought of taking a degree of because you could 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 increase local contrast. It’s a great track of giving a sense of greater sharpness and enhancing texture. Plus, because you could set the opacity of the tools, you should build up their effect gradually so the impact is crafty and there are no hard edges.
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 required , 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 beyond with respect to 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 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 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 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 may 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 should 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 varied colours.
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March 12, 2015 1930s, France, life, Paris, people, street
June 05, 2015 1930s, 1940s, England, life & culture, London, people, street
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50 Amazing Black and White Photographs of Paris in the 1930s
30 Stunning Black and White Photographs of London in the 1930s and 1940s
Fred Stein was born on July 3, 1909 in Dresden, Germany. As a teenager he was deeply interested in politics and became an early anti-Nazi activist. He was a brilliant student, and went to Leipzig University, full of humanist ideals, to study law.
He obtained a law degree in an impressively short time, but was denied admission to the German bar by the Nazi government for “racial and political reasons.” The threat of Fascism grew more and more dangerous and after the SS began making inquiries about him, Stein fled to Paris in 1933 with his new wife, Liselotte Salzburg, under the pretext of taking a honeymoon.
In Paris they were in the center of a circle of expatriates, intellectuals and artists. In the midst of upheaval, gathering war, and personal penury, Stein began taking photographs. He was a pioneer of the small, hand-held camera, and with the Leica which he and his wife had purchased as a joint wedding present, he went into the streets to photograph scenes of life in Paris.
He saw hope and beauty where most people would only see despair. He also became acquainted with and photographed some of the leading personalities of Europe. Paris Evening, 1934 Cobblestones, 1936 Le Gaz, 1935 Notre Dame, 1938 Crab Seller, 1935 Grandmothers, 1934 Electricians, 1934 Window Painters, 1935 Marching Shadows, 1938 Street Crossing, 1935 Swing, 1934 Wheelbarrow, 1936 Cafe, 1935 Metro, 1936 Renovation, 1934 Paris Jewish Quarter, 1935 Grands Boulevards, 1937 Cinzano, 1937 Streetcorner, 1934 Cameraman, 1935 Boy Leaning Against Wall, 1937 Jewish Quarter Antwerp, 1937 Photographer, 1935 Flea Market, 1936 Man with Bread, 1937 Reading in Grass, 1936 Knitting, 1933 Fountain, 1935 Selling Flowers, 1935 Fishing, 1930 Children Reading the Newspaper, 1936 Le Flic, Paris 1937 Embrace, 1934 Hobo, 1935 Hole in Fence, 1936 Water Fountain, 1934 Popular Front, 1936 Circle Game, 1936 Newsprint, 1934 Boys Fishing, 1936 Flower Vendor, 1935 Big Ball, 1936 Boy with Violin, 1935 Vendor, 1937 Chez, 1934 Old Man With Cane, 1936 Child on Steps, 1935 Sprayer, 1938 Woman at Window, 1933 Doll Man, 1938 (Photos © Fred Stein Archive)
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Arriving in London in 1935, the Viennese photographer Wolfgang Suschitzky is best known for his depictions of London in the 1930s and 1940s. However a photography career spanning 70 years has seen him capture many subjects, all with the same genuine affection.
The Matchbox, London, 1936 Shoe shine, Charing Cross Road, London, 1937 Lyons Corner House, Tottenham Court Road, London, 1941 Tenements, London, 1936 London, Stepney, 1934 Hurlingham Club, London, 1939 London, 1937 Street cleaner, Westminster, London, 1934 At monument station, London, 1938 Charing Cross Road, London, 1936 Festival of Britain, South Bank, 1951 Sunday morning, Oldham, 1946 Charing Cross Road, Beaumonts, London, 1937 London, Zoo, 1941 Paving, Charing Cross Road, London, 1936 East End, London, 1934 Hyde Park, London, 1934 Charing Cross Road, London, 1937 Wyndham’s Theatre, Charing Cross Road, London, 1934 London, 1945 Milkman, Charing Cross Road, London, 1935 Harrods, 1939 London Docks, 1935 Embankment, London, 1947 Charing Cross Road, London, 1936 King’s Cross Station, London, 1939 Cambridge Circus, London, 1936 Foyles, Charing Cross Road, 1936 Victoria bus station, 1939 V-E Day, Piccadilly Circus, 1945
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