Take Control. Although coloured filters may 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 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 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 should 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 unique colours.
Try Long Exposure. Long exposure shots can 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 should help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If compulsory , 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 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.
Shoot RAW + JPEG. The most excellent monochrome conversions are run 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 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 manner 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 her camera’s live conviction drive , but the usually slower responses mean that many 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 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. 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 strong 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 best composition.
Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are simply as useful in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more advantageous . An ND grad is helpful when you want to retain detail in a bright sky while a polarizing filter can be used to decrease reflections and boost contrast. Alternatively, interpret 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 his own. An orange filter, for example, will darken the blue of the sky while a green single will lighten foliage.
Dodge and Burn. Dodging and burning is a scheme 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 should 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 perk up them to increase local contrast. It’s a great idiosyncrasy of sharing a sense of better sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you may build up their effect gradually so the impact is crafty and there are no hard edges.
Related Images of Black And White Photos Enlarged
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Image credits: Photographs by Monica and Jess of East Coast Creative
Go to the “File” menu in the scanner or photo-editing software and select “Import” and “From Scanner.” You might be able to select the exact name of the scanner already connected to the computer, such as “Epson V500” or “HP Scanjet G4050.”
Click “Preview” to view a preview scan of the image at your chosen resolution. Adjust the photograph’s placement on the scanning glass if the image appears crooked. You can also select a more specific area of the picture to scan by creating a box over the preview scan using your mouse.
If you’re looking for a thrifty way to have gigantic (monochrome) prints made of your photographs, look no further than your local Staples. Monica and Jess of East Coast Creative write,
Choose from three Kodak Endura Professional Photo Paper types, each of which bring out the unique tones in a black and white image beautifully: Lustre, Glossy, or Metallic.
Print the image at home if you have a high-quality printer, or save the image file to a CD or flash drive and take it to a copy center for printing.
They’ve written up a tutorial on how you can make a giant DIY frame for these massive prints.
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HomeAround The HomeProductivityHow to Enlarge Old Photographs
Your images are printed on Kodak Professional Endura Premier paper- only the best for our customers.
Your Black and White Photo Prints are guaranteed to last 100 years in a normal display (and 200 years in dark storage)!
Open the scanner and place your old photograph face down on the scanner glass.
A stylish Linen texture can also be applied to each paper type, for a chic, fine art finish.
If you have just discovered some fantastic old photographs in your attic or closet, you’ll probably want to make copies for relatives, or enlargements to hang in your own home. Without a photo’s original negative, you can’t simply reprint the image at a larger size. You can, however, create high-resolution enlargements from a hard copy photograph by scanning the image and printing an enlargement from the computer. If you don’t own your own scanner, don’t worry; many copy centers have scanners and computers that you can use for a small fee.
Have you heard about the engineer prints from Staples? Oh.My.Goodness. They have completely changed our life for the better. Just wait, you’ll feel the same way. Take your favorite picture into Staples and ask for an oversized print (they come in multiple sizes, but the largest is 3’ by 4’. They’ll make a copy right there for you, and the best part… it costs less than $5 for a print! You’re only able to get the picture in black and white, but who cares?! It’s 5 bucks! The tricky thing is that the picture is printed on very thin paper, so you have to be careful not to bend or mark it.
Select a desired image resolution for the scanned image. You will have to specify this resolution with a “dpi” number. “Dpi” stands for “dots per inch,” meaning the number of pixels per inch in the image. Select a dpi of at least 600. An image resolution of 600 dpi should produce high-quality enlargements from small original photographs.
Turn on the computer and the scanner, and open the computer’s scanning or image-editing software.
Select the type of document you are scanning from the new scanning options window. You will be able to choose between “Color Picture,” “Black and White Picture” or “Text Document.”
Select a desired file format for the scanned image. You will probably be able to choose between JPEG (Joint Photographic Experts Group) format and TIF or TIFF (Tagged Image File) format. The TIF format works best for enlarging images; these files are larger and can support greater detail and resolution than JPEG files.
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