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Black And White Photos Glossy Or Matte.

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 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 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 could 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 differentiation between objects of the same brightness but with unique colours.

Dodge and Burn. Dodging and burning is a channel 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 could only dream 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 grow local contrast. It’s a good peculiarity of sharing a sense of greater sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you should build up their effect gradually so the impact is subtle and there are no hard edges.

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 cooperative when you require to retain detail in a bright sky while a polarizing filter should be used to reduce reflections and boost contrast. Alternatively, estimate taking two or more shots with different exposures to create a high dynamic range (HDR) composite. Don’t be afraid 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 useful 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 single 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 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 featureless straight from the camera. happily , it’s possible to work adjust the brightness of these two colours singly 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 powerful 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, could 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.

Try Long Exposure. Long exposure shots may 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 decrease exposure and extend shutter speed (by 10 and 4 stops respectively). characteristically , when exposures extend beyond in 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.

Shoot RAW + JPEG. The best monochrome conversions are made it to 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 pathway 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 concept rule , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.

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Glossy finish looks shiny, reflects light very well and looks vibrant and color rich.Matte finish on the other hand does not reflect much light and looks ‘darker’ and duller. 

Glossy photos do just what their name implies — they gloss over the photograph, giving it a nice shine. The paper and the coating behind that glossy photograph is actually made up of the same stuff as a matte image, except that more of the final coating is used. That extra layer of shine tends to give the image an apparent boost in color and, well, like anything with a bit of shine to it, just looks pretty.

Posted on January 19, 2017 by Photo Direct in Education, Production Techniques with Comments Disabled Last Modified January 19, 2017

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Difference between Matte or Glossy PhotosMatte and glossy are two different finishes to the photo paper digital photos are printed on. Using different chemicals and processes photo paper can have a glossy or a matte finish.

Ideally, you should experience both. Try choosing a few photos, some color and some black and white. Print them both on matte and on glossy paper and in different sizes. Look at the prints and see what you like and what you dont. This will help you make better choices when choosing matte or glossy photos.

The bottom line: Favored more by pros, the matte finish doesn’t glare or fingerprint, but the tendency to highlight texture could also bring out unwanted texture like noise from high ISOs.

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Bottom line: Glossy photos are good for colorful shots — but only if you don’t mind glare or fingerprints.

With less of that final shiny layer, matte prints offer a similar lifespan, but without that glossy sheen. Matte photographs don’t quite have the same color boost as glossy — though if you shoot and process the photo right, you can still get a good deal of color from a matte print. Matte photos tend to be better for less vibrant color schemes or monochrome shots, particularly if you were trying to imitate a film effect. Where the glossy finish tends to emphasize color, matte prints tend to play up the texture in an image.

When printing digital photos you have a choice between matte and glossy photo prints. Glossy photo prints have a shiny finish while matte ones have a more subtle neutral one. So which one should you choose? There is no right answer there are pros and cons to both.

1) Use glossy photo prints for color prints and matte photo prints for black and white ones.2) If the photo prints are going to be touched by many people and used a lot matte is a better choice unless you do not mind spending time cleaning your glossy photo prints every now and then.

3) Also if you plan to print large photos (for example to hang on the wall or frame and put on your desk) matte is a better choice since a large glossy print would act as a large glossy and shiny light reflector.

Matte or Glossy PhotosPros and cons between Matte or Glossy digital photo prints. 

It really depends on your needs and what you are going to do with the photo prints. As a general rule;

The problem with the glossy photo finish is that it creates glare. You’ll see light reflecting off the photo itself, making it hard to view equally under different lighting scenarios. One of the issues many photographers have with glossy photos is also the fingerprints they tend to attract. The finish of a glossy photo leaves the print more susceptible to fingerprints, which means photos that will see a good deal of handling aren’t the ideal shots to use with a glossy finish.

A matte photograph’s anti-reflective qualities often makes it a better choice for framing large prints, while the enhanced color may help snapshots stand out more with a glossy finish. While there is no right or wrong answer when choosing your photo finish, there are pros and cons of each type that are important to understand in order to get the most from your prints.

Without that extra gloss, the matte photo isn’t as susceptible to shine and fingerprints. In general, though it’s not always the case, professional photographers tend to choose matte over glossy because of the lower likelihood of glare and fingerprinting. While matte tends to play up texture, the image may look bit grainer because of that enhanced texture, however.

It’s the paper or plastic of the photography printing world: glossy or matte finish? While the choice of a finish may be a matter of artistic opinion, there are still a few qualities that each print type offers that may make one better than the other for certain applications. So in the glossy vs. matte finish debate, which print type is the right one for you?

Glossy photo printsGlossy photo prints are shiny and are more appealing to the eye. They look fancy and convey a high quality feeling.Glossy photo prints have vibrant colors. Colors also look rich and deep on glossy photo prints.

Downside of Glossy FinishGlossy photo prints ‘shiny’ attribute can be a problem when photos are viewed using intense light sources such as daylight sun or strong light bulbs. Light reflected from the photo print can blind the viewer making it hard to see the photo.

Glossy paper is also more likely to attract dust and fingerprints and is thus more likely to get dirty over time. Black and white glossy photo prints do not look as good as matte ones.Matte Finish PhotosMatte photo prints do not reflect light and are thus easier to view at almost any light condition.

Matte photo prints are also less likely to attract dust and fingerprints and are less likely to get dirty over time. Black and white matte photo prints look better than black and white glossy photo prints.

Downside of Matte finishMatte photo prints do not have the fancy high quality look that glossy photo prints have. Colors in matte photo prints are less vibrant and less rich than on glossy photo prints.

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