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Hong kong black and white photography 14

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Black And White Photos Hong Kong.

Try Long Exposure. Long exposure shots should 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 area 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 reduce exposure and extend shutter speed (by 10 and 4 stops respectively). typically , when exposures extend beyond concerning 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 met 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. many 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 use 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 should also do this if they kick in her camera’s live presumption procedure , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

Dodge and Burn. Dodging and burning is a style 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 should only aspiration of because you can 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 increase local contrast. It’s a good track of sharing a sense of better sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you should build up her effect gradually so the impact is subtle and there are no hard edges.

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 dull straight from the camera. providentially , it’s possible to work adjust the brightness of these two colours discretely 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 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, 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 greatest 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 advantageous . An ND grad is supportive when you want to retain detail in a bright sky while a polarizing filter can be used to reduce reflections and boost contrast. Alternatively, look on taking two or more shots with varied 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, should also be useful for manipulating contrast in digital images. They work by darkening objects of their opposite colour while lightening objects of her own. An orange filter, for example, will darken the blue of the sky while a green single will lighten foliage.

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 some years ago Photoshop’s Channel Mixer was the favored means of turning colour images monochrome, but now Adobe Camera Raw has more powerful 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 pinkish 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 differentiation between objects of the same brightness but with different colours.

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Kowloon Clock, Tsim Tsa Chui. The end of the Kowloon to Canton Railway in Kowloon.

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At a time where studio photography was far more common, Fan’s work stood out. Rolleiflex in hand, he took to the streets, photographing the early skyscrapers, intriguing scenes and people — people who sometimes didn’t enjoy having their photograph taken.

Nighttime. This abstract black and white photograph captures the life and energy of the city of Hong Kong. It was taken in 2005.

Not all of Fan’s encounters were extreme though. In fact, some were the complete opposite. He tells SCMP of another encounter involving a group of young girls who enjoyed having their photograph taken so much that they “combed their hair and asked me to take their photos again.”

View of Central from Kowloon. This photograph was taken in 2005. In the foreground, a small junk can be seen with the tall high rise buildings of Hong Kong’s Victoria Island in the background.

Over the years, he’s won no less than 280 awards from international exhibitions and competitions. He’s also been given the honor of being elected to multiple photographic societies around the globe, from Argentina to Singapore.

A race goer studying the form at Happy Valley. Every Wednesday night, horses race under the bizarre futuristic landscape of the city’s bright lights.

The night time traffic on Connaught Road, Wan Chai. This black and white photograph was taken in 2005.

Victoria Peak. The view shows the bright lights of Central below and the harbour beyond, with Kowloon in the distance.

Nine Dragons of the Kowloon Peninsula, Hong Kong. The hills of Kowloon are referred to as dragons by the local people.

If you’d like to dive a little bit further into his work, the video below from Modernbook Gallery shows Fan discussing the history of his photographs and the philosophy that drove him to create the images he did:

Cultural Centre, Abstract piece, Tsim Tsau Tsui. This photograph is more sepia than black and white and was taken in 2005.

Image credits: Photographs by Ho Fan courtesy of Modernbook Gallery

“With a knife in his hand, a pig butcher said he would chop me,” the 83-year-old Fan recounted recently for the South China Morning Post. “He wanted his spirit back.”

International Finance Centre at Central. This skyscraper was captured not longer after it was completed in 2005.

Tags: 1950s, book, city, exhibition, fanho, gallery, hongkong, modernbook, street photography

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Fan Ho’s Fantastic Black-and-White Street Photographs of 1950s Hong Kong

Wan Chai from the exhibition centre. This shot shows the bright lights of this amazing city.

The city of Hong Kong as seen from Victoria Peak, 2005. The high rises buildings of Central and Wan Chai are shown with Kowloon visible across the harbour.

Nine dragons of Kowloon with the city’s CBD in the foreground.

Connaught Road, Wanchai, Hong Kong. Using a slows shutter speed and tripod, this photograph shows the hustle and bustle of the Hong Kong’s Wan Chai district after dark. This photograph was taken in 2005.

The city of Hong Kong as seen from across the water on Kowloon.

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Photographer Ho Fan has been shooting black and white street photography since the 1950s. At the time, he was living in the poor, rundown Central neighborhood of Hong Kong. The streets, filled with food and trinket vendors, captured the recent Shanghai transplant’s attention. It was with this fascination that Fan took his camera to the streets, documenting the intriguing life around him.

The night time traffic on Connaught Road, Wan Chai. This long exposure black and white photograph tries to capture the pace and frenetic energy of the city.

At Central Star Ferry. This shot shows an abstract view of the Star Ferry Pier.

This photograph shows the view from Kowloon looking across Victoria harbour to Hong Kong’s Victoria Island.

International Finance Centre, Central, HK. One of Hong Kong’s tallest buildings.

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Below are just a few of Fan’s wonderful photographs that he and Modernbook Gallery were kind enough to share with us:

On the beach. This shot shows a local boy waiting on the beach at Big Wave Bay, HK. Photograph was taken in 2005.

Hong Kong Island 2000. This black and white photograph shows a local man looking across the water at Victoria Harbour.

Star Ferry crosses the harbour. The ferry has been making this journey for over 100 years.

His latest exhibition is currently up at Modernbook Gallery, where a plethora of his black and white images are being displayed for the world to enjoy. But even if you can’t make it to the gallery, you can secure yourself the best of Fan’s work by purchasing his latest photo book, Fan Ho: A Hong Kong Memior, which starts at $65 and features a number of limited edition options for upwards of $400.

Harbour view and the high rises on the island. . The photo shows the harbour and Kowloon beyond.

This black and white photograph with Sepia post processing shows the view across Victoria Harbour from Kowloon.

Hong Kong black and white photography Hong Kong, China in Black and White

Facade, Macau, South East Asia 2002. Not far from Hong Kong stands the former Portuguese colony of Macau.

Lonely junk on Stanley Harbour. This sepia toned print was taken in 2005.

Hong Kong is a fascinating city. Its history, its people, its architecture – both old and new, its location. This gallery attempts to show the subtler side to HK. The images shown here hopefully will strike a chord with anyone who has every spent any time living in the city.

Victoria Harbour, Hong Kong as viewed from the Kowloon side. The old junk is placed in juxtaposition to the modernity of Hong Kong’s high rise buildings.

Fan said it was always his goal to wait for the lighting and composition to fall into place when photographing. It was his goal to capture magic through his Rolleiflex one frame at a time. And he did just that.

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