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Martin henson fine art black and white photographer
Now onto the equipment first things first a decent pair of walking boot is a must i shoot my mono landscapes with a nikon fm2n and fixed focal length
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Free stock photo of sea black and white dawn landscape
Black and white landscapes

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Black And White Photos Landscape.

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 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 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). naturally , when exposures extend farther than as regards 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.

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. fortunately , 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 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, 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 unsurpassed composition.

Take Control. Although coloured filters should 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 some years ago Photoshop’s Channel Mixer was the preferred 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 instance , will have an impact on the model’s skin, especially the lips. The Levels and Curves controls may also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create delineation between objects of the same brightness but with varied colours.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are purely as useful in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more useful . An ND grad is supportive when you require to retain detail in a bright sky while a polarizing filter can be used to reduce reflections and boost contrast. Alternatively, evaluate 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, should also be advantageous for manipulating contrast in digital images. They work by darkening objects of their 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.

Shoot RAW + JPEG. The best monochrome conversions are landed up 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 most 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 plan 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 may also do this if they kick in her camera’s live idea trait , 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 idiosyncrasy 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 ambition 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 brighten them to grow local contrast. It’s a great scheme of sharing a sense of better sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you can build up her effect gradually so the impact is subtle and there are no hard edges.

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If you think about the sort of things that appear in landscape photos – cliffs, rocks, grass, trees, mountains, sea and man-made objects like piers and jetties – they all have distinct textures.

Without travel, I would never have experienced and photographed places like this (photo taken in Bolivia).

In the photo below, the arch, the cliffs in the distance, and the rocks in the foreground are all heavily textured. The sea and the sky are much smoother. There is a strong contrast between the roughness and tactility of the rocks, and the smoothness of the sea and the sky.

With color landscape photos, you can rely on the strength of the color to create drama and interest. The key to good color landscape photography is to find a dramatic scene and photograph it in the most beautiful light possible. That’s why so many color landscape photos are taken during the golden hour or just after sunset.

All the photos that I have shown you so far were taken in northern Spain. Unless you are lucky enough to live in an area like this, it is likely that, like me, you need to travel to find similar inspiring landscapes to photograph.

Photographer Cole Thompson has an interesting idea. He practices what he calls photographic abstinence, and doesn’t look at the work of other photographers. The theory is that it enables him to see the landscape through his own eyes, without being influenced by other people’s photos.

It doesn’t feature the arches the beach is famous for, but it’s more personal to me and was more satisfying to make.

To understand why they are so useful let’s think about the typical settings used for a landscape photo. First of all, you set your ISO as low as possible for the best image quality (ISO 100 or 200 on most cameras). Next, you set an aperture that ensures everything in the scene is in sharp focus while avoiding the smallest apertures on your camera because of diffraction related softening. Most landscape photos are taken at f/11 or f/16.

For example, this photo works well in black and white because of the contrast between the twin waterfalls and the dark rocks.

Let me give you an example. Earlier this year I visited the Playa de las Catedrales (Cathedral Beach) in northern Spain. Search for it on 500px and most photos will look something like this, showing the cathedral-like arches for which the beach is named.

Then I added a neutral density filter and made this photo (below) with a shutter speed of 180 seconds (3 minutes). The water is completely blurred, and the clouds have moved across the sky, creating a streaked effect.

Hopefully, this article has given you an insight into why I love black and white landscape photography so much and that it inspires you to give it a go yourself. Do you have any tips for black and white landscape photography? Please share in the comments below.

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Neutral density filters give you control over shutter speed, which you can then use creatively to create more interesting black and white landscapes.

Tonal contrast is the term used to describe variations in brightness between different parts of the image. Take the photo below as an example. The jetties, silhouetted against the evening sky, are dark. The sky is much lighter. This is tonal contrast. The sea is mid-grey – darker than the sky, brighter than the jetties.

6 Tips to Help You Make Better Black and White Landscape Photos

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Anybody who visits this beach will naturally want to take photos of those arches. They are why the spot is famous. But this can be a hindrance when it closes your eyes to other possibilities. After getting my rock arch photos, I really started looking. I saw some rocks in the sea that made an interesting minimalist composition. So I made the following photo.

One of the benefits of working with digital cameras is that they can help you learn to see in black and white. All you have to do is set your camera to its black and white (monochrome) mode. It then shows you the scene in black and white in Live View, and if your camera has one, in the electronic viewfinder as well.

When you look at their work, ask yourself why their black and white landscape photos are so dramatic and powerful? What light are they shooting in? What photographic techniques are they using? How do they approach composition? The answers will teach you a lot about black and white photography.

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This helps you see in black and white, without being distracted by color. It’s useful because it makes it easier to see tonal contrast, texture, lines, shapes, patterns, and light.

You can educate yourself about black and white landscape photography by looking at the work of masters like Ansel Adams and Edward Weston who worked predominantly in black and white. Also look at what modern day photographers are doing by browsing 500px. Some names to search for include Cole Thompson, Rob Dweck, Arnaud Bertrande, Thibault Roland, Joel Tjintjelaar and Nathan Wirth.

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I touched on this in the previous tip, but I want to emphasize them here because they are so important.

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With those variables set, the shutter speed depends on the ambient light level. In bright sunlight, it might be around 1/125 second. In low light, it could be as low as 1/2 a second. But what if you’d like to use a slower shutter speed for creative effect? If ISO and aperture are fixed, the only way you get longer shutter speeds is by using neutral density filters.

Here’s an example. This photo was taken at dusk with an aperture of f/11 at ISO 200, and a shutter speed of 1/5th of a second. This was slow enough to introduce some blur into the water, which you can see in the foreground.

Neutral density filters are the secret weapon of the landscape photographer. They are made of glass that blocks light so that less reaches the camera’s sensor.

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Don’t forget to set your camera to shoot in Raw format. Raw files contain all the information captured by your camera’s sensor, and give you the freedom to process the images in color if you want, even if you initially shoot in black and white mode.

Black and white photography is as popular as ever, and landscape is a genre in which many photographers have chosen to work in monochrome. But working in black and white is different to working in color. It takes time, and practice, to develop your eye for black and white. These tips will help you make better black and white landscape photos.

Black and white is different. Without color, you have to work harder to create strong compositions. You need to learn to look for the building blocks of photographic composition, such as leading lines, shapes, patterns, tonal contrast and texture. Really, what you are learning to do is see in black and white.

I’ve never taken this idea to its extreme because I believe it’s important to research an area before you go to find its most photogenic parts. But the problem with this is that the most powerful images you see during your research tend to stick in your mind. The natural tendency is to want to create similar images. The problem is that you then end up with photos that look like everybody else’s.

Even if you do live somewhere with spectacular landscapes, you will need to travel to expand your experience and add depth to your portfolio. All my favorite landscape photos were taken while traveling. The two activities go together very well. Travel is more interesting and exciting when there’s a purpose behind it. Landscape photography is one of the things that can give you that sense of purpose.

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