Tesoro black white spiral matte glossy mosaic
Enter image description here
Sirio ultra black stock printed with gloss white and gloss black foils
Choosing the right finish for your print
Matte and glossy black and white bow tie eps10 vector
Matte black walls glossy black frames

Three Column Blogger

|

Black And White Photos Matte Or Glossy.

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 should 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). characteristically , when exposures extend farther than regarding 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.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are simply 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 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, 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 their 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 method 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 hope of because you may 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 up them to grow local contrast. It’s a great system of giving a sense of superior sharpness and enhancing texture. Plus, because you could set the opacity of the tools, you may build up their effect gradually so the impact is subtle and there are no hard edges.

Take Control. Although coloured filters could 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 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 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 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.

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 dowdy 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 powerful 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, 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.

Shoot RAW + JPEG. The best 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 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 method 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 activate their camera’s live hypothesis channel , but the usually slower responses mean that most will find it preferable or check the image on the screen post-capture.

Related Images of Black And White Photos Matte Or Glossy
Bathroom kitchen matte floor tiles 10x30cm flat glossy glazed white and black marble subway ceramic wall
Glossy versus matte finishes from mason inman brain takes statistical approach to gauging glossiness posted at boston blog on april 20 2007
Matte and glossy black bow tie eps10 vector
Wilier triestina cento1 matte black with glossy decals
I am set on using subway tiles but not really sure whether to get the glossy or the matte finish again thanks in advance
2018 black white stickerbomb vinyl real logos matte glossy self adhesive vinyl wrap sticker bombing vinyl car wrap stickers foil 1 52x30m from bestcarwrap
Matte vs glossy paper what should you print on premium
White gloss black bonnet wrap audi s5
The paper mill store • jazz high gloss black card stockGlossy babyBlack and white business cards yes creativePixels digital camouflage vinyl wrap black white camouflage sticker film car motorcycle truck wrapping matteImage tony bonannoFor business cards that use a black or dark background with a white font glossy paper can work really well to make the white font pop and make it more

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

Recent Posts 5 Reasons to Print Your Photos Potential clients silent after that first email? Here’s what to do 4 Strategies for Creative Business Owners to Work Smarter, Not Harder Hey, photo businesses – are you following the newest marketing musts? How to get a discount on a new large format printer — and free up office space too Categories Announcement Canvas Diland Education Equipment General Lifepics Marketing Media Release Minilab MyTego Photo Books Photo Finale Photo Kiosk Software Photo Printers Photo Restoration Photography Production Techniques Products Services Uncategorized Wide Format Wide Format Display Wide Format Inks Wide Format Media Wide Format Misc Andriod App Apple black and white photography canvas canvas frames clearshield clearshield liquid laminate Digital Show 2015 Diland Software display your photos DNP dnp printers event photography Facebook Flickr Fotospeed fotospeed papers go frames HP designjet HP video HP wide format printer hp wide format printers HP z5400 wide format printer iPad App iPhone App Lifepics marketing Online Printing photo books Photobucket Photo Finale marketing tools Photo Finale marketing webinar photography tips photo printing equipment photo restoration pinchbooks retail trends Roland DG roland printers slow season test packs fotospeed papers wide format wide format media wide format printer wide format printersArchives August 2018 July 2018 June 2018 May 2018 April 2018 March 2018 February 2018 January 2018 December 2017 November 2017 October 2017 September 2017 August 2017 July 2017 June 2017 May 2017 April 2017 March 2017 February 2017 January 2017 December 2016 November 2016 October 2016 September 2016 August 2016 July 2016 June 2016 March 2016 February 2016 January 2016 October 2015 September 2015 July 2015 June 2015 May 2015 April 2015 March 2015 February 2015 January 2015 December 2014 November 2014 October 2014 September 2014 August 2014 July 2014 June 2014 May 2014 April 2014 March 2014 February 2014 January 2014 December 2013 November 2013 October 2013 September 2013 August 2013 July 2013 June 2013 May 2013 November 2012 September 2012 April 2012 November 2011 October 2011 September 2011 July 2011 June 2011 March 2011 December 2010 November 2010 September 2010 August 2010 July 2010 May 2010

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.

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?

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.

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.

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.

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.

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.

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

Western BulldogsChelsea vs Leicester CityMike MunroUFCSteve SmithSouthampton vs LiverpoolRichmond vs West CoastMan City vs TottenhamColeman MedalYoel RomeroJarryd RougheadAnthony PettisAnti-faTodd CarneyRoosters vs WarriorsArnold SchwarzeneggerHeather LocklearTeemu PukkiSharks vs DragonsTourette's
Related Post of Black And White Photos Matte Or Glossy