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It’s a great way of giving a sense of greater sharpness and enhancing texture.
Fortunately, 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.
Long exposure shots can work really well in monochrome photography, especially where there’s moving water or clouds.
Black and White Photography Tip #10: Look for patterns. Patterns are interesting because of their ordered repetition. Color merely distracts us from giving the pattern our attention. By using black and white, images of patterns are far more compelling. Once you start looking for patterns to shoot in black and white, you’ll notice them everywhere: cars in a parking lot, the shoes of a wedding party standing in line, or a row of bushes.
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.
There are always exceptions, but as a general rule look for scenes that contain some strong blacks and whites.
Graduated neutral density (AKA ND grad) and polarizing filters are just as useful in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more useful.
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.
This post is in response to a question from Matthew Tapley, who is interested in learning how to improve his black and white photography skills. I hope this article has information that is valuable enough to you that you’d consider sharing it on Facebook or Twitter.
Although coloured filters can 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.
This means that you can use the Burn tool to darken highlights when they are too bright, or the Dodge tool to brighten them to increase local contrast.
Plus, because you can set the opacity of the tools, you can build up their effect gradually so the impact is subtle and there are no hard edges.
Naturally, when exposures extend beyond about 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.
In colour photography, for example, your eye would immediately 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.
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The Levels and Curves controls can also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create separation between objects of the same brightness but with different colours.
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.
Black and White Photography Tip #3: To visualize in black and white, only pay attention to lines, shadows, and shapes. This trick is very helpful to aid photographers in pre-visualizing a black and white image even though we live in a color world.
In Landscape/Nature, Post-processing by Jim HarmerMay 11, 201141 Comments
DSLR users can also do this if they activate their camera’s live view system, but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.
About the author: Jeff Meyer is the editor of PhotoVenture, a photography blog for everything post-capture — improving photos, image management, sharing and more. This article originally appeared here.
However, it’s important to keep an eye on the whole image when adjusting a particular colour as subtle gradations can become unnatural looking.
Black and White Photography Tip #1: Shoot in RAW. Many times when I shoot for black and white, the photo just doesn’t turn out right when I finally review it on the computer. By shooting in RAW, you’ll be able to change your mind later if the photo wasn’t as great in black and white as you’d hoped.
Coloured filters, which are an essential tool for monochrome film photographers, can also be useful for manipulating contrast in digital images.
An ND grad is helpful when you want to retain detail in a bright sky while a polarizing filter can be used to reduce reflections and boost contrast. Alternatively, consider taking two or more shots with different exposures to create a high dynamic range (HDR) composite.
Dodging and burning is a technique that comes from the traditional darkroom and is usually used to burn in or darken highlights and hold back (brighten) shadows.
Black and White Photography Tip #7: Use a polarizer. When shooting around reflective surfaces such as water or leaves, use a polarizer to cut the reflections of the sun’s light. When color is removed from the photo, these specular highlights can be distracting the overall composition.
Black and White Photography Tip #14: Shoot in HDR!!! I’m actually surprised how little attention is given to black and white HDRs on the web. I am so convinced of the merit of the black and white HDR that I spent an entire chapter in my HDR eBook talking explaining how to do it. HDR is great for black and white photography because it exaggerates the dynamic range and edges. Nothing pops quite like a black and white HDR.
Black and White Photography Tip #9: Use the correct terminology: Black and white, monochrome, grayscale. “Monochrome” means that a color is placed on a neutral background. Therefore, black and white images, which put black on a white background, are a type of monochrome image. Grayscale is merely a way to show black and white images on a computer, which uses a reduced set of shades of gray.
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).
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.
Black and White Photography Tip #2: Give your photo some Silver Effex. Silver Effex Pro 2 is a Photoshop or Lightroom plugin that does one thing–make black and white photos look incredible. In theory, you could replicate everything that Silver Effex Pro 2 does using Photoshop, but I have to confess that I have never been able to do it. Black and whites look absolutely stunning in Silver Effex Pro 2. The program is a bit pricey, but it is worth the money if you love black and white. In fact, when I look at black and white produced by other photographers, I like to think I can tell if Silver Effex Pro 2 was used on the image. Check it out here.
Black and White Photography Tip #13: Don’t get fooled. I confess to have made this mistake many times. Sometimes I have shot a photo that includes very little color. For example, a close-up of a penguin, or a night sky, or a dalmatian dog. When I see these photos in Lightroom, I often reach for the black and white tools immediately, but I am always disappointed. If the photo is practically colorblind to begin with, it probably won’t look as good in black and white as in color.
Thanks to digital technology, monochrome photography is easier today than ever before. Check out these six black and white photography tips for getting great results.
This can 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 best composition.
It’s possible to adjust one of these colours to make it anything from white to black with the sliding control.
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.
Black and White Photography Tip #4: Pay special attention to noise. With the outstanding low light performance of modern DSLR cameras, in addition to the noise removal programs at our disposal, photographers are used to getting away with noise.
6 Black and White Photography Tips for Monochrome Enthusiasts
Tags: blackandwhite, blackandwhitephotography, monochromatic, monochrome, Tips
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.
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.
Black and White Photography Tip #8: Watch for texture. As long as texture is not front-lit, it will show contrast in fine details, which makes it a compelling subject for black and white. This is why black and white photos of old items such as barns or antiques are so compelling–they have a lot of weathered texture.
Black and White Photography Tip #12: B&W isn’t a replacement for bad lighting, but it can soften the blow. The photo of the deer on this page is an example of a photo that looked terrible in color, but which looks nice in black and white. I shot the photo at high-noon. Because I used a polarizer, I was able to cut out the reflections on the leaves and mask the fact that it was shot in terrible light.
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 one will lighten foliage.
Black and White Photography Tip #15: HSL is the secret sauce. The last black-and-white tip is probably the most important. When post-processing a black and white, you absolutely MUST tweak the colors in the HSL panel in Photoshop or Lightroom. An exact tutorial on how to do this would be a blog post of its own, but your black and whites will look TEN TIMES better with an HSL adjustment.
Black and White Photography Tip #6: Find a wide range of grays. Having white and black in the image will help add interest to a picture, but if other areas do not have a wide range of varying tones of gray, the photo will most likely look dull. You can achieve a a wider range of grays by using flash to throw highlights and shadows over certain areas of the photo.
Black and White Photography Tip #11: Long exposures love black and white. I read this tip on the fantastic Digital Photography School website and decided to try it on an image that I took a few months ago. I didn’t like the picture and had almost deleted it until I read that tip and applied black and white to the photo.
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.
The best monochrome conversions are made 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.
Black and White Photography Tip #5: Look for contrast. In my experience, the best black and white photos usually have some portion of the photo that is near to pure white, and some portion of the photo that is near black. This increased contrast adds interest to the scene.
Because compact system 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.