Try Long Exposure. Long exposure shots could 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 reduce exposure and extend shutter speed (by 10 and 4 stops respectively). naturally , when exposures extend beyond apropos 1/60 sec a tripod is wanted 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 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 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 dowdy 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 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 best composition.
Take Control. 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. Until a a couple years ago Photoshop’s Channel Mixer was the preferred means of turning colour images monochrome, but now Adobe Camera Raw has more strong 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 should 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 could also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create segregation between objects of the same brightness but with different colours.
Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are just as advantageous in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more useful . An ND grad is cooperative when you want to retain detail in a bright sky while a polarizing filter may be used to reduce reflections and boost contrast. Alternatively, appraise taking two or more shots with diverse 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 one will lighten foliage.
Dodge and Burn. Dodging and burning is a wont 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 could 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 them to increase local contrast. It’s a good routine of sharing a sense of superior sharpness and enhancing texture. Plus, because you could set the opacity of the tools, you could build up his effect gradually so the impact is subtle and there are no hard edges.
Shoot RAW + JPEG. The most excellent 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 numerous 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 approach 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 belief manner , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.
Related Images of Black And White Pictures Nikon D7100
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Semi-automatic modes: To take more creative control but still get some exposure assistance from the camera, choose one of these modes:
P (programmed autoexposure): The camera selects the aperture and shutter speed necessary to ensure a good exposure. But you can choose from different combinations of the two to vary the creative results. For example, shutter speed affects whether moving objects appear blurry or sharp.
Fully automatic exposure modes: For people who haven’t yet explored photography concepts such as aperture and shutter speed, the D7100 offers the following point-and-shoot modes:
Because these modes are designed to make picture-taking simple, they prevent you from accessing many of the camera’s features. You can’t use the White Balance control, for example, to tweak picture colors. Options that are off-limits appear dimmed in the camera menus.
U1 and U2: These two settings represent the pair of custom exposure modes that you can create. (The U stands for user.) They give you a quick way to immediately switch to all the picture settings you prefer for a specific type of shot. For example, you might store the options you like to use for indoor portraits as U1 and store settings for sports shots as U2.
So you might use a fast shutter speed to freeze action, or you might go the other direction, choosing a shutter speed slow enough to blur the action, creating a heightened sense of motion. Because this mode gives you the option to choose different aperture/shutter speed combos, it’s sometimes referred to as flexible programmed autoexposure.
A (aperture-priority autoexposure): In this mode, you choose the aperture, and the camera sets the shutter speed. Because aperture affects depth of field, or the distance over which objects in a scene appear sharply focused, this setting is great for portraits because you can select an aperture that results in a soft, blurry background, putting the emphasis on your subject.
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Auto: The camera analyzes the scene and tries to select the most appropriate settings to capture the image. In dim lighting, the built-in flash may fire.
Effects modes: Set the Mode dial to this setting and rotate the Main command dial to select from seven special effects, such as Night Vision mode (which creates a grainy, black-and-white photo) and Color Sketch mode (which creates a picture that resembles a drawing produced with colored pencils).
The first setting to consider when working with a Nikon D7100 is the exposure mode, which you select via the Mode dial. To rotate the dial, you must press and hold its center button, labeled in the figure as the “Mode dial unlock button.”
PhotographyCamerasNikon CameraHow to Choose an Exposure Mode on Your Nikon D7100
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S (shutter-priority autoexposure): You select the shutter speed, and the camera selects the aperture. This mode is ideal for capturing sports or other moving subjects because it gives you direct control over shutter speed.
Auto Flash Off: This mode, represented by the icon labeled in the figure, works just like Auto but disables flash.
Scene modes: Set the Mode dial to Scene and then rotate the Main command dial to choose from automatic modes geared to capturing specific types of shots: portraits, landscapes, child photos, and such.
All three modes give you access to all the camera’s features. So even if you’re not ready to explore aperture and shutter speed, go ahead and set the mode dial to P if you need to access a setting that’s off-limits in the fully automated modes. The camera then operates pretty much as it does in Auto mode but without limiting your ability to control picture settings if you need to do so.
For landscape shots, on the other hand, you might choose an aperture that produces a large depth of field so that both near and distant objects appear sharp and therefore have equal visual weight in the scene.
Your choice determines how much control you have over two critical exposure settings — aperture and shutter speed — as well as many other options, including those related to color and flash photography.
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Manual (M): In this mode, you select both the aperture and shutter speed. But the camera still offers an assist by displaying an exposure meter to help you dial in the right settings. You have control over all other picture settings, too.