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Black And White Portrait Freckles.

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 instantly 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. luckily , it’s possible to work adjust the brightness of these two colours singly 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 strong blacks and whites. 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, 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 unsurpassed composition.

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 favored means of turning colour images monochrome, but now Adobe Camera Raw has more forceful 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 subtle gradations could become unnatural looking. And adjusting the brightness of a red or pink 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 discrimination between objects of the same brightness but with varied colours.

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 can only dream 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 perk up them to increase local contrast. It’s a good fashion of giving a sense of superior sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you may build up his effect gradually so the impact is subtle and there are no hard edges.

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 collaborative when you require to retain detail in a bright sky while a polarizing filter can be used to decrease reflections and boost contrast. Alternatively, contemplate taking two or more shots with varied exposures to create a high dynamic range (HDR) composite. Don’t be anxious 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, may also be useful for manipulating contrast in digital images. They work by darkening objects of his opposite colour while lightening objects of her own. An orange filter, for example, will darken the blue of the sky while a green one will lighten foliage.

Shoot RAW + JPEG. The greatest monochrome conversions are attained 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 fashion 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 can also do this if they kick in his camera’s live opinion rule , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

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 compulsory , use a neutral density filter such as Lee Filters’ Big Stopper or Little Stopper to decrease exposure and extend shutter speed (by 10 and 4 stops respectively). naturally , when exposures extend farther than 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.

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Voila! This is equally impressive in color. You just need to adjust the Color sliders Red and Orange:

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First off, here is what the original looked like, straight out of the camera:

The first step is to convert your image to black and white by selecting “B&W” in the develop panel of Lightroom, or using the shortcut key “v.”

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I shoot in RAW to make sure I have enough information to work with. All the freckles are there in the skin, which you can see lightly showing up in the original photo.

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I would love to see what you do with photos of your children or self-portraits using this technique. And if you are someone who really wants to get rid of freckles, you can basically reverse the the effect by pulling the same sliders to the right instead:

I recently photographed a model in New York City. As I was communicating with her leading up to the shoot I noticed in some of her pictures that she had freckles. I personally am a big fan of freckles and wanted to do a shoot that highlighted her skin rather than hide it behind makeup or photoshop tricks. One of my favorite photos that came out of the shoot was this one, cropped close to highlight her eyes and skin:

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The last thing I did to the picture was use the Adjustment Brush (k) to bring the highlights down on the hood of her sweater, which I felt was too bright for the photo. Then I used the Adjustment Brush to brighten the eyes a bit using the Dodge (Lighten) effect.

Still not seeing the freckles, right? Under B&W in the develop module in Lightroom you should see “Black and White Mix” and a column of sliders beneath it with all the colors of the rainbow. These allow you to control the original colors in the photo, within the black and white mode. Knowing that freckles and skin blemishes are typically orange/red in nature, you will be playing with the orange and red sliders only. You get to decide how far you want to push them, making your subject more or less intense looking.

After I posted the photo above on Instagram I was emailed by someone asking me what process I used to get that gritty look. I’m here to share my secrets and show how you can achieve this look in less than 30 seconds with Lightroom, every time.

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That’s about it, actually. You’ve just enhanced the freckles in your photo. Congratulations! If you want to give it even a little more pop, try this with your tone curve and exposure sliders:

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