This post showcase stunning black and white portraits of homeless people taken by lee jeffries he started taking homeless people photos when he met a young
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Black and white portraits of the homeless
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Black and white portraits of the homeless
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Black And White Portraits Homeless.

Dodge and Burn. Dodging and burning is a drive 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 could 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 route of giving a sense of greater sharpness and enhancing texture. Plus, because you could set the opacity of the tools, you could build up their effect gradually so the impact is crafty and there are no hard edges.

Take Control. Although coloured filters may 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 favored 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 single 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 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 could 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 unique colours.

Shoot RAW + JPEG. The unsurpassed monochrome conversions are bumped into 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 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. 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 oddity 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 could also do this if they activate 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 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 may 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 beyond concerning 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.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are merely 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 supportive when you want to retain detail in a bright sky while a polarizing filter may be used to decrease reflections and boost contrast. Alternatively, count taking two or more shots with unique 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, can also be advantageous for manipulating contrast in digital images. They work by darkening objects of her 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.

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 instantaneously 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 lackluster straight from the camera. happily , 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 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 best composition.

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This post showcase stunning black and white portraits of homeless people taken by lee jeffries he started taking homeless people photos when he met a young
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Black and white portraits of the homeless
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Accountant by profession, a self-taught photographer from Manchester started his career in photography as a sports photographer, but changed his approach after one incident in London.. He once tried to take a picture of a young, homeless woman huddled in a sleeping bag among Chinese food containers: “She kicked up a right fuss! I was incredibly embarrassed and was faced with a decision – walk away, or go and apologize. I chose the latter and her story and subsequent images I took of her changed my approach to street photography forever.”

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Lee Jeffries career began as a sports photographer, capturing the beautiful game of football in Manchester. Then a chance meeting with a homeless woman living in the streets of London changed his life forever. He has since dedicated himself to capturing gripping portraits of the disenfranchised.

Lee typically tries to befriend his models first, and then gives them some money after taking the pictures. He also applies some post production to achieve the powerful effect: “I process, predominately through dodge and burn, to develop the mood of the eyes. It’s the eyes that attracted me to take the photograph in the first place and this is always the starting point for the emotional element of the image. I process with light and shadow in an almost religious way.”

Gripping Black and White Portraits of the Homeless by Lee Jeffries

Shooting exclusively in black and white, Lee Jeffries’ 135+ pictures can be viewed in his Flickr Photostream. The majority are closeup portraits with incredible detail. Each photograph exudes so much raw character and depth, you find yourself studying each shot with great intensity. Below is a sample of his large collection, the Sifter strongly recommends you check out his entire set on Flickr.

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Lee Jeffries recalls that, initially, he had stolen a photo from this young homeless girl huddled in a sleeping bag. The photographer knew that the young girl had noticed him but his first reaction was to leave. He says that something made him stay and go and discuss with the homeless girl. His perception about the homeless completely changes. They become the subject of his art.

  Lee Jeffries lives in Manchester in the United Kingdom. Close to the professional football circle, this artist starts to photograph sporting events. A chance meeting with a young homeless girl in the streets of London changes his artistic approach forever.

The models in his photographs are homeless people that he has met in Europe and in the United States: «Situations arose, and I made an effort to learn to get to know each of the subjects before asking their permission to do their portrait.» From then onwards, his photographs portray his convictions and his compassion to the world. [Source: YellowKorner.com]

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Topics full-page, homeless, homeless people, homeless portraits, Lee Jeffries, portraits of the homeless, street photography

Photo series “Homeless” by Lee Jeffries will make you face the ones you neglectfully pass by everyday. Taken exclusively in black and white, each of these close-up portraits is incredibly detailed and capture life stories of homeless people on the streets of Europe and the US. You can get lost in the intense gazes, maps of wrinkles and scars, and all the emotional stories behind them. All this is captured despite the fact that the shot sometimes only takes a few seconds, as the “models” might get bored and change their minds.

Haunting Black and White Portraits of Homeless People by Lee Jeffries

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