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Black And White Portraits Vs Color.

Use Filters. 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 . An ND grad is cooperative when you require to retain detail in a bright sky while a polarizing filter can be used to decrease reflections and boost contrast. Alternatively, make of,find 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, should 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.

Shoot RAW + JPEG. The most excellent monochrome conversions are came upon 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 technique 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 kick in her camera’s live suspicion avenue , but the usually slower responses mean that most will find it preferable or check the image on the screen post-capture.

Dodge and Burn. Dodging and burning is a roadway 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 ambition of because you may target the highlights, shadows or mid-tones with both. This means that you can 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 good rule of sharing a sense of superior sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you could build up his effect gradually so the impact is crafty and there are no hard edges.

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 right now 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. fortunately , 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 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 unsurpassed composition.

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 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 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 respecting 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.

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 few 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 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 separation between objects of the same brightness but with diverse colours.

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Here are four tips to help you decide if an image will be more appealing in black and white than in color.

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4 Tips to Help you Decide Between Black and White or Color for your Image

Many street and travel photographers, street photographers especially, chose to work in black and white. If your aim is to make a candid portrait that captures something of the person’s character or soul, then black and white is an excellent choice. There is something timeless about black and white that helps reveal character.

Color photos can be tremendously evocative, but so can black and white ones. I think it’s because a black and white image leaves something for the imagination, or perhaps because we associate it with photos taken in the past. So, if you are working somewhere with lots of old buildings, then black and white photos can be a tremendously moody way of capturing the atmosphere of that place.

The question of whether to shoot street and travel photos in black or white or color is an eternal one that isn’t going to go away. But one of the interesting things about digital photography is that it lets you decide whether to process a photo in black and white or color after the photo has been taken. Unlike film photography, there’s no need to commit to one or the other until you open the photo in Lightroom.

There are many differing opinions when it comes to black and white photography. Some photographers love it, and shoot black and white exclusively, while other photographers absolutely shun the notion and shoot only in color. Then you have the majority of our lot who fall somewhere in between the love and hate poles. Luckily, the digital imaging age allows photographers to decide after the fact whether our images make us happier in full color, or in black and white. However, this ease of conversion can become somewhat of a problem because it is in fact so simple to switch from color to black and white, that it can cause conflicting feelings about which route to take. While there is really no absolute magic formula to determine the best choice for your particular image, there are some guidelines that you can follow to make your decision a little easier.

I took this photo close to sunset. The light was soft and its warmth helped lift the scene.

I used a single flash behind the leaf to really bring out the contrasts within. Ordinarily these details might have gone unnoticed, and the black and white treatment really compliments the lighting.

The original image didn’t have a lot going on as far as color, so I choose to convert it to black and white to really make the patterns pop.

This photo of a hot day on Boston Common had lots of differences in lighting, along with some great coloring especially in the sky. Still, I chose black and white because it simply felt better to me, and matched what I saw in my mind more closely.

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For example, last year I visited Beijing and noticed that red is a very common color in that city. It denotes power and wealth and has an important part in Chinese culture. I realized that it is possible to create a series of interesting photos with red as the dominant color.

Black and white photography has been a staple genre since literally the inception of photography, and has evolved into a high art-form. Of course there are some people who simply do not like black and white images and prefer everything in color. Still, black and white photography is something that should not be discounted, and certainly not underestimated in terms of artistic expression. Today’s processing software makes converting color images to black and white nearly effortless, so use these tips and give it a try!

Have you ever looked a photograph, and been immediately struck by how the photograph felt? This is often referred to as the mood of a photo. It could be a bleak and rainy street scene, or an image of a warm and welcoming sunset. In any case, using black and white is a good way to convey a sense of mood in your photography. Admittedly, black and white usually imparts dark, bleak, somber, or an etherial overtone to a photograph, but that does not mean that it doesn’t work well for more upbeat images. Convert some of your landscapes to black and white to see how the mood can change. Experiment with black and white portraits which can portray your subject with a more stoic and brooding persona.

This last tip goes beyond the physical attributes of an image and delves into the feelings we want to convey through a photograph. This is where black and white photography can really shine.

When we think of texture, we can easily describe it in terms of how things feel physically, when we perceive them through our sense of touch. Texture in photography, however, can be a little more challenging to put into words. Texture in a photograph has to be perceived with our eyes and then we determine if it’s smooth, rough, or coarse. Transforming the tactile tangible into a visually tangible image takes practice and a trained eye, and this is where working in black and white can be the best choice. Examples of textures that work well for black and white photos are wood, metals and stone, even plants and human skin. Directional lighting (light from largely one source coming from the side) compliments, and helps emphasize textures.

This may seem like an easy judgment to make, but it is not always so simple. Color can be a fickle thing, and can either add to, or unintentionally detract interest from a photograph. Ask yourself, “does this image rely exclusively on color or are there other interesting aspects that can be emphasized?” Just how nice would it be to look at as a colorless rainbow? This not to say that all colorful objects and scenes won’t do well as black and white, but as a general rule most highly or diversely colored subjects should remain just that – colorful.

That’s on top of the task of capturing the expressive moments that the best street and travel photos reveal.

If you are working in an area with lots of potentially distracting colors, working in black and white may be the way to go. For example, this scene in Bolivia was quite colorful, and I felt that black and white removed the distractions of those colors.

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If you’re working in black and white, look for interesting textures, tonal contrast, and shapes. Again, once you commit your mind will start looking for compositions that work well in monochrome.

There’s a lot to think about, and as black and white and color photography require different mindsets, it’s a good idea to make the decision about which you are going to shoot before you press the shutter button.

3 Reasons for working in black and white 1. To capture character

What do you think? Do you prefer to make street and travel photos in black and white or color? Let us know in the comments.

When you remove color from the photographic equation, you are left with only differences in tone; lights and darks. These differences are what truly make good black and white images, and the differences in light and shadow bring contrast to the photograph. So, when you see that a given scene or subject presents the opportunity to exploit stark contrasts and unique lighting or shadow, it might be a great opportunity to try black and white. Take a look at this image of the leaf of a house plant.

Black and white is a form of simplification. Skilled street photographers learn to create images that are uncluttered and that contain as few distractions as possible. Color can be extremely distracting, and sometimes it’s easier to ignore color completely and work in black and white.

Color photos are at their strongest when the light is beautiful. This is usually during the golden hour close to sunset, or early morning just after sunrise. The light at these times is warm and golden, and tremendously evocative. This could be a good time to work in color.

As I have said, black and white images are indeed monochromatic but not all monochrome images are black and white. True black and white photos use only black and white to produce the image although the majority still use a mix of gray tones.

The process of deciding to shoot in black and white or color involves assessing the scene and the situation, and deciding which one to use, taking into account the reasons listed in this article and your personal preferences. The key is then to commit to the process. Work the subject and do your best to create the most powerful images possible.

If you’re working in color, think about the colors present in the scene and how you can use them effectively. Your mind will engage and start looking more deeply at the colors around you.

The Pros and Cons of Black and White Versus Color for Street and Travel Photography

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Dusk and early evening are good times to work in color as it gives you the opportunity to work with the natural color contrast between the orange light cast by tungsten light bulbs and the natural blue color of the ambient light.

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This is the same image as above after it has been further processed to be closer to a true black and white photo. The differences in tones become becomes more apparent, and the photo becomes much more pleasing.

The opposite of this usually proves to be true also. When you have an inherently bland scene or subdued colors, the image will usually do well when converted to black and white and this leads us to tip #2.

This is an example of a monochromatic photograph that is not black and white.

The term grayscale is another one that gets thrown around to label black and white images. Though not completely incorrect, grayscale images use only varying shades of gray (256 to be exact), and no other color. Grayscale can be a very bland when no other edits are used because it tends to leave the entire photo as middle gray. Notice how bland and uninteresting the below image looks when it’s converted to grayscale.

Having said that, it is also helpful to think about the following factors when you are processing photos. It may be that you were working in color, but realize afterward that a particular image would work very well in black and white. The same considerations apply, except that you have more time to think about it.

This image really had nothing to say in the way of color, so I made use of the heavy backlighting to create a strong contrast with the subject.

Black and white or color? #1 Does color have a large impact on the image?

Keep in mind that you may run into some different terms if you decide to work more with black and white photography. These terms are usually interchanged, but in reality they are not all the same. It will help you to understand the differences in each so you can know what to expect.

The great Ansel Adam’s said that he; “could convey a greater sense of color with well executed black and white images using only light, shadow, and even subtleties in texture to express the qualities of the photo”. It’s that last variable, texture, that brings us to tip #3.

Color is very powerful and used wisely it can elevate your images to another level. Yet, if it is not used thoughtfully, it can take away from the impact of your photos.

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Why do black and white photographs speak to us? In nature, colors are meant to attract, and cause things to catch our attention. Still, even without color, black and white images are a mainstay of our craft, and are powerful representations of the artistic spirit.

This is where new photographers tend to encounter a little bit of difficulty because seeing good light or contrasts usually requires quite a bit of pre-visualization. Don’t worry! Developing an eye takes, well, some developing. The more you force yourself to look past what is readily apparent, the more you will learn to almost see in black and white.

For example, this photo (below), taken in the Forbidden City in Beijing, makes use of the striking contrast between the red walls and the yellow tiles (matched by the boy’s shorts).

But is that a mistake? I think it is because black and white photography and color photography are two different mediums. If you are working in color, then you need to pay attention to the colors in the scene and how to use them to create an interesting composition. But in black and white, you need to pay more attention to textures, contrasts, and shapes in order to create a strong composition.

I chose black and white for this photo, taken in the Argentina, because the stirrup is handmade, and looks ancient, as if it were made many years ago.

This image was made with natural lighting coming in directly from one side. This really brings out the texture, imperfections, and grittiness of the photograph.

This photo below was taken in the early evening. The hat and t-shirt of the man in the foreground are colored blue by the ambient light outside, while the rest of the scene is lit by artificial light. I retained the orange color in post-processing to keep the atmosphere.

Monochrome simply means varying shades of only one color are used to make an image. This is often thought of as black and white (which are technically monochromatic) but in reality any color can be used. Sepia toned photographs are a good example of images which are monochrome.

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For example, let’s say you make a portrait of somebody on the street, but there is a red poster on a wall behind them. In a color photo, that’s likely to be very distracting. But convert it to black and white and the distraction goes away. The viewer’s attention goes back to the person, where it belongs.

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