Elterwater lake and trees black and white
Dark skies over wast water black white canvas prints
Warnscale bothy lake district buttermere black and white
Lake district prints langdale pikes from elterwater
Windermere black white print from waterhead
Grasmere mono

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Black And White Prints Lake District.

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 dingy 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 forceful 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, 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 most excellent composition.

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 picture 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 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 should also do this if they kick in their camera’s live image peculiarity , but the usually slower responses mean that most will find it preferable or check the image on the screen post-capture.

Take Control. Although coloured filters may still be used to manipulate contrast when shooting digital black and white images, it’s more prominent 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 rosy 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 demarcation between objects of the same brightness but with varied colours.

Dodge and Burn. Dodging and burning is a style 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 ambition 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 increase local contrast. It’s a great process of sharing a sense of greater sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you could build up her effect gradually so the impact is subtle and there are no hard edges.

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 could 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 farther than as to 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 purely as useful in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more advantageous . An ND grad is cooperative when you want to retain detail in a bright sky while a polarizing filter could be used to decrease reflections and boost contrast. Alternatively, hold 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, can 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.

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The iconic Haystacks above Buttermere and the final resting place of the legendary Alfred Wainwright.

If you’d like a print of any one of these Black and White Lake District Landscapes please contact me.

The amazing view over Buttermere to Fleetwith Pike and Haystacks.

A high quality coffee table landscape photographic book showcasing over…

Autumnal morning sun floods Glenridding and the Inn on the Lake with…

A short walk up to the Fairy Pools in Glenbrittle on the Isle of Skye in late Winter. Sgurr an Fheadain poking its head up in the distance.

Fleetwith Pike and Haystacks at the Southern tip of Buttermere

A lone Silver Birch Tree perched on the edge of a Slate mountain overlooking the Little Langdale Valley.

The mightly Sharp Edge on Blencathra. The Hardest and most dangerous Edge Walk in the Lake District.

Part of the double bridge over the river Derwent at Grange in Borrowdale…

Here you can see my collection of Black & White Prints. From various locations across the Lake District.

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Containing 12 of my most popular Lake District Landscape Photographs…

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I love Black & White photos. Here is a selection of some of my favourite Black & White Lake District Landscapes taken from various locations all over the Lake District.

Collection Lake District Gifts Gift Vouchers Lake District Calendar Lake District Locations Ambleside Prints Bassenthwaite Prints Borrowdale Prints Brotherswater Buttermere Prints Coniston Prints Crummock Water Prints Eskdale Prints Great Gable Prints Helvellyn Prints Herdwick Prints Honister Pass Prints Keswick Prints Langdale Prints Loughrigg Prints Rydal & Grasmere Prints Scafell Pike Prints Tarn Hows Prints Thirlmere Prints Troutbeck Prints Ullswater Prints Wastwater Prints Windermere Prints Print Style Black & White Prints Sepia Prints UK Locations Isle of Eigg Prints Isle of Skye Prints London Prints Scottish Highlands Sefton Coast Prints Wales Anglesey Featured Prints

A typical Summers Day on Ullswater at the Duke of Portland Boathouse.

The iconic Buachaille Etive Mor. A beautiful and inspiring mountain in…

The iconic Silhouette of the Langdale Pikes over Tom Heights.

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In this gallery we present our stunning black & white portfolio, now split into two to differentiate between options. Gallery one is dedicated to loose prints and canvas prints, with gallery two dedicated to framed prints.

Each print comes with a choice of two qualities; either a standard 245gsm satin photo paper, bright and clear due to its semi gloss appearance. Then we have the ultimate in black and white printing quality; a beautiful smooth 300gsm archival fine art paper courtesy of Breathing Color.

Pura Smooth is a 300gsm matte fine art paper with a luxuriously smooth surface ideal for high resolution photographic imagery. It is able to produce extremely crisp and accurate detail as a result of its leadership (when measured against other fine art papers on the market today) in tonal range value, line quality, line contrast, and raggedness.

Each of these stunning fine art prints are signed by Jon, and come with a certificate of archival standard quality.

Simply a beautiful view on the Isle of Skye featuring from left to right Sgurr a Bhasteir, Sgurr na Bairnich, Bidein Druim nan Ramh, Sgurr a’Mhadaidh and Sgurr Thuilm.

Eilean Donan Castle a beautiful 13th Century Castle in the Highlands of Scotland

Lagangarbh Hut below the magnificent Buachaille Etive Mor. A welcome sight for mountaineers in the area.

Isle of Skye Scotland Isle of Eigg Rum Laig Beach Laig Bay Sunset Autumn Langdale Pikes Buttermere Derwentwater Mist Sunrise Snow Coniston Wastwater Langdale Ullswater Rydal Jetty Keswick Grasmere Borrowdale Silver How Bowfell

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