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Black And White Prints Photobox.

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 place than they would with a short exposure and this should 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 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 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.

Take Control. Although coloured filters can 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 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 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 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 unique colours.

Dodge and Burn. Dodging and burning is a technique 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 may 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 strategy of sharing a sense of better sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you could build up her effect gradually so the impact is subtle 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 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. luckily , it’s possible to work adjust the brightness of these two colours discretely 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 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, could 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 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 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. 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 track 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 feeling manner , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are purely 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 decrease reflections and boost contrast. Alternatively, think 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 advantageous for manipulating contrast in digital images. They work by darkening objects of their 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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Today’s tips come from the winner of our Black and White photography challenge that was held on Facebook. It was our largest yet with over 400 entries and there were some absolutely amazing ones.

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I would love to say I took this picture with my fantastic Canon 7D but in fact this was taken on my first ‘proper’ camera that I bought years ago, the Canon 1000D and on top of that, I used the standard lens (don’t judge me!). So I hope this shows budding photographers that you can get the best out of your cameras if you spend time getting to know them.  

Vicky is a mum of 1 little boy who is the subject of her wonderful entry and is also a photographer and sports marketing specialist! She has been kind enough to give us an insight in to how she achieved her shot and also some general photography tips so over to you Vicky…

You can, though your original photos must be black and white originally or converted from colour via a photo editing tool (like Photoshop. Or Gimp, which is free).

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This shot really wasn’t intended from the outset, which is sometimes the best kind of shoot in my mind! Just as nights out with your friends and unplanned gatherings are always the best, unplanned shots can lead to amazing results.

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I have based my business off this notion, capturing moments as they happen, not having them completely staged or in a specific pose. If it isn’t natural most of the time it will show through the image.  Perseverance is key, it can take time but when you get ‘that shot’ you know it has all been worth it.

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It was Halloween and I was painfully trying to get my 10-month-old son to ‘pose’ for the camera in his lovely bumblebee outfit. As most of us learn in life, asking babies/children to do something can be very difficult, almost impossible once they’ve figured out the art of ignoring. Although, I do have to stick up for my son to an extent, he has been photographed so much since his first days, I can’t blame him for trying to get away from me, especially as I had him dressed as bee…however on reviewing the images, I found the ones where he wasn’t just sat smiling on the floor to be the best, in fact the ones where he was just being a baby were the ones that stood out most. The fact this shot isn’t perfect, makes it even better to me.

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