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Black And White Prints Venice.

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 can 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). classically , 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.

Dodge and Burn. Dodging and burning is a mannerism 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 hope of because you can 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 attribute of sharing a sense of superior sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you can build up his 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 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 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 colorless straight from the camera. happily , it’s possible to work adjust the brightness of these two colours singly 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 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, 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 greatest composition.

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 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 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 crafty gradations could become unnatural looking. And adjusting the brightness of a red or pink 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 can 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 varied colours.

Shoot RAW + JPEG. The best monochrome conversions are made it to 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 wont 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 may also do this if they kick in their camera’s live view lane , but the usually slower responses mean that numerous 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 just 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 cooperative when you require to retain detail in a bright sky while a polarizing filter may be used to reduce reflections and boost contrast. Alternatively, contemplate 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, may 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 one will lighten foliage.

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High Angle View of Gondolas in a Canal Grand Canal Venice Italy

Early morning on St Marks Square, Venice, Italy. Two policeman stand taking in the beautiful Venetian Summer morning.


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Shown in 41 x 61 cm | Photographic Print 16 Size and Print Options

St Marks Square, Early Morning, Venice, Italy. I was up early to shoot this. St Marks really was perfect that morning. It was early spring, a little chilly and I was quite tired rising but for about 45 minutes I felt like I had Venice to myself

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Piazza San Marco Looking across to San Giorgio Maggiore Venice Italy

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Roof detail of St Marks, Early Morning, Venice, Italy. The Dome of St Mark’s dominates the famous waterfront of Venice. St Mark’s Basilica in Venice is arguably one of the city’s most recognisable landmarks.

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On the Water Front, Venice, Italy. 2007. Venice is the kind of city you can walk around forever. This may seem ironic given the amount of water but the narrow canal paths throw up all manner of fascinating little squares and vistas.

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St Marks, Venice, Italy. This photograph shows the detail of the buildings around St Mark’s Square in Venice, Italy. This photo was taken in 2008.

View of Venice, Italy. Truman Capote once said of Venice – Venice is like eating an entire box of chocolate liqueurs in one go.


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The Bridge of Sighs, Venice, Italy. This is another of Venice’s most recognisable features. It links the Doge’s Palace to the old prisons. This photo was taken in 2008.


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Canals of Venice, Italy. This abstract photograph captures the dynamicism of the gondoliers and the waterfront in front of St Mark’ Square, Venice. This picture was taken in 2008.

St Marks, Early Morning, Venice, Italy. Another photograph of the roof of St Marks’ in Venice. St Mark’s sits at one end of the Square adjacent to the Doge’s palace and the Campanile.

Street Detail, Venice, Italy. This photograph shows the detail of one of Venice’s many squares. This photo was taken in 2008.

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St Marks, Early Morning, Venice, Italy. This photograph shows one end of St Mark’s square in Venice. The Doge’s Palace can be clearly seen on the left of the image. The Campanile is to the right on this image.

The Bridge of Sighs, Venice, Italy. This bridge gets its name from the sighs the prisoners made as they walked from the Doges Palace to their execution


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At night, Venice, Italy. This photograph was taken looking across from St. Mark’s Square. The slow shutter speeed creates the peculiar lighting effect.

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Buildings Along a Canal Grand Canal Rio Di Palazzo Venice Italy

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Tables on St Marks, Venice, Italy. From high above Venice, the tables in St Mark’s Square are laid out in neat rows. This photograph was taken in 2008.


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The Campanile, St Marks, Venice, Italy. The Campanile is a tower that stands at one end of St Mark’s square in Venice, Italy. Tourists are allowed to climb this tower to see the spectacular views of the city.

From St Marks square looking out, early morning, Venice, Italy. At 5 in the morning, there were still people about. This photograph shows the Doge’s Palace and the bottom of the Campanile.

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Outside Harrys Bar, Venice, Italy. This place was particularly popular with Ernest Hemingway, Truman Capote and Charlie Chaplin.


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St Marks, Early Morning, Venice, Italy. This image was taken very early in the morning in Venice. The photograph uses a wide lense to capture the whole of the square.


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Shown in 30 x 23 cm | Photographic Print 25 Size and Print Options

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Bridge of Sighs, Venice, Italy. Fran Lebowitz once said, If you read a lot, nothing is as great as you’ve imagined. Venice is. Venice is better. He was right.

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Pigeons on St Marks square, Venice, Italy. Taken from high up above Venice in the Campanile, a small boy was feeding the pigeons. The shot just jumped out.

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The Church of San Giorgio Maggiore from the Piazzetta San Marco

Gondolas Moored at a Harbor San Marco Giardinetti Venice Italy

Doge’s Palace, Venice, Italy. This photograph reveals the beautiful architectural stonework on the Doge’s Palace in St Mark’s Square, Venice, Italy.

From St Marks square looking out, early morning, Venice, Italy. I was up at 5 am to get out and shoot Venice before the tourists arrived.

Venice must count as one of the world’s most beautiful cities. Made up of 118 small islands in the marshy Venetian Lagoon along the Adriatic Sea in northeast Italy, the city is full of tight canal waterways and hidden secrets.

This black and white gallery contains photographs of The Doge’s Palace (A gothic palace on St Mark’s square also known as Palazzo Ducale di Venezia.), The Campanile, The Bridge of Sighs and other shots from around the city.

The Campanile tower stands in the corner of St Mark’s Square and is 98.6 metres. The tower houses five bells and affords magnificent views of Venice.

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Outside the Doge’s Palace, Venice, Italy. This photograph was taken at around 5 in the morning in Summer 2008. The Doge’s Palace is one of Venice’s most famous Landmarks.


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California Los Angeles Venice Elevated Beach View from Venice Pier

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