Just the outline silhouette photography by hengki lee like barley bending
Incredible black white storytelling silhouettes
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Dreamers great black and white silhouette images

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Black And White Silhouette Photographers.

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 could 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). typically , when exposures extend beyond regarding 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 should 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 favorite 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 should become unnatural looking. And adjusting the brightness of a red or pink 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 segregation between objects of the same brightness but with diverse colours.

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 featureless straight from the camera. providentially , it’s possible to work adjust the brightness of these two colours separately 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 could 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 unsurpassed composition.

Shoot RAW + JPEG. The greatest monochrome conversions are happen on 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 numerous 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 approach 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 activate her camera’s live understanding method , 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 merely 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 could be used to decrease reflections and boost contrast. Alternatively, look on taking two or more shots with diverse 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, should also be useful for manipulating contrast in digital images. They work by darkening objects of their opposite colour while lightening objects of their own. An orange filter, for example, will darken the blue of the sky while a green single will lighten foliage.

Dodge and Burn. Dodging and burning is a approach 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 could 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 perk up them to increase local contrast. It’s a good method of giving a sense of superior sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you could build up his effect gradually so the impact is subtle and there are no hard edges.

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Photographer Hengki Lee features sharp silhouettes in his black and white photographs that, each in their own right, evoke a sense of stillness, adventure, and nostalgia. By playing with different settings as backdrops, the Indonesia-based photo enthusiast captures both the beauty of the environment and the silhouetted scene taking place in the foreground. The anonymity of these shadowy figures allows the spectator to create their own story and perhaps even draw a connection to their own lives.

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Lee, who first adopted photography as a hobby in 2009, says, “The Idea behind my shots are simply about curiosity, dream, poetry and emotion. ‘The beauty of being different’ is the message I am trying to get across by portraying works which do not belong to the mainstream.” There is certainly a dream-like presence in these series of works whose prominent figures seem to stand alone. While there are some images of groups of children at play, the bulk of the Indonesia-based photographer’s work focuses on isolated subjects. Curiously, this independence from other human figures doesn’t portray loneliness, but rather a sort of freedom to explore the world and grow oneself.

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Want to play with taking silhouettes? Check out these tutorials:

Also present in numerous images is activity, whether int he form of a sport or work. Often it is a solitary effort to gain the mental and physical fitness that such activities can provide. It is quite poetic the way Lee exhibits such recreations and pursuits. For one biker, it is literally an uphill battle.

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Swiss photographer Rui Veiga captures street actions in black and white. The particularity of his work consists in photographing silhouettes in back light, light by the sun or in black-light He plays with the light, the shadows and the contrasts. Silhouettes appears, giving the impression of being a shadows of their former selves.

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We love these images from photographer IKO’s Dreamers set of photos. They’re a great example of Silhouette photography done well.

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