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Black And White Street Photography Film.

Shoot RAW + JPEG. The greatest monochrome conversions are arrived at 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. 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 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 may also do this if they kick in his camera’s live supposition wont , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

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 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 crafty gradations should become unnatural looking. And adjusting the brightness of a red or pinkish 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 different colours.

Dodge and Burn. Dodging and burning is a use 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 aspiration of because you could target the highlights, shadows or mid-tones with both. This means that you may use the Burn tool to darken highlights when they are too bright, or the Dodge tool to brighten them to increase local contrast. It’s a great route of sharing a sense of better sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you can build up their 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 instantaneously 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 lackluster straight from the camera. providentially , 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 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, 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 most excellent composition.

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 require to retain detail in a bright sky while a polarizing filter should be used to decrease reflections and boost contrast. Alternatively, make of,find taking two or more shots with different 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, can also be advantageous 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.

Try Long Exposure. Long exposure shots can 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 may 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). typically , when exposures extend beyond with respect to 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.

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I love shooting street portraits. I love to stop and engage with my fellow human being. People have always fascinated me, I guess I love people as much as street photography. There is nothing better than to engage with a fellow human being on the streets taking their portrait, showing their true character within an environment that’s not staged and without the use of flash.

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People often ask me why I love street photography so much, my answer is always “you never know what you are going to come across, depending on where you are and sometimes that can be from minute to minute”  let me explain…

Keith has worked on advertising campaigns for blue chip companies including Laura Ashley, Barker & Stonehouse, The BBC, Miss Sixty, The Cooperative Clothing Company, Unilever, Hilton Hotels, Mars Confectionery, Hand Picked Hotels and many more. Keith has also worked with and been featured in dozens of lifestyle and photography magazines including Black and White Photography, Professional Photographer, Amateur Photographer, Digital Photographer, and Photography for Beginners. At the beginning of 2013 Keith became an Ilford Partner, delivering masterclasses to lecturers, students and competition winners.

The sun is shining and they days are getting longer which means better light and more time to shoot film. What…

I use various different psychological techniques first to determine whether to engage or not but once I have engaged I quickly connect with them and make them feel comfortable so that for a brief moment or two we allow each other to feel what each other is feeling, it’s a wonderful moment never to be repeated. When you stop someone on the street you really have to know exactly what you want to do with them before you engage otherwise the portrait just doesn’t work. Having an understanding of body language is the key to this process.

My favourite lens to work with is 35mm. It’s wide enough to tell the story, but if you get close enough you can shoot a portrait without distortion. The objective is always to get close it’s the only way to feel and engage with what’s happening around you.

I shoot in two ways; firstly I try to tell a story of what is happening as it happens on the street and encapsulate it in one image. You have to be quick and decisive. With this type of street photography preparation is the key, you have to prepare the camera settings, eg what aperture and shutter speed you want to use. I tend to zone focus in these situations and once prepared it’s then all about observation, observing everything and everyone that’s around you.

I am very lucky that after a career spanning 28 years as a professional advertising photographer I now feed my soul teaching my passion which is street photography in some of Europe’s most exciting cities, often in areas people wouldn’t normally visit some of which can be a little scary if not a bit oppressive. I love these types of areas as it heightens your senses, the adrenalin flows and your pulse quickens in anticipation of the next shot.

Introduction I’ve been a photographer for 35 years since I was 11 in fact when I first loaded my Zenith 11…

Un globo, dos globos….la vida es un globo que se me escapó

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The works of talented and passionate photographers from around the world capturing images of “life in our time”…

Keith founded Keith Moss Photography alongside his wife, Pat in 1989 and having worked in colour for most of his career in commercial and advertising photography, his own personal work has always been in black and white using both film and digital. He has a passion for travel and street photography but in particular street portraiture and is now using this passion and skills learnt over the years to enlighten, inspire and fuel other people’s’ imaginations with his engaging street photography adventures.

Humans are creatures of habit, you can often predict what is going to happen next so being prepared is so important. You have to be decisive and react quickly. (I guess it’s what Cartier Bresson called the decisive moment).

It looks like there are a lot of you who are proud to be films photographers and rightfully so! These are our …

Shooting Street Photography with film – Why I love it Posted On 16th March 2016 To Magazine, Technique, Street & Photography Genres

Film is my choice of medium, the reason is that it is totally immersive. Before I press the shutter I see the final print in my mind, working backwards of how I’m going to print it and before that how I’m going to process it, this all happens in a split second. Shooting film slows you down and makes you think more and gives you so much more than I personally can ever get when working with a digital camera, it just lends itself to the subject matter and for me is the perfect marriage. I never get bored shooting on the streets, there is always someone new to meet and always a great image around every corner if you know how to look.

Most of the images shown here were shot on ILFORD DELTA 400 PROFESSIONAL

It’s been so much fun this week looking through all of the #fridayfavourites #filtered shots and finding out o…

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