Street photography camera settings
What are the best street photography camera settings and why
Street photography lightroom settings
What are the best street photography camera settings and why
What are the best street photography camera settings and why
Fujifilm x t1 expressive

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Black And White Street Photography Settings.

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 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 compulsory , use a neutral density filter such as Lee Filters’ Big Stopper or Little Stopper to decrease exposure and extend shutter speed (by 10 and 4 stops respectively). naturally , 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.

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 advantageous . An ND grad is cooperative when you require to retain detail in a bright sky while a polarizing filter can be used to reduce reflections and boost contrast. Alternatively, think of 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, should also be useful for manipulating contrast in digital images. They work by darkening objects of her opposite colour while lightening objects of their own. An orange filter, for example, will darken the blue of the sky while a green one will lighten foliage.

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 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 forceful blacks and whites. This can 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 unsurpassed composition.

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 some years ago Photoshop’s Channel Mixer was the favorite 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 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 can also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create discrimination between objects of the same brightness but with unique colours.

Shoot RAW + JPEG. The most excellent monochrome conversions are got up 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 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. many 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 can also do this if they kick in his camera’s live image routine , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.

Dodge and Burn. Dodging and burning is a manner 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 ambition of because you can target the highlights, shadows or mid-tones with both. This means that you should 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 good routine of giving a sense of better sharpness and enhancing texture. Plus, because you can set the opacity of the tools, you should build up his effect gradually so the impact is subtle and there are no hard edges.

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This isn’t technically street photography. But I wanted to capture where people had been using the footsteps that have passed across the sand. Again, the black and white help provides and element of age to the photo.

A note from Josh, ExpertPhotography’s Photographer-In-Chief: Thank you for reading… CLICK HERE if you want to capture breathtaking images, without the frustration of a complicated camera. It’s my training video that will walk you how to use your camera’s functions in just 10 minutes – for free! I also offer video courses and ebooks covering the following subjects: Beginner – Intermediate Photography eBook Beginner – Intermediate Photography Video Course Landscape Photography eBook Landscape Photography Video Course Photography Blogging (Service) You could be just a few days away from finally understanding how to use your camera to take great photos! Thanks again for reading our articles!

You don’t have to get up close and personal with everyone to make good street photography. Step back and embrace other aspects of your scene instead.

Mirrors always make for an interesting subject. You can take a photo of other people without them really noticing.

As I was taking this photo, my train was arriving so I had to be quick. You can see the children behind me running for the train. My slightly longer exposure captures this, while providing me with enough light to make the exposure.

Try to look for a frame within a frame when you’re exploring the streets.

If you’ve read my tutorial on horizons, you’ll be very familiar with the advantages of placing the horizon high or low in the frame. I’ve opted for high here.

I wanted to see people spread out across the photo with posters in between, going from edge to edge. This would provide  the feeling of repetition, allowing the brain to assume that it carries on indefinitely.

I was walking under a train viaduct near my house and the first photo I took was symmetrical – looking through the arch which is off to the right in this photo. On my walk back, I came to the conclusion that this was probably a bit boring. And it was.

All of the photos that you will see below were taken in the space of three hours. Two hours were spent in London and one in Brighton. This just shows that it doesn’t take long to capture good photos.

Even if it’s just your iPhone, it’s better than nothing. You can’t take a photo of something if you don’t have a camera on you.

I actually stood here waiting and fiddling with my camera, pretending to do something else until the lady on the left got close enough. Her vertical shape neatly mirrors that of the lamppost of the right and the lines across the car park tie them both together.

It’s not often that people take photos of other people taking photos but that’s exactly what I chose to do here.

Keep your eyes pealed for what’s going on around you and capture the moments of other people.

Your framing usually has to be very quick but, every now and then, you can take your time and capture the image just how you want it.

I was sitting on the tube in London the other day. For anyone who’s travelled on London public transport, you’ll be familiar with the eery silence that resonates though the carriages as though talking is socially unacceptable.

As you can see, the farther out of the photo you go, the more movement there is and this mimics your eyes. It really feels as though you’re a part of the photo, like you’re moving through the scene. This is probably my favourite photo of the whole set. But I’ll leave it up to you to decide whether you like it or not.

I spotted this couple standing in the entrance to Victoria Station. The natural frame was obvious. I took my time taking this photo. They were too preoccupied to notice that I was taking a photo of them.

I saw this scene as I was travelling up the escalator on the London Underground but this isn’t actually how I wanted to capture it.

PSA: Don’t take black and white photos of homeless people. It’s not artsy. It’s cliche, and a little bit demeaning.

Rule number one with street photography: always carry a camera with you.

I got some photos I shot on film back from the lab today, and some of them were of street photography.

That’s not all that’s in the photo though. There’s the mirror itself and the tiles and camera that surround it. These two contrasting elements allow your eyes to explore for longer. There are many more directions to travel in: into the photo, to the left, to the right and even backwards.

This has happened time and time again in these photos and it’s pretty clear when. Not only that but a person’s own field of view is naturally very wide. If you want to make it look like a point-of-view shot, it pays to have a wide angle.

Black and White street photography on film is an art form that still lives on today, even though technology has far surpassed it.

I wanted to capture the separation between the passengers, using my wide angle lens to magnify the open space. The angle is quite voyeuristic. And it really gives you the feeling of being part of the photo.

There are more places for the eyes to explore in this photo. Whether they’re trying to look down the road, complete the arch that is separated by the pillar, following the line of the lamppost, or simply look through the arches.

You’ll notice that a lot of these photo have been shot at very wide angles. I’ve actually used a 17-40mm f/4L. This is because not only can you capture more in the photos but you can take photos of people without them realising that they’re the subject.

Dynamic tension is a great tool for street photography. You can read more about it here.

As I was walking, I zoomed all the way out on my camera and brought it up to the chest. I set my exposure and fired.

I ran into two problems when taking this photo: firstly and rather classically, I had left the lens cap on and, secondly, I had the camera on lock, which meant it was effectively off.

London Victoria Station: a popular spot for most tourists to pass through – there are always going to be people around who are preoccupied and won’t notice you taking their photo. Busy locations such as this make for a great place to capture plenty of street photography.

Shooting from the hip is a great way to capture unexpected photos. Not to mention that shooting on film really builds up the excitement to see what you’ve captured.

I purposefully waited until someone was looking at me before taking this photo so that I could create some dynamic tension. The viewer’s eyes would otherwise want to look straight up the escalator. This way, they’re drawn to the eyes of the man on the right side of the photo.

The black and white aspect of this photo really brings you back in time. It becomes much harder to put an age on the buses and buildings in the background, part of the appeal with the film too.

Hundreds of thousands of people pass up and down these escalators every day. It was only a matter of time before someone caught me with my camera.

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