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 right away 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. luckily , it’s possible to work adjust the brightness of these two colours singly 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, 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.
Try Long Exposure. Long exposure shots could 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 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 decrease exposure and extend shutter speed (by 10 and 4 stops respectively). naturally , when exposures extend beyond relating 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.
Take Control. Although coloured filters may 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 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 subtle gradations may 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 may also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create delineation between objects of the same brightness but with different colours.
Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are simply as useful in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more useful . An ND grad is collaborative when you require to retain detail in a bright sky while a polarizing filter can be used to decrease reflections and boost contrast. Alternatively, consider 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, could also be advantageous for manipulating contrast in digital images. They work by darkening objects of their 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.
Dodge and Burn. Dodging and burning is a track 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 dream 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 increase local contrast. It’s a good approach of giving a sense of superior sharpness and enhancing texture. Plus, because you can set the opacity of the tools, you can build up his effect gradually so the impact is crafty and there are no hard edges.
Shoot RAW + JPEG. The best 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 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. 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 peculiarity 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 activate their camera’s live conception manner , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.
Related Images of Black And White Underwater Pictures
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Mexican social anthropologist and photographer Anuar Patjane Floriuk shares his unique perspective of the seas with his stunning series Underwater Realm. Shot in black and white, his photos expose the beauty that resides underwater. Through these photographs, he hopes that people will gain a greater appreciation for marine life.
Through his work, Patjane Floriuk hopes to inspire change and encourage others to be more mindful of how their actions can impact the ocean. “The ocean is usually presented as an aggressive and unpredictable place, either in movies, books, and even classical paintings, so there is a mostly negative historical construction in our minds of it. If us that know that there is another side of the story happening in the ocean—a peaceful one full of beauty—maybe that can make people wonder and care a little more about the species that inhabit it, and by doing so, begin to take rational actions to counteract our impact, specially in the way we consume plastics and generate CO2 If we don’t share it, who will?”
Black and White Underwater Photos A creative approach to your underwater photography
Squid and other pelagic invertebrates make excellent black and white subjects. F8, 1/200th, ISO 320, 60mm+1.4x teleconverter, Anilao, Phillipines.
Patjane Floriuk began Underwater Realm in 2012 after observing the deterioration of diving spots around the world, and it’s a series he plans to continue as long as he can dive and explore life underwater. The images are incredible for their demonstration of how man and marine life interact, as well as the natural beauty of the surroundings. Fish form nebulous clouds that appear like contemporary sculpture, while reflections transform a shark into a living light projection.
Black and white photos have always been a favorite form of expression for artists. Without color to distract the viewer, form, lines, and shades can be emphasized. Shooting black and white will place more emphasis on the creative side of your photography, and less emphasis on the technical. Wide angle lenses make the best B&W photos, especially rectilinear lenses that can emphasis lines. Use your own ideas for B&W photos, but here are some ideas for your black and white photography:
Good black and white photos have lots of detail and contrast. F10, 1/160th, ISO 400. nikon d300, Tokina 10-17mm at 10mm.
Converting Color to B&W Use the B&W command in photoshop, under image, adjustments, black and white Alternatively, shoot in Raw and using the convert to grayscale command in Adobe Camera Raw / Lightroom
Anuar Patjane Floriuk is a photographer and avid diver whose black and white underwater photography reveals the beauty of marine life. Anuar Patjane Floriuk: Website | Facebook | Instagram My Modern Met granted permission to use photos by Anuar Patjane Floriuk.
Related Articles: Incredible Black and White Underwater Photography Top Underwater Photographers Celebrate the Unseen Beauty of the Sea Artistic Underwater Photos Capture the Mystery of the Sea Scuba Diver Takes Breathtaking Photos of Underwater World
Black and white Kelp scene from Australia. Photo by Cal Mero. Oly SP350, F11, 1/90th, ISO 200. The high degree of contrast helps make this a nice black and white photo.
As an avid diver, Patjane Floriuk has developed a love for the underwater world. Over time, his concern for that world has heightened. “It grows on you, the longer you dive the more you care; and this happens to every person that has been diving for many years,” he tells My Modern Met. “It is inevitable—the life underwater is so intense and energetic that it eventually gets you, grabs you, and won’t ever let you go.”
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Keep details in the shadow areas. Frame a composition without any blown highlights. Keep the photo tack sharp and in focus Emphasis details – fill the frame with sharp details and texture Emphasis shape – choose a fish or shark with a well recognized shape Emphasis lines – wrecks are perfect for leading lines Go for the old, grainy look with a high ISO.
Wrecks can work well with this concept. Try to think in black and white before shooting. Imagine what the photo will look like in B&W, find subjects that will best show off the motif you are striving towards.
Further Reading Wreck Photography underwater Silhouette compositions underwater Taking your underwater photography to the next level Taking underwater photos with ambient light Artistic underwater compositions
Artistic B&W Photos Reveal the Hidden Beauty of What Lies Under the Sea