Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are just 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 could be used to decrease reflections and boost contrast. Alternatively, judge taking two or more shots with different 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 advantageous for manipulating contrast in digital images. They work by darkening objects of their opposite colour while lightening objects of her 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 method 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 should target the highlights, shadows or mid-tones with both. This means that you can 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 routine of sharing a sense of greater sharpness and enhancing texture. Plus, because you can 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 at once 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. fortunately , it’s possible to work adjust the brightness of these two colours separately 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, 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.
Shoot RAW + JPEG. The most excellent 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 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 plan 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 could also do this if they activate his camera’s live presumption road , but the usually slower responses mean that most will find it preferable or check the image on the screen post-capture.
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 can 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 apropos 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 some years ago Photoshop’s Channel Mixer was the preferred means of turning colour images monochrome, but now Adobe Camera Raw has more strong 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 subtle gradations can become unnatural looking. And adjusting the brightness of a red or rosy 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 can also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create differentiation between objects of the same brightness but with different colours.
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Lisa Cueman Photography will be one of two artists featured in the Helmholz Fine Art of Manchester exhibitthis spring at The Longines Masters of New York, a prestigious indoor equestrian championship event.
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Riveted by their raw beauty, Lisa is drawn in to be physically closer, abstracting her subjects in order to emphasize their beauty, forms, textures and lines that she finds so seductive and irresistible.
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The event will be held at the newly refurbished Nassau Veterans Memorial Coliseum in Unionville, N.Y., on April 26-29, 2018. Wild Horses on North Carolina’s Outer Banks will be on display.
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Kimerlee Curyl has been capturing America’s remaining wild horses since 2004. She has developed a highly unique and recognizable style of capturing the truest essence, spirit and rich texture of the horse.
It is that style which is sought out by collectors and collaborators around the globe. Unless otherwise stated these images are all of wild horses, owned by no one and created by the very salt of the earth.
Images are captured in their element and on their terms, nothing is contrived. These are accounts of their day to day lives living on our vast, yet dwindling public lands. She has traveled to numerous remote and many times isolated locations, earning her place as one of the leading wild horse fine art photographers in the world.
Countless hours have been spent observing and understanding the movements, thoughts and shear will of the horse. She is committed to the protection of wildness, her ongoing efforts not only chronicle the freedom of our wild horses on their home territory but more importantly help raise significant awareness for the plight they are continuing to face year after year.
Round up after round up. Each collection is the story of a place where wildness still exists…for now. We welcome you to take your time, viewing and reading about the lives of these magnificent creatures.
..our American Wild Horses.For fine art purchases contact our studio or one of her representing Galleries for further information. For the latest information on events, openings please visit her blog. And for important information regarding the future of our American wild horses and burros on our majestic public lands please visit American Wild Horse Campaign.
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The battle began suddenly and from quite a distance, with the two stallions about one quarter of a mile apart. The farther of the two from me issued a shrill neigh – an indisputable call to arms. Soon they were charging, head on, at full speed; everything else, even time, gave way to the sound of their rapidly pounding hooves.
Equine fine art photographer Lisa Cueman is known for an intimate and reductive approach to photography that imparts her images with the power to deeply contemplate the essential beauty and spirit of the horse, awakening our emotional connections to these majestic symbols of strength and freedom.