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Black and white wildlife photography jaguar at the san diego zoo
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Black And White Zoo Photography.

Shoot RAW + JPEG. The best monochrome conversions are ended up 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 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. numerous 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 habit 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 thought manner , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.

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 dreary straight from the camera. fortunately , it’s possible to work adjust the brightness of these two colours discretely 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, 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 most excellent composition.

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 hope 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 brighten up them to increase local contrast. It’s a good method of giving 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 crafty and there are no hard edges.

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 favorite 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 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 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 should 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 varied colours.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are merely 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 cooperative when you require to retain detail in a bright sky while a polarizing filter may be used to decrease reflections and boost contrast. Alternatively, contemplate 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, could also be useful for manipulating contrast in digital images. They work by darkening objects of her 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 may 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). typically , when exposures extend farther than with regard to 1/60 sec a tripod is wanted 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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Came across this set of wonderful photographs on yousaytoo i dont know who the photographer is but presumably these photos are shot in the thirties to
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As dangerous as most of these animals are, the photographer reveals an exquisite array of how loving and simply beautiful they can be. More than simply keeping a visual record, Ademeit provides an artistic portrayal that is often reserved for human portraiture. He says, “Only a few photographers use the photography of animals in zoos as an art form. I think this is a missed opportunity…With my pictures I would like to move the photography of these animals in the focus of the art photography and show photos which are not only purely documentary.”

German photographer Wolf Ademeit captures expressive portraits of zoo animals. Rather than focusing on wildlife in their naturally beautiful habitats, Ademeit finds charm and personality in the colorful facial expressions of his subjects alone. The series, known simply as ANIMALS, presents a number of monochromatic portraits that get in close and isolate each model against a black backdrop, forcing the viewer to take in the majestic beasts’ faces, fur, and demeanor.

The quality and depth of your prints are so sharp, to the point where we’re able to see every strand of hair on a lion’s mane. How do you get in so close to your subjects? The answer to this question is easy. I used a Sigma 50-500mm lens for most of my pictures. As the camera body I used a Sony A100, A700 and A900. Most of the time I used the full image size with only a little bit of cropping to align the image. I always use RAW for the capture and Lightroom for the b&w process, including the black background creation. For the export to Photoshop (850px wide) I don’t use sharpening. The final finish and sharpening I do in Photoshop is always on the final, sized image. I never use an automatic sharpener or any preset. Each one is handmade for this specific image. Very helpful are the filters from NIK and Topaz, to find a good looking sharpness.

The animals in your portraits are incredibly expressive. I imagine it takes a great deal of patience to get such interesting results. Can you explain your process? As an animal photographer you need a lot of luck and you must be patient, waiting for the perfect position of an animal. You must alway be ready to take a photo because most of the time the animal is in a good position only for a second. It makes a big difference, if eyes, ears, head and body aren’t in the position you prefer (by the way, most of the time I work with the single shot modus or the lowest continued mode of my camera). It took 5 years to finish my ANIMALS series that you can see on my website. For this series I had strong rules about the size, the black background and of course the b&w use. All pictures are taken special for this kind of use. During the shoot I did’t care about colors or anything else around. I was concentrated only on the animal and its position, nothing else. Maybe that’s what makes the pictures so impressive.

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Ademeit’s incredibly artistic collection of images offers a wide range of emotions, capturing every grimace, ferocious roar, tender kiss, and twinkle in the varied creatures’ eyes. Looking through the photographer’s vast portfolio, it has proven difficult to select only a handful to share. Be sure to check out the the entirety of the series on Ademeit’s website. Also, we were lucky enough to get in contact with the photographer and ask him a couple of questions. You can read that brief interview, below.

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