Fishstickmonkey orourkes bar brooklyn ca 1960 william gedney photographs and
Sev 9 14 black and white photograph of duke street st helens near the oxford cinema c 1930s
Untitled hugh mangum photographs david m rubenstein rare book manuscript library duke university contemporary reprints by sarah stacke
Ray Charles, Culver City, California 1991
Duke ellington by eddie adams the simplicity of the scene as well as the already black and white outfit of duke ellington in this photograph really draw
Billie Holiday, NYC, New York, 1949

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Black Duke Pics. Black And White Photography.

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 place 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 necessary , 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). characteristically , when exposures extend farther than 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.

Dodge and Burn. Dodging and burning is a oddity 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 dream of because you can 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 them to grow local contrast. It’s a great course of action of sharing a sense of greater sharpness and enhancing texture. Plus, because you could set the opacity of the tools, you should build up his effect gradually so the impact is subtle and there are no hard edges.

Take Control. Although coloured filters could 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 a couple years ago Photoshop’s Channel Mixer was the preferred 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 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 should become unnatural looking. And adjusting the brightness of a red or pink 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 may 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 unique colours.

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 picture 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 attribute 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 image route , but the usually slower responses mean that many 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 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 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 dreary straight from the camera. fortunately , it’s possible to work adjust the brightness of these two colours separately 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 powerful blacks and whites. This should 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, should 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 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 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, can also be useful for manipulating contrast in digital images. They work by darkening objects of his 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.

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  • Miles Davis, Hand, NYC, New York, 1953 © Herman Leonard, 1953 From $
  • Frank Sinatra, NYC, New York, 1956 © Herman Leonard, 1956 From $
  • Duke Ellington, Louis Armstrong & Diahann Carroll, Paris, France, 1960 (DKE12) © Herman Leonard, 1960 From $
  • Buddy Rich, New York City 1954 © Herman Leonard, 1954 From $
  • The Rat Pack, Oakland, CA 1988 © Neal Preston, 1988 From $675
  • Louis Armstrong, Paris, France, 1960 © Herman Leonard, 1960 From $
  • Miles Davis, Chicago, IL 1983 © Paul Natkin, 1983 From $600
  • Charlie Parker & Dizzy Gillespie, New York City 1949 © Herman Leonard, 1949 From $
  • Joe Gordon, E.V. Perry, Dizzy Gillespie, Carl Warwick & Quincy Jones, NYC, New York, 1955 © Herman Leonard, 1955 From $
  • Herbie Hancock, Englewood Cliffs, NJ, 1964 © Francis Wolff, 1995 From $900
  • Ray Charles, Los Angeles, CA 1980 © Henry Diltz, 1980 From $600
  • Billie Holiday, NYC, New York, 1949 © Herman Leonard, 1949 From $
  • Miles Davis, Los Angeles, CA, 1959 © Barry Feinstein, 1959 From $1800
  • Billie Holiday, Hollywood Bowl, CA, 1953 © Herman Leonard, 1953 From $
  • Dexter Gordon © Herman Leonard, Date Unknown From $
  • Art Tatum, NYC, New York, 1955 © Herman Leonard, 1955 From $
  • Duke Ellington, Olympia Theatre, Paris, France, 1958 (DKE02) © Herman Leonard, 1960 From $
  • Lionel Hampton © Rowland Scherman, Date Unknown From $550
  • Charlie Parker & The Metronome All Stars, NYC, New York, 1949 (CHP01) © Herman Leonard, 1949 From $
  • Bop City, NYC, New York, 1953 © Herman Leonard, 1953 From $
  • Thelonious Monk, New York City 1963 © Don Hunstein, 1963 From $1200
  • Hank Mobley, NYC, 1963 © Francis Wolff, 1995 From $900
  • Doc Cheatham, New Orleans, Louisiana, 1995 (DCM07) © Herman Leonard, 1995 From $
  • Ray Charles, Culver City, California 1991 © Timothy White, 1991 From $
  • Dizzy Gillespie, NYC, New York, 1955 © Herman Leonard, 1955 From $
  • Les Paul, Mahwah, NJ 1995 © Joseph A. Rosen, 1995 From $600
  • Palm Court Cafe, New Orleans, 1996 © Herman Leonard, 1996 From $
  • Ellington & Armstrong, Paris, 1960 © Herman Leonard, 1960 From $
  • Tony Bennett, NYC, New York, 1950 © Herman Leonard, 1950 From $
  • Chet Baker, NYC, New York, 1956 © Herman Leonard, 1956 From $

Charlie Parker & The Metronome All Stars, NYC, New York, 1949 (CHP01)

Duke Ellington, Olympia Theatre, Paris, France, 1958 (DKE02)

Duke Ellington, Louis Armstrong & Diahann Carroll, Paris, France, 1960 (DKE12)

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