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Black N White Photo Challenge.

Dodge and Burn. Dodging and burning is a fashion 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 could 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 them to increase local contrast. It’s a great mannerism of giving a sense of greater sharpness and enhancing texture. Plus, because you can set the opacity of the tools, you may build up their effect gradually so the impact is crafty and there are no hard edges.

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 place than they would with a short exposure and this could 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 farther than with reference 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.

Shoot RAW + JPEG. The greatest monochrome conversions are winded 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 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. 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 sneaking suspicion wont , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.

Take Control. Although coloured filters could 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 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 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 can 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 should also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create segregation between objects of the same brightness but with unique 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 advantageous . An ND grad is helpful 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 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, should also be advantageous for manipulating contrast in digital images. They work by darkening objects of his opposite colour while lightening objects of their own. An orange filter, for example, will darken the blue of the sky while a green single will lighten foliage.

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 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. 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 forceful 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 unsurpassed composition.

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I am sure you must get irritated of seeing this random challenge accepting stuff on your timeline daily and also by getting a notification about someone hasBlack and white challengeCbw challenge runs weekly on thursdaysA reflection on chessDay oneSeven black and white photos of your life no people no explanation challenge someone new each day

I’ve done more post processing to this photo than I would with most, and that’s because I can get away with it much easier. I’ve changed the exposure, black point, contrast, saturation, vibrancy, highlights, and added a vignette. I wouldn’t normally do this much with colour photography, but here’s the result.

When you shoot in black and white, it’s more important to consider form, shape, and contrast than anything else. When you remove the colour details, your attention is focused onto other elements of the photos, like removing one of your senses. The black and white also helps them to stand out.

Photo illustration by Natalie Matthews-Ramo. Photos by Natalie Matthews-Ramo and Thinkstock.

Seven Days, Seven Photos of Pensive Cats The pretentious “challenge” taking over Facebook is neither a challenge nor a good meme.

One frequently heard complaint about Facebook, at least among those of us who signed up in college before anyone else could, is that it’s overrun with photos of people’s kids. (Sorry, parents!) But even a few days of #7days7photos—so many black-and-white fences and faux-pensive shots of cats!—is enough to make anyone nostalgic for the endless streams of baby photos.

I’m going to ask the obvious question here: Since when does posting photos to Facebook constitute a challenge? That is one of the main points of Facebook! Many people can’t leave the house without posting a photo on Facebook. So to frame this as a challenge is just asking for trouble. The prompt to eschew color, people, and explanatory text has given participants free rein to post cringe-worthy “arty” pictures they’d normally have the good sense to be embarrassed by: their shadow-dipped lattes, their brooding pets, their kids’ tilted-over toys, often framed diagonally to add that extra “I’m doing serious photography” edge. The leaves! The cars! The fences! I saw one photo of a faucet, for some reason. Is this Facebook, or are these the photos that come prepackaged with frames at Ikea? I’ll give partial credit to the people who gave up entirely at creativity and and just took pictures of their cameras or laptops. If anything, this meme should help us appreciate how hard still-life photographers have it and how helpful color and human facial expressions are to the taking of good photos.

The smoothness of the model’s skin, very nicely contrasts with the texture of the background, and the form of her body encourage you to explore her shape more.

Following in the illustrious footsteps of these past viral crazes, the challenge that has emerged from 2017’s rubble looks positively wimpy in comparison. It’s the “7 Days, 7 Photos” challenge, and my God is it an insult to the very concept of internet challenges. If you’ve been wondering why people have been clogging your Facebook feed with black-and-white photos, this is why: They’re participating in this so-called challenge to post a photo a day for seven days, but the photos must be black and white and contain no people or explanations. (Of course the “no explanations” rule is broken the second people post that they’re doing this, but I suppose that’s the least of anyone’s concerns.)

In my day, the word challenge implied that something was actually, well, challenging. Remember 2014’s Ice Bucket Challenge? Hackneyed and pointless or not, it was at least a genuine ordeal. Or what about the Kylie Lip Challenge? Against medical advice, kids defied one another to get their lips to swell using shot glasses as vacuums. Now that was a challenge. Even the Mannequin Challenge required some effort: You try freezing in place and making a decent video of it.

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!

I know it’s black and white, but if you shoot in colour, you have more options when it comes to editing it later. It’s really simple, when you shoot in colour, you get three colour channels, red, green, and blue. When you convert the photo to monochrome, you can adjust each channel to change how the black and white looks.

When you change it to black and white though, you can barely tell what I’ve done to it, although you can probably tell that there has been some changes made to the photo.

Finally, you have her dress at the bottom of the frame. Looking at it now, it probably wasn’t the best choice, because it can seem to look a little bit lost in the frame, but this again enhances the contrast in the photo.

Next you have her upper body, where her soft skin compliments the soft bokeh blur of the blue bells in the background, while still managing to contrast.

The worst part about digital noise, in my opinion, is the colour of the grain. It usually comes through as some dodgy brown and blue haze on the photo, and I really hate that. But when you’re shooting in black and white, it’s really not so important anymore, because you’re not going to see it like that.

Here’s the photo in colour, after all the post processing that I did, with the exception of the enhance section (I’ll get to that). This is before the change to black and white.

Her body is broken up into sections, at the top you have her face, which is in the tree section of the background. This is the first contrast, with only very light shadows on her face.

It’s now Day 3 in my 30 Day Photography Challenge, and today’s challenge is to tackle the black & white photos. This isn’t my first time that I’ve covered black and white, and you can read about it here, and here. I suggest that you should, but for the sake of this article, I’m going to give you a run down.

If you would like to keep track of the 30 Day Photography Challenge, come on over to my Facebook page, Twitter and/or Pinterest, and share your photos with me and the rest of the community. The best ones will be included in these posts. Alternatively, you can leave a comment below. (Note: if you’re linking from Facebook, be sure to ‘copy image address’).

But this is black and white, what are you talking about Josh?

As with the Ice Bucket Challenge, photographers are encouraged to tag friends to rope them in, one friend for each of the seven days. I hope a lot of people decline or politely forget to participate, because if everyone who’s tagged starts posting photos in this vein, we’re going to have to burn down Facebook. (As if all the Russian-purchased ads weren’t bad enough!) Facebook was already corny, but taking the people out of it and rendering it all in pretentious black and white is one thumbs-up more than I’m willing to dole out.

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