Half dome vertical canon ae 1 with
Canon ae 1 ilford black and white prints
Canon ae 1 canon 50mm 1 8 lens film camera black and white
Canon ae 1 ilford black and white prints

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Canon Ae-1 Black And White Photos.

Shoot RAW + JPEG. The unsurpassed monochrome conversions are made 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 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. 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 routine 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 can also do this if they kick in his camera’s live opinion oddity , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.

Dodge and Burn. Dodging and burning is a rule 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 may only ambition of because you can 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 up them to grow local contrast. It’s a great plan of giving a sense of superior sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you may 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 straight 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 dowdy straight from the camera. happily , 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 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, 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 best 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 place 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 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 respecting 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 preferred 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 may become unnatural looking. And adjusting the brightness of a red or pinkish 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 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 diverse colours.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are purely 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 want to retain detail in a bright sky while a polarizing filter may be used to decrease reflections and boost contrast. Alternatively, estimate 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 one will lighten foliage.

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It’s good to see that there is a Web Site out there that has many other people, …

It’s good to see that there is a Web Site out there that has many other people, and photographers using, and working with black and white film, in particular with a film camera here on Flickr. I have 2 SLR Canon cameras, an AE-1, 50mm f1.8 lens (circa 1980), and a Canon FTb QL, bought on eBay, that now does not work! I use these film cameras mostly for black and white photography. Fortunately the Canon AE-1 works; its advantages are an auto winder, and down to 2 seconds on the shutter speed dial before going to B, that I find valuable. Although I haven’t used the auto winder yet, the 2 second setting on the shutter speed dial is a useful, practical selection. The Canon AE-1 also has a more accurate, sophisticated light meter than the FTb QL. I luckily found, and bought a shutter release cable from a photography store last year. I’ve taken several black and white photos lately, and they are more detailed, with greater tonal gradation, and when processed are better photos than from a digital camera; a Canon Rebel XS (2009). I’ve also photographed in low light, now with a Canon 50mm f1.4 S.S.C. lens, bought on eBay; yes it works. I’ve gotten tired of trying to figure out what is wrong with the FTb, and now work with the AE-1, with a Vivitar Wide Angle 35mm f2.8 lens.I am going to, and hope to have a couple of my black and white, and a couple of colour images, here on Flickr; in this section “Canon AE-1 Black and white color”. Watch for my photo work soon. So far my black and white films of choice are ILFORD HP5 Plus 400, Delta 100, and FP4 Plus 125 IS0 (ASA). Originally posted at 8:46PM, 17 December 2014 PDT (permalink) georgeincanada2 edited this topic 44 months ago.

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