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Contouring For Black And White Photography.

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 about 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.

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 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. 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 lane 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 their camera’s live sneaking suspicion route , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

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 want to retain detail in a bright sky while a polarizing filter could be used to decrease reflections and boost contrast. Alternatively, assess taking two or more shots with varied 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, could also be useful 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.

Dodge and Burn. Dodging and burning is a pathway 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 may 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 perk up them to grow local contrast. It’s a great manner of giving a sense of better sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you can build up his effect gradually so the impact is crafty 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 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 lackluster straight from the camera. fortunately , it’s possible to work adjust the brightness of these two colours singly 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 can 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 greatest composition.

Take Control. Although coloured filters can 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 favored 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 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 segregation between objects of the same brightness but with different colours.

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Powder your face to set your foundation. An HD powder is preferable as it is the most matte but a translucent or no-color powder will do. Shake the powder into a powder puff and lightly pat or “beat” your face with the puff to buff the powder in without disturbing the foundation.

Makeup for photography is much different than the makeup you would put on for everyday wear. The bright lights wash you out while the camera shows fine details not noticeable to the naked eye, putting on full cringeworthy view any mistakes that you’ve made. Therefore, your makeup needs to be clean, precise, full-coverage, and matte (unless a dewy finish is what you are aiming for). This is also lighter, less cakey way of highlighting and contouring your face with foundations, which last longer than powders do and can give a more defined result. With traditional highlighting and contouring with foundations, you begin by applying a layer of your regular foundation and then layering the highlighting and contouring creams on top. This method skips the first step, giving you a more natural look while giving you the sculpting effect you crave.

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Blend your highlight and contour so you don’t look like you have tiger stripes! I like to use a damp Beauty Blender or cosmetic sponge; stippling brushes and buffing brushes work as well, whatever you are comfortable with. Use a patting or stippling motion so that you don’t blend your foundation or your contour away completely. The goal is to make the product blend into the skin while remaining defined and sculpted.

I’ve begun by doing my eyeshadow first to avoid any fallout under the eyes or on my face. This can also be cleaned up with a Q-tip dipped in moisturizer or Bioderma, but I prefer to avoid any disruption in the foundation altogether. After that, I toned, moisturized, and primed my face.

Color-correct any problem areas. I use apricot-colored concealer in my undereye areas to combat my dark circles and green concealer over any pimples or redness.

At this point you can enhance your highlight and contour using the powder technique I showed you in my “Highlighting and Contouring with Powder” tutorial, or go ahead and add blush, lipstick, and mascara and finish your application.

Begin by mixing your everyday foundation (full-coverage liquids or creams are best) with a bit of white cream or concealer. I also like to add a bit of yellow concealer to add brightness. You can also buy a foundation several shades lighter than your skin tone. Apply to the bridge of your nose; your undereyes; your cheeks sweeping up towards your temples; your forehead area above the eyebrows; around your mouth; and on your chin.

Take either a foundation or concealer several shades darker than your skin (remember that you will want a more high contrast contour because of the bright lights if you are contouring for photography) and mix it in with a tiny bit of your own foundation. Apply to the sides of your nose; the top or your forehead stretching down towards your temples; the hollows of your cheekbones swooping up towards your nose; and the sides of the jawline reaching nearly to your chin.

This technique is excellent for an everyday highlight and contour look. It is quick enough to add to your morning routine and light enough, depending on your application, to not look like your face is caked in foundation. It will also look excellent in high-defin

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