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Elegant Black And White Photographys Calm It Down With Monochromes.

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 preferred 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 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 can 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 differentiation between objects of the same brightness but with unique colours.

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 dingy straight from the camera. happily , 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 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, 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 unsurpassed composition.

Shoot RAW + JPEG. The unsurpassed monochrome conversions are set foot on 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. 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 mannerism 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 thought modus operandi , but the usually slower responses mean that most will find it preferable or check the image on the screen post-capture.

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 area 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 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 beyond re 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 roadway 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 can only ambition of because you may target the highlights, shadows or mid-tones with both. This means that you may 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 good technique of giving a sense of greater sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you can build up their effect gradually so the impact is crafty and there are no hard edges.

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 useful . An ND grad is cooperative when you require to retain detail in a bright sky while a polarizing filter may be used to reduce reflections and boost contrast. Alternatively, consider 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 useful 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 single will lighten foliage.

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Considers every aspect of black and white photography. Useful for both film and digital.

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If you’ve been doing photography for any length of time, you know that any book written by Michael Freeman will be among the best you can buy on any topic. Freeman’s new book, Black and White Photography, keeps the tradition of excellence by providing photographers with a quintessential guide to creating and editing monochrome images.

In this book, Freeman rightly begins at the beginning—with a genuinely interesting history of photography. And since black-and-white photo was at the beginning, Freeman introduces the fundamental technical and style traditions established and refined by the masters as black-and-white shooting evolved.

But you’re never left with a dry, tasteless walk from Niepce’s 1826 eight-hour exposure to Daguerreotypes that reduced exposure time to 20 to 30 minutes. Freeman includes the artistic philosophies and concerns of the masters including and their responses to the introduction of color films.

Throughout, Freeman relates the past technologies and approaches with current technologies and options. So if you think you can skip the history part, you’ll miss important considerations for current photographers.

Despite the introduction and mass popularity of color film, black-and-white photography endures both for its aesthetic and artistic impact. You’ll learn the structure and characteristics of black-and-white films that serve as the basis for the “looks” that photographers today want to replicate when converting color digital images to monochrome.

As Freeman discusses how lighting, drama, geometry, and texture become the hallmarks of black-and-white images, I realized again that black-and-white shooting demands an artistic vision in ways that color photography does not.

The author discusses every aspect of monochrome images from shape and composition to tone and texture, and he clearly demonstrates how to maximize each aspect to deliver your final interpretation of the image.

Abundant and beautiful images illustrate Freeman’s techniques.Like most photographers know, working with 12- or14-bit RAW images offers files that are data rich, allowing a wide range of adjustments including highlight recovery during conversion.

Freeman shows conversion examples in programs ranging from using Adobe Camera Raw (ACR) with it’s SHL/Grayscale and Curves tools, and Adobe Lightroom to various plug-ins such as Silver Efex Pro (a plugin that sadly is no longer supported by Google).

You’ll learn how to think in black and white so you can pre-visualize the final image. The author spends time showing you how to adjust and perfect contrast, how to work with high- and low-key images, and how to tone-map images with and without High Dynamic Range (HDR) processing to name a few.

At every turn, Freeman includes alternate options. By manipulating hue, he demonstrates how to fine-tune contrast, atmosphere and depth in the image, as well as how to adjust the appearance of vegetation and dark and light skin tones.

As a photographer and author, I know that Freeman’s recommendations keep with the best of industry standards. Whether you’re new to monochrome shooting or returning to it after time away, this book will make you anxious to begin shooting black-and-white.

Freeman leaves no stone unturned. It’s with a detailed, clear-eyed vision, from capture to thoughtful processing, that the rich history of black-and-white photography is brought forward to today.

Learn all features, menus, and controls of the Panasonic ZS100 from a fully illustrated guide book with a detailed index and many helpful hints.

Paperback: 192 pages Publisher: Ilex Photo (July 11, 2017) Language: English ISBN-10: 1781573360 ISBN-13: 978-1781573365 Product Dimensions: 9.4 x 0.5 x 10.1 inches Shipping Weight: 1.8 pounds (View shipping rates and policies) Average Customer Review: 4.

4 out of 5 stars 9 customer reviews Amazon Best Sellers Rank: #347,153 in Books (See Top 100 in Books) #397 in Books > Arts & Photography > Photography & Video > Equipment, Techniques & Reference > Reference #1281 in Books > Self-Help > Creativity

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I am so glad Michael Freeman released an updated version of this excellent, academic book filled with great examples. Strongly recommend for any serious BW photographer.

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#EyeEmNewHere: See This Week’s Talented New Community Members

Take control of your images — learn to use manual settings and understand their effects. Master the Exposure Triangle and get stunning results.

Each month, we present you with a selection of the photos our community has recently made available for licensing on EyeEm Market. From all the photos uploaded, I create selections that show you how community members are exploring different topics. This month, I’ve focussed on a current visual trend: Monochrome images. Some of these are taken in black and white, others in such stripped-back colors that you could be forgiven for overlooking the color.

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Michael Freeman, professional photographer and best-selling author, was born in England in 1945, took a Masters in Geography at Brasenose College, Oxford University, and then worked in advertising in London for six years. In 1971 he made the life-changing decision to travel up the Amazon with two secondhand cameras, and when Time-Life used many of the pictures he came back with, he embarked on a full-time photographic career.Since then, working for clients that include all the world’s major magazines, most notably the Smithsonian Magazine (for which he has shot more than 40 stories over 30 years), Freeman’s reputation as one of the world’s leading reportage photographers has been consolidated. Of his many books, which have sold over 4 million copies worldwide, more than 60 titles are on the practice of photography. For this photographic educational work he was awarded the Prix Louis Philippe Clerc by the French Ministry of Culture.Freeman’s books on photography have been translated into 27 languages.

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What unites them all is their visual effect: The reduction to simple tones makes these photos look quiet and elegant, no matter what the subject. This effect was deployed to great effect in the movie Coffee & Cigarettes, turning those two commodities into a feast for the eyes. Looking to employ it yourself? Start with one of our 80 million+ photos on EyeEm Market.

5.0 out of 5 starsyou know that any book written by Michael Freeman will be among the best you can buy on any topic

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Beautifully illustrated and far-reaching in scope, this guide is destined to be a standard reference for years to come. Alongside the work of author Michael Freeman, you’ll find the work of iconic black and white photographers such as Ansel Adams, Ian Berry, Bill Brandt, Edward Curtis, Brett Weston and Edward Weston, amongst others.

From its historic roots, black and white photography in the digital age is thoroughly explored. Freeman covers all aspects of black-and-white digital photography: the fine art tradition as well as the techniques.

Learn how to see and expose in black and white, digitally convert color to monochrome and develop a black and white digital workflow using the latest software.

The Soul of the Camera: The Photographer’s Place in Picture-Making

Easy-to-understand photography tips from professional photography masters ─ all in one compact book that fits into your camera bag.

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Subtlety of Tones“I love the subtlety of tones that black and white images can have. In a world that often boasts about how many millions of colors a TV or monitor is able to produce – I love that in ‘Mono’ there is such a variety of what can be achieved in a photo. Black and White sounds so boring – but the fact is that there are so many shades in between – I love the challenge of bringing them all out in an image!” – Jim

The Photographer’s Eye: Composition and Design for Better Digital Photos

Black & White Photography: The timeless art of monochrome in the post-digital age Paperback – July 11, 2017

Advancing Your Photography: Secrets to Amazing Photos from the Masters

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DSLR Photography for Beginners: Take 10 Times Better Pictures in 48 Hours or Less! …

“Neverworld Wake” by Marisha Pessl Read the absorbing new psychological suspense thriller from acclaimed New York Times bestselling author Marisha Pessl. Pre-order today

UPDATE: Learn more about Black and White Photography with our new Essential Guide to Black and White Photography.

On-Camera Flash Techniques for Digital Wedding and Portrait Photography

Even though it has been twenty years since I worked in black and white photography, I was still eager to read this book because the author, Michael Freeman, is such an insightful…Read more

The reduction to simple black and white tones makes any photo look sophisticated – even if there’s some color left in the frame.

The biggest secret to start taking stunning pictures is simply to…

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Which do you prefer – Black and White or Color?What do you like about your preference? Have you experimented much with Black and White digital photography? Interested to hear your thoughts in comments below.

Read the book from cover to cover.Full of useful processing information, all very easy to understand.

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5.0 out of 5 starsShould be part of a Photographer’s “Library”

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Variety“I find the creative process with black and white images is so… artistic. It’s like molding clay – you can shape it into a myriad of shapes. Black and White images can be strong, high contrast and powerful – or they can be so soft, gentle and subtle.” – Belle

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Learning to See Creatively, Third Edition: Design, Color, and Composition in Photography

Of course the black and white vs color debate is a very personal one. For every person I ask who loves shooting mono there are others who much prefer the vibrancy of color photography.

No Distractions“I find that colors can be terribly distracting in some images and can take the focus away from your subject. I do portrait work and find that taking the color out of an image lets the subject speak for themselves. Its raw, it’s stripped back, it’s honest and it allows you to show the true person.” – Shane

As I said yesterday in the post announcing our Black and White Assignment it seems as though Black and White images are making something of a comeback of late as digital camera owners rediscover the beauty of mono images.

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If the big response to the assignment is anything to go by readers of this blog LOVE black and white photography too (I’ve used a few of the images submitted in the assignment on this post to whet your appetite).

Black and White Photography: A Basic Manual Third Revised Edition

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I downloaded a sample to check it out and find that major parts of that samplers plagiarized from Black and White Photography Field Guide.Read more

Fine Art Inkjet Printing: The Craft and Art of the Fine Digital Print

Here are the new community members that grabbed our attention this week.

Versatility“I love that it’s a format that suits almost any type of photography. Portraits, landscapes, urban landscapes, architecture. Not only that, it’s a medium that adapts really well to all lighting situations. Whereas color photography often works best on sunny days or in brightly lit studios – low light just makes a black and white image moody.’ – Sol

The first comprehensive biography of Weegee—photographer, “psychic,”—from Christopher Bonanos, author of Instant: The Story of Polaroid.

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This item: Black & White Photography: The timeless art of monochrome in the post-digital age

5.0 out of 5 starsExcellent photography reference book for the BW photographer

The Photographer’s Black and White Handbook: Making and Processing Stunning Digital Black and White Photos

Zen Camera: Creative Awakening with a Daily Practice in Photography

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50 Paths to Creative Photography: Style & Technique (The Photographer’s Eye)

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One of the questions I’m being asked about more and more lately is about Black and White Digital Photography.

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I will join the group here with a 5-star rating. I am not a huge fan of the “star” rating system, because – in my opinion – it effects sales disproportionately (a 5-star book needs only one bad review in many to become a 3 or 4 star book).

Being an author myself, I understand this, and I don’t think anything other than 5-star accurately reflects the utility of this book.My primary question would be whether I would recommend that a serious photographer purchase this book.

And I would recommend it. I have been shooting (film, progressed to digital in 2002) for 40 years; and am mostly-self-taught. This means (especially in the early years) lots of “how to” books. There are lots of pretty good ones out there and lots of not-so-good ones.

Many keep re-iterating the same “basics” over and over again, which for the most part is a waste of space for the seasoned user. There are a few real “keepers” in my view. But there is NO ONE book that comprehensively covers a subject.

Like any learning endeavor (even school textbooks) you need to collect different books to supplement each other. This is one of those books. It has a lot of very good information in it and should be part of a serious B&W shooter’s “library” in my opinion.

But it probably isn’t the only book you should have (I think the Ansel Adams books are probably part of the library too).Now for some objective criticism.The positive: This a a book for those who like to “get under the hood.

” I am one of those. I really enjoyed the brief history, and the comparison of B&W film characteristics with digital. It puts what I am trying to do and why into context. There is just enough information about how to use the popular software applications.

It is not a re-hash of the how-to books.The negative (or perhaps “constructive” 🙂 ): Some of this may be editorial, but it affects the reader experience. My biggest issue is that the text often references (usually Photoshop) measurements that are not illustrated.

It often will say something like, “as the histogram in this image illustrates …..”. Then rather than having a histogram as an illustration for the image, the book will show the image and occasionally some sliders for the suggested adjustment.

Likewise, there is often a reference made to an original image and then the suggested adjustments and the final image. Sometimes the original image is presented – but often it isn’t. Sometimes the “stages” are illustrated by resulting image.

But sometimes they are not. This is very inconsistent throughout the book and is somewhat disconcerting for the reader who is trying to follow and learn.Overall, these are not major issues and I would recommend this as an addition to your library

Black and White Landscapes: Weekly Photogrpahy Challenge 6 years ago

I have a few friends who are into Black and White photography and I asked them what it was that attracted them to it. Here are a few of their reasons for getting a little obsessed with Black and White:

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