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Famous Black And White Architecture Photography.

Take Control. Although coloured filters should 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 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 could 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 could also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create discrimination between objects of the same brightness but with diverse colours.

Shoot RAW + JPEG. The most excellent monochrome conversions are stumbled 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 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 mechanism 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 could also do this if they activate his camera’s live perceive custom , 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 instantly 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 colorless 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 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, could 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.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are simply 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 supportive when you want to retain detail in a bright sky while a polarizing filter can be used to reduce reflections and boost contrast. Alternatively, evaluate taking two or more shots with unique 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, may 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 one will lighten foliage.

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 can 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 reduce exposure and extend shutter speed (by 10 and 4 stops respectively). classically , when exposures extend beyond as to 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.

Dodge and Burn. Dodging and burning is a routine 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 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 brighten them to grow local contrast. It’s a great peculiarity of sharing a sense of superior sharpness and enhancing texture. Plus, because you can set the opacity of the tools, you should build up their effect gradually so the impact is subtle and there are no hard edges.

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The ornate cast iron facade of a Soho loft building shown in black and white, New York City…

Home » Black & White Photography » Black & White Architectural Photography

A black and white view of the intersection of Broome and Wooster streets in Soho, New York City…

Photographer Alessio Forlano also works as an architect, which greatly informs his artistic, black and white architecture photography.

The ornate Art Nouveau facade of the Bayard-Condict Building in New York City, seen in black and white…

An architectural detail from the undulating glass and steel roof which covers Kogod Courtyard, located between the National Portrait Gallery and the Smithsonian Museum of…

The gothic inspired facade of the Trinity Building in New York’s Financial District…

Architect and photographer Alessio Forlano bridges his professional and personal passions with his stunning black and white architecture photography. It’s a combination of interests that Forlano tried to keep separate, thinking that his photography would provide a creative refuge away from his work as an architect, but in the end this separation proved futile.

An exterior view of the Guggenheim Museum exterior in black and white, New York City…

“EmotionArch comes from my wish to spread knowledge about contemporary architecture and the role it can have in our society. I hope my photographs can stimulate viewers and create curiosity about architecture,” Forlano writes via email. Indeed, many photographs frame the architecture in a manner that highlights their grandeur, inviting viewers in to observe their majesty and creating curiosity about the story behind the work. Others focus in, highlighting the geometry to a level of abstraction. By removing a section of the building from its context, Forlano opens up a new appreciation for the artistry of architecture.

A view of the windows of the famous Willard Hotel in black and white, Washington DC…

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The undulating glass and steel canopy of Kogod Courtyard, National Portrait Gallery, Washington DC…

The ornate facade of 90 West Street in Lower Manhattan, New York City…

A black and white fine art photo of the exterior of the IAC Building in New York City in black and white…

Statue of Man Controlling Trade (depicted as a horse) at the Federal Trade Commission, Washington DC…

Instead, his series EmotionArch aims to show viewers how contemporary architecture provokes an emotional reaction. Primarily using wide angle lenses and his Fujifilm X-T2, Forlano’s photographs pay homage to the dynamic shape and form to the structures that fill our contemporary world. The high contrast, black and white photographs have a clarity and simplicity that make it possible to appreciate architectural aesthetics that may otherwise be lost in observation.

A close-up black and white architectural detail of an eagle from the arch Washington Square Park, in New York’s Greenwich Village…

A view of the Hirshhorn Museum and plaza in black and white, Washington DC…

A black and white view of the Old Executive Office Building at night, Washington D.C….

A carved stone relief in the Art Deco style at Rockefeller Center, New York City in black and white…

A black and white fine art photo of the Lincoln Memorial at night, Washington DC…

The statue of the Puck on the facade of the Puck Building, NYC in black and white…

Black and White EmotionArch Photographs Provide Stunning Perspectives

The interior of Union Station’s Main Hall in black and white, Washington DC…

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Black and white architectural photography by Andrew Prokos. Andrew’s award-winning black and white architectural photos are available as gallery-quality prints framed in various styles.

The brick facade of the National Building Museum captured in black and white, Washington DC…

My Modern Met granted permission to use photos by Alessio Forlano. Related Articles:

The neoclassical facade of 100 Broadway in New York City’s Financial District in black and white…

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