Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are just as useful 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 decrease reflections and boost contrast. Alternatively, assess taking two or more shots with different exposures to create a high dynamic range (HDR) composite. Don’t be afraid 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, can also be advantageous for manipulating contrast in digital images. They work by darkening objects of his 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.
Dodge and Burn. Dodging and burning is a trait 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 aspiration of because you may target the highlights, shadows or mid-tones with both. This means that you can 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 method of giving a sense of greater sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you may build up her effect gradually so the impact is crafty and there are no hard edges.
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 a couple years ago Photoshop’s Channel Mixer was the favored 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 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 segregation between objects of the same brightness but with diverse 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 dowdy straight from the camera. luckily , it’s possible to work adjust the brightness of these two colours singly 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 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, 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 most excellent 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). naturally , 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.
Shoot RAW + JPEG. The most excellent 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 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. 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 plan 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 assumption technique , but the usually slower responses mean that most will find it preferable or check the image on the screen post-capture.
Related Images of Famous Black And White Female Photographers
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Rineke Dijkstra was born in the Netherlands in 1959. The majority of her work is characterized by single portraits that make up a whole. As in her Beach Portraits series, she sets people up in the same location and photographs them in similar positions. This way, the only aspects of her photographs that differ series to series are the humans themselves. She has also taken photographs of Israeli soldiers, portraits of people in a park, bullfighters, and mothers. Her subjects are often seen facing the camera directly while standing, and the background tends to be free of any distractions. This straight-on, simplistic style makes her photographs easy to identify.
Mary Ellen Mark was both in 1940, and is well-known for her portrait photography, advertising photography, and photojournalism. Each of her photographs are stunning in and of themselves, and each separate image tells its own story. She shoots many of her photographs with a 20×24 Polaroid camera, which produces exceptionally detailed, large-scale photographs. Since she doesn’t have the chance to post-process her images, each shot has to be perfect as soon as the shutter is clicked. This in itself speaks volumes about her ability to perfectly capture a scene and use lighting to her advantage. Being a very versatile photographer, she has photographed both famous people and ordinary people who would otherwise not get their story out to the world.
Who are your favorite female photographers? And if you are a female, do you feel as though you’re less represented in the art world than your male counterparts?
Born in 1895, Dorothea Lange was both a documentary photographer and photojournalist, working mostly during the Depression-era for the Farm Security Administration. Her work is a collection of beautiful black and white images that illustrate the life of farm workers and their families in the Western United States. If you’ve ever taken a photography class (or, perhaps, even if you haven’t), chances are you have seen the photograph taken by Dorothea Lange below. “Migrant Mother” is her most well-known photograph, although she took many other influential images throughout the course of her career. “Migrant Mother” shows a starving mother and her two sons, who were all very willing to have their photograph taken. Because of this photograph, the government provided aid to the starving people in the camp.
Born in 1949, Annie Leibovitz is one of the most famous female photographers still alive today. She began her photographic career by working for Rolling Stone shortly after it launched, and in the ten years she worked for Rolling Stone she photographed many different celebrities. One of the most famous photographs she took during this period of time was of John Lennon and Yoko Ono – a photograph that most of you will probably recognize. After her work at Rolling Stone ended, she continued to take assignments that required her to photograph a large number of famous celebrities. She takes especially stunning portraits, and many of her more recent photographs have a sense of fantasy and created worlds to them.
Cindy Sherman, born in 1952, is a photographer most well-known for her conceptual portraits, most notably her Untitled Film Stills series. Instead of only being a female photographer, she uses this identity to question the representation of women in the media, society, and art through her photographs. In her series Untitled Film Stills, she takes a series of self-portraits that portray her as a variety of different actresses in a variety of different imaginary films. Throughout her work, she challenges traditional stereotypes of women.
Alice Austen, Berenice Abbott, Black and White, Diane Arbus, Dorothea Lange, Famous, Featured, Helen Levitt, Lisette Model, Margaret Bourke-White, Margaret Cameron, Photographers, Sally Mann, Top 10, Vivian Maier
7 Female Photographers You Really Need To Know by New York Film Academy
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When you think of the most famous photographers of all time, who comes to mind? Often names such as Ansel Adams, Richard Avedon, and William Eggleston come to mind first. What about all of the notable female photographers? Dorothea Lange, Julia Margaret Cameron, and Cindy Sherman are all famous photographers who are well-praised for their affect on the photographic industry, as well as the more recent Annie Leibovitz and Rineke Dijkstra. While the lists of “masters” commonly name all of the notable male photographers, there are plenty of female photographers who have and will continue to take the photographic industry by storm. With female equality becoming more and more apparent each and every day (at least here in the United States), it’s important to bring light to those female photographers who don’t get enough exposure in the art world.
Born in 1923, Diane Arbus is famous for her sometimes controversial black and white portraits of people living on the fringes of society. She liked to photograph unconventional subjects, such as drag queens, twins, clowns, and – most notably – a little boy holding a hand grenade. Most of her work was taken on a twin-lens reflex Rolleiflex camera, and some was taken on a twin-lens reflex Mamiya camera. The square crop is seen in the majority of her work.
Born in 1815, Julia Margaret Cameron became a photographer very late in her life – at age 48 – and her photographic career only lasted 11 years. Even so, her work is widely praised in the photographic world, and her dreamy, soft portraits were inspiration for many female photographers to follow. Her subjects were all humans, and her work is characterized by a soft-focus and close crop. Since she was working in the 1800s, each of her subjects had to sit very still as she laboriously completed the photographic wet-plate process.
We bring you a selection of 10 famous female black and white photographers that ever lived.
Posted on November 25, 2014April 19, 2018 by New York Film Academy
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