High Contrast Black And White Portrait Photography

January 15, 2019 4:53 am by columnblogger
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High Contrast Black And White Portrait Photography

If you have trouble imagining how an image may look in black and white, try setting your camera to a monochrome setting. While it isn’t recommended to do this for a final image, as long as you shoot in RAW file format, then all of your image’s color data will still be present in the file, and Lightroom and Adobe Camera Raw will reset the photo back to color once it’s imported. Doing this will allow you to have an idea of how an image will work in black and white, while still providing the highest amount of versatility in post-production.

Thank you to all the photographers that shared their best high contrast B&W shots in this photo contest with chances to win your prize choice. A special thanks to friend and professional photographer Kevin Mullins for his collaboration as a guest judge. Kevin is a multi-award winning wedding photojournalist and documentary photographer based in Wiltshire, England. He shoots wedding in a “pure” documentary style meaning he doesn’t intervene, or contrive any image throughout the day. As well as shooting weddings, Kevin is a recognized speaker in the field of wedding photography and the business of wedding photography.

If you’re going to create high contrast black and white photos, the best advice is to add it with light, not in Photoshop. Small global adjustments are okay and won’t hurt your images, but definitely do not crank the contrast slider to 100. Try to limit it between +15/-15. For local adjustments, use a dodging and burning technique of your choice. The key point in this, and all post-production, is subtlety.

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Portrait photography is a genre where black and white images can really shine. Like any technique, there are considerations that you should regard that can help to make sure your images have the most impact.

Certain subjects scream out to be shot in black and white. Other subjects may not be so obvious. Bright, punchy colors obviously make for vivid color photos, but by removing the color element you can completely change how a subject or scene is perceived. When you want to ensure your viewer is focused on a particular element, color as a graphic element, can become a distraction. Try removing it.

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When it comes to lighting a black and white portrait image, there are no hard and fast rules. If you like high contrast images with hard gradations in tone, then choose a harder source of light. If you like soft tones and subtler images, then you want a softer light source.

If you’re new to black and white photography, do remember that these are guides and not rules. If you need to stray from them to get the result you’re after, do so without hesitation.

For many photographers, black and white is more than a creative choice at the post-production stage; it’s a mindset. If you can start the creation of an image knowing that you intend it to be black and white, you can take steps to ensure that all of the elements of a good monochrome image are in place before you press the shutter. Things like contrast in tonality, contrast in lighting, and appropriate expressions from your subjects are all elements that are difficult, if not impossible, to fix after an image is taken.

Why would you choose to create black and white photographs in the era of digital cameras that are capable of accurately capturing millions upon millions of colors? Black and white photography seems to be a constant in the history of the medium, with color technology only propagating itself into wide use around halfway between Nicéphore Niépce’s first heliograph and today.

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If you’re working on an image that you feel isn’t up to scratch and you ask yourself if it will work in black and white, the answer is probably no. A black and white treatment will often emphasize the flaws that made you question the image in the first place, and a bad photo is a bad photo regardless of its color scheme or lack thereof.

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Congratulations Amateur Winner “Silky Water” by MarvinEvasco17

“Wedding photographer in Lake Como and Lake District, Italy.” by alessandroavenali

“Another epically wonderful image. I really want to study the image and look through its layers.  This image would look wonderful nice and large and framed on a wall.  I love looking at it.” – Kevin Mullins

Hopefully, you can see that even though bold colors can make for vivid imagery, their absence can as well.

It’s all about personal preference here. If you’re not sure what yours is, try finding the first ten black and white portraits that stand out to you the most and see if you can deconstruct them in terms of lighting.

Here is an exercise you can do with your portrait subjects to get a mixture of great expressions. Prepare a list of words or phrases and ask them to react to how they feel to each one. The words you choose can be simple descriptors of emotion like: love, sad, joy, angry and melancholy. For more diverse expressions try more abstract words, or funny ones like: cheeseburger, politics, Teletubbies or Hulk smash. As a bonus, this sometimes works extremely well to lighten the mood when you have a subject who’s tense or nervous during a sitting.

“This is such a well spotted image.  It’s a scene that is made for monochrome.  Perhaps a slightly wider lens choice if possible.” – Kevin Mullins

There’s a lot of debate on both sides of the argument, but for me and many others it’s a simple matter of aesthetics. A good black and white treatment has a way of stripping unneeded information from an image, helping you to emphasize specific elements to your viewer without the distractions color can provide.

Editor’s Note: This is one of a series of articles this week featuring black and white photography tips. Look for earlier ones below and more daily over the next week.

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“I really love this image and want to find out where the child is going.  He’s having fun, or rushing somewhere?  The exposure is excellent in challenging conditions.  It’s a well seen and well executed image.  The Black and White conversion is perfect and detail is lost in the shadows but only to enhance the image.” – Kevin Mullins

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This can be a difficult concept to understand without seeing it, so I have included an example of a color version of one the images above. Ask yourself: How did your perception of the photos change? What did you notice first in each of the images? Do you feel differently or think differently of it when you view it in color than in black and white?

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The most important part of the majority of portraits are the eyes. They are usually the focal point that the rest of your image is built around. This is especially true with black and white. With the omission of color, a black and white image often breaks down into graphic forms and shapes. Eyes are shapes that everyone recognizes and they draw immediate focus from your viewers. Make sure that your subject’s eyes are well lit, and focus is critical.

Like the eyes, other facial features become more prominent in a black and white portrait. You can use this to your advantage by conveying emotion in your images. Even tiny changes in your subject’s expression can make a difference. Things like a raised eyebrow, a twitch at the corner of a mouth, and smile lines under the eyes can all be used to great effect.

“This image speaks to me from an emotional point of view.  The natural light falling on the face is perfect and the exposure across the whole image is spot on.  Even though this might be more of a candid shot than a portrait its beautifully executed and lovely monochromatic finish.” – Kevin Mullins

Finally, if you try black and white and you like it: welcome to the addiction!

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