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How To Create Black And White Photographygraphs With Color Accents.

Look for Contrast, Shape and Texture. The complimentary and opposing colours that bring a colour image to life are all decreased 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 instantaneously 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 featureless straight from the camera. happily , it’s possible to work adjust the brightness of these two colours discretely 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 forceful blacks and whites. This should 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.

Try Long Exposure. Long exposure shots should 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 decrease exposure and extend shutter speed (by 10 and 4 stops respectively). characteristically , when exposures extend farther than about 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.

Take Control. Although coloured filters can still be used to manipulate contrast when shooting digital black and white images, it’s more common to save this work until the processing stage. Until a few years ago Photoshop’s Channel Mixer was the preferred 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 should 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 could also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create delineation between objects of the same brightness but with unique colours.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are purely 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 cooperative when you require to retain detail in a bright sky while a polarizing filter can be used to decrease reflections and boost contrast. Alternatively, evaluate taking two or more shots with varied 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, should also be advantageous 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 one will lighten foliage.

Shoot RAW + JPEG. The unsurpassed monochrome conversions are blundered 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 photograph 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 course of action 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 kick in their camera’s live thought manner , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

Dodge and Burn. Dodging and burning is a fashion 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 thought of taking a degree of because you can 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 up them to increase local contrast. It’s a good routine of sharing a sense of superior sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you could build up his effect gradually so the impact is subtle and there are no hard edges.

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Adding a selective splash of color to a black-and-white image leverages the most powerful features of both black-and-white and color photography. The color provides striking contrast that immediately draws your eye to the colorized subject — most often the main focal point of the photo. You instinctively scan the rest of the picture and pick up on the emphasized pattern and texture play against the color contrast, causing a truly enhanced viewing experience [sources: Design-Lib; Morton; Ghodke].

Go to the tool window, and select the ERASER tool. Modify the size of the eraser tool with the “scale” sliding toggle on the bottom of the toolbox window.

Hint: You can zoom in for a closer view by pressing Command + (Windows: Control +) on your keyboard. To zoom back out, press Command – (Windows: Control –).

The duplicated image on top of the original image: layer window open.

The duplicate black and white image will not be used again. Return to the original, color image. Click on the new layer in the layer window, and PASTE the black and white image into the new layer. Click on the small anchor icon to ANCHOR LAYER. The original image will now appear black and white.

Think about how many times you’ve flipped through a magazine and seen it: a black-and-white image spread across the page, with a bold splash of color highlighting part of the scene. Maybe it’s the blue eyes of a model, or the bright plumage of a bird as it wings across the page, but that simple break from the monochrome background draws your eye and captures your attention.

For such a complex effect, it’s an easy one to achieve with modern editing software. The specific process for the program you use may vary slightly, but the instructions on the next two pages will give you a big head start toward learning to add color accents to black-and-white photos.

To fine-tune the black and white adjustment, make sure the Black & White adjustment layer is selected in the Layers panel. Then click the Auto button in the Properties panel (Window > Properties). In the sample photo, this brightens areas that were yellow in the original photo and darkens areas of other colors, giving the black and white version more tonal contrast.

The layered black and white image. Note the background layer is still in color.

More GIMP TutorialsSepia Toned Pictures: a GIMP TutorialSelect a Photo Choose a photo for editing. Go to FILE and OPEN the image. Duplicate the Image Go to IMAGE and click DUPLICATE. Desaturate the Duplicate Image On the duplicate image, go to COLORS and.

..Turning Photos Into Cartoons: A GIMP TutorialGo to FILE and OPEN the selected image. Go to WINDOWS and select DOCKABLE DIALOGS. From the drop-down window, select LAYERS. A new layers window will open up.

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GIMP is a free photo editing program available for download, and can be used to add a touch of color to old photographs….

Go to the color boxes at the bottom of the tools panel to set black as the color to paint with. First click the small default colors icon above the color boxes. Then click the double-pointed arrow icon to switch to black as the Foreground Color.

You can brush over more than one part of the photo, bringing in color wherever you like. Try lowering the Opacity of the brush in the Tool Options bar to get a tinted color look in some areas.

How to Make Photos Black And White With a Splash of Color: A GIMP Photo Tutorial

Erase the areas of the photo that will become colorized. As you move the eraser, you will see the color appear. Don’t fret if the eraser goes outside of the area: simply select “anti-erase” at the bottom of the toolbox and you will be able to return any stray lines to the black and white scheme.

Use your new fancy photo on Facebook, or in a digital scrapbook page. The result is very impressive, and gives an artistic edge to any photograph!

Converting a photo to black and white and bringing back creative splashes of color is a great way to add drama and focus to your photograph.

A new Black & White adjustment layer appears in the Layers panel, causing the photo on the layer below to change to black and white.

Learn how to convert a photo to black and white in Photoshop CC. Then bring color back to part of the photo for drama and focus.

Go to WINDOWS and select DOCKABLE DIALOGS. From the dockable dialogs tab, select LAYERS. A layers window will appear superimposed on your photo. Click the white folded paper icon in the lower left corner of the layer window to CREATE A NEW LAYER. The default setting of transparency is fine: click “OK” and a new layer will appear in the window layer.

You can change the size of the brush tip as you’re painting. Press the [ (left bracket) key on your keyboard to make the brush tip smaller. Press the ] (right bracket) key to make the brush tip larger.

The adjustment will be visible wherever the layer mask is white, but will be hidden from view wherever the layer mask is black, letting the original color show through there. In the next steps you’ll add black to the layer mask, bringing some color back into part of the image.

Return to the Original, Color Image; Layer the Black and White Image

Go to the IMAGE tab and select DUPLICATE. A duplicate of your photo will appear in a new window.

Brush over the parts of the photo where you want to bring back color. You’re not actually painting on the photo; youre painting with black on the adjustment layer mask, which hides the adjustment and lets the original color show through.

Optional: You can drag the individual color sliders to change the brightness of corresponding parts of the black and white photo. Try dragging the Yellows slider to the right to make the flowers and grass even brighter. 

Click the Adjustments panel tab or choose Window > Adjustments to open the Adjustments panel. Then click the Black & White adjustment icon in the Adjustments panel.

In the Layers panel, make sure the white layer mask thumbnail on the Black & White adjustment layer is selected. The white border around that thumbnail tells you it’s selected.

A video tutorial is included at the end of the article to aid new GIMP users with finding the proper Layer window and editing tools.

If the area you are trying to colorize is a difficult shape, use the magnifying glass tool to zoom in on the area. This will help keep the colorization confined to a solitary object.

Click on the duplicate image. Go to the COLORS tab and select DESATURATE. There will be three options for desaturating the image: based on lightness, luminosity, or an average of both. Choose the method which creates the most appealing black-and-white image.

Select the Brush tool in the Tools panel. Open the Brush picker in the Tool Options bar and change the Size and Hardness of the brush tip. The values you choose depend on the photo. For the sample photo, try Size: 100 px and Hardness: 50%.

Any photo can be turned into a stunning piece of art by using selective colorization. By downloading the free GIMP photo editing software, anyone can convert a photo to black and white, then selectively colorize a desired section of the photo. All it takes is the use of layers and a careful application of the eraser tool!

The use of color accents in a black-and-white photograph is an old technique — older, in fact, than color photography. (Originally, the color was painted onto photographic prints.) The trick goes in and out of vogue with advertisers, but peruse any magazine rack long enough and you’re almost guaranteed to find at least one example. And although this special effect is most often found in professional photography, modern photo editing software puts it within easy reach of any interested amateur.

How to Create Black-and-White Photographs with Color Accents

Save the file (under the FILE tab). Select “Save As” and rename the file, so that the original image will not be replaced. GIMP will indicate you must export the image to save it: simply click OK and select the file quality to be 100%.

If you brush over an area you don’t want in color, switch from black paint to white paint by pressing the X key on your keyboard. Then brush over that area again. You’re actually painting with white on the layer mask, which makes the black and white adjustment visible again.

When the colorization process is complete, go to LAYER and select MERGE DOWN. This will bind the layers together.

But in an era when color photography can capture the most subtle shades nature throws at us, why does black-and-white photography still hold such sway? Part of the answer has to do with how we’re wired to process visual information. Color is a powerful force for driving our focus — the hunter-gatherer instincts that helped us spot animals hiding in the bush now draw us to pick out the color that doesn’t seem to belong in a scene. Take away the color from even a familiar image, however, and our minds are thrown for a perceptual loop. We may impose remembered hues on an object seen in black-and-white, but we’re also likely to become much more aware of the texture, patterns and shading in the image. These attributes would still be there in a color photo, but they take front-and-center in black-and-white.

The white rectangle on the Black & White adjustment layer in the Layers panel is a layer mask, which you can use to control where the black and white adjustment affects the photo.

Download and unzip the sample file, or use a color photo of your own. Click the Open button in Photoshop’s Start Screen or choose File > Open. Then navigate to the photo and click Open.

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