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Learn Black And White Film Photography.

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 some 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 subtle gradations may 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 demarcation between objects of the same brightness but with different colours.

Shoot RAW + JPEG. The greatest monochrome conversions are lighted 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 numerous 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 policy 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 suspicion lane , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

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 place than they would with a short exposure and this could help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If necessary , 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 beyond concerning 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 lane 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 should only aspiration of because you could 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 increase local contrast. It’s a great mode of sharing a sense of superior sharpness and enhancing texture. Plus, because you can set the opacity of the tools, you could build up her effect gradually so the impact is subtle and there are no hard edges.

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 right now 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 separately 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 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, 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.

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 helpful when you want to retain detail in a bright sky while a polarizing filter can be used to reduce reflections and boost contrast. Alternatively, look on taking two or more shots with diverse 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, may also be advantageous for manipulating contrast in digital images. They work by darkening objects of his opposite colour while lightening objects of his own. An orange filter, for example, will darken the blue of the sky while a green one will lighten foliage.

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The first thing you’ll notice when you get a roll of black and white film developed (particularly with the brand of film that I use: Ilford HP5 Plus) is that the dynamic range is a lot worse than what you’re used to with digital and colour film.

KNOW YOUR FILMWhen shooting black and white film, your choice of film brand plays as significant a role as your lighting and camera settings. Grain size, contrast, sharpness, tonal range and push/pull factor will all vary with different types of black and white film. For example, many people rave about Ilford HP5 400 but personally I find it has too much contrast and grain for the type of black and white work I like to do. On the same note, Ilford FP4 tends to be my go-to black and white film because it’s extremely sharp, fine-grained and   looks fantastic when pushed a stop or two. Everyone has their own specific taste and style when it comes to black and white photography and playing around with different types of film can help you find what works for you.

Black and white film in particular makes the skin look great. The natural grain adds texture and detail, while the lack of colour emphasises the tone of the skin.

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Mistakes can get pretty expensive if you’re not sure what you’re doing with your film camera. This forces you to quickly learn what you’re doing wrong.

WHEN SHOOTING PEOPLE, IT’S ALL ABOUT THE EYESHave you ever noticed how Richard Avedon’s black and white portraits always have these ridiculously intense, piercing eyes? That’s because he bleached the eyes in his prints to lighten them. If you don’t want to mess with chemicals, you can also get this effect by dodging (both in the darkroom and/or in photo editing software.) If you’re an absolute purist, you can use a reflector but prepared for the model to squint.

This added pressure of wasting money on the film and development means that you become a much more careful photographer. You consider how else each photo could be taken before actually taking it.

The effects produced and the parameters you have to work within are very different from any other type of photography. This can produce some very interesting results – results that you may associate with a much older style of photography.

This really bothered me the first time I got my film back because I didn’t know about it before I shot. I hadn’t adjusted my shooting style to match it.

You rely much more on composition, texture, shape and form to create a good photo, so you have to look for this before you shoot, not after.

That is my favourite reason for shooting on black and white film. You’re forced to hone your skills much faster.

#help #how to #black and white #film photography #photography

I have noticed over the past 2 years that development is getting more expensive.  It’s also taking longer to do and film is becoming harder to find. If we take that as a sign of things to come, it doesn’t look too good.

You need to be really careful about this. You’ll find that even landscape shots don’t come out properly, let alone photos of people indoors.

You don’t have this option when shooting on film. So you really have to pay attention to what it is that you want to capture and how it’s going to look in black and white.

Once you understand how the film reacts to the light, you can use it as a creative tool in your photography.

I particularly like how the light shining on the back of the subject’s head is emphasised by the dark figure behind him.

The light is harder to control but, when you expose a photo correctly with the light in the right places, the results can be much more dramatic.

35mm film and development is becoming increasingly scarce. This is because some of the major developers are getting rid of their wet labs, only doing digital printing.

A note from Josh, ExpertPhotography’s Photographer-In-Chief: Thank you for reading… CLICK HERE if you want to capture breathtaking images, without the frustration of a complicated camera. It’s my training video that will walk you how to use your camera’s functions in just 10 minutes – for free! I also offer video courses and ebooks covering the following subjects: Beginner – Intermediate Photography eBook Beginner – Intermediate Photography Video Course Landscape Photography eBook Landscape Photography Video Course Photography Blogging (Service) You could be just a few days away from finally understanding how to use your camera to take great photos! Thanks again for reading our articles!

For example, if you are photographing a woman wearing red lipstick, it will be gray or black in black and white (depending on the shade of red and intensity of color.) Green leaves look gray. Navy blue turns black. Over time, you will be able to look at any scene around you and be able to imagine it perfectly in black and white, with different degrees of contrast.

Take the photo below for example. I knew when I shot it that the left-hand side of the photo was going to be underexposed and that the right would be overexposed. This actually worked out really well.

LEARN TO THINK IN BLACK AND WHITEIf you’re shooting in black and white, your biggest handicap is that your own eyes see in color. Color is vibrant and therefore dominating. Being able to perfectly visualize what you are looking at in black and white can massively improve your black and white photography. This is even more true if you are working in film, as you don’t have a screen which you can set to black and white. Learning to turn off your “color vision” is neither easy nor difficult – it just takes some practice. If you make the effort, it will happen. Look at black and white images as much as possible, and then try to imagine them in color. Observe how the light looks indoors and outdoors at different times of day, intensity of shadows, shapes, forms and textures – they all look different in black and white versus color.

PUSH AND PULLAs I just mentioned, I like to push FP4 a stop. A lot. Why? Because it gives that extra little pop of contrast, for black blacks and white whites. If you were going for a more faded, vintage, washed-out look, pulling your film a stop or two would help you achieve this effect. Pushing and pulling can also save you in difficult lighting situations when you don’t have another ISO available.

One of my favourite things about shooting on film is how good skin looks.

In my post on film photography, I talk in detail about how shooting on film helps to hone your skill. You think a lot more about what you’re doing before taking each photo, rather than wasting a piece of 35mm film.

That’s also one of the advantages of the poor dynamic range. The contrast on neutral colours is boosted.

PAY EQUAL ATTENTION TO SHADOWGreat shadow detail can truly make a black and white photograph look amazing. When shooting film, this works to your advantage as you’ll have more detail in the shadow areas than if shooting digital. Look for interesting patterns and textures when working in shadows, and to obtain maximum detail, meter the darkest area of what you are photographing and bracket based on that reading.

My nearest lab that will actually develop it in-house is about 25 miles away. This isn’t really a lot of use as the development process itself takes a while. Instead, I take mine to my nearest major lab, who send off for it.

We have a great post on how to digitize film photos you should check out. Or how about trying our black and photography challenge to keep improving your work!

The answer is simple – there’s a lot more to it than meets the eye.

I’ve written about film photography and I’ve written about black and white photography. You’re probably wondering why I’m writing about black and white film photography.

Had I shot the photo above on colour film, you’d be able to see the subject with no problem. When shooting on black and white film, it’s important to determine where the light illuminates the subject and work around that.

I urge everyone to start shooting on film as soon as possible. There’s a good chance you won’t be able to experience it in the future.

That being said, there are still places around that do it at a reasonable price to a good standard. But black and white is a lot harder to get done.

PAY ATTENTION TO LIGHTPaying attention to light is a basic tip for improving photography all together, considering photography is based on light. The way light falls on objects, landscapes and people is even more important in black and white, as there is no color information. The intensity of the light and how it interacts with the surroundings are key factors in black and white photography. If you’re using artificial light, you can control these factors. If you’re using natural light, you’ll need to learn to work them to your best advantage to achieve the style you want.The time of year, time of day and position in regards to the sun are factors to take into consideration when shooting with natural light. Sunlight at noon in June does not look the same as at noon in January. Considering you won’t be able to alter the color balance to fit the mood you want, these factors become even more important.

Black and white film photography is all of this and more. Normally, when I take black and white photos, I shoot in colour first and convert it afterwards. This gives me more options in post production.

This still takes about 2 weeks or longer. I’m there regularly for printing anyway so it’s not too much of a problem.

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