Take Control. Although coloured filters could 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 favorite 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 single 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 can become unnatural looking. And adjusting the brightness of a red or pinkish 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 separation between objects of the same brightness but with varied 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 colorless 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 may 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.
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 should 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 up them to increase local contrast. It’s a good track of sharing a sense of greater sharpness and enhancing texture. Plus, because you could set the opacity of the tools, you can build up his effect gradually so the impact is subtle and there are no hard edges.
Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are merely 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 can be used to reduce reflections and boost contrast. Alternatively, interpret taking two or more shots with varied 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 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.
Try Long Exposure. Long exposure shots may 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 could 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). classically , when exposures extend farther than with respect to 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 best monochrome conversions are fetched 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 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. many 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 peculiarity 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 her camera’s live conception mode , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.
We are able to print from both film or digital files, so however you prefer to shoot your black and white we can still provide true black and white prints with a consistent and neutral image tone that will last a lifetime. We are printing on a Fuji Frontier Silver Edition Black and White Digital Printer using Ilford Express Digital Photographic Paper; these are not inkjet prints, and are not printed on color paper, but rather real Black and White photographs. We offer 4×6, 5×7, 8×10, 10×15 and various other custom sizes of prints in either glossy or pearl finish. Our lab is located in Signal Hill, California for walk-in business anytime; or we can ship to you worldwide.
Welcome to Fromex Photo and Digital’s True Black and White Printing
At Fromex Photo and Digital our aim is to enable everyone to enjoy the finest quality black and white prints on real silver gelatin photographic paper.
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Your images are printed on Kodak Professional Endura Premier paper- only the best for our customers.
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Choose from three Kodak Endura Professional Photo Paper types, each of which bring out the unique tones in a black and white image beautifully: Lustre, Glossy, or Metallic.
For film photographers: We process all types of 35mm and 120 Black and White film, including Ilford, Kodak, Fuji, Lomo and all color process black and white films. We welcome Holga camera users and Lomography enthusiasts. We also offer standard 18mb or hi-res 48mb film scanning of your negatives. Bring to our Signal Hill, California lab, or use our mail order service; just click on the Shipping Labels below for order forms and mailing labels. Most orders are ready for pick-up or shipped from our lab within 24 hours.
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A stylish Linen texture can also be applied to each paper type, for a chic, fine art finish.
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We believe there is a real difference between printing on genuine black and white paper and prints made by other methods, yet in most cases customers are never told how their black and white images are printed.
For digital photographers: just to go to our X-Wire online ordering instruction page to upload your images direct to our servers. You will be able to order both color and true Black and White prints in the same order. Just look for “Black and White” when selecting your print sizes. It’s fast and easy. Most orders are ready for pick-up or shipped from our lab within 24 hours.
Your Black and White Photo Prints are guaranteed to last 100 years in a normal display (and 200 years in dark storage)!
The Fromex True Black & White WebsiteIf you are ordering only Black and White prints, you should use our new TRUE BLACK and WHITE PRINTS website.
We guarantee our work. If you are dissatisfied for any reason, we will reprint your order or refund your money. No questions and no excuses!