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Street Photography In Black And White.

Take Control. Although coloured filters may 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 preferred means of turning colour images monochrome, but now Adobe Camera Raw has more powerful 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 may become unnatural looking. And adjusting the brightness of a red or rosy 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 can 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 diverse colours.

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 advantageous . An ND grad is cooperative when you want to retain detail in a bright sky while a polarizing filter may 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, could 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 one will lighten foliage.

Shoot RAW + JPEG. The greatest monochrome conversions are found by chance 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. most 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 process 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 her camera’s live apprehension method , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

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 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 lackluster straight from the camera. fortunately , it’s possible to work adjust the brightness of these two colours discretely 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 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, 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 greatest composition.

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 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). characteristically , when exposures extend beyond as regards 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.

Dodge and Burn. Dodging and burning is a road 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 hope of because you could target the highlights, shadows or mid-tones with both. This means that you should use the Burn tool to darken highlights when they are too bright, or the Dodge tool to brighten up them to grow local contrast. It’s a great manner of giving a sense of superior sharpness and enhancing texture. Plus, because you can set the opacity of the tools, you may build up their effect gradually so the impact is crafty and there are no hard edges.

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Autumn in Paris would not be as well conveyed in a B&W photograph.

Tags: b&w, blackandwhite, oped, opinion, sebastianjacobitz, streetphotography, thoughts

Black-and-white still remains the photographer’s favorite for street photographers, and with very good reason. Where in other genres monochrome has become a niche look, street photography is different. Why does B&W remain the favorite choice of street photographers, and are there logical reasons to go for it?Black-and-white was naturally the first choice for photographers of old due to technical restrictions. Film wasn’t able to showcase color, and it took a long time until more and more street photographers explored new opportunities for color work. Nonetheless, it seems most modern street photography photos are still in B&W.

There are also some strategic reasons to favor black and white over color. As street photographers we usually do not remove elements from the frame in post-processing. Our job is to record an authentic moment in time, that never happened before, and will never happen again. A skillful street photographer makes quick decisions, and is able to remove distracting elements from the frame by moving in closer and positioning him/herself correctly, before pressing the shutter. Most of us would not resort to using post-processing tools to remove objects. There are times when bright colorful elements such as stop signs, trash cans, or cars are inevitable, and will draw the attention away from the subject. By removing the color, you are able to bring the attention back to the human element.

For interested photographers in the modern age looking to make their way into street photography, it is much more likely to discover the work of Vivian Maier, Robert Capa, or Bruce Gilden, who almost exclusively shot in B&W. Quite interestingly, Vivian Maier also had a collection of color images that have mostly remained unpopular.

Modern technology is now more than able to capture colors of the real world. If necessary, editing makes it possible to change the look of colors in any direction you can imagine. And additional complexity like white balance becomes easier to deal with thanks to digital cameras offering RAW files that give photographers more flexibility to adjust the look afterward.

There are also a few characteristics that make black and white advantageous in comparison to color.

There are other times when the color is amazing but also overpowering, and risks becoming the subject because the human element is lost in the chaos.

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Here a B&W conversion would not make any sense and the subject would lose interest.

But the following are some of the possible reasons why B&W is still popular among street shooters.

In general, I’d advise you to think about which style you chose before you go out and shoot. Both variations are unique and aren’t interchangeable with a simple click in the post production. You have to observe the world very differently. With B&W, you will focus more on the light and shadows, while color requires you to have a look at every possible combination of annoying colors that could break your image.

Later on for me, the noise wasn’t an annoyance anymore but instead became an aesthetic choice. It is a lot easier to emulate old pushed Tri-X film than the ever popular Kodachrome. Color has to factor in a lot more variables which make it near impossible to emulate them perfectly.

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Color will also often give a sense of place or time in street photography. It will evoke the feeling of a season, for example, or the time of the day – from the warm glow of the golden hour, to the cool tones of the blue hour.

The works of talented and passionate photographers from around the world capturing images of “life in our time”…

This can be very difficult, and the composition doesn’t always come out like the street photographer had envision. Often, you observe a nice scene that really catches your interest, but you also face the problem of distracting objects in the background. Especially colorful objects can distract the viewer and sidetrack the attention.

About the author: Sebastian Jacobitz is a street photographer from Berlin, Germany, capturing the everyday life in the city. The opinions expressed in this post are solely those of the author. To see more of his work, visit his website, The Street Photography Hub, or give him a follow on Facebook and Instagram.

Tips for Culling Your Photos – How to Throw Away the Worst and Concentrate on the Winners

Editor’s Note: This is last of a series of articles this week featuring black and white photography tips. Look for earlier ones below.

For landscape or portrait photographers, there are icons like Sebastiao Salgado or Helmut Newton who put out impressive black and white images. But looking back, the past decades have been dominated by color work.

Either way, try sticking with a style for more than only a few images and not switching back and forth. B&W might be a classic that will never run out of fashion, but with color street photography you could set the next highlight in your unique style.

So, the questions is this: Is street photography better in color or black and white? There is no right or wrong answer to this question, it is definitely a personal preference. Some photographers only shoot in color, others prefer black and white for all their work. For my part, I let the subject dictate the choice and that decision is usually made before I press the shutter.

By shooting in RAW you retain all the color information in your file, which allows you to play with the color sliders in Lightroom and turn a distracting color into a light or dark grey tone to fine-tune your final image.

Un globo, dos globos….la vida es un globo que se me escapó

By removing the color distraction it’s a much stronger image, bringing attention right to the subject.

Finding a great background, such as a textured wall or a colorful storefront, is a great way to anticipate a shot, by waiting for the right subject to enter your frame. It may be even more important to get the right subject in a color shot than in a black and white picture. Color harmony plays an important role in making, or breaking the image. Most importantly, color should not overpower your subject. It should be part of the story, not a distraction from it.

The $1,300 Fujifilm X100F (left) and the $659 Ricoh GR II (right).

To restore the original focus of the image, it can be helpful to display the picture in B&W. This way, the content becomes king and the look becomes less important. Since street photography often tries to show a story or the interaction of people, B&W can help to emphasize the content, by fading out distracting colors.

Because of that, B&W is often the “easier” choice by reducing the complexity and difficulty of an image.

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B&W will work best if your subject already has a timeless look.

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In contrast, street photographers never quite made the full transition and therefore beginners are more likely to try their luck with monochrome images first, following their idols.

In the same vein, silhouette images work very well as monochrome versions. The picture becomes very minimalistic, but when done right can encourage the viewer’s imagination.

Finding a textured colorful background and waiting for the right subject to enter your frame makes for a strong color street photograph. The green tires and blue shoes completed the shot.

Therefore, I feel that colors should match in some way. This could be that one color is very present in the image, or that different colors create either a very harmonic picture or tension. But including color just for the sake of not doing B&W doesn’t work most of the time. Color is too complicated, especially in uncontrollable situations like street photography.

Note: This week is Black and White Photography Week on dPS and to celebrate we’re offering 50% off our Ultimate Guide to Black and White Photography eBook when you use the coupon code BW50 during check out.

Silhouette photographs are often stronger in black and white than in color. The human element featured should be well-defined, and there needs to be some separation to identify the shape of the body. Removing the color will help make your subject stand out more, especially if it is small in the frame. The eye will automatically be drawn to the human shape.

Don’t forget that it’s your vision, and you are shooting street photography for yourself first. Don’t get stuck, try new things! If you always shoot in color, go out and train yourself to see in grayscale for a few days. If you favor black and white, take another look at the world around you and learn to appreciate and use the colors it has to offer. You may discover a whole new way to see, and you will undoubtedly grow in the process. Have fun!

Going out on a photo walk with a specific color in mind is also a fun way to approach street photography. You will be surprised at the creative ways you will see the world around you by focusing your vision on one color. Try it!

Street photography is one of the hardest and most fast-paced genres, leaving little to no time for the composition. While studio photographers can often take all the time they want to create their image very carefully, street photographers have to react on the street very quickly.

Often times it is more interesting for the viewer when not everything is revealed, but there is still room for imagination. This kind of image works very well in B&W. Increasing the contrast also adds to this effect. Colors often would be too distracting and take away from the mysterious atmosphere.

You may like to use black and white for its timeless quality. If your subject also has a timeless look, a black and white processing will make your image stand the test of time, and often give it a more artistic look. This is even more true when no element in your frame dates your photograph (such as mobile phones, cars, etc.). Other times, the black and white processing will even help hide those elements.

When I started my journey into photography, I didn’t want to invest too much money in a camera. A consequence was that ISO noise became very apparent, especially in low light situations. In color work, this can become very distracting and lowers the overall quality of the image. For B&W, some noise can actually work very well, because it resembles the old analog look. You don’t need a Fujifilm X100F to begin with. A Ricoh GR works wonders, even in low light situations when embracing the film look.

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Nonetheless, there is a huge amount of B&W released on the Internet very day. Standing out from the masses is very difficult when you can only show distinctions of gray. It is easy to get lost in the mass of mediocre monochrome images. Therefore, you have to develop a unique picture style that is distinctive from the rest.

This short video about Color versus B&W is part of my Street Tips series called Hit the Streets with Valerie Jardin

While beauty itself often isn’t the sole subject, the contrast of light and darkness is a frequently used subject. A lot of street photographs revolve around subjects being in the spotlight while a lot of the scene is hidden in the dark.

This led to the development of free film presets like the Silver Efex package. So for the classic film look, monochrome has a lot more to offer and is much easier to replicate, than his colorful alternative.

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Documentary photography is one of the oldest genres, and a lot of street photographers try to replicate the look of classic photographers like Robert Capa or Henri-Cartier Bresson. Even until the late 70s, most icons didn’t make the transition but continued to shoot in B&W. Exceptions such as Joel Meyerowitz or Saul Leiter were pioneers with their beautiful color work, but they also had to fight a lot of criticism.

In this frame the subject is interesting but your eye is drawn to the colors of the street signs.

When is color preferred? The color can be an integral part of the story, which also means that a black and white conversation would take away the most important component of the image, and it would not make any sense.

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One often misused misconception is converting a bad colorful picture into monochrome and hoping that it turns out better. I agree that B&W makes it easier to conceal mistakes, but a bad photo stays bad and doesn’t profit from monochrome. A picture that doesn’t work in color, because it lacks the depth of story or is badly framed, won’t be better in B&W.

Choosing a color theme then you are out on a photo walk can be a fun project. Here my color theme was blue!

Just as light and darkness can become subjects on their own, colors play an important part in color images. Whenever the photographer decides to stay away from monochrome versions, the colors shouldn’t just be there randomly. In a way, they should make sense and really add something to the scene as if the photographer painted the scene himself. Otherwise, why should you include them?

First, let’s assume that you are shooting with a digital camera and the choice of color or monochrome treatment can be made at the post-processing level. The decision of choosing color or black and white if you are shooting film is a different story, and requires a different frame of mind, as it is usually made before you leave the house.

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