This is a before and after of the jim bridger power plant that i created recently
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The Power Of Black And White Photographygraphy.

Shoot RAW + JPEG. The most excellent monochrome conversions are met 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 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. 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 method 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 can also do this if they activate her camera’s live abstraction road , 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 immediately 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 dull straight from the camera. luckily , 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, 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 best composition.

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 advantageous . An ND grad is supportive when you want to retain detail in a bright sky while a polarizing filter could be used to decrease reflections and boost contrast. Alternatively, view taking two or more shots with different 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 her own. An orange filter, for example, will darken the blue of the sky while a green one will lighten foliage.

Take Control. Although coloured filters should 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 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 can 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 unique colours.

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 may 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 reduce exposure and extend shutter speed (by 10 and 4 stops respectively). classically , when exposures extend beyond in respect of 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 course of action 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 can only hope 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 grow local contrast. It’s a good route of sharing a sense of superior sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you could build up her effect gradually so the impact is crafty and there are no hard edges.

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Hengki is an Indonesian photographer who creates beautiful black and white landscapes (read my interview with him here).

Sabrina is a young Dutch photographer who creates black and white portraits. Some of her work is in colour, so it’s a good chance to compare the way she works in both mediums.

I’ve been thinking about the reasons that black and white photography appeals to me. Regular readers of my articles will know that I’m a big fan of tonal contrast in both colour and monochrome work. I use it as the basis of many of my compositions and it helps me create atmosphere and mood.

In the travel and tourism industry, colour is usually king. While colour photographs carry the power of full spectrum and can evoke strong emotion (red conveys hot, green for peaceful and relaxing) black and white, in it’s minimalist form, can provide an equally strong impact by using texture, contrast, elegance and simplicity. Black and white strips everything bare; you are left with the pure essence of the photograph. Recent trends show that creative companies and DMO’s see black and white not as a technical limitation but as a creative choice.

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Most photographers ask when should a photograph be converted to black and white, however, rarely do we ask why a photograph should be black and white from the outset, so let’s examine that!

Make sense? There are many ways of expressing yourself creatively in photography, and black and white is just one of them, but it certainly is a powerful medium. Trends come and go. Whether it’s the fast film, high grain techniques popularised by Robert Farber and Sarah Moon in the seventies, or the Photoshop based techniques of modern times such as using texture layers or HDR, most of these are ephemeral. They won’t be remembered as anything more than dated trends in decades to come. But black and white will endure.

Why do you think these photographers have chosen to work in black and white? How would their images look if they were in colour? How important is tonal contrast in the composition of their images? How important are other elements of composition, such as line, texture, form and shape? How does black and white emphasise these elements? How important is light in these images? How far removed from reality are the photos in these portfolios? How do they express the photographer’s vision?

Presenting photos in black and white often gives the impression of a timeless quality, a throwback to years gone by, or conveys a “classic” look/feel. Black and white never has been out of fashion, and in fact, is very trendy and hip currently!

Black and white adds a quality to your photos that helps emphasize emotion. Both landscapes and portraits can be powerful examples of this. The psychology behind this is that colour competes with the other aspects of the photograph and a black and white photograph allows your brain to process more of the emotion being conveyed.

You should definitely take a look at Joel’s work. One of the interesting things about the way that Joel works is his painstaking attention to detail – he may spend 40 hours working on a single image before he is happy with it. This approach is very unusual.

Destination DC in turn launched a marketing campaign called “DC Cool,” inspired by the Portrait Gallery’s American Cool show. The use of black and white images presented the city in a sexy, film noir-ish mood. One year later Forbes proclaimed Washington, D.C. “Coolest City in America”.

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If you read my articles about long exposure photography and intentional camera movement in the landscape you may have noticed a common theme amongst the photos illustrating the articles – most of them were in black and white.

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My ebook Mastering Photography: A Beginner’s Guide to Using Digital Cameras introduces you to photography and helps you make the most out of your digital cameras. It covers concepts such as lighting and composition as well as the camera settings you need to master black and white photography and take photos like the ones in this article.

With black and white we’re left with light, shadow, texture, and contrast. The simple technical process of turning a colour photograph into black and white can turn a rather mundane colour photo into an eye-catching and intriguing image. Sunsets, snowy scenes, interiors, and nighttime photos can all be striking black and white images.

Now that I’ve piqued your interest you’ll no doubt want to learn more about black and white photography. I’ll write about that in the future, but first I think it’s a good idea to go have a look at the work of some of the best black and white photographers out there. I’ve picked out five of my favourite photographers from 500px – looking at their work will help you appreciate the true power of the monochrome image.

Andy is a professional film maker and photographer who works in black and white. Tonal contrast is a strong element of his work.

In the interview Joel talks about photos representing the vision, or the essence, of the artist rather than reality. Black and white, in addition to being a beautiful medium in its own right (he uses words like mysterious, nostalgic and dramatic to explain its appeal) is a step removed from reality. Add in changes in tonal values achieved in post-processing, the surreality of long exposure photography techniques and the manipulation of light (also in post-processing) and you finish with a photo (or a work of art, depending on your world view) that is an expression of the artist, rather than the original subject.

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Have a think about the following points while you look through their portfolios:

Michael shoots both the landscape and architecture. He is another photographer who uses tonal contrast really well (read my interview with him here).

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But things became clearer today when I read an interview with Joel Tjintjelaar, a well-known fine art photographer who works exclusively in black and white. He is one of the leaders in the discipline of long exposure photography (I interviewed him myself as a case study in my book Slow).

Not all photos look great in black and white. It’s really an art to know when an image will look great before shooting or converting. When converting colour, it’s important to have different tones otherwise your image will look “flat” or lacking contrast in black and white. High contrast images, photos of buildings (both day and night exposures) and nature scenes are all examples of imagery that look great when converted to black and white.

In 2012, the National Portrait Gallery approached the Destination DC marketing organization to discuss a potential partnership to promote an upcoming black and white photography exhibit called “American Cool.” Around that time, Washington DC was transitioning from a city of policy makers to an emerging center of trend-setting hipsters.

Some programs like Adobe Lightroom have different presets for black and white to convert your photos to a mood and tone suitable for you.

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