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Top Black And White Photographers Of All Time.

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 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). naturally , when exposures extend beyond apropos 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 prominent to save this work until the processing stage. Until a few years ago Photoshop’s Channel Mixer was the favored 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 could 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 should also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create segregation between objects of the same brightness but with unique colours.

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 lackluster straight from the camera. luckily , it’s possible to work adjust the brightness of these two colours singly 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 strong 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, could 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 thoroughfare 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 thought of taking a degree of because you may target the highlights, shadows or mid-tones with both. This means that you may 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 routine of giving a sense of better sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you can build up their 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 just 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 supportive when you require to retain detail in a bright sky while a polarizing filter should be used to reduce reflections and boost contrast. Alternatively, look on taking two or more shots with unique 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, should also be advantageous for manipulating contrast in digital images. They work by darkening objects of their 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 attained 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 practice 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 kick in her camera’s live assumption scheme , but the usually slower responses mean that most will find it preferable or check the image on the screen post-capture.

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We will conclude this article in the part two of this series. See the Continuation of Black and White Photograpers here

His photographs are still seen on calendars, postcards, and so on and form a historical record of the national parks before they were changed by tourism. The nation’s top civilian honour, the Presidential Medal of Freedom, was awarded to him by Jimmy Carter in 1980, and he has won numerous other awards – and had several named for him! Adams is undoubtedly one of the most popular black and white photographers that ever lived

As a child he trained unsuccessfully at music and with better luck as a painter (with his painter uncle Louis) he even went to art school, studying under the painter/sculptor André Lhote. He however, found his interest was more towards the realism provided by a camera than the cubist style that was fashionable in art at that time. He was inspired by the work of Martin Munkacsi, a Hungarian photojournalist, mentored by Endré Friedman (aka Robert Capa), and always said that he tried to catch ‘the decisive moment’ of an event – the one that, if you missed it, would never come again.

Unfortunately, she suffered from depressive episodes for most of her adult life and finally took her own life during one of these in 1971. As sometimes happens, her death inspired a great interest in her pictures and the following year saw her photographs on display at the Venice Biennale (the first American to do so), while millions saw her work at travelling exhibitions over the next few years, and then more recently during the 2000’s.

His younger brother, Cornell Capa, later founded the International Fund for Concerned Photography in his name in 1966 and then the New York International Center of Photography in 1974. Also, the Overseas Press Club created a medal in his honour, the Robert Capa Gold Medal. Robert Capa is credited with creating the term ‘Generation X’, which he used to refer to the young people who became adults just after WWII, in a photo-essay published in 1953.

Famous for his pictures of combat, Jewish Robert Capa was born in Budapest, Hungary as ‘Friedmann Endre Ernö’ but re-invented himself as a famous American photographer called Robert Capa in 1934 when the Nazis started making life very difficult for Jews. He documented the course of five separate wars with his camera and specialised in capturing real life shots of people at the moment of crisis rather than studies. He died at the age of forty during the first Indochina war when he accidentally set off a landmine. His most famous work is a photo essay called ‘Capturing the Truth’.

Ansel Adams was born in San Francisco and was well-known not only for his stunning black and white photographs of the American Old West, in particular Yosemite National Park, but also for being a great environmentalist. Along with his friend Fred Archer, he invented the ‘Zone System’ for controlling contrast and finding the correct exposure to get a picture right. Although trained as a professional pianist, he became interested in photography when his father gave him a Kodak box brownie during a family visit to Yosemite in 1916 – less than a year later he was back in Yosemite, alone, with better cameras on a tripod and his future path was set.

Lartique loved photographing cars, planes and the beautiful women of Paris – and one can’t really blame him for that! Born into a wealthy family in Courbevoie, France, he was an early starter, taking photographs from the age of seven. At first, he shot the people he knew carrying on their lives, then any sporting events that came his way and some of the early flights by aviation pioneers Louis Blériot, Gabriel Voisin and others. Over the years he built up a set of 120 enormous albums of pictures, but in middle age he concentrated more on his painting, through which he earned his living. He was described as ‘not especially gifted, but capable’ in this arena.

Henri Cartier-Bresson is considered to be the ‘father of modern photojournalism’, being one of the first to start using the new 35 mm format, and where candid photography was concerned, he was the master. Living to be almost a century old, he saw a great many important historical moments, witnessing many of them personally in his role as a journalist and photographing them as they happened. The child of a wealthy textile manufacturer, his parents were able to support him financially more than most, allowing him to develop his interest in photography without worrying about how to pay the bills.

American Diane Arbus was a writer as well as a photographer, and noted for her pictures of so-called “freaks” – people who were different from what is considered the norm, such as giants, dwarves, circus performers, etc. Early work after studying with Berenice Abbott didn’t really take off, but it was after studying with Lisette Model from 1956 that she began to develop the style and methods that she was later known for. She was awarded a Guggenheim Fellowship in 1963, renewed in 1966, and taught photography at the Parsons School of Design and the Cooper Union in New York through the 1960’s.

He was 69 before his early photographs were ‘discovered’ and he was introduced to John Szarkowski, who arranged an exhibition of his photographic work at the Museum of Modern Art in New York, from which his career took off with a bang. He had a retrospective in France at the Musée des Arts Décoratifs in 1964, which resulted in more commissions flooding in over the last twenty years of his life than he could fulfill. These included a great deal of film work that enabled him to photograph many celebrities along with every other person with whom he ever came into contact; a habit that must have made him disconcerting to be with!

This article is about some of the famous black and white photographers that ever lived. Although photography has moved on from the times when black and white was the only form in which photographs could be produced (or sepia and cream as the very oldest would appear), the spectacularly accurate reproductions of real life that are possible with full colour photography haven’t actually persuaded everyone that colour is better. There is a little something of style that is in black and white pictures but becomes lost in a colour print, and many professional photographers have decided to continue with the monochrome versions, for that and other reason, and here are ten of the most famous of those. They are listed alphabetically; who could presume to list them any other way?

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