Color is a dominating characteristic, such that we can fail to notice the harmony or dissonance between shapes in a scene, when looking at a colour image. With the removal of color, our eyes will automatically start to pay closer attention to shape and form. (Image credit: Nina Papiorek) 5- Use graphic power The longer exposure reduces the water to a silky blur which makes the texture if the rocks stand out. Rough and smooth - This landscape scene displays both contrasts of light and texture. While we might want to avoid 255 white and a blacks value of 0 - indicating solid, featureless areas - be certain not to allow overexposure of shadows or whites to turn grey. We need to make sure we see true blacks and whites in our images, to produce natural and dramatic tonality. However this can lead to the inverse problem - a lack of contrast. Digital capture can be quite unforgiving of highlight detail in particular, with clipping occurring easily if we don’t keep an eye on the exposure. In the digital age we can become preoccupied with keeping the tones in our images within the histogram scale. If shooting a stone wall, using shutter speed to add motion blur to a swaying tree will add back the energy lost through the colour removal. Lengthen the exposure to blur moving elements, such as water, to provide a smooth counterbalance to sharp rocks or trees in the surrounding environment, for example. However you can reintroduce a secondary dimension and visual counterpoint by using contrasting textures. Out of these two parameters, in black and white photography, you’re left only with the luminosity, which can be a great source of drama. (Image credit: Noriaki Kimura) 3- Contrasts of textureĬolour and brightness contrasts are a big part of photography and many people choose to focus on these to introduce depth to their images. Trying to apply opposing edits to the shooting style will always create difficulties and less impactful shots.Īppeal to the senses - Since you have removed color appeal to your viewer’s other senses by focussing on details which imply the feel, temperature and smell of a scene, for a fuller sensory experience. If you want to have a strong sky presence, then bracketing your shots or using a hardware ND Grad filter will mean your file is already halfway towards the finished image. If you want to create a high key image then you will adjust your exposure accordingly. Once you know what style of image you want as a final product you can tailor your shooting to match. Therefore it helps to have in mind an idea of how you plan to process your image, for dramatic effect. Since most pro photographers will be using RAW mode, black and white presets will not be applied, so must be added later in software. 2- Shoot for the editįor digital photographers it is almost a certainty that black and white conversion will happen at the editing stage rather than in-camera. Look for colors which will contrast in brightness to guarantee dramatic final mono images. A blue sky will provide a contrasty backdrop when a red filter is applied for example which will also make flowers stand out against green foliage. When setting up a shot look at the colors present and understand how these will work together as mere shades. If you are going to present the world without color you need to work extra hard to hold the viewer’s eye. You need to have enough about a scene to provide interest in the first place. Yes monochrome can be viewed as a novelty, helped in no small part by the abundance of photo filters in mobile apps such as Instagram, but conversion is not a cheap trick or a get out of jail free card. The most important thing to remember about black and white photography is that lack of color is not a reason in itself to shoot an image. Here we take a look at some of the pro methods for using monochrome to the max, for images which stand out and demand multiple views.
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