Functional styles of speech The word style comes from the Greek stylos -...
Why would you choose black and white photography in an era of digital cameras that can accurately capture millions of millions of colors? Black and white photography seems to be a constant in the history of the medium, while color technology came into widespread use halfway between Nicéphore Niepce's first heliograph and the present day.
There are many discussions and arguments for both sides, but for me and many others it is simply a matter of aesthetics. The use of black and white is in a good way removing unnecessary information from an image helps highlight special elements to your viewer and eliminates the distraction that color can be. Portrait photography is a genre where black and white images can really shine. As with any technique, there are a few things to consider to make your photo the most impressive.
1. Start with black and white in your mind
For many photographers, black and white is more than a creative touch in the post-production process; this is thinking. If you start creating an image knowing in advance that you'll be making it black and white, you can take steps to make sure all the elements of a good monochrome photograph are in place before you press the shutter. Things like contrast in tone, contrast in light, and the appropriate expression of the subject are elements that are difficult, if not impossible, to correct after the photo is taken.
If you find it difficult to imagine how an image will look in black and white, then set your camera's shooting mode to "Monochrome". At the same time, it is not recommended to take the final shot in this mode. When you shoot in RAW format, all color data is preserved and will be present in the file, and when loaded into Lightroom and Adobe Camera Raw, it will be restored. This will just give you an idea of how the image will look in black and white, while giving you maximum flexibility in post-production.
2. Eyes important, How never
The most important part of a portrait is the eyes. They are usually the focal point around which the entire image is built. This is especially true for black and white photography. Deprived of color, the black and white image is transformed into graphic shapes and outlines. The eyes are the most recognizable shape and are the first to attract the viewer's attention. Make sure your subject's eyes are well lit and focus is critical.
3. Bexpression emphasized
Like the eyes, other facial features become more prominent in a black and white portrait. You can use this to your advantage by bringing emotion into the image. Even a slight change in the subject's facial expression will make a difference. Things like a raised eyebrow, a twitch at the corner of the mouth, a smiling eye line, can all be used to great effect.
There's an exercise you can do with your subject to get a mixture of expressions. Prepare a list of words or phrases and ask the person to respond and show how they feel. The words you choose should be simple emotions to describe: love, sadness, pleasure, anger, melancholy. For more varied expressions, try more abstract words, or even fun ones, such as cheeseburger, politics, Teletubbies or Hulk. As a bonus, it can be uplifting and relaxing for someone who feels tense or nervous while posing.
4. Lighting solution
When it comes to lighting in black and white photography, there are no hard and fast rules. If you like images with high contrast and strong gradation in tones, then choose a powerful light source.
It all depends on personal preference. If you are not confident in yours, then choose ten black and white portraits that you like and try to break them down from a lighting perspective.
5. Add contrast with light
If you want to create high contrast in black and white photography, I advise you to do it with light rather than Photoshop. Small adjustments are okay and won't ruin the image, but definitely don't push the contrast slider all the way up to 100. Try sticking with the +15/-15 range. For individual areas, use the dodge and burn tools as you see fit. Subtlety is key in post-processing.
6. You can’t turn a bad photo into black and white.
If you're working with a photograph and you feel like it's not what you intended and you're wondering if it would work in black and white, the answer is no. Using black and white often highlights flaws, and a bad photo is a bad photo regardless of whether it's in color or not.
7. Choose black and white, regardless of color.
Some subjects just scream to be shot in black and white. Others are not so obvious. Bright, strong colors are obviously designed for bright photos, but by removing the color component you can completely change the perception of an object or scene. If you want to draw the viewer's attention to a certain element, color as a graphic component can be distracting. Try removing it.
This concept can be difficult to understand without seeing it, so I've included an example of a color version of one of the shots. Ask yourself, how do you perceive changes in photography? What was the first thing you noticed in these two photographs? Do you feel or think differently when you see the color version?
I hope you've seen that while bright colors can make an image pop, no colors can do the job just fine.
If you're new to black and white photography, remember that these are tips, not rules. If you need to step away from them to get the results you want, then do so without hesitation. And finally, if you've tried black and white photography and you like it, welcome to this addiction!
Why shoot in black and white?
We know it all started in black and white because color photography was not available to the first generation of photographers. Later it was associated with improvisation. The second generation of photographers tried their fresh ideas on film. But black and white images will never lose their charm. It has an exceptional style and, most importantly, color photography sometimes loses to black and white in expressiveness and symbolism.
IN modern world Many people still enjoy filming in black and white because it opens up a deeper understanding of the nature of the scene. And monochrome images evoke additional sensations.
You should resort to shooting in black and white when colors have no significance in depicting the character of the picture, when there is a sense of mystery or a special mood or strong emotion, when color can distract attention from the essence of the picture or does not fully reflect the essence of the photo. In this case, it is better to neutralize the colors of the scene into one monochromatic image. In other words, it may seem like a trade-off to get best result. Some photographs require this approach, while other photographs have no choice. There are professionals who shoot in monochrome on digital cameras to enhance their vision of the black and white area.
Band system (Adams band theory)
One of the pioneers and great masters landscape photography Ansel Adams came up with an incredible system for presenting a photograph with a finished image. This concept of pre-visualization keeps the photographer moving forward. Although the system may seem mathematical and complex at first, it will allow you to technically master the art of photography.
Using the zone system, you will apply scientific approach to creating art. It's about controlling light, calculating variables, and understanding the subtleties of changing light. The division into light and dark tones provides an explanation of the zone system.
Light quality
It is important for any artist to understand the concept of light and how it integrates with environment or the subject of the photograph. Various physical properties are responsible for what is recorded by the sensor when the camera passes light. More often than not, reflected light, depending on the intensity and contrast of the edge, adds more dynamic range to the final image.
Let's remember the difference between specular and diffuse (scattered) light. It can help you perform miracles with black and white photography. In simple terms, specular light usually occurs when the light source is far from the subject. There is high contrast and, as a result, bright highlights and sharp dark shadows. On the other hand, absent-minded is soft light, which does not produce harsh shadows or overwhelm the highlights. Mastering these easy variations can help you create wonderful black and white images, whether outdoors or in your photography studio.
Exposition
Any professional photographer agrees that black and white photography is all about light plus exposure. The approach, in terms of exposure (projecting an image onto a photosensitive element), remains the same, whether film or digital photography. As mentioned in the zone system, changing the aperture can certainly bring changes to any part of the frame.
During the exposure process, the film version and the digital version will differ. In the first case we observe an S-shaped curve, and in digital we see a straight line throughout the entire image range. Finally, never darken overexposed areas, as this won't add any detail and will result in unpleasant gray tones.
Post-processing
It is better to pay attention to photo editing, since many photographers do not consider a picture that has not been processed to be finished. On this final stage In the formation of photography, visualization plays a primary role.
Exist various methods for processing black and white images, the application of which depends on each individual artist and his vision of the final masterpiece.
Most likely, you are already familiar with the basic nuances of using the Photoshop editor. Ultimately, you need to understand when your product is ready. Note that adding a color tone can be related to the core of the photo, such as mood or emotion. And understanding color theory and experimenting with different shades can greatly enrich your black and white image.
Black and white photography gave rise to all modern photography and, despite the fact that it appeared in the century before last, interest in it does not fade to this day. Digital cameras have eliminated the need to worry about having two types of film, so we can take both color and black and white photography. However, the question of which scenes look better in monochrome mode has not lost its relevance. Anna Togg shares simple method, which she uses to give her black and white photographs maximum flexibility.
Back in the heyday of film, I, like many photographers, used two cameras. One was loaded with color film, the other with black and white.
I like to think about what I want to do with an image at the very beginning of shooting, before I even look through the camera's viewfinder.
Even so, when I set out to take a black and white photo, before I pressed the shutter button, I had to decide whether I wanted to take the photo in color or monochrome.
I admit, there were several times when I filmed the same scene with both cameras at once. But if you paid for the film out of your own pocket, you were unlikely to spend double the amount on one frame.
Nowadays, digital cameras allow you to shoot an image in color, and then do whatever your heart desires with it: invert it into monochrome, two-color, or apply a cross-processing effect to it.
But I still prefer to think about what I want to do with the image at the very beginning of shooting, before I even look through the camera's viewfinder.
I think this helps me make monochrome photos (or any other photos) a little more best quality, rather than those obtained from frames processed after shooting, because I initially see, or at least try to imagine, the image that will turn out.
I also have special days when I decide that I will only shoot in black and white. And I purposefully look for shots that will look most advantageous in monochrome.
For monochrome photography I always use RAW -format, and when converting to black and white, I pay close attention to color information. In the camera settings I use the recording format mode RAW+JPEG . So when I take a picture, I immediately have the opportunity to see it, and if necessary, I always have a copy of it at hand in RAW.
I also change the camera’s shooting mode to black and white, so that when converting in-camera to JPEG monochrome photographs were obtained.
The beauty of this method is that I see the scene I'm shooting on the camera's LCD screen in monochrome, and this allows me to more confidently judge how successful the shot is.
If you're shooting with a compact rather than a DSLR, you'll be able to see the scene in monochrome before you even take the photo.
It seems that most cameras render black and white images rather washed out, so another camera adjustment I make when shooting in black and white is to increase the contrast in the menu Picture Style to get a result closest to the original.
Black and white photography not only has not lost its popularity, but is also a powerful artistic technique that allows you to obtain results that are inaccessible to color photography.
1. Color or black and white?
Before converting a photo to black and white, it makes sense to think about the need for this action. Converting to black and white can kill the charm of a picture if it lies precisely in color or make the photo more interesting if color obscures the beauty of tonal transitions.
When we remove color, only tonal transitions of one color (gray) remain in the image. If the picture becomes more harmonious after converting it to black and white, it is worth making it monochrome, if not, it is better for it to remain in color. Here is an example of a photo that looks better in color than in black and white:
As a rule, photographs that you bring back from travel and which should convey the flavor of the country you visited should not be taken in black and white.
But sometimes color gets in the way, the color spots don’t harmonize with each other, and the photo looks too colorful. In this case, it may make sense to make the photo monochrome. In any case, do not rush to delete colorful pictures. They may well benefit from going black and white.
Monochrome photography forces you to concentrate on the main thing, makes it possible to show lines and shape, the play of light and shadow, structure and rhythm.
If you're going to shoot monochrome photos, look for subjects that have tonal rather than color contrast. Pay attention to the brightness of objects, because... Monochrome photography is a juxtaposition of light and shadow. When photographing an object, look not at its color, but at its texture, shape, lines, tone.
2. Exposition
If you're shooting with a digital camera, shoot in color and be sure to watch your exposure. The exposure needs to be set very precisely so that the picture has smooth tonal transitions and is not too light or dark (unless you are shooting in low or high key).
Every B&W photo should have pure black and clear White color, and there is also a large range of gray tones, with NOT the same level of brightness. Some tones will be darker and others brighter. But gray tones should not dominate, otherwise the photo will look flat. It is also important that most of the gray tones do not fade into white. Correct exposure will make the photo unique.
Study the instructions for your camera and the exposure metering system. The result you get will depend on this.
Please note that using matrix metering, you will not get a three-dimensional and dynamic frame in black and white, since it gives a uniform exposure. If you set center-weighted metering, the contrast and brightness of the image will increase, and spot metering will give your photos sharp transitions from light to shadow. When shooting silhouettes, you need to measure the exposure based on the light areas of the frame, otherwise the frame will be too light and lacking in contrast.
3. Shooting in RAW and JPEG
Monochronous photos should be shot in RAW format, since a RAW file stores much more information than a JPEG. If you're saving card space or have other reasons to shoot in JPEG, shoot in color. You should not take monochrome pictures with a camera, because... a color frame, in turn, carries more information than a black and white frame.
4. ISO
If the photo is noisy, it will be even more noticeable in the B&W version. Therefore, try to shoot with the lowest ISO values possible. If you want to add a film effect, you can do so later in post-production.
5. Technical equipment
You don't need any special equipment to take B&W photos. B&W can be shot with both a compact and an entry-level DSLR. WITH SLR camera you will be able to better regulate the result. It's always a good idea to have a tripod and remote remote control. The issue of using filters is very controversial. In general, you can use polarizing and neutral density filters, as well as ultraviolet filters. They can enhance the contrast of the image. A polarizing filter will give the sky more density and allow you to enhance or remove glare. But, if you use filters, it is important to consider one rule - the effect of the filter should not prevail over the content of the photo. You will also find a huge number of filters in graphic editors.
6. Light
Everything here is the same as in color photography. IN different time You will get different lighting and light patterns throughout the day. The same plot will be perceived and look differently at different times of the day.
7. Composition
Composition in B&W photography is even more important than in color photography. It would seem that it is enough to take a good color photograph and the job is done. But it's not that simple. If you frame the frame incorrectly or choose the wrong subject, the picture may not turn out well, since the objects in the picture
will merge with each other. This is due to the fact that in a color image there is color and brightness contrast, but in a black and white image there is only a brightness contrast.
Here's an example:
In the color version you see the contrast between the squares, and in the black and white version they merge with each other. Interestingly, contrasting colors in a B&W photo will look almost the same. Green and red, for example, are contrasting colors, and in a black and white photograph they will almost merge with each other.
In the picture, objects and objects can merge into one gray mass, and even by raising the contrast, you will not save the image.
Those. the first thing that is important is the choice of the right subject and the correct arrangement of objects in the frame.
All classical compositional rules apply here too. Don't forget about foreground, rule of thirds, perspective. The presence of diagonal lines will increase the tension of the photograph. Look for rhythms. When there is no color in a photograph, something else needs to grab the viewer's attention. Watch the shapes, they are an important part of the black and white world. Create contrast and conflict in the frame. Use contrasts, such as highlights and shadows.
Look for textures, patterns, interesting graphic forms, not forgetting about laconicism. Do not overload the photo with unnecessary objects and details. Experiment by changing the angle and angle of shooting.
The most important thing is to learn to see the world in black and white.
Attached are some example photos for your inspiration. In the following articles we will tell you how to correctly convert a color image to black and white in a graphics editor.
There is no greater classic than black and white street photography. Old street photographs bring to life the nostalgic images of Andre Kertesz, Henri Cartier-Bresson, Robert Doisneau and many others.
Why black and white street photography?
Of course, in the past, when photography first began to develop, it was exclusively monochrome. Therefore, when we think of street photography (in the classical sense), black and white shots come to mind. When color photography appeared, it was used for most amateur photographs and was not perceived as “serious art”, unlike black and white.
These are different times. Modern digital cameras produce impressive image quality, and post-processing can work wonders. However, black and white photography still has a special charm. It attracts with its simplicity, minimalism and lack of distractions and clutter. B&W photography is out of fashion - aesthetics is timeless.
The monochrome of the frames gives us the opportunity to focus on the essence of the scene - color can simply distract the viewer. We bring you some tips and suggestions from renowned street photographer Eric Kim for shooting black and white street photography.
See the world in monochrome
Downtown LA, 2011. By Eric Kim
It's worth looking for, for example, the following:
- contrast between lights and darkness
- shapes and lines
- expressions of emotions (on the face, as well as through body language)
- eye contact
- minimalism
- nostalgic elements.
Obviously, we don't see the world in black and white, it's worth training your eyes for that.
Wedding, 2016 #cindyproject. By Eric Kim
Assignment: shoot only monochrome footage for a year.
If you're shooting with a digital camera, shoot JPEG JPEG+RAW (with the monochrome mode preset). If you shoot on film, just use black and white.
By putting yourself in this creative frame, you will begin to see your surroundings in black and white and begin to pre-visualize future monochrome shots. Try not to switch between black and white and color photographs during this year of study. Otherwise, you will never hone your “monochrome” vision.
Another tip: if you're shooting JPEG+RAW, be sure to use the mode preset black and white shooting when importing photos to your computer.
Simplify
Tokyo, 2011. By Eric Kim
Always try to simplify a black and white shot. Aim to make the scene as uncomplicated as possible, with a simple composition. Try to use single objects (at least to start with).
When you're getting ready to shoot outdoors, start with the background. A good starting point might be an all-white, gray or black background. Then wait for suitable objects to appear in the frame.
Learn to ignore the colors people are wearing. Instead, ask yourself, "What would this color look like if it were turned monochrome?" This will help you see the world according to different brightnesses and shades of gray rather than colors.
Task: get rid of unnecessary things.
For a month, try removing everything unnecessary from your photos.
When analyzing the images you want to capture, think about what you can extract from the image, not what you can add. And as you create your composition, ask yourself: “Does this element really need to be in my frame?” Try to distill the images down and leave only their essence in the frame.
That is, we can say that less, in in this case, - this is bigger. Or remember the motto: “less, but better.”
Take risks
Downtown LA, 2015. By Eric Kim
No one can accurately imagine a monochrome image in advance. If a photo is taken on film, the photographer has less control over how the final image will look. Shooting on digital camera RAW, on the other hand, gives you tons of control over the final look of your monochrome image. If shooting a black and white JPEG, the photographer will have the same limitation as shooting with film.
Challenge: Take risks.
Shoot against the light. Try experimenting with exposure compensation in black and white. Try +1, +2, -1, -2 exposure compensation and study the results.
Explore the works of the masters of black and white photography
Assignment: Study the creativity of the masters.
Melrose, 2016 #ricohgrii. By Eric Kim
Analyze the pictures and see how the photographers build the composition. In addition, try to figure out what “works” in the pictures and what doesn’t. How did the photographer work with light? What emotions or gestures are present in the frame?
Portugal, 2015. By Eric Kim
Focus on emotions
Monochrome images appear quieter, more still, sometimes darker and nostalgic. They contain reflections on the past.
Photographing something sad in black and white is a cliché to avoid. However, you can go a more interesting route - try photographing happiness in monochrome. Also try to photograph despair. Shoot a wide range of emotions, and not just the direct association with monochrome.
Paris, 2015. By Eric Kim
Challenge: Evoke certain moods through your photographs.
Think about how black and white makes you feel and try to literally capture them. And as an additional task, also try to evoke the opposite emotion in a black and white photograph. This will help you get out of your comfort zone.
Garden Grove, 2016. By Eric Kim
Lighten and darken
NYC, 2016. By Eric Kim
The left side of the frame is darkened in the photo, thus paying more attention to the model's eyes, face and hair)
One thing that photographers have been doing for decades is using the Dodge and Burn technique in their photographs (lightening and darkening certain parts of the frame).
Previously, this was done in a dark room, but now we can do all the manipulations using a photo editor. Many new photographers believe that the method of darkening and brightening parts of the frame is a kind of “cheating”. Not at all. It all depends on your artistic vision.
Darken parts of the frame that you find distracting and lighten the more interesting areas. The viewer's eyes will be drawn to the area of the frame with the highest contrast. Keep this in mind.
Assignment: Do post-processing for no more than a minute.
Often, the more time you spend post-processing monochrome images, the worse they will look.
For example, you can shoot RAW+JPEG, but also apply standard black and white presets to the images (when importing). Then you can make minor adjustments to the photo: adjust the exposure, contrast, shadows, highlights.
Downtown LA, 2016 #ricohgrii. By Eric Kim
Use flash
Flash will add intensity to your images. High quality photography requires good contrast and dramatic light. If you're shooting in the shadows, your black and white photos will likely lack contrast and won't be aesthetically interesting.
Task: photograph all objects with and without flash.
Use flash in all black and white photographs for a week. Shoot with or without flash, then analyze both images. See how flash affects photos in terms of aesthetics, emotional impact and intensity.
Shoot with dramatic light
Try to shoot in good lighting (" Golden time" - sunrise and sunset). As for technical parameters, if you are shooting in aperture priority or program mode, adjust the exposure compensation to -1 or -2.
Task: follow the light.
Seoul, 2009. By Eric Kim
Whenever you shoot, always try to chase the light. Look for small rays of light, be patient. Wait for the right person to enter the frame.
Better yet, try to wait until sunset to take the photo - then you'll get dramatic long shadows. Or, if you're really brave, wake up early in the morning before the sun rises.
Provincetown, 2014. By Eric Kim
Conclusion
There is no "right" or "wrong" about street photography - whether you choose to shoot in black and white or color.
Downtown LA, 2015. By Eric Kim
For most beginners street photographers It is best to work on black and white photographs. For what? This allows you to learn to navigate the basic principles, and not be distracted by color.
Black and white photographs are soulful, but without emotion photography is dead. Learn to make your photos immortal.
