FROM COLOUR TO BLACK AND WHITE»
It may sound strange to traditional black-and-white photographers, but shooting in colour is now essential if you want to get great black-and-white shots. In the professional industry, it's common practice for photographers to shoot their b/w images in colour first, with the intention to convert to monochrome later. The benefit here of course is that you leave your shots open to all options, so if it doesnt work well in b/w, it's still a great colour image.
»IN CAMERA TIP: in-camera, check your colour exposure on the back LCD, this will give you a preview of the image as a JPEG. Most cameras give you the option to preview in b/w for an idea of how the colour tones will convert.«
This method also gives you a lot more control over the conversion process, enabling you to take a much more considered approach to adjusting the photograph's contrast and tonal range.
In order to do this sucessfully however, you'll need to ensure that you're shooting in RAW file formats first.
This way, you'll be able to gather as much information in the scene as possible so that you're guarenteed great-quality conversions that provide plenty of detail across the entire photograph.
Knowing the type of colour shots that will convert well to black-and-white is key, and can be a real time-saver when it comes to editing. It's worth noting that vibrant shots with a lot of different colour hues don't always translate well to monochrome, particularly if certain tones appear similar when desaturated, such as blue and red tones for example. Surprisingly, it's captures that offer a muted colour palatte that convert better to b/w, as you have a lot more control over the tonall contrast and ultimately the strength of the composition.
CONVERTING WITH CHANNELS»
When composing a black-and-white image in colour, it's important to pay attention to the hues that feature within the frame. It's these colours that are ultimately responsible for the tonal range within your black-and-white image.
»COLOUR TIP: although colour hues can have a considerable effect on the outcome of your image, don't get caught up in the rule when it comes to converting. Experiment with all of the colour channels for creative results.«
Before digital technology, b/w film photographers would rely on colour filters to enhance or adjust specific tones and contrast within their shots. These days, we can largely do the same thing, using image-editing software. However, understanding how these filters and ultimately colour channels can affect your image is crucial. This is particularly important when you're converting a colour capture to monochrome, or even looking to strengthen a b/w composition while shooting.
COMPOSITION RULES»
The strength of a b/w image lies in it's composition. Unlike with colour photography where vivid hues can command attention, b/w captures rely heavily on their content in order to engage viewers with the frame. Using a few key compositional pointers can go a long way in helping you to strengthen the structure of your b/w shots. Regardless of whether you're shooting landscapes, portraits or even still life.
»IN-CAMERA TIP: activate your camera's grid lines to help you compose your black and white shots in-camera. These are particularly useful when framing a photograph using compositional rules«
One of the most popular compositional rules for monochrome photography, which also applies to colour, is the use of lead-in lines. Use them to enhance or even create an illusion of depth that can then guide the viewer's gaze through the entire frame. Lead-in lines, don't necessarily need to be straight either, think creatively when composing for b/w and look for diagonals or even curves.
For more dynamic compositions when photographing architecture, landscapes or even abstract forms, focus on framing bold shapes that will noticeably stand in the foreground or background of your shot. This will help add structure to your monochrome image and, in good light, can offset contrast nicely too.
Photographing textured surfaces is another great compositional guide for b/w. Ideal if lighting conditions appear a little flat, you can include textured surfaces within the frame to naturally increase contrast areas and add an additional visual element to the frame. This is particularly important if you're shooting abstract subjects, but can also be applied to portraiture with weathered skin and even street photography as brickwork translates incredibly well when converted.
Having a good idea of what you want to achieve, or being able to envision the end result is important when framing for a b\w image in colour. This will not only guide you during the conversion process but will also help when it comes to selecting the right camera settings for the best exposure.
Read Part 2 by CLICKING HERE
(please be sure your tips, successes and failures below, feel free to include links to your black-and-white images as im sure we would all be interested in seeing them)
It may sound strange to traditional black-and-white photographers, but shooting in colour is now essential if you want to get great black-and-white shots. In the professional industry, it's common practice for photographers to shoot their b/w images in colour first, with the intention to convert to monochrome later. The benefit here of course is that you leave your shots open to all options, so if it doesnt work well in b/w, it's still a great colour image.
»IN CAMERA TIP: in-camera, check your colour exposure on the back LCD, this will give you a preview of the image as a JPEG. Most cameras give you the option to preview in b/w for an idea of how the colour tones will convert.«
This method also gives you a lot more control over the conversion process, enabling you to take a much more considered approach to adjusting the photograph's contrast and tonal range.
In order to do this sucessfully however, you'll need to ensure that you're shooting in RAW file formats first.
This way, you'll be able to gather as much information in the scene as possible so that you're guarenteed great-quality conversions that provide plenty of detail across the entire photograph.
Knowing the type of colour shots that will convert well to black-and-white is key, and can be a real time-saver when it comes to editing. It's worth noting that vibrant shots with a lot of different colour hues don't always translate well to monochrome, particularly if certain tones appear similar when desaturated, such as blue and red tones for example. Surprisingly, it's captures that offer a muted colour palatte that convert better to b/w, as you have a lot more control over the tonall contrast and ultimately the strength of the composition.
CONVERTING WITH CHANNELS»
When composing a black-and-white image in colour, it's important to pay attention to the hues that feature within the frame. It's these colours that are ultimately responsible for the tonal range within your black-and-white image.
»COLOUR TIP: although colour hues can have a considerable effect on the outcome of your image, don't get caught up in the rule when it comes to converting. Experiment with all of the colour channels for creative results.«
Before digital technology, b/w film photographers would rely on colour filters to enhance or adjust specific tones and contrast within their shots. These days, we can largely do the same thing, using image-editing software. However, understanding how these filters and ultimately colour channels can affect your image is crucial. This is particularly important when you're converting a colour capture to monochrome, or even looking to strengthen a b/w composition while shooting.
COMPOSITION RULES»
The strength of a b/w image lies in it's composition. Unlike with colour photography where vivid hues can command attention, b/w captures rely heavily on their content in order to engage viewers with the frame. Using a few key compositional pointers can go a long way in helping you to strengthen the structure of your b/w shots. Regardless of whether you're shooting landscapes, portraits or even still life.
»IN-CAMERA TIP: activate your camera's grid lines to help you compose your black and white shots in-camera. These are particularly useful when framing a photograph using compositional rules«
One of the most popular compositional rules for monochrome photography, which also applies to colour, is the use of lead-in lines. Use them to enhance or even create an illusion of depth that can then guide the viewer's gaze through the entire frame. Lead-in lines, don't necessarily need to be straight either, think creatively when composing for b/w and look for diagonals or even curves.
For more dynamic compositions when photographing architecture, landscapes or even abstract forms, focus on framing bold shapes that will noticeably stand in the foreground or background of your shot. This will help add structure to your monochrome image and, in good light, can offset contrast nicely too.
Photographing textured surfaces is another great compositional guide for b/w. Ideal if lighting conditions appear a little flat, you can include textured surfaces within the frame to naturally increase contrast areas and add an additional visual element to the frame. This is particularly important if you're shooting abstract subjects, but can also be applied to portraiture with weathered skin and even street photography as brickwork translates incredibly well when converted.
Having a good idea of what you want to achieve, or being able to envision the end result is important when framing for a b\w image in colour. This will not only guide you during the conversion process but will also help when it comes to selecting the right camera settings for the best exposure.
Read Part 2 by CLICKING HERE
(please be sure your tips, successes and failures below, feel free to include links to your black-and-white images as im sure we would all be interested in seeing them)
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