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Creative Black and White - Digital Photography Tips and Techniques PDF

243 Pages·2010·11.13 MB·English
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DAVIS Creative Black & White C Digital Photography Tips & Techniques r e Creative Black & White a In the digital age, presenting a photo in black and Using many of his own stunning monochromatic t white is an intentional aesthetic and creative choice. images to illustrate, Davis walks you through the i v In this visual guide, renowned photographer Harold visual ideas that work well with black and white. e Davis introduces you to the fascinating world of He shares the technical approaches that you can use Digital Photography Tips & Techniques black and white photography. to create high quality monochromatic photos. B l When creating a monochromatic image, a photographer As you browse through the pages, you’ll gain a a needs to pre-visualize the image in black and white — deeper appreciation for what you can accomplish c k which can be a daunting task in our vibrantly colored when taking portraits, landscapes, close-ups, and world. How can you recognize an opportunity for more. This book provides both inspiration and & a stunning black and white image? And how does technical instruction. You may never photograph taking a monochromatic image differ from capturing the world in quite the same way again! W a full-color image? This book will teach you. h i t e Learn to see and think in black and white Convert RAW fi les to black and white U se full color information to create black and D white photos in Lightroom® and Photoshop® ig i t C reate monochromatic images using multi-RAW a l processing and HDR P h L earn how to apply tinting, toning, and other o t special effects o g r a p h y Harold Davis is an award-winning professional photographer. He T is the author of more than 30 books, including Creative Composition: ip s Digital Photography Tips & Techniques, Creative Close-Ups: Digital & Photography Tips & Techniques, The Photoshop Darkroom: Creative T Digital Post-Processing, and Practical Artistry: Light & Exposure for e c Digital Photographers. Harold writes the popular Photoblog 2.0, h n www.photoblog2.com. i q u e s Visit our Web site at www.wiley.com/compbooks HAROLD DAVIS PHOTOGRAPHY / Techniques / General $29.99 US/$35.99 CAN 0011__559977775500--ffffiirrss..iinndddd 22 33//2233//1100 1111::5555::2266 AAMM 0011__559977775500--ffffiirrss..iinndddd 11 33//2233//1100 1111::5555::2233 AAMM 0011__559977775500--ffffiirrss..iinndddd 22 33//2233//1100 1111::5555::2266 AAMM Creative Black & White Digital Photography Tips & Techniques Harold Davis 0011__559977775500--ffffiirrss..iinndddd 33 33//2233//1100 1111::5555::2277 AAMM Creative Black & White: Digital Photography Tips & Techniques by Harold Davis Published by Wiley Publishing, Inc. 10475 Crosspoint Boulevard Indianapolis, IN 46256 www.wiley.com Copyright © 2010 by Wiley Publishing, Inc., Indianapolis, Indiana All photographs © Harold Davis Published simultaneously in Canada ISBN: 978-0-470-59775-0 Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 750-4744. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, (317) 572-3447, fax (317) 572-4355, or online at http://www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: The publisher and the author make no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation warranties of fitness for a particular purpose. No warranty may be created or extended by sales or promotional materials. The advice and strategies contained herein may not be suitable for every situation. This work is sold with the understanding that the publisher is not engaged in rendering legal, accounting, or other professional services. If professional assistance is required, the services of a competent professional person should be sought. Neither the publisher nor the author shall be liable for damages arising herefrom. The fact that an organization or Web site is referred to in this work as a citation and/or a potential source of further information does not mean that the author or the publisher endorses the information the organization or Web site may provide or recommendations it may make. Further, readers should be aware that Internet Web sites listed in this work may have changed or disappeared between when this work was written and when it is read. For general information on our other products and services or to obtain technical support, please contact our Customer Care Department within the U.S. at (800) 762-2974, outside the U.S. at (317) 572-3993 or fax (317) 572-4002. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Library of Congress Control Number: 2010922558 Trademarks: Wiley and the Wiley Publishing logo are trademarks or registered trademarks of John Wiley and Sons, Inc. and/or its affiliates. All other trademarks are the property of their respective owners. Wiley Publishing, Inc. is not associated with any product or vendor mentioned in this book. 4 Creative Black & White 0011__559977775500--ffffiirrss..iinndddd 44 33//2233//1100 1111::5555::2299 AAMM Acknowledgements Special thanks to Courtney Allen, Christianna Aronstam, Bill Bachmann, Mark Brokering, Steven Christenson, Gary Cornell, Katie Gordon, Kimi, Denise Judson, Barry Pruett, Alice Raffael, Joseph Siroker, Sandy Smith, and Matt Wagner. Credits Acquisitions Editor: Courtney Allen Project Editor: Matthew Buchanan Technical Editor: Chris Bucher Copy Editor: Matthew Buchanan Editorial Manager: Robyn Siesky Business Manager: Amy Knies Senior Marketing Manager: Sandy Smith Vice President and Executive Group Publisher: Richard Swadley Vice President and Publisher: Barry Pruett Book Designer: Phyllis Davis Media Development Project Manager: Laura Moss Media Development Assistant Project Manager: Jenny Swisher ▲ Front piece: In this photo of Point Bonita and the Golden Gate near San Francisco, California moonlight supplied ambient background light, with the Point Bonita lighthouse as an important focus of the composition. 52mm, 2 minutes at f/5.6 and ISO 200, tripod mounted ▲ Title page: With this composition of fog and sunlight I intentionally underexposed to bring out the graphic patterns revealed by the composition. 75mm, 1/640 of a second at f/8 and ISO 100, tripod mounted ▲ Above: I used the bright sunlight and grill reflections to make this semi-abstraction of a 1930s Cadillac. 200mm macro, 1/15 of a second at f/32 and ISO 100, tripod mounted ▼ Page 6: This night time view of traffic lights on the Golden Gate Bridge uses the absence of color to suggest the colors that are presumably present in the scene. 380mm macro, 10 seconds at f/11 and ISO 100, tripod mounted 5 0011__559977775500--ffffiirrss..iinndddd 55 33//2233//1100 1111::5555::3311 AAMM 0011__559977775500--ffffiirrss..iinndddd 66 33//2233//1100 1111::5555::3322 AAMM Contents 8 Introduction 74 The RAW Advantage 158 Using Photomatix 76 Black and White in Adobe 166 Toning and Tinting 10 The Monochromatic Camera RAW 167 Tinting with a Black & Vision 82 Black and White in White Adjustment Layer 12 Past, Present, and Future Lightroom 170 Split Toning 14 Thinking in Black and 82 Grayscale Conversion 174 Selective Color White Using Presets 178 Hand Coloring 14 Contrast 86 HSL Conversion 182 Using LAB Color 17 Color Implied 88 Exposure Gradients and 18 The Tonal Landscape Adjustments 185 Inverting the L Channel 21 Visual Implication 92 Exporting Virtual Copies 186 Equalizing LAB Channels into Photoshop as Layers 188 Swapping Tonalities 22 Seeing in Black and White 98 Multiple Layers and 189 Using Blending Modes Masking in Photoshop 26 Pre-Visualization 192 Soft Focus Techniques 108 Multi-RAW Processing in Photoshop 195 Adding Soft Focus 30 Black and White Composition 114 Black and White in 198 Pinhole Effect Photoshop 202 Solarization 30 Framing 116 Blending with Black 205 Using Curves to Solarize 33 Patterns and Lines 118 Using the Channel Mixer an Image 36 Shape and Form 122 Black & White 210 Duotone and Tritone 40 High Key Adjustment Layers Effects 44 Low Key 128 Silver Efex Pro 216 Adding and Reducing Noise 48 Shades of Gray 136 Combining Conversions in 52 Finding Monochromatic Photoshop 218 Film Effects Subjects 220 Infrared Camera 142 Creative Black and Conversions 56 Black and White at Night White Opportunities 230 Infrared Conversion 60 Portraits in Black and 144 Lighting and without an IR Camera White Monochromatic Photos 66 Black and White in the 148 Creating High-Key Effects 234 Notes and Resources Digital Era 152 Creating Low-Key Effects 236 Glossary 68 Digital Black and White 156 HDR in Black and White 238 Index Roadmap 156 Shooting for HDR 0022__559977775500--ffttoocc..iinndddd 77 33//2233//1100 1111::5566::3355 AAMM Introduction As photographers, we are confronted each the history of photography, the only choice and every day with a wide array of choices. was monochrome—and people thought Most of us have the experience of being of photography as being black and white. paralyzed with indecision when confronted Color was only introduced to photography with all the choices about what can be in the mid-twentieth century, and people photographed. have had a hard time accepting color work as part of the accepted canon of photo- Besides your choice of subject, you can graphic art. worry about how your photograph is going to be lit (if you are using artifi cial light), As I’ll show you in Creative Black & White: or what time of day the lighting is best Digital Photography Tips & Techniques, (if you are relying on natural light). Then many things are different with the rise of there’s the choice of lens, focal length, digital technology. Presenting a photo in f-stop, shutter speed, ISO, and so on—not black and white is not a consequence of to mention the choices about how you will the materials used; rather, it is an inten- process and present your photo after it has tional aesthetic choice. Furthermore, from been shot. a technical perspective it almost always makes sense to shoot and initially process a Bewilderment in the face of so many digital photo in color—even if you plan from artistic choices can lead to creative blocks, the very beginning to present it in black and is sometimes called horror vacui—or and white. fear of “empty spaces” on the canvas of life that presents itself to every photographer. Black and white photography is redolent One response is to intentionally limit one’s with echoes from the history of photog- artistic palette so there are not so many raphy, and it is wise to keep this in mind choices. A natural self-limitation in photog- as you make your own black and white raphy is to leave out the color and present images. The absence of color in a black and the world in black and white. white print or online image can strongly imply the color that isn’t present—but only Limiting photography to black and white is imagined. Black and white photography an obvious strategy because of the history must play strongly to the imagination of photography. For a substantial part of ▶ The idea for this photo was to isolate the typewriter key used to type French accents, because it looks like a little funny face. To achieve this goal I kept the circumflex (^) key sharp, while letting everything else in the image go out of focus. I wanted to present the photo with an antique look, so once I’d processed the black and white version I added a sepia tone layer with reduced opacity (see page 166 for more information about this technique). 200mm macro, 1.3 seconds at f/4.5 and ISO 100, tripod mounted 8 Creative Black & White 0033__559977775500--iinnttrroo..iinndddd 88 33//2233//1100 1111::5577::1177 AAMM

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