The Black & White Photography Book UK - MikRik

TM
All you need to know about black and white photography
New
tutorials
& guides
inside
Getting started • Techniques and tips • Edit and share images • Go pro
Welcome to…
There is something magical yet traditional about monochromatic photography.

All the distractions of colour are taken away and what you’re left with is
the structure and form of a place, object or person. In The Black & White
Photography Book you will be guided through all the fundamental aspects of the
medium, including how to shoot professional-looking black-and-white images.
Throughout the book we have essential advice from industry professionals who
shoot black-and-white images in all genres, from portraits and landscapes to
street photography and abstract. But it’s not all just about shooting techniques
and skills – we also have several editing tutorials, so you can take advantage of
image-editing software to turn your black-and-white shots into monochromatic
masterpieces. If that wasn’t enough, on the free CD at the back of the book
we’ve included 11 video tutorials and source files so you can follow along with
many of the editing tutorials at home. Enjoy the book.
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The Black & White Photography Book Revised Edition © 2012 Imagine Publishing Ltd
ISBN 978-1908955678
Part of the
bookazine series
IMAGINEER TEAM
OF THE YEAR OF THE YEAR
DANIELLE DIXON BOOKAZINES
Contents
08
Getting started in
B&W photography
An introduction and essential tips to the medium
TECHNIQUES 22
Essential kit for
32 Master monochrome B&W photography
See the world in black and white and discover the The best kit for great black-
best subjects to shoot and-white photographs
44 The benefits of B&W

We speak to three experts to find out how and
why they shoot in black and white
56 Perfect portraits
James Nader shares his pro secrets and portfolio
of fashion portraits
64 Shoot stunning landscapes

Discover the form and texture of the black and
white landscape image
76 Shooting the streets in B&W

Head outside and photograph the streets in
black and white with our guide
88 Documenting life in B&W

Photographer Carol Allen Storey shares her
incredible career
6 THE BLACK & WHITE PHOTOGRAPHY BOOK

32 134
shooting Editing 58
skills 160 six black and white
conversion techniques
98 Understanding flash The ultimate guide for converting colour images
183
Learn about flash techniques to black and white
104 Achieve perfect
studio lighting 168 Create high-key effects
Use Photoshop to up the contrast
137
Take your skills to a pro level
110 natural portraits 172 Use dodge & Burn to

Step out of the studio and use the power of enhance portraits
daylight to produce black and whites Lighten and darken areas under control
116 Black & white portrait tips 176 Create a black & white hdR
Industry pros reveal their top tips in Photoshop
Blend three black and white images into one
120 high & low-key lighting
Master modern high and low-key 180 Re-create a glamorous black
photography techniques & white portrait
Glam it up with some Hollywood style
126 Control images with filters
improve your black and whites with filters 183 Create actions in Photoshop
Simplify your workflow
132 Master composition
Make sure it’s all in the frame 184 selective colouring
Take control of your editing skills
138 Understand metering 202 Classic portraits with
Shed some light on fine-tuning 190 Create atmosphere gradient maps
your images Evoke a dramatic mood with Photoshop Get effective B&W with this technique
144 discover RAW 195 graduated filter 204 sepia tone your images
See the benefits of shooting in the rAW format Use Lightroom to create a dramatic sky Add a traditional brown tone to your images
150 B&W abstracts 196 Master tone edits 206 Blue tone your images
Search for shape, pattern and Work with tone for masterful monochrome Particularly effective for a landscape
structure and go abstract 200 Add emphasis to eyes 208 Fix your old photos
156 story behind the still Apply a rainbow effect to your black-and- All you need to know about restoring your
We dissect a shot along with its creator white portraits old photographs
THE BLAck & WHiTE PHoToGrAPHy Book 7

Getting started in B&W photography
Getting started in
black white
photo raphy
&
WATERFALL IN GLENCOE
“I was only [available] to visit this lovely
location in the middle of the day and the
light was harsh, so I decided to shoot in
black and white and use my Lee Big Stopper
to smooth out the water and give a feeling of
calm against the stormy-looking sky”
Shot details: Canon EOS 50D with a
17-40mm lens, f9, 30sec, ISO 100
© Helen Rushton
Master monochrome by learning how to

capture incredible black-and-white images
P
hotography began in black and white. making black and white much more accessible to
But with rolls of monochrome film and photography enthusiasts. As it works effortlessly with
darkroom experiments, the equipment and any photographic genre, the black and white medium is
techniques used were a long way from the used across the industry, from landscape to portraiture,
digital cameras and image-editing software as well as in music, wildlife and street photography.
that we have now. With some of the world’s most iconic Over the next few pages you will learn all the
images having been captured in the black-and-white fundamentals of the medium. Featuring great inside
medium, there is a lot of history behind it, but it’s no information from industry professionals, you will get
surprise that it remains as popular now as when it was to grips with all essential shooting tips, tricks and
first developed. techniques behind taking successful black-and-white
Advancing successfully from film into digital over images. By reading this guide to black and white
recent years, the monochrome medium has improved photography, you will soon be on your way to mastering
dramatically. Even darkroom tools and techniques monochrome and applying all you have learnt to your
have seen a digital revival with computer software, own images.
THE BLACK & WHITE PHOTOGRAPHY BOOK 9

&white Before you begin shooting straight in monochrome,

consider your camera settings. Most digital cameras offer a
monochrome filter, allowing you to shoot directly in black
and white; however, this setting is only available when
opting to capture JPEG files. JPEGs are not ideal files for any
serious photographer and are rarely used by professionals.
Compressed image data JPEGs are more difficult to alter in
postproduction, with many decreasing in quality after just a
few adjustments. Instead, pro black-and-white photographers
will always opt to use RAW if shooting a commercial project.
When looking to create great black-and-white images
you need to begin by setting your camera up to shoot in the
RAW image format. Although they’re much larger, RAW
files are ideal for digital black-and-white photography. You’ll
5 TOP TIPS
Dean Sherwood
Web: www.deansherwood.com
“I am a Grimsby-based
commercial photographer/
cinematographer producing
high-quality imagery for
commercial businesses, retail
sites, portraiture, weddings,
musicians/bands and HD web
TV films for commercial
businesses.” Dean specialises in
music photography and has
be capturing in colour first, but RAW images can later be worked closely and been on tour
converted with much more control, as Antonia Deutsch (www. with big British bands such as
antoniadeutsch.co.uk), a professional AOP photographer who N-Dubz, Feeder, McFly and
specialises in black-and-white photography, advises: “When I One Direction.
am shooting digitally I shoot in colour and convert my images 1 Choose RAW
into black and white – this gives much more information Photograph in RAW if you can.
in the digital files. It is extremely important not to use the
camera’s software but to be in control of converting the colour
2 Emotive work
Capturing emotion always looks great in black and white.
into black and white in the way that suits your image, in the
same way that you would choose which type of film to use 3 Contrast rules
prior to digital technology.” Think about the contrast between the main subject and the
background, eg a light subject against a dark background.
Setting up your camera correctly is just one part of
capturing a great black-and-white photograph; getting out 4 Throw some shapes
there ready to compose is another. When shooting with the Lines, shapes and textures look great in black and white.
intention to convert your colour captures to monochrome, you 5 Composition is key
will need to take a whole new approach to composition. Unlike With colour removed you have to concentrate on your
a colour photograph where you can rely more on the hues and composition. The viewer’s focus is purely the content of the
colour tones, a black-and-white image gets its strength from image so make it good.
the contrast and visual composition.
Work slowly when framing your image, as looking for
more unusual and unique shapes can help to add detail and
texture to an otherwise bland black-and-white shot. Helen
Rushton, a professional landscape photographer who runs
See Life Through The Lens photography workshops (www.
seelifethroughthelens.com), remarks: “Take your time with
your composition; black-and-white images need to be strong
to work well. With my black-and-white images I am always
looking for bold textures, contrast between layers and lines in
the composition to draw my viewers through the image.” TULISA, N-DUBZ
Light is equally as important to consider when shooting Tulisa having her hair and make-up
for black and white. Whether it’s a portrait or landscape, done before a show
black
Shot details: Canon EOS 1D Mark IV

understanding how it falls can make a noticeable difference with 24-70mm lens at 35mm and f5.0,
to the success of your black-and-white photographs. 1/400sec, ISO 3200
Look carefully for the highlights, midtones and shadows in
your composition before you shoot, helping to ensure you
expose all your captures correctly. Don’t be afraid, however, DAPPY, N-DUBZ
© Dean Sherwood
to slightly overexpose an image that is intended for black- Smaller venues with good lighting offer a much better
and-white conversion – often the worst it will do is increase chance to get shots like this
Shot details: Canon EOS 1D Mark IV with a 24-70mm lens
contrast, which can in fact be ideal, as Helen adds: “Play at 35mm and f5, 1/400sec, ISO 3200
around with your exposure to bring out and highlight details
that catch your eye.” MCFLY
Check your image’s histogram as you work on the back of The final shot of the ATN tour. There’s always that glimmer
of doubt: ‘Will they forget I’m here?’ Within a minute of this
your camera. This can help to ensure you’re on the right track, photo we were on the tour bus and leaving the venue
as it is important to note that too much midtone in a histogram Shot details: Canon EOS 5D Mark II with a 24-70mm lens
can make an image it appear flat when converted, as it will at 24mm and f2.8, 1/160sec, ISO 2000
lack any contrast or depth.
Not all colour images work well when converted to black
and white, and this is usually due to a lack of tonal range.
Tonal range is largely affected by colour and, along with light,
“Not all colour images
defines the contrast areas in a black-and-white photograph.
When shooting, you can take some control of this simply by
paying more attention to the natural colours of the subject
work well in black
you’re photographing.
For instance, what may look like a striking photograph and white… due to a
lack of tonal range”
in colour, with two dominant colours such as red and blue,
in black and white you will find these colours are recorded

© Dean Sherwood
© Dean Sherwood
The black & whiTe PhoTograPhy book 11

©Antonia Deutsch
“Traditional black-and-white colour filters will

ScotS PineS
From the British
Landscapes Exhibition
Shot details: Nikon
D300 with a 16-85mm
lens at 85mm, f7.1,
1/200sec, ISO 200
help to alter and adjust the colour tones”
Quick guide to dodging and burning in Photoshop
Formerly used in traditional darkrooms, the Dodge and Burn tools have can select either the Dodge icon to lighten areas of the image or the Burn
since been digitally converted for image-editing software like Adobe icon to darken, creating a more controlled contrast effect. Here is a quick
Photoshop. Located in the toolbar on the left-hand side of the interface, you guide to using them.
Dodge Burn
1 Set the Dodge
Select the Dodge tool first
in order to brighten areas of the
1untilPrepare to burn
Hold down the Dodge icon
an option menu appears
frame. Adjust the brush size to and select the Burn tool. Again,
a suitable diameter and select adjust the brush diameter to a
a soft edge to help blend the suitable size and choose a soft
effect. Using the Range drop- edge. Select the Midtones or
down menu, select the Midtones Shadows from the Range option
as you don’t want to make the depending on the areas you
highlights any brighter. want to darken.
2 Apply the effect

Adjust the intensity of the
effect by pulling the Exposure 2 Build up slowly
Now lower the Exposure
slider down low; this will allow slider so that you can build up
you to build up the brightness on the burn effect over time.
effect carefully. You can now You can now slowly start
gently brush over the areas you sweeping the brush over the
wish to lighten. intended areas.
12 The black & whiTe PhoTograPhy book

black
FRAN
Quiet, thoughtful portrait
Shot details: Hasselblad
with 150mm lens and f11,
1/125sec, ISO 125, FP4 film,
scanned at 300dpi at 400%
magnification full frame
similarly in tone and therefore your black-and-white

conversion will lack any definition or contrast. Helen Rushton
shares a great tip for ensuring a colour scene will work as
black-and-white photograph: “I often set my Canon EOS
50D to the Monochrome setting, which gives me an instant
understanding of whether the tones and shades work together
to make the image I am trying to create, but as I always shoot
&white
© Antonia Deutsch
most notably in seascape scenes, softening moving water and

turning it into mist. Graduated ND filters, however, are often
used to darken skies.
Most professional photographers still consider filters
as essential pieces of kit, as Helen points out: “My
photography is all about getting the image right in-camera
without lengthy processing techniques, so for me the grad
in RAW the image is still captured in colour and then I convert filters balance out exposure and the ND grads allow me to be
that back to black and white in post production.” creative in-camera and convey the emotions I am looking for. I
Even if a photograph doesn’t appear promising in use the same filters shooting black and white as I do in colour:
monochrome, there are a few other ways in which you can my Lee ND Graduated filters and Full ND filters.”
control how colours are recorded in your black-and-white Antonia agrees that filtering is important, particularly for
photograph. Traditional black-and-white colour filters, which landscape photography: “When shooting landscapes on film
can be attached to the front of your camera, will help to alter I used to use a yellow filter by default, and sometimes a red
and adjust the colour tones in an image, whether it is to soften filter,” she says. “Now with digital photography, I filter in
certain colour tones or enhance others for contrast. You Adobe’s Camera Raw software. I think that filtering is essential
can also use digital conversion tools in most image-editing for landscapes.”
software, allowing you to make specific adjustments to certain Although it fits comfortably into almost any genre of
colour channels for increased contrast results. photography, black and white is often considered a genre
Another way that you can boost contrast in-camera is by in itself. Many photographers like Antonia have chosen to
using popular ND filters. Mainly used by landscape and specialise solely in black-and-white photography, something
traditional black-and-white photographers, there is a range that she now runs workshops on: “As I child I used to watch
of different ND filter types. Straightforward ND (Neutral old black-and-white movies and was captivated by the imagery.
Density) filters are commonly used for longer exposures, I think that this influenced my decision to specialise in black

&white Using filters in

your photography
Colour filters
Red: Popular with landscape photographers, red filters
have the biggest impact on contrast and are used to
enhance dramatic skies by affecting the blue and green
tones in a black-and-white image.
Yellow: A relatively subtle filter effect, the yellow colour
tends to lighten red, orange and yellow tones.
Green: You can enhance a dramatic sunset using a
green filter, which will darken the red and orange tones.
and white from an extremely early stage. For me black and
white is a purer image which allows greater drama and more
expression, be it a portrait or a landscape.”
Landscapes are also a popular subject matter for black-and-
white photography and have been since the early days of
film. One of the key elements to great black-and-white
landscapes is composition. Looking for stronger lead-in
lines and shapes, you need to build depth and layers in your
landscape photograph. Professional landscape photographer
Helen Rushton remarks: “There are some locations I go to
and they scream black and white to me because of the
ambience. For me, great black-and-white images fall into
two categories: very dramatic with stormy skies and bold
compositions, and at the other end of the spectrum a sense of
Blue: Lightening the green and blue tones, the blue filter calm and minimalist composition.”
works similarly to the green colour filter in darkening Lighting can also affect the contrast levels in all
reds and oranges. black-and-white images, particularly daylight in a landscape.
Orange: The orange filter will darken blue and green Midday sun will create darker contrasting shadows, for
tones and lighten yellows and oranges. It is often used example, whereas morning light and early evenings create
in black-and-white portraiture to remove freckles and a softer palette of tones. “For black-and-white landscapes I
blemishes from the face. concentrate on the graphic elements of a scene, and the nature
of the environment, whether it is stormy or tranquil,” says
ND Filter (Neutral Density) Antonia. My British landscapes are taken only during the
ND filters allow you to extend your camera’s shutter winter months when the light is lower in the sky and the trees
speed without overexposing the image, as it filters light are more sculptural.”
through slowly to the lens and is often used to create Popular in portraiture and street photography for its
misty smooth water effects in seascapes and waterfalls. timeless perception, black and white is considered most at
You can also get different strengths of ND filters home in this genre. Antonia points out the benefits of shooting
depending on how much light you want to filter. a portrait in black and white as opposed to colour: “When
shooting a portrait in black and white you are not distracted
Graduated ND filter by the colours and it is much less confused; this allows me to
A graduated neutral density filter works in the same way capture the character of my sitter. My portraits are very calm
an ND filter does except that one half of the filter is clear, and, I hope, timeless. I strive to make each portrait a true
gradually working up to ND filtration. These filters are reflection of the individual.”
most commonly used by landscape photographers in Professional music photographer Dean Sherwood (www.
order to darken bright skies and get an even exposure deansherwood.com), who shoots black-and-white portraits
throughout the entire image. as part of his work, says: “I think every subject deserves
to be treated as just what they are, an individual. It’s quite
black
JAMIE
Teenage rugby player
with a battle-worn
face, but shot in a
romantic way
Shot details:
Hasselblad with
150mm lens and f11,
1/125sec, ISO 125,
FP4 film, scanned
at 300dpi at 800%
magnification and
cropped to suit
© Antonia Deutsch

Danny
Jones,
McFly
Even when you only
have a few moments
to get a portrait, you
still have to think
about composition
shot details: Canon
EOS 5D Mark II with
a 24-70mm lens
at 24mm and f2.8,
1/80sec, ISO 3200
© Dean Sherwood

often I will think ‘this is going to look great in black and
white’ though. In fact, I’m not sure I’ve ever seen a black-
and-white photograph and thought ‘that would look great
in colour’.” He adds: “Music photographs in black and white
are timeless. I can definitely recount more black-and-white
music photographs I love than I can colour ones. Black-and-
white music photographs carry a similar edge to that of a
documentary photographers work. Take away the colour
and you are left with a stripped-down clear defining moment
that happened in the real world; no distractions, just a pure
document in front of your eyes.”
Street photography is also commonly shot in monochrome
as it enables photographers to create a uniformed collection of
images that work like a narrative. Often gritty with noise
grain, many street photographers tend to use higher ISO
numbers when shooting in order to create a retro film-like
effect. Noise, however, can be distracting and will decrease
the quality of an image. When it comes to using higher ISO
numbers, in this instance it is often best to add grain in later
during post-production. This will give you much more control
over the intensity of the effect. Noise can add an interesting
texture to your images, so it’s considered great for street
photography and stylised portraits, but it’s best avoided when
shooting landscapes.
Eventually you will need to convert your colour captures
to black and white. Image-editing software such as Adobe
Photoshop, however, makes this a relatively simple task these
days. Featuring countless conversion tools there is no right or
wrong way to edit, you can still apply the same old darkroom
principles including using the Dodge and Burn tools for
specific enhancements. Don’t be afraid to experiment;
black and white is a creative and artistic form of photography
and, as long as you save the original file separately, nothing
© Helen Rushton
cannot be undone.
So, if you’re ready to explore monochrome, keep in mind
some of Antonia Deutsch’s top tips:
• Connect with your subject
• Compose carefully
CATCH THE WAVE
“I loved the way these waves were breaking against the shore coupled with the lines from the slipway batons in • Use your light to sculpt your subject
Biaritz, France. I wanted to freeze the action, but also give some slight softness” • Be patient and calm
Shot details: Canon EOS 50D with a 70-200mm lens, f7.1, 1/6sec, ISO 100 • Be selective over what you shoot
COUNTRY
Rural landscapes work
just as well as coastal
ones in black and white.
Check our filter guide on
page 14 to see how you
can enhance them

&white black
STORMY SMOOTH WATERS
“This image was taken at one of my favourite
locations on the south coast, Hengistbury
Head. I had found the groyne on one of
my trips there when the tide was lower
and planned to come back when I could
get water covering the top to smooth out
the ugly areas. A very long shutter speed,
coupled with a freak big wave, saw me very
wet but very happy with the image I had
© Helen Rushton
wanted to create”
Shot details: Canon EOS 50D with a
17-40mm lens and f11, 4mins
using a Lee Big Stopper, ISO 100

&white Shooting for black and white
1equipment.
Set up the tripod Once you have selected the
scene you want to shoot, you will need to set up your
Begin by assembling your tripod. Pulling the
legs apart from the centre, unclip each section. You can
pull down to extend the length of each leg. Ensure all of the
legs are straight and the correct length before clicking the
2 Are you level? Check your tripod’s bubble level to ensure the tripod is level. You may
need to extend or shorten one leg to accommodate for rocky or uneven ground. You
can now attach your camera to the top plate by screwing it correctly onto the mount. Place
fastenings back into place. the plate back onto the tripod head and click it securely into place.
black
3 Camera ready Ensure you have inserted a fully

charged battery and empty memory card correctly
into the camera. Turn on your camera and search through
your camera’s menu interface in order to format your
memory card. This is important before a shoot as it deletes
4 File format You can now set your camera to shoot either just RAW files or RAW+JPEG
files. RAW+JPEG will allow you to set your JPEGs to monochrome capture separately so
you can preview the black-and-white results while retaining and still capturing a colour RAW
unwanted data that could slow the card’s performance. file for editing. Be aware that this option will take up more memory space.
5 ISO option Ensure your

ISO settings are low
and set between 200-400
ISO to avoid distracting
noise in your black-and-
white conversions. If you
want to add noise later
for aesthetic reasons, you
can do this during post
production with more
control over the effect.

6 Attach the filter You will now need to attach the filter ring to the end of your lens; this
will allow you to connect the filter and filter holder onto the end of your camera. Ensure
you have the correct diameter filter ring for your lens and gently screw it into place. Now
7 Line it up You can slide your filters into place. Begin by selecting the right filter type and
strength; hold it around the edges to avoid getting fingerprints on the front. When using
a grad ND filter, use your camera’s viewfinder or live view ensure the grad line sits perfectly
slide the filter holder on top. on the horizon.
8 Final adjustments Make any last-minute adjustments to your composition using the
tripod. You can now change your exposure settings, adjusting the aperture and shutter
speed to suit the scene. Check your camera’s in-built light meter through the viewfinder as
9 Check the histogram While shooting remember to keep checking your histogram at
the back of the camera for a good idea on how the shadows, midtones and highlights
are looking. If you opted to shoot RAW+JPEG with a monochrome filter on the JPEG files,
an exposure guide. now is a good time to see how the RAW images will look when converted.
“When
shooting, keep
checking your
histogram”
10 Photoshop Use a card reader to
open your colour image in Photoshop
to convert. Begin by selecting an image,
go to Image>Adjustments>Desaturate
to remove all the colour and use Image>
Adjustments>Levels to enhance and boost
contrast by adjusting the shadows and
highlights sliders slightly, but paying more
attention to the midtones.

Shoot in colour
10tips
Shoot your black-and-white
images in colour first and
convert them to monochrome
later using photo-editing
Top
Texture and software. This will give you
interest more control over the results,
When composing, think particularly the strength of the
carefully about how textures overall contrast. It also means
can be recorded in black and that if the image doesn’t work in
white in order to add a feeling black and white you still
of depth. Stormy skies in a
landscape is a great example, have the colour copy.
giving you interest at the top
of the frame that will still help
Conversion to draw your eye down into the
When converting your colour focus of the frame.
captures to black and white,
keep it simple. There is no right
or wrong way to convert; just
experiment in your photo-editing
software. A good adjustment
tool to look out for to begin with
is Desaturate or Convert to
Monochrome. From there you
can build on contrast levels.
Histogram
While shooting, remember to keep
an eye on your histogram. A good
exposure should show an even range
with no peaking at either end of the
graph. Remember that you don’t want
too much information compressed
within the midtones. Ensure there is
enough information/mountainous
range in the shadows and highlights. File formats
RAW files offer you a lot more
information, which is ideal for
editing and black-and-white
conversions. Unlike a compressed
JPEG file, a RAW one won’t
decrease too heavily in quality as
you make adjustments. It’s worth
noting that you may also need a
bigger memory card to shoot in
RAW as they take up much
more space.
Dodge and Burn
black
Popular in darkrooms of the
Light and shade past, Dodge and Burn tools
Look for light when shooting in black are now digital and can be
and white, as contrast is important if used in much the same way in
you want to avoid flat image results. Photoshop. Use the Burn tool
Think carefully about the time of day to lighten specific areas of the
you shoot in, as this can also impact image, focusing on midtones
your image’s contrast levels. Midday and highlights. Use the Dodge
sun has a stronger light and brings out tool to darken the rest.
darker shadows, as opposed to early
morning and evening light.
&white
Filters
Don’t be afraid to use filters
Composition when taking a photograph; you
Slow down when composing a black-and- will be surprised by the instant
white image, as this is the most crucial improvement to your shots.
element for your photo’s success. Look for Invest in some great-quality
strong shapes and lead-in lines to grad filters to darken the sky,
draw the eye into the image. Find more ND filters for longer exposures
dynamic forms to focus on which will also and colour filters for more
engage your viewer. creative tonal adjustments
in black and white.
Colour tones
Pay attention to the colours
within the frame before you
shoot. Not all colours translate
well together in black and white;
what may look contrasting
and strong in colour can often
convert to similar in tone and
ultimately flat in contrast.

Essential kit
Essential kit for

B&W photography
If you’re looking for the best equipment for a
monochrome workflow, then this is the guide for you
T
his whole bookazine is dedicated to look for, and we will break these down as we move We have included cameras that have monochrome
the intricate art of black-and-white through this kit guide. modes for this, as well as lenses and filters that will
photography, and one area that really One decision that you will need to make when improve your black-and-white shots.
has to be considered to get the best it comes to monochrome photography is whether However, we also take a look at the best software
results is the kit that you choose to you are going to shoot in black and white, or convert options to do the conversion for you, the advantage
use. Over these eight pages, we will explore all the it after in post-production. There are advantages to being that you can keep the colour version and work
top kit – from your cameras and lenses, to software both. If you shoot in black and white, then you can on the mono version separately. Think carefully
and printing, to finally presenting your work. There see how the tones and contrast are applied in the about your requirements and then read on to find out
are loads of genre-specific features that you need to image, which means that you can correct the shot. what your kit bag is crying out for…

More options
From DSLR to compact
system cameras, here are
some great camera options
NIKON DSLRs
If you would like an alternative to Canon
systems, you could try a Nikon camera, like
the D5100 pictured below. This model offers
Live View and a Vari-angle LCD screen, which
means that composing a shot accurately is
super simple. It also has a new special effects
mode, which has seven effects including
selective colour and monochrome. It has a
powerful 16.2-megapixel CMOS sensor and
exceptional low-light performance, as well
as an HDR function and Active D-Lighting for
extreme contrast.
Compact creativity
We have featured DSLRs or CSCs in our roundup
here, but there are some good compact options
out there, especially in the new breed of high-end
solutions. These give excellent image quality,
Cameras
plenty of manual control and a selection of
shooting options that includes monochrome.
We like the Nikon CoolPix P300, which has
a tough build, a fast aperture and ultra-
wide lens (www.nikon.co.uk for
more information).
Picking a camera for monochrome work isn’t so different monochrome – so unless you are going for a particularly
from choosing a camera for colour work. Indeed, it’s retro effect, then this isn’t preferable. We mainly focus on
unlikely that your only use for a camera will be black-and- interchangeable lens cameras here, as these are the best COMPACT SYSTEM CAMERA
Rather than being a buying a DSLR, you could
white imaging. However, ensure that your chosen model option for covering all manner of photographic projects. try one of the new breed of micro-system
has features that will help you to capture the subjects that Whether you are into shooting landscapes or portraits, cameras with interchangeable lenses, which
you want to portray in mono. Ensure that you look for a macros or motion, then you have a wealth of flexibility means that you have the benefit of both
flexibility and compactness. The Panasonic
camera that offers high quality, detailed images, as sharp by opting for a DSLR. Keep an eye out for black-and-white Lumix DMC-G3 (shown below) is one
images are especially suited to monochrome conversion. shooting options too, as this will enable you to compose such compact system camera, offering 16
Also look at the ISO control, as noise will be enhanced in scenes with mono in mind. megapixels and Live View to aid composition. It
also has super-fast auto focusing and creative
controls enable Retro, Sepia and High-Key
ENTRY-LEVEL DSLR Built-in Filters shooting, among others.
Entry-level models like the Canon EOS 600D Many DSLRs have a black-and-white filter, which is
shown here are great options for those perfect for capturing more atmospheric shots
moving up into the DSLR arena for the first
time, but still have plenty of technology and
functionality for the more seasoned user too.
They’re often designed to allow for creative
shooting, and in the 600D’s case the dedicated
Monochrome Picture Style allows for striking
black and whites in camera.
Lens compatibility
DSLRs are
compatible with a
HIGH-END CAMERA
If you have a lot of money to spend, it’s worth
range of manufacturer getting a high-end camera to capture images
and third-party lenses, at even greater quality. The Leica M9 (pictured
so there’s flexibility below), which offers 18 megapixels and is
compatible with Leica’s M lenses, is perfect
for street photography. Leica also produces
the world’s first digital camera designed
exclusively for shooting in black and white, the
M Monochrom. These cameras are definitely
investment buys, but they will last a lifetime.
Live view
Live View mode in
the 600D enables
you to check that a
shot works in mono
before capturing

Essential kit
Lenses
Picking a lens for your camera to use for black and white
photography is dependent on the subject that you’re
have built-in stabilisation features and large apertures to
help get that perfect tonal range that is so necessary for
Lenses & subjects
See what you need for what
you want to shoot
TRAVEL AND STREET
PHOTOGRAPHY
shooting. If landscape is preferable, then it is worth working in black and white. When you’re shooting the streets and
looking into an ultra-wide angle zoom lens, so that you If it’s portraits that you’re working with, then look for documenting life, you need a lens that won’t
can play with your composition to bring focus to the a high aperture lens, so the maximum amount of light is weigh you
down. Canon’s
details and heighten the perspective, both traits that taken in during low-light and indoor shots. These lenses EF 17-40mm
are essential to monochrome photos. We have picked are also good for working in conjunction with lighting f4L USM lens
a couple of our favourites here, new and old, and these setups to produce high and low-key creative effects. (pictured) is
lightweight
and compact,
“Picking a lens for your camera to use so it is perfect

for travelling
with and it is
for black and white photography

also resistant
to dust and
moisture. It’s
ultra wide on a
is dependent on the subject full-frame EOS

camera and a
standard zoom
that you’re shooting”

on APS-C
sensors, so
it is flexible
depending on
the body that
you use it with.
Beneficial Design
This lens is designed in such a way that it minimises
lens fall-off and increases peripheral brightness PORTRAITS
If it is monochrome studio portraits that you’re
Keep it steady interested in, then you should look for a fast
maximum aperture and a rounded diaphragm
When you are taking monochrome shots, to help produce softly blurred depth-of-field
it’s important to use a tripod, as this will effects. The Nikon 85mm f1.4G AF NIKKOR
help to eliminate blur that won’t translate (pictured) is a great lens that will help you
well into black-and-white shots, with blur to achieve people shots in the studio. It’s a
showing up as streaks of grey and white. medium telephoto lens with a fast maximum
This is especially true in landscape and aperture of f1.4 and internal focusing. It’s
portrait shots, where pin-sharp images lightweight too at 595g, which isn’t necessary
will look the most effective. for portraits, but it always helps!
We like the ranges from
Manfrotto and Induro
(pictured above), for
example.
LENSES FOR LANDSCAPES

Landscapes are one of the most popular
subjects for monochrome photography, and an
ultra-wide-angle lens like the Sigma 12-24mm
f4.5-5.6 DG HSM II (pictured) will do a great job
of capturing them. Landscape lenses need to
be lighweight and quiet, and the Sigma even
has a full-frame view with Super Multi-Layer
Coating to reduce flare and ghosting.
MULTIPURPOSE
If it’s a multipurpose lens that you require, then
Weight you will need a good all-rounder. The Sigma
This compact lens weighs 24-70mm f2.8 EX DG HSM (pictured) is a large
just 670g, making it good for aperture, standard zoom lens, meaning that it
taking out and about is as comfortable taking portrait shots as it is
landscapes. The
f2.8 aperture
throughout the
zoom range
ensures quality
when indoors or
in low light, and
Release your creativity the lens coatings
The wide-angle view will help to remove
exaggerate perspective, aberrations and
giving landscape distortion. It has
photographers room for HSM for quiet
creative compositions yet fast focusing
and it can focus
down to a distance
of 38cm.

vv

aav
Filter options
Filter out the wheat from
the chaff
B+W FILTERS
B+W offers a range of dedicated black-
and-white filters, which are designed to
optimise the contrast and tonal range when
shooting in monochrome. The filter’s colour
is made lighter and a complementary filter
is made darker, so B+W provides a range of
eight filters to cover the whole spectrum of
controls needed, helping to ensure that your
monochrome shots are dramatically improved
by the addition of a filter.
With filter
Filters
Filters are essential in black and white photography if
you want to produce the very best results. By using them,
TIFFEN
Tiffen does a wide range of different filters,
with a dedicated line-up for use with black and
white. Available in a massive range of sizes,
check out the website for details of filters in
yellow, red, green, deep yellow, blue and more.
For each filter, Tiffen explains how they can
best be used in your photography, so you can
you can make a big difference to the tonal range of your No filter ensure that you are making the right choice for
your needs. List prices are quoted in US Dollars,
photos. With good black and white photos the viewer can but most of them can be bought from Amazon.
almost visualise the scene in colour without any colour
information present, simply by the tones presented. tones of the complementary colours. Yellow filters are
When a filter is used, it enhances certain colour tones particularly popular, as they are good for making subtle
in the final image, and can make a monochrome image changes, especially to the blue sky in landscape shots.
really pop. By using a filter of a set colour, you will lighten Red is best for creative effects with loads of contrast. Blue
that particular colour in tone, and you will pop the and green are also available, but are generally used less.
HOYA COLOUR FILTERS

Hoya offers a wide range of coloured filters,
which can be used to enhance the tones
in your monochrome images. Prices vary
depending on the size and the colour chosen,
so visit the website to find out more. Use the
Red filter to boost contrast in images with KENKO R72
red, brown and orange – perfect for autumnal If you are interested in experimenting with
shots. There are also corrective filters, warm infrared digital photography, then this is touted
filters and portrait filters to choose from. as the ‘most popular infrared filter in the world’.
That’s some claim, but it is a well-priced offering
that comes in a wide range of sizes. The filter
permits light of around 700 wavelength to pass
through, giving that recognisable infrared effect.
It effectively filters out all light bar infrared light,
which can’t be seen by the naked eye.
Compatibility
Hoya offers a massive range of different
colours of filter to suit all lens types
Infrared
The 25A Red filter is
great for those with
Contrast boost
an interest in infrared
The K2 Yellow filter, which is a popular choice for portraits,
photography
can help to boost contrast between sky and foreground
Pick your colour Original Blue Green Red Yellow

The colour of filter that you choose
will have a dramatic impact on your
final photo. Here we show you what
four popular colour filters do to the
same monochrome image.

Essential kit
Software
Post-production is one area of the photographer’s
workflow that just can’t be ignored. While many cameras
package seems a little heavy handed for the editing you
require, then it’s a good option at a fraction of the cost.
More software
Select the image-editing
software you need
PHOTOSHOP
With the introduction of subscription plans
will come with their own software solutions, if you want Lightroom and Aperture are slowly taking away some for the best known image editor, Photoshop
dramatic and striking black and white images then you of the shine from Photoshop in the pro photographer’s has suddenly become super affordable. It is
top of the image-editing stack for very good
need access to a good image editor. We have listed the digital kit bag, as they are tailored just to photographers, reason, but you may find that it gives you more
four best software packages, but there are others out rather than digital artists, 3D artists, web designers than you need in terms of functionality. If
there that are worth considering. and the many other creatives. And don’t forget that you are working with colour images, then the
Black & White
Photoshop Elements, for example, has really upped its the majority of big-name software packages will be adjustment
game over the last few versions, so if the full Photoshop extendable via plug-ins. layer is a great
way to tailor
“If you want dramatic and striking

results without
affecting
the original
permanently,
black and white images then you need and the many
colour and
tone tools
access to a good image editor”

available
mean that
monochrome
images can be
made to pop.
Catalog Plug-ins
Plug-ins
While each of the programs
Lightroom’s easy-to-use Lightroom supports external
interface makes it easy to plug-ins to extend its
that we have picked here
does a great job with black
APPLE APERTURE
functionality even more Apple’s Aperture is its answer to Adobe’s
find the image you want and white images, there are dedicated Lightroom and it performs many of the
plug-ins out there built specifically for the same functions for Mac users. Its benefits
task. We recommend Nik Software’s Silver lie in the fact that if users have been using
Efex Pro 2, which is the world’s leading iPhoto, the learning curve is reduced due to
monochrome software and it is compatible similar aesthetics. It’s easy to both convert
with Photoshop, Photoshop Elements, to monochrome and to work on black and
Lightroom and Aperture. It uses U white images to improve contrast. Another
Point technology to accurately and attraction is in its price, which is significantly
selectively edit the contrast and lower than that of Lightroom; however, it does
tonal range of your images to work best on a high-spec iMac as there have
perfection. been reports of lagging on lower-end machines
and laptops.
CAPTURE ONE PRO 6

Phase One’s RAW converter also packs in
image-editing solutions. It can help to
organise photo libraries too, and it is marketed
for professional photographers. Its toolset is
full of advanced options for improving colour,
tone and detail, which is essential when
working in black and white. For any colour
images that
PHOTOSHOP LIGHTROOM Easy edits need to be
Lightroom has really worked hard to win converted,
The editing options are there is a
popularity among professional photographers, becoming more and more
offering more and more editing options in dedicated
each version so that having Photoshop is
advanced while still tool and even
less essential. Its sophisticated colour and retaining ease of use a workspace
tone tools mean that when working with for Black and
monochrome or colour images, it’s a relatively White. This
simple process to enhance contrast in a gives you
nondestructive manner. direct access
to the tools
Newest version that are
Lightroom 3 offers improved noise designed for
reduction and lens correction to monochrome
editing.
eliminate common flaws

“You may More printers

be paying for Home printing doesn’t have to
mean low quality
things that HP PHOTOSMART

PREMIUM E-ALL-IN-ONE
you don’t PRINTER SERIES

HP has recently overhauled its Photosmart
range of printers, offering new and improved
really need”
features as well as a model to suit all
photographer’s needs. We chose this option as
it has up to A4 printing, scanning and copying,
internet connectivity, wireless technology and,
most importantly, lab-quality prints. The touch
screen gives quick access to printing options
without using a computer.
Scanning
If you are interested in scanning in old
monochrome film photos, then it is worth
investing in a dedicated scanner rather than
Printers
using the all-in-one functions of many of
these printers. Photo scanners come with
a negative or slide tray, which holds the film
in place while it’s scanning, ensuring the
highest quality. All-in-one printers
with scanners are usually best for KODAK ESP 7250
document scanning. ALL-IN-ONE
There are some really good deals around
on this product at the moment, so expect
to pay around £150 rather than the SRP
Once you have a perfectly shot and edited black and in for the most expensive you can afford, but don’t snap quoted above. This Kodak is based around
white picture, it’s time to turn your attention to output up super-low bargains either – both can be misleading. connectivity so it can print photos directly
options. A printer is the first vital step in the workflow Think carefully about what you need from your printer. If from mobile devices using Wi-Fi. It is also low
cost with the inks reasonably priced and the
chain, and there are two key types of printer that you you need innovation and quality, then buy the best that cost-per-print ratio at a minimum. It might not
are likely to come across. First, there are the consumer you can afford within your budget; however, if bells and be the best option for high-quality prints, but
printers, which we will look at here, and then there are whistles don’t tickle your fancy, you may be paying for for day-to-day use, it has a lot to offer.
professional printers, if you want to get more serious. things that you don’t really need. We present four of the
When looking at consumer printers, don’t just go straight best options here.
CANON PIXMA IP4850

This low-cost printer packs a lot in under its lid, including 9,600dpi
photolab-standard prints up to A4 size. It is a speedy model too,
with 10 x 15cm standard photo prints taking around 20 seconds. It flexibility
uses five single inks, so that they can be Prints can be made directly from the
replaced as and when. web and from HD movie sources
EPSON STYLUS PHOTO

Durability PX820FWD
Combined with While the price of this seems very steep for a
Canon inks and home printer, we have included it for its sheer
papers, photos wealth of features, perfectly bridging the gap
should last a between consumer and professional devices.
lifetime if given Also, in the Epson store at the time of writing,
the model was on sale for just £180. It is a 4-in-1
the proper care (printer, scanner, copier and fax) with wireless
connectivity, built-in editing tools accessed via
the large touchscreen, a card reader, USB and
PictBridge connections and it can do all your
admin and everyday printing tasks too.
Versatility
As well as paper, the
Canon can print onto
disc. It also has an Auto
Duplex function for
double-sided printing

Essential kit
Frames and Framing online

More online framing options
mounting
EPICTURE FRAMES
ePicture Frames uses a simple three-step
process for getting the right frame for a
photograph. First is ‘Choose’, where size,
colour and type can be used as criteria to
narrow your selection down. Next up is
‘Customise’, where options for sizing, extras
and mounts can be chosen. Finally, there is
It’s all well and good producing amazing black and want. This is especially useful if you want to print at a ‘Buy’. As well as wood and metal frames, there
are swept and decorative options. There are
white images, but if you never display them, the prints non-standard size to fit a particular wall or to show the plenty of ready-made frames to choose from
will end up going dusty in an old shoebox. Make your work off to its best potential. Also, for holding personal too. It’s a very intuitive process that makes
photographs into the works of art that they are by exhibitions or selling work, then custom frames give that choosing frames fun.
investing in a decent frame. Custom frames give the best air of quality and uniqueness. Here we round up four
results as the size, finish and mounting method are all of the best online services that enable you to create the
interchangeable so that you can get exactly what you frame that you want with no restrictions.
“Custom frames give that air

of quality and uniqueness”
Digital frames EZEFRAME
There are also digital photo frames out EzeFrame offers both standard size and
there if your framing needs are limited custom size frames, with the latter made
to displaying your work around the home. simple thanks to a box on the home page into
Look for ones with good connection options, which you can enter your measurements and
in particular Wi-Fi or card slots, so it’s easy get straight into customising. The frames are
to update your frame with your latest shots. handmade in the United Kingdom and the
Also make sure that the resolution is as delivery time is just 1-3 days. There are
high as possible to make the most plenty of categories to choose from, and just
of your mono shots. The Kodak as many mounts. While the frames are great,
range of EasyShare frames it does lack the ability to preview your own
start from £58 at www. image online. Visit www.ezeframe.co.uk for
kodak.co.uk. more details.
PICTURE FRAMES
This is another British website that specialises
in custom frames with tens of combinations
of frame and mount, as well as custom size
support. You can upload a preview of your
picture and there is a simple step-by-step
system to work through the available options,
while a price tally appears in the top left of the
screen so you can keep to a budget. There are
also options for multi-aperture frames, plus
free delivery for orders over £65. Visit www.
picframes.co.uk for more information and to
get started.
Design studio
EFRAME There are options to create a
eFrame is a great custom frame site as
frame, a mount or both when
it’s really easy to navigate. It has loads
of guides on how to measure a print entering the Design Studio Extras
properly, how to use the website and There are additional
inspirational galleries to get an idea extras such as stands,
of how a frame will look. Everything is backing tape, picture
customisable with both wood and metal Sample hooks and glass
frames, standard and custom size A picture can be uploaded to the site cleaner that can be
options and an online preview. so that you can see how your image added on to the order
looks inside the chosen frame

Techniques
Professionals from
the industry reveal
all you need to know
about black-and-white
photography
32 Master monochrome
See the world in black and white and discover the best
subjects to shoot
44 The benefits of black & white

We speak to three experts to find out how and why
they shoot in black and white
56 Perfect portraits
James Nader shares his pro secrets and portfolio
of fashion portraits
64 Shoot stunning landscapes

Discover the form and texture of the black and
white landscape image
76 Shooting the streets in B&W

Head outside and photograph the streets in black and
white with our guide
64
88 Documenting life in black & white
Photographer Carol Allen Storey shares her
incredible career
32

44
56
76 THE BLACK & WHITE PHOTOGRAPHY BOOK 31

Techniques
Master
monochr
TRANSFORM A VISTA
Embrace black and white and transform
your colour captures into stunning
monochrome masterpieces

Master monochrome
ome Discover how to

see the world in
black and white,
and find out which
are the best
subjects to shoot
B
lack-and-white photography has really
stood the test of time. Even after the
dawning of the digital age, which brought us
better colour and millions of megapixels, we
continue to embrace the traditional medium.
It’s even considered somewhat of a genre in itself
although there are no real limits to the subjects you can
shoot. So whether you photograph landscapes, portraits,
fashion, weddings or even wildlife, monochrome can be
moulded to suit anyone’s artistic style.
These days, digital photography offers a lot more
creative freedom, so black and white has become much
more accessible. Fortunately, we no longer have to select
between shooting in either colour or black and white,
as with digital you can do both, even simultaneously.
The darkroom has also been updated thanks to the
development of image-editing software programs such as
Photoshop. This gives photographers a lot more control
over the conversion process when it comes to adjusting
light, contrast and tonal range.
To help you embrace black and white again in your
portfolio, we’ve put together this 12-page ultimate guide.
Covering all you need to know about camera settings,
composition and conversions, we’ll take you step by step
through the entire shooting-to-editing process. We’ll also
guide you through putting it all into practice with some
hands-on shooting tutorials for landscapes, portrait and
street photography. Follow along with us and find out
how you can convert your lifeless colour captures into
some stunning monochrome masterpieces.

Techniques
From colour to black and white Convenience or

conversion?
It may sound strange to traditional black-and-white In order to do this successfully however, you’ll need to
photographers, but shooting in colour is now essential ensure that you’re shooting in RAW file formats first. Most digital cameras offer a built-in
black-and-white shooting mode, which
if you want to get great black-and-white shots. In This way, you’ll be able to gather as much information in although convenient, isn’t great if image
the professional industry, it’s common practice for the scene as possible so that you’re guaranteed great- quality is what you’re after. This is largely
photographers to shoot their black-and-white images in quality conversions that provide plenty of detail across due to the fact that these files are saved in
colour first, with the intention to convert to monochrome the entire photograph. JPEG format on the camera as opposed to
later. The benefit here of course is that you leave your Knowing the type of colour shots that will convert well RAW. Be aware that you’ll be sacrificing a
shots open to all options, so if it doesn’t work in black to black and white is key, and can be a real time-saver lot of extra image detail if you opt to shoot
straight into black and white in-camera.
and white, it’s still a great colour image. when it comes to editing. It’s worth noting that vibrant RAW files, on the other hand, offer a lot
This method also gives you shots with a lot of different colour hues don’t always more information. Conversions will be
Top tip
a lot more control over the translate well to monochrome, particularly if certain less destructive to the overall image
r conversion process, enabling tones appear similar when desaturated, such as blue quality as finer details can be retained
k yo u
a m e r a, chec n the you to take a much more and red for example. Surprisingly, it’s captures that within the shot.
In-c eo
olo u r exposur give you considered approach to offer a muted colour palette that convert better to black
RAW JPEG
c
C D , th is will a s a adjusting the photograph’s and white, as you have a lot more control over the tonal
e
back L of the imag you contrast and tonal range. contrast and ultimately the strength of the composition.
a pre view eras g ive
G . Most cam view in black
“Knowing the type of shots

JP E e
on to pr a of
the opti hite for an ide s
and w ne
colour to
how the onvert.
will c
that will convert well is key”
FLEXIBILITY
The real trick to black-and- DYNAMIC SHAPES
white photography is being Using shapes as features
able to shoot something that within a monochrome
works equally as well in colour conversion makes your shots
as it does in monochrome. more dynamic. The almost
layered effect also adds depth.
PRESETS
This area contains the
gradients that ship
with the program.
Any you have saved
will be here too.
STRONG CONTRAST
Convert well contrasted
captures to monochrome.
Shots that are a little under
or overexposed can also
be rescued this way.
MUTED TONES
An image with a muted
colour palette makes an
ideal black-and-white SUBJECT MATTERS
conversion, enabling you Think carefully about
to take control over whether or not the subject
contrast and tonal range. with the frame will suit
being in black and white.

Master monochrome
RED FILTER
The red filter/colour channel is ideal for enhancing Top tip
blue or dramatic skies in a landscape photograph Althoug
h
have a c colour hues c
• Lightens red/orange tones on the
onsider
able eff n
e
a
image, outcome of yo ct
• Darkens blue/green tones d
in the ru on’t get caug ur
les whe ht up
conver
ting. Ex n it comes to
all of th p er
e colo iment with
Converting with channels

for crea ur channels
tive res
ults.
When composing a black-and-white image in within their shots. These days, we can do largely
colour, it’s important to pay attention to the hues the same thing, using image-editing software.
that feature within the frame. It’s these colours However, understanding how these filters and
that are ultimately responsible for the tonal range ultimately colour channels can affect your
within your black-and-white image. image is crucial. This is particularly important
Before digital technology, black-and-white when you’re converting a colour capture to
film photographers would rely on colour filters monochrome, or even looking to strengthen a
to enhance or adjust specific tones and contrast black and white composition while shooting.
BLUE FILTER
Adjusting the blue filter will bring
• Lightens blue/green tones
Convert a colour capture using channels
out warmer tones. This is fantastic
is you’re shooting a sunset scene or
• Darkens orange/red tones
want to lighten a dark-blue sky
GREEN FILTER
The green filter, like the blue, can be used to
enhance warm tones in the scene you’re shooting
• Lightens blue/green tones

• Darkens orange/red tones
Techniques
FOLLOW THE RULES

Compositional rules can be incredibly
useful when framing for black and white.
Use the rule of thirds or lead-in lines to help
strengthen the structure of a shot

Master monochrome
Composition rules Things to look

out for in
monochrome
1 LEAD-IN LINES
Encourage the viewer to engage
with the scene with lead-in lines to
guide their eyes around the frame.
2 SUBJECT
Distinct subjects that stand out
can work just as well in black and white
as they do in colour.
3 LIGHT
Contrast is key to adding depth,
so ensure the light and your exposure
settings are spot on.
FOCUS ON FORM
Be bold when it comes to
composing and look for strong
dynamic shapes that offer
texture and contrast
Top tip
Activate
yo
grid line ur camera’s
compo s to help you
The strength of a black-and-white se foreground or background of your
image lies in its composition. Unlike white s your black and shot. This will help to add structure
hots in-
These a ca
with colour photography where vivid re partic mera. to your monochrome image and,
hues can command attention, black-
and-white captures rely heavily on their
useful w
photog
u
hen fra larly
min
raph us g a
in good light, can offset contrast
nicely too. 4 TEXTURE
A great way to enhance the feel
of depth in a black-and-white image
content in order to engage viewers with compo ing Photographing textured surfaces
and bring out contrast.
the frame. Using a few key compositional sitional is another great compositional guide
pointers can go a long way in helping you
rules for black and white. Ideal if lighting
to strengthen the structure of your black-and- conditions appear a little flat, you can
white shots. Regardless of whether you’re shooting include textured surfaces within the frame to
landscapes, portraits or even still life. naturally increase contrast areas and add an additional
One of the most popular compositional rules for visual element to the frame. This is particularly
monochrome photography, which also applies to important if you’re shooting abstract subjects, but can
colour, is the use of lead-in lines. Use them to enhance also be applied to portraiture with weathered skin
or even create an illusion of depth that can then guide and even street photography as brickwork translates
the viewer’s gaze through the entire frame. Lead-in incredibly well when converted.
lines don’t necessarily need to be straight either, think
creatively when composing for black and white and look
Having a good idea of what you want to achieve, or
even being able to envision the end result is important 5 RULE OF THIRDS
The rule of thirds works
excellently for monochrome stills. Use
for diagonals or even curves. when framing for a black-and-white image in colour. your camera’s grid lines for best results.
For more dynamic compositions when photographing This will not only guide you during the conversion
architecture, landscapes or even abstract forms, focus process but will also help when it comes to selecting the
on framing bold shapes that will noticeably stand in the right camera settings for the best exposure. 
“Use lead-in lines to create an illusion of

depth that can guide the viewer’s gaze”
Techniques
Filters for B&W

Filters can enhance your black and white
Exposing correctly
photography but you need to know how to While it is always important to expose your images of exposure and this is the kind of scene most likely to
use them to get the full benefit. The correctly, when you are planning to convert your cause your camera’s metering system to get confused.
SRB-Griturn filter kit is used in B&W images to black and white this is particularly vital. A You can decide which area of the scene is the most
photography to enhance colours within
the shot, with each filter enhancing monochrome image relies heavily on the tonal range in important for your final image and expose accordingly.
different aspects. Red filters help to the scene. If you underexpose the image too much, areas Alternatively, you can shoot two separate exposures (one
exaggerate clouds and darken greens, of the image that should be various shades of grey will with the shadows in mind and one for the highlights)
whilst lightening reds and yellows. An ‘block up’ as dense, pure-black shadow. If you overexpose and merge them later.
orange filter will enhance detail such as the image too much, you risk losing highlight detail, One more thing to be aware of when you are exposing
stone work as well as subduing blemishes
something that never looks great but can be particularly your images is the role of the ISO setting. If you find that
in portraits. Yellow filters darken blue
skies, improve contrast, and lighten unappealing in black-and-white scenes. One of the joys of you need to brighten the image up in post-production
yellows. A green filter will lighten foliage, as black and white photography is being able to dodge and you’ll generally notice a lot more noise in the shadow
well as helping cloud effects. Visit www. burn in the digital darkroom so you need to give yourself areas of the image if the shot was captured using a
srb-griturn.com for more details. room to play with in your editing software, which means higher ISO (e.g. ISO 800 or 1600). As it’s not always
capturing images that are neither too dark or too light. possible to shoot at a lower ISO, it’s best to adopt a policy
Scenes with a high degree of contrast (with very bright of ‘exposing to the right’. Take a look at our guide to
and very dark areas) always present a challenge in terms histograms to see how this works.
“A monochrome image relies heavily

on the tonal range in the scene”
Histograms Getting to grips with histograms is vital for B&W

CORRECT HISTOGRAM
This histogram is ideal as there is no clipping (represented by
sharp spikes) at either the highlight or shadow ends of the figure.
The histogram is biased towards the right slightly, ensuring that
noise in the shadow areas is kept to an absolute minimum
UNDEREXPOSED
This histogram shows the result of underexposing the shot. The information is
clustered towards the far left-hand side with a sharp spike. Some shadow detail will
be recoverable but is likely to be noisy with poor detail and colour accuracy
OVEREXPOSED
This histogram shows the result of overexposing
the image. The information is crowded into
the far right-hand side of the diagram with a
sharp spike. Some of the highlight detail may be
recoverable but much of it will be lost

Master monochrome
Portraits
Portrait photographers have worked in black
and white since the dawn of photographic
time. From Julia Margaret Cameron to David
Bailey, photographers have used monochrome to
capture portraits with style.
Black-and-white portraits can look either
modern or classic with equal success. The clear
advantages of shooting without colour include
the ability to remove distracting elements and
smooth out uneven skin tones and blemishes.
When there’s no colour to worry about, you
are free to push the contrast to its extremes and
create a very wide range of effects. The absence
of vibrant hues also means that it’s easier to
capture impromptu portraits when the subject’s
clothing doesn’t have the required tones or the
surroundings aren’t ideal.
However, it’s important to remember that
shooting in black and white doesn’t allow you to
take your eye off the ball in terms of planning
and preparing a portrait shoot. Simple, fairly
plain clothing with a relatively small range of
tones will usually work best for black-and-white
portraits. It’s also important not to expect your
portraits to automatically look like the work of
one of the greats simply by converting it to black
and white. It’s even more important to consider
your subject’s pose and expression, as the best
black and white portraits will almost always be
very strong in these respects.
Be sure to pay attention to the lighting as Top t ip
much as you can, because in black and white the The sub
contrast between well-lit areas of the frame and and exp ject’s pose
areas of shadow is always accentuated.
especia ression are
lly
when th important
colour t ere is no
om
MODEL MONO shot sta ake the
Black-and-white portraits have nd out
the potential to look really
striking, but the right lighting
and pose is required
BLACK BACKGROUND
MODEL
SOFTBOX
ANGLED 45°
BACK IN BLACK
Simple clothing works well in
mono – we asked our model to SIMPLE SETUP
wear a classic leather jacket Great black-and-white portraits can often be achieved with
minimal lighting. Here, we used just one flash with a softbox

Techniques
Landscapes MOODY GREYS

Black and white can be used to
create atmospheric, brooding
landscapes with dramatic skies
Although the iconic landscape photographer Ansel and strikingly simple elements
Adams worked almost exclusively in black and white,
landscape photography is often associated with colour.
One of the main inspirations for capturing landscapes
is the appeal of the warm, golden colours produced by
late afternoon and early morning light, or the glow of a
gorgeous sunrise or sunset.
However, landscapes also offer a wealth of textures,
shapes and patterns that lend themselves perfectly to
black and white. Without the distraction of colour, the
landscape is both simplified and endowed with an
appealing timelessness. Black-and-white landscapes
taken today can look little different to the photographs
taken in the 1940s by Ansel Adams himself.
However, in some respects, black-and-white landscape
photography can present greater challenges than
shooting in colour. Without a beautiful blue sky or
warm orange sunset to rely on, the composition of the
shot itself becomes even more important. With this
in mind, it’s vital that you take extra time to carefully
assess each and every element of the scene before taking
the photograph. Although all the elements of the scene
need to be in harmony in all landscape images, the
final photo really won’t work at all if this isn’t
tip
achieved with a black-and-white scene.
Top
It’s also worth remembering that the
k-
time of day still counts with black and
b e st blac pe
e a
For th ite landsc t
white landscapes. Images taken at the
beginning and end of the day will h u
have much softer shadows than photos and-wots, seek o lude
h n c
s that i tterns,
taken around midday with the sun at
its highest. enes
sc ctive p a
distin apes and
sh ures SEE IN MONO
text Traditional scenes that work
well in colour, like this landscape,
can also shine in black and
white, especially with a dull sky

Master monochrome
“In some respects, black-and-

white landscape photography
can present greater challenges
than shooting in colour”
Get the perfect monochrome landscape photo
1ThisCOMPOSE Pay close attention to your composition and

keep an eye out for anything distracting in the frame.
is always important but is particularly vital for great
2 TRIPOD Using a tripod low and close to the ground
means that you can make the most of lead-in lines such
as the boarded walkway along the pier, as we’ve used in this
3 SETTINGS Opt for a long exposure to make the most
of any movement in the clouds. This helps to keep your
exposure as simple and uncluttered as possible. Use a
black-and-white landscape images in which all the elements shot. Wooden boards like these have a texture that’s really narrow aperture like f16 to get the maximum depth of field
have to work together perfectly. appealing when converted to monochrome. in your image.

Techniques
Street
photography
Street photography became popular with the rise of
35mm and other portable-camera systems. Henri Cartier-
Bresson’s classic black-and-white reportage images
still influence street photographers today and this is
a field of photography where monochrome images far
outnumber colour shots. Black and white offers street
shooters instant artistic and practical advantage, and
this element of the medium harks back to the tradition
of photojournalistic images that for many years were
exclusively black and white.
The very nature of street photography dictates that the
photographer cannot control the range of colours within
the scene and in many situations this could result in a
much less appealing image. Black and white’s ability to
simplify the image provides a way of creating graphic,
captivating images.
In terms of subjects for this type of project, you should
aim to keep your compositions as simple as possible.
This isn’t necessarily easy on busy and crowded
streets, but is vital for successful shots. Very
often, the best images have a degree
of anonymity, without any faces, so
tip
keep a look out for hurried feet or Top R
ut
AW b ’s
hands held pensively behind the
t in a
back. A bustling shopping centre Shoo ur camer ode
or high street can be a daunting o
set y control m e to
re it
pictu ck and whome
place at times but keep watch for
moments of human interaction
and affection, as these can look to bla monochr
even more striking and emotive in view eviews on
a public setting. pr D C
the L
Shoot everyday life in captivating monochrome
2 MONO PREVIEW Shooting RAW and setting your camera to its monochrome
mode allows you to see a black-and-white version of your image on the back of
the camera when you press the image review button, which is really useful.
3 SETTINGS Use
a fairly narrow
aperture of at least f8
in order to get a decent
amount of depth of field
in the shot. Also ensure
that the shutter speed
you use is reasonably
fast to ensure sharp
1photographed,
HIP SHOT Shooting from the hip is a popular technique among street photographers as it allows
them to take candid shots without people paying close attention to the fact that they are being
although the results can be a little hit and miss unless you are used to this method.
shots. If necessary,
make use of a higher ISO
setting to compensate.

Master monochrome
Thomas
Leuthard
Pro street photographer Thomas Leuthard
gives his expert tips for black and white
Web: www.85mm.ch/
Why does black and white work

so well for street photography?
Black and white reduces a
photograph to its forms, patterns
and basic content. The old masters
were all shooting in black and white
– although this isn’t the main reason
for shooting monochrome.
How do you convert your images

to black and white?
I shoot in RAW – which is always in
colour – but my camera is set to
black and white. This way I can see on my LCD what the end result will
look like. I actually convert it into black and white on the computer when I
process the file.
What shooting tips do you have for achieving excellent

black-and-white street images?
The most important thing is to see already in black and white on the
streets. You have to look for interesting structures, patterns and content
first. There are items that don’t look good in black and white. You have to
learn how things will look – this is very important. You also have to be sure
that you have a good dynamic range in your image.
Do you have any specific post-processing or Photoshop tips that

you use for street photography?
tellinG A stoRY I often add some more contrast to my images – there is not much more I
Black and white has a classic
photojournalistic feel to it and do in post-processing. People always think that post-processing makes a
works perfectly on the street lot of difference to photographs but in my opinion can only improve a shot
by five to ten per cent. If the basic content is missing, you cannot add it in.
What advice would you give to someone who wants to start

practising with this type of monochrome imagery?
I think it’s important to decide either to only shoot in either black and
white or colour. I believe that you cannot focus on both, as these are
completely different. But don’t think that you get a better photograph just
by converting it to black and white. It’s your personal decision and you
should stick to it.
stReet VieW
Capturing people interacting
on the street is possible when
shooting discreetly from the hip
“Very often the best images © Thomas Leuthard
Reflections
have a degree of anonymity” Use urban locations and props to add something different to your images.
The bus window works well to create a unique portrait here

vvv
Techniques
The benefits of
black & white
We explore the hypnotic world of black-and-
white photography, talking to three high-profile
photographers who are deemed experts in the
art of conversion
Body portrait with veil

“Nowadays there is a lot of contamination
among photographers, more than in the past,
because people are copying what they see
on the internet rather than creating their own
style. In my work, I hope what is shown is my
personal vision of a woman’s beauty”
Shot details: Nikon D300 with 18-200mm lens
at 35mm and f25, 1/250sec, ISO 200
© Gian Marco Marano

The benefits of black & white

Techniques
© Guy Gagnon
“Working in black and white makes me

8
CloudS diving
(MonTreal CiTy)
“I don’t go anywhere without
my MP3 player for listening
to music while I work. The
passion for music is strongly feel like a painter, not a photographer”
T
tied with my passion for
photography. The songs
directly influence the way I
imeless, emotive, pure and modest: all affiliation with nature. These two themes often recur in my
photograph, my moods and adjectives that perfectly sum up the niche of work and complement each other: the cold, sharp aesthetics
the way I interpret what I see black-and-white photography, while boasting and straight lines of architecture are opposed by the delicacy,
in a given moment” some of the qualities that colour photography curves, sensitivity and poetry of nature. These themes have
Shot details: Canon EOS
5D Mark II with 70mm lens can lack. While we aren’t encouraging readers influenced me to switch to the world of black and white to
at 24mm and f16, 1/500sec, to permanently switch to shooting in black and white, this accentuate this darker but more poetic theme.”
ISO 320 feature will illustrate the copious benefits of seeing the world Unlike most photographers, Guy’s photography is
through a metaphorical monochromatic lens. Whether it helps predominantly all black and white. He suggests the reason
you to focus attention on composition or simply allows you to for this is because it allows him to think, and create, outside
deepen your appreciation of light and shade, black-and-white the box. “Black and white allows me to detach from the
8The Cherry photography can provide any level of photographer with an cliché ‘souvenir photo’ approach to photography,” he explains.
river, Magog
CiTy, Canada assorted array of new skills and techniques, boldly opening “Working in black and white makes me feel like a painter,
“Landscapes look great in the door to an exciting realm of photographic exploration. not a photographer. Shooting in this way allows me to focus
B&W, especially when they Canadian-born, Belgium-residing Guy Gagnon (www. my attention on the light and shade, textures, shapes and
offer wonderful cloudy skies! guygagnon.com) is one of the world’s fastest up-and-coming expressions. It’s really a matter of personal choice, but in my
When I convert a landscape
into B&W, I feel like a painter photographers, with top client credits that now include IKEA. opinion black and white can lead to a more abstract reading
who’s painting with his Guy’s genre preference runs a wide gamut between nature of reality, which is arguably more demanding and more
emotions. B&W landscape abstracts and architecture – both of which he claims lend challenging to produce. Here, photographers cannot use
photography can emphasise
that intimate connection
well to black-and-white photography. “By redirecting my flattering colours or coloured light to distract the eye. You
with nature, outdoors passion to more accessible themes like architecture, urban cannot cheat in black and white.”
and freedom” and flowers, I have found a way to achieve harmony,” he says. When coming across a building, flower or landscape, Guy
Shot details: Canon “Architectural photography allows me to tame cities of iron claims that he will assess the scene using specific criteria,
EOS 5D Mark II with
24-70mm lens at 24mm and and concrete and find a ‘charm’ within them. With my studio to decipher whether it will later merit a black-and-white
f8, 1/800sec, ISO 320 photography shooting plants and flowers, I can keep some conversion. “I think to myself – does this scene have any

©
5 TOP TIPS
How Guy Gagnon gets
great black-and-whites
Web: www.guygagnon.com
although reluctant to label himself
as a fully-fledged ‘professional’,
French canadian guy gagnon has
racked up an impressive cV of
photographic work. one of his
many clients is Swedish furniture manufacturer ikea, which
retails several of his black-and-white flower images in stores
across the globe and can be sourced in the brand’s 2011
catalogue. based in belgium, guy earns his crust mostly
through his day job in the office, but spends every other
available minute pursuing his creative passion: photography. “if i
could, i would switch my whole life to the world of photography,”
guy exclaims. “but this universe is rather inaccessible to
ordinary mortals. it is for the best, the real professionals, but
also those who are lucky enough to be financially supported –
having a foot well placed in this world also helps. however, i am
still a passionate photographer, because i shoot with my
emotions and my personality. This brings a sense of freedom as
i have learned over the years that we must take pictures to
please ourselves, and not take photos to please others.” For
more information on guy and his work, please visit www.
guygagnon.com.
1 Lower your ISO
when possible, maintain the lowest possible sensitivity (iSo) to
minimise grain. it’s better to simulate the grain to your liking later.
2 Beware B&W
Never, ever shoot in black and white. Shoot in colour and keep the
b&w conversion to the editing software.
3 Experiment
Play with your camera! Turn your camera on a different The Tree
angle, play with perspectives and point of views. Play with the SISTerS
horizontal and vertical distortion of a wide-angle lens to add “I enjoy photographing flowers
dynamic movement. and plants in my improvised
studio at home, but I don’t
4 Exploit grey days find enough varied or unusual
Shoot during grey days! Use a polariser to improve your sky plants in my immediate
and to reduce bad reflections, and do not forget to increase environment. Shooting flowers
your exposure. and plants forces me to take
my time, to work peacefully”
5 Don’t be lazy Shot details: Canon EOS
Don’t convert your picture in b&w with Photoshop>grayscale or 5D Mark II with 24-70mm lens
you will get a grey and bland image, without flavour or life. Take at 50mm and f16, 0.8sec,
your time to use the many more imaginative methods. ISO 250
© Guy Gagnon
power to evoke an emotion or story? Is the quality and © Guy Gagnon
nature of light interesting, and does it create any shadows

or areas of light? Does it challenge the rules of compositions
and offer something new? For me, what makes an artistic
black-and-white photograph above all is the approach:
trying to show something slightly more than what is there
in reality.” Keen to offer readers advice, Guy suggests
tips on sourcing a subject: “Where you find opposites,
juxtapositions or complementarities, you will find good
black-and-white subjects. It is important not to overload a
scene with information – instead, simply focus on one part
of the frame. Although black and white reduces disturbing
coloured elements, it can also complicate the ‘reading’ of the
image when overloaded with details and information. Look
for contrasts, textures, shapes, curves and graphics, and
remember that light and shadows add to the poetry of the
piece.” As well as detailing what elements to actively seek
out, the Canadian was keen to explain what aspects should
be avoided: “Situations where the sunlight creates areas
that are overexposed should be avoided, and the detail will
be unrecoverable. Black-and-white overexposed areas will
only create white spots without any texture on your picture,
rendering it practically useless. Faced with this situation I
use one of two solutions: I simply underexpose slightly, or I

Techniques
© Guy Gagnon
© Guy Gagnon
© Guy Gagnon
forgoTTen
“Any genre and topic is good for photography in B&W. Even the nose of
your favourite dog or the metal drum of your washing machine! It just
depends on how you perceive and compose the picture. The potential
of a subject depends on your way of seeing the subject, your sensitivity
and your interpretation”
shot details: Canon EOS 5D Mark II with 24-70mm lens at 70mm and
f4, 1/160sec, ISO 1600
sTory of create a high dynamic range image later. A problem that will sometimes to sensitivities as high as ISO 1600. “I find image
lighTs concern landscape photographers will be the improper use blur very frustrating, but luckily I have a Canon EOS 5D
“There is nothing better than
natural light. Spending hours
of a polariser. In landscape photography, the polarising filter Mark II which deals with noise very well,” he explains. “In
adjusting the lighting of a deepens blue skies, reduces contrast and cuts out glare from landscape and architecture photography I almost exclusively
studio bulb for a few mins reflections. However, if you want to convert it into black and use an aperture of f8, except when I want to play with depth
of shooting is something I’ll white, using a polariser can hinder your results, as it ‘eats’ of field and employ a Canon 24-70mm f2.8 L USM lens. For
never appreciate”
shot details: Canon EOS light and will make many areas of your image too dark. It is portraits, I shoot at f2.8 to f5.6 to get a nice bokeh effect and
20D with 24-70mm lens at much better, therefore, to use an ND grad filter and exposure use my Canon 85mm f1.2 L USM. Finally, for photographing
27mm and f7, 1/1600sec, for the entire frame correctly.” flowers I usually shoot around f16, or sometimes f22, and
ISO 400
Despite his penchant for monochrome, Guy claims that choose to use either a Canon 100mm f2.8 USM or Canon
he always shoots in colour but forces himself to think in 50mm f1.4 USM lens. Both are sharp as a tack, and perfect for
The Wolubilis black and white. “It comes with a lot of practise, but when drawing out details.”
(brussels I shoot urban architecture and cityscapes I concentrate on After shooting his frames in colour, Guy retreats to his
ciTy) the composition, pay particular attention to the levels of editing studio where he converts the chosen RAW files into
“A large building may appear grey and consider the light composition.” When presented 16-bit TIFFs. “Recently I tried the new Adobe Camera CS5,
repulsive if viewed from with a colour-clad scene it can be tempting to refrain from which convinced me to make the switch. First I perfect the
afar, so only concentrate on
parts of the buildings. From erasing the scene of its obvious vivacity, but this pro is of white balance and then recover any details lost in over- or
a closer perspective, you’ll the opinion that a colourful and contrasting scene can offer underexposed zones. Later in Photoshop, I do some minor
discover prettier elements. much more opportunity when converted into black and white. colour and contrast corrections and reduce the noise when
Don’t condemn the subject
without taking the time to “Experience will show you what colours work best in black and required. I save a final copy of the full-colour version of the
analyse it from all angles” white, but a wide range of shades and hues can offer so much picture, under 8 bits and from my 16-bit version, then convert
shot details: Canon EOS interest in this way.” it into black and white with the use of layers made from colour
5D Mark II with 24-70mm In terms of technique, Guy refuses to go below 1/500sec channels. The moment you convert it is the long-awaited
lens at 67mm and f9,
1/640sec, ISO 200 and instead prefers to ramp up the ISO to combat shake, moment when the image is revealed to you – it reveals its

Wedding Outfit
“A bridal fashion shoot, shot on
location and lit by flash with no
softbox, so the light has intensity.
I had cardboard and gaffer tape
to create some unusual light
control and worked with the
model to create this relaxed shot”
Shot details: Nikon D3X
with 70-200mm lens
at 150mm and f11, 1/30sec,
ISO 200
© James Nader

Techniques
© James Nader
After the © James Nader © James Nader
PArty
“This picture is from one of
my stories for a magazine
that was doing a feature
on the autumn/winter
party season clothing. We
were on location at Weston
Park in Shropshire, which
is beautifully preserved
and full of antiques. We
all thought the floor was
striking and wanted a shot
to capture it. We added
the hat fascinator as an
added item of interest. The
original image was a colour
version, but I liked it in black
and white. It is difficult to
find good editorial models
outside of London, but this
girl, Hollie, was great and
had enough quirkiness for
the shoot”
Shot details: Nikon D3
with 70-200mm lens at
85mm and f2.8, 1/15sec,
ISO 400

“I will always have an idea when shooting

a picture if it will work in black and white”
secrets, its strength and character. From these layers, I remove
unwanted sections and I only keep the detailed parts. I play 5 TOP TIPS
with dodging and burning tools, but I also adjust the light and
contrast to my taste from the layer masks. When I’m done I James Nader on how to
will convert the final picture into an 8-bit file and save it. This get the best B&Ws
is the version of the image I want and enjoy. Stripped of its Web: www.naderphotography.
colour, the picture becomes more pure. The coloured elements co.uk, www.trainyourlens.co.uk
that caused discord in the photo now become harmonious with a whopping two decades of
in black and white. By paying attention to improving the experience under his professional
shadows, density and light, we reduce the presence of belt, James Nader is a cutting-edge
disturbing factors in favour of a more evocative or poetic scene. fashion and beauty photographer
who has notoriously achieved
For me, converting a colour photo to a black and white is like
widespread praise for his quirky yet classy style. “i would not do
dipping a film negative in the developer liquid and discovering anything else now – i love how and where i work, and still look for
the final image.” great clients. The main thing about what i do now is that i work
Famed for his quirky edge within the fashion for people i get on with, and my work is all about my style and
industry, James Nader (www.jamesnader.co.uk, www. how i see things. it may not be everyone’s fashion taste, but it is
naderphotography.co.uk) has been shooting for over twenty mine, and the clients who use me like the quirkiness of my work,
especially my lighting.”
years. Because of his history with film photography, James commencing from 2011, James will be running a series of
believes he has a secret weapon for capturing black-and- masterclasses, revealing how to use location lighting with models
white images. “I come from the traditional darkroom of old, and the razorbrush retouching technique. “This will be an in-depth
with fixers, films times and prints. Although I now work resource with video pay-per-view, featuring downloads, location
with digital cameras, the skills never leave you. Having the practical courses and ‘learn with James’ fashion shoots.” For
understanding of what is needed in the picture is not always more information on these workshops, or to register your interest,
visit www.trainyourlens.co.uk.
down to levels, curves or black-and-white filters. It is more
deeply rooted in traditional understanding of tonal ranges 1 Be interesting
and subtle details of the finished picture. I was always in the if you are trying to sell b&w images, be prepared for a hard slog.
Make it interesting, wild and wonderful. if not, just keep it real!
darkroom working towards a picture from my own black-and-
white processed film. I was inspired by the classic film star 2 Research
photographers such as Sinclair Bull – I managed to see one Seek out knowledge of black and white online – reference the
exhibition about his work, and that was it. Black and white masters and see how they did it.
was how I started to see things. I developed my lighting style 3 Shade and light
based on how he lit, and this is why my lighting works so well. get in the studio and set up something, or go outdoors and do the
It just works with black and white. I even emulate the softness same but try lighting with flash or available light and understand
in some of my shots.” how it affects your black-and-white images.
Working in the fashion industry, colour is obviously an 4 Careful with contrast
essential component of James’s work; however, the Brit be careful with contrast – it’s easy to use the brightness and
opines that harnessing the simplicity of the black-and-white contrast in Photoshop for a quick fix, but experiment with the
medium can lend itself for more creative and challenging photo filters and settings.
TraSh compositions. “The best part of shooting black and white 5 Old school
The dreSS for me is how it makes me feel about the image. It makes if you have access to a traditional black-and-white film camera,
“I love this image for its me think about the shot a little more and therefore employ a give it a go! Try it with some filters and see the results in print. it
beauty against the old will help you to understand the new darkroom.
beauty of the Victorian greater degree of concentration. With colour you can tell if it
pier. I thrive on creating is working almost the right way in terms of how the colours
extraordinary lighting that are working together, but in black and white you have to think
just makes you think about
what’s going on. I’d brought deeper. Although my colour work is often quite saturated and digital camera for HD video, LaCie 500GB rugged hard drive
the Bowens battery travel intense for fashion, I think the simplicity of shooting in black and even has access to a Hasselblad when higher-res files
pack with me – it works and white is appealing. It makes the image a lot more simple are demanded. “I prefer not to use larger cards, as it takes a
well, as I’ve overexposed the
background for drama”
and balanced and you tend to focus on the composition more. while to copy across to hard drive, and I sometimes use this
Shot details: Nikon D3X Shading and tonal ranges are your colour palette and you need as a way to re-group away from the clients, so I opt for various
with 70-200mm lens at to understand how colours actually work in black and white.” 4GB memory cards,” he confides. “I have my own lighting
70mm and f11, 1/30sec, Choosing a subject matter – or, in James’s case, a model and kit which is both Elinchrom studio/Bowens. At the moment
ISO 400
scenery – which will transcend richly into black and white Bowens sponsors my equipment, so most of my shots are
MenSWear can be half the battle. James shares his tactics for knowing taken on Bowens, but I do use Profoto too.” James starts his
clIenT which attributes to look for. “I will always have an idea when sessions with a light reading that gives him f11 at ISO 200. “I
“This was shot as part of shooting a picture if it will work in black and white. You have don’t know why but this really is my signature light reading,
a menswear Steel and
Jelly marketing brief. The to just know it will work, but as a guide it tends to be when I in continuous or film lighting it will be more like an f4 and
location was another am using low light or am on location, for example shooting ISO 400 plus. I do tend to use my ISO to push or pull the
classic house, which was a story or portraits on location in a hotel room. For portrait contrast of the image, as it gives me rich tones that are also
lit by continuous lighting fashion work I love how it can bring the image down to a level punchy. As I am using slower shutter speeds, I need a tripod.
or tungsten. It was an
in-between shot and the that exudes a classic feel.” The lower light and timed exposure allows more information
model was relaxing” James confesses to predominantly using a Nikon D3X with to be built up in the shot, and ensures a richer image both in
Shot details: Nikon D3X 70-200mm 2.8 Nikkor VR lens to capture his fashion-focused colour or black and white.”
80mm and f2.8, 1/15sec, frames, but also carries a Nikon 24-70mm 2.8, Nikon 85mm When shooting a frame that he knows is destined to
ISO 400 1.4, Sigma 105mm 2.8, Macbook Pro 17”, iPad, iPhone, Sony become black and white, James says he will make sure there

Techniques
FIVE TOP TIPS

Gian Marco Marano
on what to consider
Italian-born and bred Gian Marco
Marano has been a professional
shooter for just over five years, but
says he has always had a passion for
photography. “My father gave me
my first camera – a Ricoh 500G – when I was six, and since then
I can say I’ve always been involved in photography. In the
Nineties I directed my attention to figure studies as I’ve always
been attracted by fine-art nudes. I remember I participated in a
glamour and artistic-nude workshop and then I started to
develop my first own projects, reading a lot and learning self-
taught. In the last few years I have concentrated mainly on dance
and fine-art photography. I know it sounds obvious, but I think
that if you really want something, you have to take your chances
to get it. I feel as though I have just started along this creative
path, but it gives me a lot of satisfaction to know that I want to
explore it deeper, creating images that I am proud of and I hope
will be appreciated by other people.” If you are a fan of Gian’s
work, view his dazzling portfolio at www.gianmarcomarano.
com, where a beautiful range of fine-art prints are listed for sale.
1 Learn from the masters
look to the works of the masters of photography as well as to the
other photographers in order to learn techniques, find
inspiration and develop your personal taste.
2 Subject matters
be sure that the subject you choose is right for black and white in
terms of lighting, contrast and tones.
3 Experiment
keep experimenting with editing until you find the black-and-white
conversion technique that suits your tastes, keeping in mind that
simplicity is often better.
4 Shooting focus
when shooting, focus on the results you want to obtain and try to
find a way of getting it.
5 Details count
once you’ve learnt the basics, concentrate on the details – it’s
what makes the difference.
BODy
POrTraIT
“I’ve always liked women’s
“Black and white doesn’t copy the reality,
grace, and I try to represent
it as best as I can in my
work. Over the years I
pursued my vision of
but represents it with its own language”
women’s beauty from my
first ‘model books’ to my is enough detail in the highlights and in the shadows, and read more about James Nadar, his career and thoughts on the
last works, with more and ensure there is enough light in the eyes to really punch energy monochrome genre turn to page 38.
more awareness of what I into the shot. “Some type of reflection will do the trick; if you Passionate as much about fine-art photography as he
want and how to get it”
Shot details: Nikon D300
don’t have a light there, the eyes will look dark and lifeless.” is the female form, Italian Gian Marco Marano (www.
with 18-200mm lens at Offering advice, he continues: “Try to make sure shadows gianmarcomarano.com) has become a connoisseur in the
32mm and f18, 1/250sec, have some contrast but aren’t too dark. If you are using ways of black-and-white photography. Specialising in artistic
ISO 200 harsher light, try to use white reflection and not silver, as this nudes, Gian is currently creating a portfolio featuring dance
works better on the skin. Don’t hold it too close – good shots and contortion. “The special factor about black-and-white
often have reflection, but just enough to pick out some detail in photography is that it doesn’t just copy the reality, but it
DEux FIllES the shadowy areas.” represents it with its own language,” the pro photographer
“Shooting in black and white Post-shoot, James heads straight into the digital darkroom explains. “When I shoot a photo I already know if the final
means mainly dealing with to create his monochromatic masterpieces: “I sometimes use image will be black and white or colour – it’s a matter of what
light and shadows, and Capture One, but recently have started using Lightroom, as expressive language you want for that project. Of course,
as a rule of thumb high-
contrasted subjects work I love the way it does a whole range of different processes some images are more suitable for black and white, especially
very well for creating black- and allows you to create great online galleries. Photoshop is high-contrasted images.”
and-white images. I always my digital darkroom and I will use this as much as possible Preferring a minimalist approach when it comes to kit, Gian
shoot at the lowest ISO
my camera allows, at 250
to control and enhance certain pictures. I make little tweaks mainly utilises one camera and one lens for his nude studio
sync and in a range of stops, to the levels, brightness, contrast, curves and do a final shoots. “Some people are surprised when I tell them that most
usually from f11 to f22-25” sharpen at the required size before saving. My advice is to of my studio work is captured with a Nikon D300 and an 18-
Shot details: Nikon D300 not desaturate your images, as you will lose much of the 200mm VR Nikkor lens. But you have to consider that when
32mm and f22, 1/250sec, information in the image. Use the filters within Elements or working with powerful studio flashes you have all the light
ISO 200 Photoshop to control the image and get the best out of it.” To you need, and this means that you can use your camera at the


Techniques
form. Other than that I don’t employ any special techniques
with my accessories; I simply try to master them as best as I can
in order to realise what I have in my mind. Shooting in black
and white means mainly dealing with light and shadows, and
as a rule of thumb high-contrasted subjects work very well for
black-and-white images.”
One of Gian’s biggest grumbles is inadequate calibration,
a factor he says can potentially ruin a perfect photo. “Often
people spend lot of money buying high-end equipment, but
they do the editing part on non-calibrated monitors. I think
that a calibrating device in the ‘Photoshop era’ is essential if you
want to obtain reliable results – not only for colour photography,
but for black-and-white imagery too, as you may want to add
tonal effects.”
After a shoot Gian loads his images, which have been
captured as RAW files, into Nikon’s Capture NX 2, where he
saves the frames as 16-bit TIFFs and opens them in Photoshop.
“I know it will sound like obvious advice, but the best tip about
editing I would give is to do the best you can at the shooting
stage in terms of lighting, exposure, correct focal length,
aperture and shutter speed, etc. A good original image will need
only very basic editing work, whereas a bad picture will need
hours of editing work in order to become just acceptable.”
There are several methods to transform a shot into black

and white, with each photographer preferring to do something
different. “Conversion is one of the big topics you have to
deal with when making digital black-and-white images,”
Gian explains. “Before finding my favourite black-and-white
conversion method I experimented a great deal. Nowadays I
Arc lowest ISO. The lens can be set to a medium aperture, where find Photoshop’s built-in conversion method very powerful.
“The special factor
about black-and-white it works better.” It gives you lot of control, although the ‘automatic’ function
photography is that it In case he changes his mind, the pro also carries an AF-S works fine as well. Most of my black-and-white body portraits
doesn’t just copy the reality, Nikkor 50mm f1.4G, AF-S VR Zoom Nikkor 70-200mm f2.8G are made by mixing a Photoshop black-and-white built-in
but it represents it with its
own language. When I shoot
IF-ED, AF-S Nikkor 28-70mm f2.8, Manfrotto tripod 055 XB conversion layer with a personalised duotone layer.”
a photo I already know if with spherical head 322 RC2, four Bowens Gemini 1000Ws But what does Gian think are the most crucial elements
the final image will be black with accessories and a Gossen Luna Pro-X exposure meter. for strong black-and-white photography? “Good lighting,
and white or colour; it’s a “I always use an exposure meter for all my studio and most effective digital conversion and image enhancement,” he
matter of what expressive
language you want for of outdoor and location works, but reaching the exposure replies. “Again, choose contrasted subjects, with a lot of
that project” that suits your taste is often a matter of trial and error – and light and shadows, find a conversion that suits your taste and
Shot details: Nikon D300 something you may have to experiment with to perfect. My try to enhance the image by adding some contrast.” As a final
28mm and f16, 1/250sec, personal taste for my figure studies is to overexpose the thought, Gian summarises: “With black-and-white photography,
ISO 200 outline of the body a little, in order to emphasise the body what you have to say counts more than the way you say it.”
Arch
Make sure you don’t
forget about black-and-
white landscapes. A
well-thought-out
monochrome conversion
can add another dimension
to any simple image

Inspiration...
JOhn BairD
“This shot was taken in
Canterbury during the summer,
originally shot in colour but
converted to black and white
using CS4 and Photomatix
Pro by using HDR to give it
more texture and contrast. I
used a single shot to create
three images at different
values, from +2.0 to -2.0 ev”
Shot details: Canon EOS 5D
Mark II with 4-70mm lens at
35mm and f8, 1/250sec,
ISO 100
DP gallery address: www.
dphotographer.co.uk/user/
John Baird
rOn SuttOn
“This shows the Red Arrows
at the Southport Air Show in
2007. The position of the light
caused the planes to be partly
in silhouette, so I thought black
and white would be a good
option. The curve of the smoke
trails adds a little something
extra to the image”
Shot details: Sony A100 with
17-70mm lens at 70mm and f8,
1/500sec, ISO 100
dphotographer.co.uk/user/ © John Baird
RonSutton
© Ron Sutton Patrick Ong © Patrick Ong

“A stormy and cloudy day at
Pangasinan, Philippines”
Shot details: Canon EOS 5D Mark
II with 17-40mm lens at 20mm and
f16, 49sec, ISO 50
Patrick_Ong
Oliver geiDel
“Some of the most iconic London
landmarks. People were feeding
the birds, causing them to frenzy”
Shot details: Nikon D90 with
1/400sec, ISO 400
bigbadpumpkin
© Oliver Geidel

Techniques
Tears
“Here I tried to engage with
the sorrowful feeling that
the model portrays. The
intensity of the eyes engages
with the viewer. The skin
was retouched and cleaned
in Photoshop, but in a
non-destructive way so the
skin remains natural”
shot details: Hasselblad
H4D-40 with 200mm lens at
f6.8, 1/250sec, ISO 100

Perfect portraits
Perfect portraits
Expert advice for taking black-and-white portraits
T
he fashion industry has so many aspiring models James refuses to allow the confines of his surroundings to
and photographers wanting to shoot them that inhibit his creativity. “My real passion is for the composite
many hopefuls are left outside the party. London- image, which is photography and artwork combined. I have
based editorial photographer James Nader is one of been a traditional photographer through and through, learning
8
the few that have made it through the door, catching from film, but slowly Photoshop has unleashed a whole gamut Lord of
the eyes of big names like Sony BMG and Umberto Gianni. He’s of possibilities for me.” A glance at his online portfolio reveals the Manor
“Editorial shoot based
recently completed a stint on Channel 4’s How To Look Good a talent for editorial photomontage work, be it a backdrop so around the young Lord
Naked, photographing the fashion victims of the eccentric surreal it would have brought a smile to Salvador Dali’s lips, of the manor and shot on
presenter Gok Wan, and he was even short-listed by Virgin or a striking Sin City-style world. “More and more people are location in the rain using
Profoto battery lighting. It
Media to shoot Britain’s Next Top Model. looking at this work and starting to realise a simple shoot in a was very windy, but I used
So what makes this contemporary artist stand out from white studio can be a cost-effective solution when I weave the the wind to create a little
the masses? “I shoot editorial fashion work with a slightly Photoshop magic,” he comments. more drama to the shot
quirky edge,” says James. “There are too many photographers It is clear from James’s black-and-white photography work by waiting for the right
moment for the wind to
battling for the same fashion work and all exhibiting the same that he is strongly influenced by the Forties film noir period. blow his hair and lift the
style. I enjoy the idea of creating pictures that have more of a Low-key images and retro-themed shoots add to a fun and scarf. One light was used to
story about them and not just a documentary shot depicting a diverse book of work. “I tend to observe what is happening, illuminate the trees in
the background”
moment.” His work characteristically retains a stylish simplicity but my true fashion idols would be Peter Lindbergh, Albert Shot details: Nikon D3
with backdrops that hint at a narrative, such as a lift, a stately Watson, Patrick Demarchelier and of course Bob Carlos Clarke,” with 70-200mm lens at f4,
home or a grand staircase. he proclaims. “I learned much of my lighting techniques from 1/30sec, ISO 400
© All images in this feature are copyright James Nader
MaLe GrooMinG toMaS

“This was shot on location at a Shropshire stately home for a range of
photographs to be used for a menswear company. I wanted to create the
mood of a relaxed young Lord who was confident and relaxed in his choice
of menswear.
This shot was lit by the modelling light only on a Bowens Gemini 500”
Shot details: Nikon D3 with 70-200mm lens at f5.6mm, 1/15sec, ISO 800

Techniques
“My main motivation is trying

to be one of the best in the UK
and to build a great range of
clients who appreciate my work”
Fashionable Wedding
“This shot was part of an editorial collection for a
magazine; however since then I have allowed the
picture to be used under license to a wedding
brand called Fashionable Weddings. I shoot some
of their editorials four times a year. The shot was
completely lit by a single red head and a timed
exposure. It is important that the model keeps
still for that fraction of a second and that the
photographer calls it”
shot details: Nikon D3 with 24-70mm lens at
60mm and f2.8, 1/8sec, ISO 400
film pictures and portrait masters from the ‘Golden Age of non-destructive techniques to render into black and white,” he
8in a liFt Hollywood’, like Clarence Sinclair Bull. A lot of my fashion shots reveals. In order to develop creative concepts, James takes
someWhere you see online are created using film lighting and not flash.” advantage of the internet: “The access and storage is much more
“I was shooting in and It is not surprising to learn that James’s penchant for convenient than magazines to build references. I think the best
around the streets of monochrome is its inherent directness: “I love the contrasts and way to represent a model in their best light is to really pick the
Manchester and by
accident found this lift in
the atmosphere it conveys. Sometimes colour can confuse how person well for the shoot in question. If they are animated and
a street next to a car park. things look with too many distractions,” he says. “I enjoy using can buy into what you are about on the day, then this will allow
I asked the model to get black and white when creating fashion images and portraits as for great interaction. If they don’t, never raise your voice or be
inside the lift to try out it tends to isolate the model. When shooting black and white, it too intense, as this will make them shut down all creative input
some shots. The inside was
quite dingy but I had my makes you think differently. Your mindset has to change from and the shoot will go flat,” he warns.
on-camera Nikon flash and colour and you have to think in monochrome. I don’t think just James credits this ability to work well with a model to
used it to fill and slightly taking a shot and then simply converting it is the way forward, capturing the winning shot: “I don’t always accept the pose they
overexpose the foreground.
The camera was set to a
as not all shots are suitable. If you shoot in an environment that offer and will more than likely want them to push it more,” he
higher ISO to clean up the has many of the black and white filter colours, such as yellow, shares. While many get distracted by the model’s expression
skin tones and create a little oranges and red, sometimes converting them may not work as or pose, James is also taking note of the position of their hands,
more contrast and interest the skin can change. I used to shoot black and white with either wanting them to appear soft and at ease. As for the face, he aims
to the shot. She was leaning
against the stainless steel a red or yellow filter, as red is a good way to create great skin and to emulate the work of master painters by capturing the model in
panels and right away dark skies on a sunny day.” a candid moment of thought, to create a timeless image.
we found the shot which As his work is a mixed palette of colour and monochrome “I tend to control all of my shots with my light source. This
worked”
shot details: Nikon D3 works, what is the deciding factor? “I normally choose whether really works for me as I have an individual style and one of the
with 80-200mm lens at a shot is going to be monochrome in advance, but will always key elements is my handle on light and how I let it interact with
f8, 1/30sec, ISO 400 shoot colour for the maximum rendition of tones and then use the subject.” James veers away from shots that are flooded with

Perfect portraits
light sources, and his top tip is to make what is available work for
you instead. Confident in his ability to read light levels, he rarely
relies on a meter and tends to use ISO settings to enhance skin
tones. Favouring heavy contrast, he works in RAW so that this
can be compensated for in post-production.
James doesn’t relinquish the manipulation of images to a third
party, choosing to carry out all post-production work himself. “I
am an intense user of Photoshop and use it to a high level to
create my photo composite images. I therefore do all of my
retouching, post-production and photo composition,’ he says. “I
shoot all images either on card or tethered and on location I have
a Nikon wireless setup.”
James shoots into a MacBook Pro with 17-inch monitor
and 4GB RAM, but all the editing is done on a 24-inch iMac. “I
have an A4 Wacom pad for all retouching work and I work with
Photoshop for all retouching and optimising of images. I also
have Lightroom to collate images and provide clients with a
custom online gallery. Then they are uploaded via FTP (File
Transfer Protocol) to my server and the link is sent to clients.”
Once the client has made the final selection, the images are sent
via FTP for them to download, so he often doesn’t meet with
them again after the shoot.

Techniques
“Sometimes colour can confuse how

things look, with too many distractions”
8
spAce Age
“Part of a set of editorial Incidentally, the 21st-Century fashion photographer’s favourite but have focused on my brand,” he says, demonstrating his
images which used types of genres are high-end editorials and advertising work for commitment to becoming the best. His online reputation has
all things plastic – the
eyelashes and wig
luxury items like beauty products, jewellery and perfume. But become so advanced as a result of this persistence that you
here. I love to create the does he have a favourite image to go with it? “My mind flips will see his name appear first in a Google search for ‘Fashion
impression that the model from liking to not liking my work very quickly,” he admits. “I Photographer’. So what is it he enjoys about this often-stressful
is so far removed from the have a short attention span and believe this is due to the way industry, where it can be such a struggle to make yourself
photographic session and
deep in thought. This is the we use the digital technology. It is quick and efficient but also known? “I love the variety, the ease and the flexibility at which I
same technique used by dismissed readily and therefore easily deleted. I will lose interest can work. Clients are now worldwide and this gives me a thrill;
the master painters and in an image rapidly, especially if it is one that I have spent too I am motivated by creating great images and working within
can create a long-lasting
and beautiful photograph much time on. This is the case with my site at the moment, and Photoshop. My main motivation is trying to be one of the best
when used with a very I would love to replace all of the images on there. I suppose I am in the UK and to build a great range of clients who appreciate
simple lighting setup. In always trying to create my perfect image and I don’t feel that I my work.”
this shot, the model is have achieved this yet.” He advises anyone looking to break into the fashion
completely lit by only
two lights and the James has always been his own boss and began his own photography world to have a good action plan. “I have at any one
shadows controlled by the interactive agency specialising in photographic screensavers time hundreds of emails from would-be hopefuls and assistants
light shades” before indulging in photography full-time. This knowledge wanting placements, work experience, etc, but I simply can’t
shot details: Nikon D3
with 24-70mm lens at f2.8, of technology has served him well in building a name in the deal with them all. It simply isn’t good enough writing a simple
1/15sec, ISO 800 business: “In the last two years I have not had a trip abroad email and firing it off to me or anyone else to get work as we
A FAshionAble Wedding
“This was shot for Fashionable Weddings to create an editorial feel to
the wedding market. I shoot a range of shots for them and for the dress
retailer. I wanted to create some movement to the dress and the shot
without moving the model. The light source here was a single bulb from
the modelling light on the Bowens Gemini. This is not a strong source
but, with a good low-light digital camera such as the Nikon D3, you can
get a very acceptable low-light shot”
shot details: Nikon D3 with 70-200mm lens at f2.8, 1/15sec, ISO 1600

Perfect portraits
RetRo fifties
“This project was a personal
one. The objective was
‘light and form’ and the
emulation of images seen
in branding from the
Fifties. I love the effect
the Tungsten lighting has
on the skin. The great
Hollywood masters used
this effectively as this was
the only light form available
at the time; however my
lighting pedigree has
always come from this light
source. I also tend to let
the shot be a little soft
to emulate the lens
qualities available”
with 70-200mm lens at f4,
1/15sec, ISO 800

Techniques
Mystic
“This shot was for a silk
company who supply
printed silks to some very
well-known brands. The
exercise was to create
pieces that would stand out
in its marketing materials,
and so conventional
advertising photography
was not the route the
company wanted. I was
commissioned to create
six pieces that were all
post-produced composite
images which individually
tell a story. I composed
this image from over
35 separate images in
Photoshop to complete the
final piece”
shot details: Hasselblad
H4D-40 with 35-90mm
lens at 90mm and f10,
1/250sec, ISO 100

Perfect portraits
“I think people believe it is easy to be a

fashion photographer, but it really isn’t”
are all busy trying to make a living,” he says candidly. “The best
way is to work on a portfolio, either out of college if you have
a flair for photography, or in college via a foundation or degree
in photography. Whilst the degree is only part of what you will
need, the real way forward is to format a great creative portfolio
with interesting work and challenging projects showing use of
camera, light, dealing with models and how you put the shot
together afterwards in post. I think people believe it is easy to be
a fashion photographer by some of the comments I receive, but
it really isn’t. There are just too many people out there doing
the same thing and with the introduction of better cameras and
equipment it has become a very accessible subject.”
As a child, James was fascinated by his father’s camera and
how he would disappear into a darkened room and emerge
with pictures of family life. “I had forgotten about this and
was accepted on a Foundation course at Wolverhampton Poly,
as it was called in those days, and completed a whole year
there,” he recalls. The course encompassed everything from
photography and composition, to lithography and typography,
but it was a week-long educational assignment that triggered his
photographic interest: “I decided not to go to France and stay
and save my grant for other things, so I was given a photography
project to work on. Even though I had shown an interest in
photography, I had not really done any proper shoots and so I
was completely thrown in at the deep end. It was given as a
form of punishment for not wanting to go to France, but it
was while working on the project that I did some shots of
my girlfriend at the time, and they turned out well. It was the
positive feedback from fellow students that really encouraged
me to pursue photography.”
James’s photographic arsenal began with a Nikon CoolPix
three-megapixel camera and a Bronica ETRS. “I remember
my very first shoot with it,” he recalls. “I was with a client and
photographing a very simple shot and out popped the camera.
I had been praising the digital revolution and saying how this
new camera would be great for the shoot.” It seems the client,
on the other hand, was less than enthusiastic: “They were so
surprised when I brought out the camera, thinking it was the
light meter or on-camera flash as it was so small! We did the
shot, but I nearly lost face at the time. I now embrace the digital
revolution because of its liberating feel. Quick to work, quick
to get an opinion, cheaper if you process your own images for
clients and no time in the darkroom.” His equipment has since
advanced to a Hasselblad H4D-40 and a Nikon D3, which he is
currently putting to good use on a project for a client in Germany,
involving exotic props and a whole host of models, he hints.
“I am looking at creating 12 pieces of photo art at 80 x 60 inches
for art galleries, and so it will be classed as fine art.” James is
happy if this is the start of more commissions abroad: “I would
love to work in Los Angeles and of course New York, and
possibly even Paris,” he enthuses. “They all have a variation in
how they work and whom they work with, so it would be great
to do this in the future.”
8Candy Floss
“It is important to make sure that the model engages with the viewer. I
was searching for a more quirky or edgy shot for my agent in London,
and this was her choice. While working the shoot it was important
that the model’s figure and hands were soft and delicate, and not
interfering with the overall shot itself. Sometimes in pictures the
hands can look awkward, but Holly is a professional and knows how to
use shapes that fit”
shot details: Hasselblad H4D-40 with 35-90mm lens at 70mm and
f1, 1/250sec, ISO 100

Techniques
Shoot stunning
landscapes
Discover the shape and
form of the land through
the black and white image
JETTY
“One of the first photographs I took after turning
pro is a simple composition of a wooden jetty
with some wooden posts either side. I took the
photograph on a still, misty December morning
not far from my home in France, and at once
realised that I was getting close to the style of
photography that I was looking to produce –
simple, uncluttered, peaceful and calm”
Shot details: Nikon D2Xs at 28mm
and f10, 10sec, ISO 100
© Jonathan Chritchley

Stunning landscapes
T
racing back through the history of photography,
even as far back to the origins of its invention,
the black and white landscape image has had a
powerful and significant presence in the medium.
19th-Century figures such as William Henry Fox
Talbot (the inventor of the negative/positive process) and
Roger Fenton (the first war photographer who documented the
Crimean war in the 1850s) both depicted the landscape through
their own techniques using the black and white process. Later
in the early 20th Century, a major figure to emerge into the
genre was the great Ansel Adams. Many still today regard his
technically faultless photographs as some of the greatest black
and white landscape images ever taken. His eye for composition
and his knowledge of exposure complemented with his post-
production darkroom techniques meant he was able to produce
breath-taking images throughout his lifetime. His favourite
location was Yosemite Valley in California and it was in was in
this spot that he made some of his best images. For any keen
black-and-white landscape photographer Ansel Adams is an
inspirational figure, and for those wanting to learn about his
zone system, this technique will greatly strengthen your practice.
Even if you don’t use this technique in the field, it is a key aspect
to be aware of.
Although the traditional technique of the negative/positive
process will always hold a key relationship with the black and
white landscape image moving forward into the 21st Century,
digital technology has seen many enthusiasts and professionals
dabble in the medium and take on their own interpretations
of the genre. Photography has expanded, as more and more
high-quality digital cameras become accessible to the masses.
Digital equipment is now cheaper, lighter and higher quality than
it has ever been before, meaning many budding photographers
are venturing out into the great outdoors to produce their own
stunning landscape images. Landscape photography appears to
be one of the most popular genres of photography, as it can be a
therapeutic and rewarding experience for many when taking the
images, whether professional or not.
One contemporary digital professional photographer from the
black and white genre is Keith Cooper. Keith is an architectural,
industrial and landscape photographer from Leicester who has
a great passion for the monochrome image. “Black and white
images of a scene seem to encapsulate more personal meaning
to me and capture what the surrounding atmosphere feels like at
that moment. I have some great colour shots as well, but it’s the
black and white ones, more often than not, that resonate.” He
continues, “In some ways I also identify with black and white
with ‘structure’, as it reflects the underlying scaffolding that
makes up the world. Of course that could just be because as an
ex-geologist, I view the landscape as a whole, including what’s
below the surface.”
Keith moved to the digital medium in 2004. He describes the
transition from film: “The biggest change in black and white
photography was re-learning about exposure. The immediacy of
digital means that you really can experiment and quickly learn
how different lighting affects your camera metering and your
choices in exposure.” And in digital black and white photography,
exposure is a key area to understand. The correct exposure
value can be difficult to measure due to the dynamic range in
the highlights and shadows. Digital photography is less forgiving
than film and once a highlight is blown, there is no rescuing it.
However, apparatus such as histograms make it much easier in
the field to measure the light, and even being able to preview
images on the LCD screen is an advantage. Keith uses his own
techniques and methods to achieve a correct exposure, as he
explains, “It will come as no great surprise that I’ve never been
one for methodical approaches such as the zone system for
exposure. I’ll try and get the important parts of the image out
of deep shadow, but always with an eye as to what might be
clipping highlights. I find it important to distinguish between
clipped highlights that are okay, such as some reflection on water,

Techniques
Viaduct –
8
and those where it’s not okay, such as parts of clouds, when
John o’ Gaunt, cloud structure is going to be an important textural element in
Leicestershire, the image. Histogram displays are better now, but it’s important
uK to appreciate that they are only a guide and require some
“Part of a set of prints for practise to interpret.”
a local country estate, the
disused viaduct is not usually Keith makes a valid point here as the structure of a cloud
seen at this angle. Although formation – particularly in a black and white image – can
I could have used camera play a crucial part in holding a composition together. In the
movements (lens shift) to give
a ‘correct’ perspective, this monochrome medium, if used in the wrong context, a clear sky
view with a 14mm lens is much will record as a big block of grey, which will appear very dull.
more active with the strong Sourcing textures in the land and sky to complement each other
sloping lines”
shot details: Canon
will produce effective images and connect the elements. Keith
EOS 1Ds Mark III at 14mm and informs us of his next trip to take some dramatic weather images:
f7.1, 1/160sec, ISO 100 “I’m going to the Pacific north-west (Oregon/Washington) in the
© Keith Cooper
autumn – an area renowned for rain and changeable weather.
For black and white photography, bad weather is much more
interesting than clear blue skies.”
Another contemporary black and white landscape
photographer in the industry is Jonathan Chritchley. Originally
from the UK and now living in Biarritz, in the south of France,
Jonathan conducts his practice from this idyllic location. He
finds it is a great place to be based, as he has easy access to
some great and diverse settings locally as well as internationally.
Jonathan studied for a year doing an HND in Photography at
Poole Art College in the UK, but got bored of the constant studio
work which he describes as being: “As exciting as a lettuce!”,
so he left to become a photographic assistant to a marine
photographer. After several career detours he started his own
company in 2006 and has never looked back. Jonathan was
inspired to become a photographer after watching the film The
Big Blue by French director Luc Besson, as he explains: “He is
an exceptional cinematographer and the first ten minutes of the
film, shot in black and white in the Greek Islands, was a turning
point for me. It is probably the greatest influence on my career
to date, and that, along with the nautical photography of Beken
of Cowes and others from the Twenties and Thirties, is what has
helped define my photography.”
Jonathan’s inspirations and concepts further come from a
variety of resources that can be seen throughout his work, as he hunGyao, china
describes: “I think that each location provides its own clues and The textures in the sky hold the eye
in the centre of the image, focusing
ideas. I like to think that I can adapt quickly to conditions and on this calm and tranquil river shot in
locations and come up with unique ways of photographing a Hungyao, China
place based on my own personal taste. I have a very strong sense shot details: Nikon D3X with
1/160sec, ISO 400
66 The black & whiTe PhoTograPhy book © Jonathan Chritchley
Stunning landscapes

Techniques
Li RiveR,
8
GuiLin, China
Taken on the Li River in
Guilin, China. This idyllic
scenery makes for a great
black and white landscape
shot, with the mist in the
background enhancing
the atmosphere
Shot details: Nikon D3X
with 24-55mm lens at 24mm
and f13, 1/100sec, ISO 200
8 ShinGLe StReet,
SuffoLk, uk
“Shot on 35mm film, this
negative laid unprinted until I
moved to a digital workflow. As a
six foot-wide print, the grain and
overall sharpening needs to be
carefully handled”
Shot details: Shot on 35mm,
details unavailable
© Keith Cooper

Stunning landscapes
EXPERT ADVICE
Jonathan Chritchley on how to take great
black-and-white landscapes
How did you get started in photography?
My dad was very interested in photography, so there were always
cameras lying around at home. However, it wasn’t until I was in my
early twenties that I realised that it was where my destiny lay.
What excites you about black and white landscape
photography?
Most of my work is of the sea, the coast and other nautical environments. I am completely obsessed
with the water, so I think that is what keeps my enthusiasm fresh. I love the feel and atmosphere of a
good black and white photograph, the way the composition is simplified and the subject matter is
reduced to elemental shapes and textures.
What have been your favourite landscape locations to photograph?
A location that stands out to me is Iceland. The rugged, varied landscape, incredible light and dreamy
skies make it a wonderful place for black and white photography. I spent three weeks there last year,
and am heading back again this year to continue the project.
1 Be original
Decide on your own path, one that is close to your heart, and pursue it.
2 Less is more
Simplify your composition.
3 Don’t get caught up in the equipment war
It’s not the camera that takes the picture, it’s the photographer.
4 ND filters
Don’t be tempted to buy cheap!
5 For seascapes use long exposures
This can produce some stunning effects.
“With black and white

landscape photography, an
uncomplicated technical
approach can often
produce superior results”
of what I like, so although photography is my job I still take don’t like complicated techniques, either in camera or later on
photographs to please myself first and foremost.” the computer, preferring very simple methods to produce my
In landscape photography there are no rigid rules regarding photographs.” An uncomplicated technical approach can often
camera settings, and a vast range of approaches that can be produce superior results.
taken. Keith uses whatever techniques he finds the most On a landscape shoot, a variety of accessories and cameras
comfortable for that given situation: “I shoot a combination of are needed and knowing what equipment to take can be crucial
Manual or Aperture Priority (Av), depending on the lighting for achieving the correct results. However, it is not as simple as
conditions and lenses I’m using (always Manual with tilt/shift). shooting in the studio as everything needs to be carried, so being
Depending on the subject, I’ll either focus manually or with AF. organised is very important. The pros in the field reveal what
I’ve never followed the hair shirt attitude to photography, that they take on a shoot: “If I’m travelling I take two camera bodies
it’s not ‘authentic’ unless you have full control over the camera. (Nikon D3X and D3). I also take my Zeiss 21mm, 28mm and
I respect those who mix their own emulsions and prepare their 50mm lenses, Nikon 17-35mm, 24-70mm and 70-200mm zooms.
own plates, but owning a £4,000 camera body does give some Gitzo tripod – which is pretty heavy duty, with an Arca Swiss ball
useful shortcuts.” Cameras today are designed to be flexible to head – and various filters, cable releases and usual sundries.”
work to the needs of the photographer not the other way around, Keith shoots with a Canon EOS-1Ds Mark III, and the lenses
so use whatever feels best for you. he takes on a shoot vary depending on how much he feels like
Unlike Keith, Jonathan takes a different approach to the black- carrying and for how far. His basic kit consists of an EF14mm
and-white landscape shot and informs us on how he controls the f2.8L II, EF 24-70mm L, EF 70-200mm f2.8L IS, and he mostly
camera for exposing light: “For seascapes, I use long exposures uses his 24-70mm or sometimes the 14mm for an ultra-wide
a great deal. I like the minimalist effect this produces on the angle. Wide-angle lenses are crucial for landscape photography
final photograph, the way the light and texture work together. and in low-light scenarios a fast lens can be useful, however a
Apart from that most of my work is shot very traditionally – I tripod will also come in handy for long exposures.
THe blAck & wHITe PHoTogrAPHy book 69

Techniques

Stunning landscapes
Landscape photography is obviously dependent on weather
conditions as to what type of images can be produced. If it is a
sunny day exposure values between the shadows and highlights
are also going to measure differently, and there are a few tricks
that can be applied to aid the photographer in scenarios such
as these. Graduated filters are just one accessory that can help
rescue a black and white landscape image and enhance the
textures and tones in both the land and sky.
For those who are unfamiliar with ND (neutral density)
graduated filters, one half of the filter is darker than the other,
which in most cases is completely clear. The reason for using
a neutral density graduated filter is to control the exposure
difference between the sky and the ground. Neutral density
grads are given numbers that tell you exactly how many stops of
light they’re going to reduce the brightness by, and when used
correctly can help you produce far superior results.
To determine the strength of filter, you need to meter the
scene. The simplest method for doing this is to take a meter
reading with the ground filling the frame without the filter in
place, and then repeat this step with the sky filling the frame.
The difference between these readings will indicate the strength
of graduated filter needed. If, for instance, there is a one-stop
difference in the readings, you will need a 0.3 ND graduated filter,
a two-stop difference a 0.6 ND grad, while a three-stop difference
will require a 0.9 ND grad. Usually the two-stop (0.6 ND) is the
most commonly used and if you’re on a budget and can only
afford one filter, a 0.6 hard grad is recommended.
When placing a graduated filter, careful consideration needs
to be exercised to ensure results are crisp. It is easiest to use
graduated filters on a tripod as this allows you to slide the filter
accurately into position, so the transition from clear to dark
falls on the horizon. It is especially important to double check
horizons are straight, otherwise the results will look odd. If your
camera has a depth of field preview facility that stops the lens
down while you’re looking through the viewfinder, then it is
good practice to use it. The darker viewfinder image will make it
easier to see the position of the filter. Hood Canal,
8
Keith and Jonathan have contrasting opinions when it comes WasHington
to using graduated filters, although both are still ‘pure’ in their state, Usa
approach to the black and white landscape image. They both “My favourite example of a
take on the concept that they want to capture what is there scene where I was driving
along, saw the light and
rather than trying to manipulate the image into something that mist and thought that there
is not. Jonathan explains his approach: “The only filters I really was probably a good print
use are ND and ND grads, really to control exposure and give to be made. For a large
print, the fine gradations and
me longer shutter speeds when necessary. The only real tip I detail need a very good
would give is in the purchase. Don’t be tempted to buy cheap. print set-up”
We spend a lot of money on cameras and lenses, so don’t wave shot details: Canon
cheap plastic filters in front of them!” EOS-1Ds Mark III with
70-200mm lens at 200mm
Keith goes on to inform us on how he uses filters out in the and f3.5, 1/320sec, ISO 100
field: “Only in the rain or particularly dusty conditions to protect © Keith Cooper
skogarfoss,
iCeland
The slow shutter speed and
rich background settings make
the flow of the waterfall stand
out beautifully
shot details: Nikon D3X with
24-55mm lens at 52mm and
f14, 2sec, ISO 100
The blaCK & whiTe PhoTograPhy booK 71

Techniques
EXPERT ADVICE
Keith Cooper tells us
“It is important
about his favourite image
How would you describe what you do?
to note that to
I’m a professional commercial
photographer who has the luxury of
including my black and white print work
achieve great
within the context of my business. My
landscape work influences my approach to architectural and industrial
photography, and vice versa. Photography is what pays the bills, so my
black and white
choices in what work to do and when are a little more driven by the
requirements of the business. images you need
8
BlACk WAVE
What has been your favourite black and white landscape
to visualise
Vieux Boucau Les Bains, France.
“On the Atlantic coast of southern photograph created to date, and why?
France the setting sun backlights Much like films, my tastes vary depending on what mood I’m in,
the waves, producing some
in monochrome”
however at this moment… The Shingle Street beach. It’s a personal
beautifully textured shapes and
favourite, since it captures what a lot of the Suffolk coast feels like to me.
forms. I was drawn to this spot
and waited a good 20 minutes or Also from a technical point of view, it was taken on 35mm film (Tri-X)
so before getting what I was after. and as a negative was unprinted for several years (apart from a contact
The low light forced me to open up sheet). It was only after I scanned the negative and cropped out much
of the foreground that it just worked. This also reminds me to go back the lens do I use screw-in filters. I sometimes use a polariser
the lens, thereby creating some
interesting depth of field effects” through the archives every so often and look for things I’ve missed. to cut down on glare, but sparingly: if I can spot its use then
Shot details: Nikon D3 with When revisiting old collections of shots, I always remember that there I think I have overdone it. One of my pet hates are graduated
Nikkor 70-200mm lens at 120mm must have been something there to catch my attention. filters – I disliked them when there was the big Cokin ‘creative’
and f4, 1/160sec, ISO 400
filter fad in the late Seventies, and I find I still dislike their use
if you can obviously see they’ve been used.” He continues with
his opinion: “My personal difficulty is that I see very few images
where such obvious filter use contributes much to the final print.
It’s all too often applied to an average image to try and make it
into something it isn’t. A particularly egregious misuse is where
the tops of mountains (or trees) show the darkening effect.”
However, Keith does sometimes use multiple RAW conversions
to the same image and blends them to extract more detail,
although he finds this requires considerable post-processing
work to make it look natural, so prefers to stay clear when he can.
Other filters available on the market that may help improve
black and white images and ones that are considerably cheaper
than ND graduated filters are a basic filter set. Red filters will
darken the sky, creating a moody atmosphere. Green-coloured
filters are particularly useful for landscapes, as they create a
contrast between different shades of green and blue. For those
wanting to experiment and who are just starting out in this genre,
a set of standard filters can be fun to use before thinking about
investing in a more expensive set.
Whether you want to have a purist approach to the black and
white landscape image or if you want to use a process such as
HDR all comes down to personal taste. HDR photography in the
professional and amateur world creates a clear divide, with many
embracing the technique and some keeping well clear. Keith
points out that while he is not a fan of it, he sometimes uses it
in his profession. “It will come as no surprise that I dislike most
examples of the currently fashionable ‘HDR look’,” he explains.
“However, I do use HDR techniques for my architectural and
interior work, but go to great lengths to make it look just as if my
camera had more dynamic range. In general, the world around
me does not show sharpening halos! Such fashions come and go
in photography.”
HDR photography can look effective, however it is best not
to go too over the top with the results. Although HDR is a new
digital technology term, film photographers have been using
this effect for years. Ansel Adams is just one of many who
exposed the highlights and shadows in the camera and then
processed the high contrasts of light and dark in the darkroom
using a burning and dodging technique through his zone
system. However, the results of Adams’ work look natural, which
emphasises the point that HDR photography works at its best in
subtle use.
Keith finishes discussing HDR photography on a valid point:
“Remember the ‘new toy effect’ every time you discover some
new bit of software/lens.” Whenever I get a new accessory, I
always get this burst of thinking how great it is and how different

Stunning landscapes
and ‘interesting’ it makes my pictures.” He continues: “This is a reliable collection of images that simply need enhancement. OregOn
8
perfectly natural, but I prefer to let this enthusiasm work itself Be self-critical; remember that it is better to have one superb beach, UK
out somewhat before trying it out on paying clients. I have lots photograph than twelve mediocre examples.” “My favourite type of ‘active’
of shots that on a second look really do not justify my initial Filters and exposure can greatly enhance detail, however weather for black and white.
I spent about half an hour at
enthusiasm. All my best work usually comes after I’ve explored these are not the only things to be aware of. Post-production this beach photographing the
what these things can do, and added them to my arsenal of methods are just as important and even presentational skills scene, with the sun lighting
available skills.” should be greatly considered. For many the second and third different parts”
Shot details: Canon
Thinking and visualising in black and white sounds obvious, stages in the photographic process are overlooked, and this is a EOS-1Ds Mark III 70-200mm
however this skill can take some time to perfect, and plenty big mistake for those who want to go professional. Converting lens at 70mm and f10,
of consideration is needed when approaching a scene. Back the right images to black and white can also be a tricky skill in 1/800sec, ISO 100
© Keith Cooper
before digital camera technology was invented, shooting in itself – remember that excellent black and white images do not
black and white was a conscious decision, as the film had to have to be good colour images. The colour version is just an
be loaded into the camera. With digital technology you convert intermediate stage, so don’t spend too much time tweaking the
results into black and white in post-production, however it is colour balance.
important to note that to achieve great black and white images There are other methods to converting images, and every
you need to visualise in monochrome beforehand. Tone, contrast, photographer has their own favourites. Keith processes his
structure and composition are all key elements to consider when RAW images through Adobe Camera Raw 6 or DxO Optics
approaching the landscape scene, and learning to visualise pro V6.2, and subsequent work is carried out in Photoshop
the elements as a series of tones instead of colours is what will
produce superior images. It should be noted that what is perfect
for a coloured photograph can often have a negative impact on a
black and white landscape. For example, clear blue skies are a no,
The Ansel Adams
and overcast days or bad weather are a yes.
When it comes to composition and the landscape image,
Zone System
the rule of thirds generally works as an advantage; elements The Zone System is a black and white exposure technique
throughout the image rest easier on the eye, leading the invented by Ansel Adams and Fred Archer in 1939. Originally the
viewer through the scene. Due to the lack of colour, structural method was set in place to be used with the film technique, however
it is still a useful practice for learning how to visualise in the
components and shadows are key points to be aware of, as these monochrome medium.
are going to guide the eye through the image. Photoshop skills Start with Zone V, as this represents the mid-tone greys in the
can be applied afterwards if awkward components are messing image, ie the flat greys. You need to think about what area of your
up an image, as Keith does in his work: “I don’t have any image will meter like this, then take a reading. Each zone either side
problem in airbrushing out annoying electricity pylons or people represents one
f-stop, so if you want your shadow value to be dark but still hold detail
if they mess up my composition, although I won’t change major
(Zone III), then decrease the exposure by two stops.
features such as a sky from another image.” However, Jonathan This technique does take some time to get used to, but it is a good
takes a slightly different approach and offers some alternative method to follow and means you start measuring shapes and
advice: “Simplify your composition, hone your camera skills and shadows with regards to how they are going to appear in the black
get as much right ‘in the field’ as you possibly can – don’t rely on and white image.
computer software to correct faulty images but aim to produce
The blAck & whiTe PhoTogrAPhy book 73

Techniques
“Remember that
excellent black and
white images do
not have to be good
colour images”
The final stage of the whole process is the printing and
presentation. There are many different techniques and
methods that can be followed here, and printing in black and
white requires some expertise that, for many, is where they fail
to get the best results. This is often due to lack of knowledge
or equipment and unfortunately with printing, generally the
more expensive the printer, inks and paper the higher the
results. Papers, inks and images all need to be calibrated to
perfection so they are given the best chance to produce high-
quality results.
For those with no direct access to top equipment, sending
prints off to a professional service can ensure higher quality
results are produced. However, there are still post-production
methods to do beforehand to make sure the image is print
ready. Keith offers some sound advice: “Remember the screen
is not the print. Unless you are producing work for a website
or projection, then what you see on the screen is just an
intermediate stage in getting to your print. Attempts to make
the print match the screen are inviting disappointment, so it is
important to understand how inks behave on paper and how
it differs from what you see on screen. Make lots of small test
prints if necessary.” Keith further explains what equipment he
uses: “Currently I have an Epson 9600 (44” width) and Epson
7880 (24” width) in the print room. The 9600 is used mainly
for black and white printing on matt papers via the ImagePrint
RIP. The RIP was an important tool in getting excellent
black- and-white prints from the 9600 and normal Epson
inks in 2004. In the six years since we got it, new printer’s
abilities to print good-quality black and white have improved
dramatically, such that I would no longer use a RIP like
ImagePrint for my black and white work. I’m currently looking
at Canon’s latest iPF6300 printer to see how it compares.
When a print file is ready for printing, I always save a
version (16 bit, with all layers) that includes the size and
sharpening status in its name.” As for paper, Keith’s current
first two choices for black and white prints are the 285gsm
lustre finish Innova ‘Ultra Smooth Gloss’ (IFA49) and the
315gsm matt cotton rag-based Innova Smooth Cotton Natural
White (IFA 11). He also prints some matt images on the whiter
High white (IFA14) version.
Jonathan prints using the Epson 2400, stating that the
results he is getting are now equal to anything he used to get in
Burnt tree, CS5. Keith explains, “I generally use the RAW converter to get the darkroom. For presentation, Jonathan uses a local framer
8
Mesa Verde, the best colour image for the conversion, rather than apply it to build and fit custom frames and mounts for his exhibitions.
Colorado, usa there. I do sometimes try out black and white conversion in the He is also experimenting with aluminium-based prints,
“At 9,000 feet on a cold RAW converter, just to get a feel for how the image will look, but which he finds beautiful and incredibly luminous with the
snowy day, with big storms
shooting about the sky. One of
prefer to leave the actual conversion to later. For conversion from black and white image.
the times when an object (the colour to black and white I’ll either use the Nik Silver Efex pro In an age where digital technology has pushed photography
burnt tree) just fits in with the plug-in, a combination of basic Photoshop techniques, such as its to a different level, it appears there is still a large appreciation
whole scene” greyscale conversion, or a layer-based technique.” Jonathan uses and respect for the traditional black and white landscape
shot details: Canon
EOS 1Ds Mark III at 16mm and a different approach and browses/imports images using Adobe image. Whether you are shooting black and white landscape
f9, 1/320sec, ISO 100 Lightroom. He then does the final processing in Photoshop images for yourself or for a profession, this magical medium is
© Keith Cooper CS4, as he states: “My workflow is very simple, enhancing and certainly a great and romantic genre of photography, and
adding contrast using curves and levels, plus the obligatory five one that will carry on being popular with the masses for years
to ten minutes cloning out that impenetrable curse of digital to come. Get back to the land and discover the form, shape
photography, those sensor blobs!” and structure through photography.

Stunning landscapes
Inspiration... © Ray Foley
© Harold Britos
rAy Foley
8
“This shot was taken on Santa Monica Beach, Los Angeles, CA. I took this
8
hArold Britos from the pier overlooking the beach. There was a tribute to the men and
“Shot taken in Hagimit Falls, Samal, Davao City. It was a cloudy morning, which is the perfect weather women that lost their lives in the war in Iraq. The only adjustment made was
condition for shooting waterfalls. I was on the edge of the rock when I found this spot. The clouds were a conversion to black and white in the Channel Mixer in Photoshop, and some
moving fast and it was a great time to produce a long exposure shot to have dynamics on the image” minor dodge and burn to highlight and darken some areas within the image”
shot details: Nikon D700 with 17-35mm lens at 17mm and f8, 46sec, ISO 200 shot details: Fujifilm FinePix S5 Pro at 22mm and f8, 1/500sec, ISO 160
DP Gallery: www.dphotographer.co.uk/user/harold DP Gallery: www.dphotographer.co.uk/user/Shutterlad
© Peter Ansara © Paul Forgham
Peter AnsArA
8
“The image was taken in the fall in Mt. Vernon,

Washington. The field was in a vegetative state for the
winter. The sun was just going down. Obviously the
PAul ForghAm
8
trees all line up nicely to contrast with the wonderful

harvested field. This image makes me reflect on the “This lone tree makes for a great subject, standing defiantly in a harsh landscape among the limestone
beauty our country has to offer, and the necessity of pavements, completely exposed to the elements but surviving all that nature has thrown at it down the
farmers to supply bounty to people all over the world” years. I think the shot lends itself well to the black and white treatment, as it helps to convey the bleakness of
shot details: Nikon D300 with 18-200mm lens at 18mm the location and accentuates the abundance of tones and textures in the scene”
and f22, 1/250sec shot details: Canon EOS 40D with 10-22mm lens at 11mm and f13, 0.5sec, ISO 100
DP Gallery: www.dphotographer.co.uk/user/pete DP Gallery: www.dphotographer.co.uk/user/Forge

Techniques
Shooting the
streets in B&W
We speak to street photographers to find out what it
takes to capture life on the streets in monochrome

Shooting the streets in B&W
Comforting Hand
The comforting hand of Jo Jowett of
Love Light Romania reaches out to ‘C’
who is being cared for by the charity
as he faces the final stages of AIDS
Shot details: Canon EOS 5D with
50mm at 50mm and f1.6, 1/40sec,
ISO 1000
© Richard Feaver

Techniques
© Ying Tang
“When a photograph works, it transcends reality

and becomes something very special”
‘S
8
untitled treet photography is a of San Francisco, while at the School of Also in the business of reflecting reality,
Shanghai, 2007 heartbreak.’ So says Richard Photography of C.C.S.F, where she really is documentary photographer Richard
Shot details: Nikon D100 Bram (http://richardbram.com), mastered her skills: “I think the first Feaver (www.rjamesfeaver.com). Richard
with lens at 18mm and f3.5,
1/500sec, ISO 200 a US-based photographer whose important thing to be a street photographer has worked as a photographer in various
images of city life in London, is to realise that there will be a lot time and capacities. Over the last four years he has
New York and the spaces between, reveal effort, and also a lot patience, involved, so turned his attention to Romania. Inspired
a capricious distillation of the world in the more time you spent on shooting, the by the work of legendary war photographer
which we exist, from a perspective we better result you can achieve.” James Nachtwey in the country, Feaver has
never care to notice. A heartbreak, Bram At the heart of the genre lies a desire to been highlighting the issues faced by many
says, because of the dire hit-to-miss ratio candidly and honestly depict the everyday in the region. Feaver drew early inspiration
and emotional rollercoaster of hopeful happenings in public spaces. While from photographers in the Sixties and
shots and subsequent disappointments. many images can be merely a record of Seventies, one such figure being Larry
Any serious street photographer will tell a moment as it happens, the best street Burrows. “After seeing one of his essays
you the same and yet everyday across images go beyond a simple imprint into from Vietnam, One Ride With Yankee
the world cameras are readied and eager cleverly captured, sharply recorded and Papa 13, I was stunned by how powerful
photographers steadied, hidden in plain cunningly composed shots, which not only the images were and the effect they could
sight among the unaware crowds. For hold a mirror up to us but are laden with have,” he says. In comparison to the self-
Richard the dividends outweigh the implied meaning. reflection that street images can invoke in
disappointment. “When a photograph ‘Professional stranger’ is the term us, Feaver is interested in the reaction it
works, it transcends reality and becomes used by Max Kozloff to describe street can spark, especially when dealing
something very special. It is the hunt for photographers. Richard Bram identifies with images that challenge what we know
that special photograph, so rare yet so with this in his pursuit to capture the about a subject. His current work with
rewarding, that continues to draw me.” essence of the places where we live. “Cities Romanian charity, Love Light Romania,
Born and raised in Shanghai, China, are stressful: the pressures of work, social offers such stark reactions, as he deals
Ying Tang (www.yingphotography.com) interaction, constant noise, dirt and lack with a variety of subjects and issues
shares some hunting grounds with Bram of private space all add to the tension. Yet from communities struck by poverty to
having studied at the New York Institute people manage to live, love, take pleasure individuals living with AIDS. A different
of Photography. But it was on the streets in life in the midst of it all.” type of heartbreak altogether.

© Richard Bram
8
Second Storey Man
London, 2004. “I was walking back to
Farringdon Station having picked up
some film at Metro Imaging and
cut through a back courtyard. As I looked
up in the twilight I noticed a movement
and saw this man on a ledge. Exactly
what he was doing and why I shall never
know, and that question is what makes the
photograph interesting”
8Foggy night
Perugia, 2008. Sometimes it is simply an
emotional response to a sublime sight, like
Christmas lights in Perugia on a cold foggy
night. The world can be a beautiful place,
and while we tend to concentrate on more
edgy moments these days, it’s still okay to
make beautiful photographs sometimes.
Shot details: Rolleiflex at f4, 1/15sec,
© Richard Bram
TMax 400

Techniques
Both documentary and street
FIVE TOP TIPS photography come with their own set
of challenges. One such challenge is a
Richard Bram tells us what makes a good street photographer matter of subject. While a documentary
Web: www.in-public.com/RichardBram photographer is usually focused on one
“I call myself a street photographer, though once upon a time one would have simply said ‘I am a photographer’ social area, aiming to capture as much
and that is what it would have meant.” of the reality of it as possible, for a street
Born in Philadelphia in 1952, Richard Bram grew up across Ohio, Utah and Arizona. After earning degrees in photographer even the smallest movement
Political Science and International Business, he ‘lost his head’ and pursued photography as a full-time vocation on a city side walk could be a possible
over the series of uninspiring jobs that had come his way. Richard has lived and worked between London and subject. One element that calls to Ying
New York, and now resides in the latter. Richard’s street images reflect an intelligently quirky and contagious approach to the world.
“Most of my photographs originate in the random chaos of the public space of the street, in the ambient weirdness of everyday life,” he
Tang is movement. “My eyes get drawn
says.“They are not staged; reality is plenty strange enough.” His work is in institutional, corporate and personal collections, including to certain moment like jumping, blowing,
the Museum of London, Bibliothèque Nationale de France and the George Eastman House International Museum of Photography. laughing, running,” she says. “The human
1 Be bold movement sometimes can add a dynamic
Most of the very best photographers working on the street are not using telephoto lenses, but standard and wide-angle and working to an image and make it alive. I think after
close to their subjects. Working in the public arena you are visible to everyone. Sneaking around furtively trying not to be seen usually many years shooting on the street, I’ve
guarantees the opposite. If you just stand there openly watching and taking photographs, you will be noticed for a while, however we developed my own sense of searching;
aren’t really as interesting to others as we think: if you just hang around becoming part of the street furniture, people will get bored
searching for a scene of carefree, emotional
with you and go on about their business.
and human connection. That is what draws
2 Know your camera
me to see how people interact with others
The technical workings of your gear must be in your fingers rather than your head so that when you see something about to happen
you can take the photo fast! The difference between a great photograph and a miss is a tiny fraction of a second when a glance, a or themselves in a big urban surrounding.”
gesture, a juxtaposition happened. If you have to think about settings, shutter-lag, zooming for perfect framing, anything that gets Bram says for him it’s harder to know.
between you and what you see, you will miss the shot. Chance favours the prepared mind: if your camera is already set for the light, “I think I am looking for what has been
you’re roughly in focus, very alert and paying attention, you improve the odds immeasurably. called ‘the unusual in the everyday’,” he
3 Originality please speculates. “Something in a perfectly
The ability to edit is one of the hardest and most important things for any reality-based photographer to learn. To know what is indeed ordinary scene that is somehow out of
unusual and special, what isn’t something taken a thousand times before, only comes with study and appreciation of other place, or simply a moment that will not be
photographers’ work. There is a reason that things are called clichés – they are overdone: close-up portraits with telephoto lenses,
people just sitting in cafés, homeless people, and way too many people’s backs. Philadelphia-based photographer and wit Kyle
repeated. Sometimes it was the intensity
Cassidy posited a rule: “Thou shalt not photograph people from behind and call it street photography. This maketh thee a coward.” of the couple as they are about to kiss
4 Man up to criticism (Mainz 1996, see page 82), a certain tilt of
Most so-called ‘street photographs’ that I see posted on Facebook, Flickr, Google+ and many other places are pictures I have seen the head, closed eyes, the anticipation of
time and time again. Far too many people are easily pleased and pay too much attention to the ‘attaboy’ comments: “Cool shot, dude. what is just about to occur. Other times
Great capture.”This is mostly useless and teaches you nothing. More useful is the careful negative critique – harder to swallow but it can be chance combined with a certain
more to learn from. preparedness. Sometimes it is simply an
5 More than nice emotional response to a sublime sight, like
Think of the usual images – cute kids just smiling at the camera, a pretty girl looking right into your lens from 30 feet away; the list Christmas lights in Perugia on a cold foggy
goes on. These may be nice pictures, but nice is not enough. A sharp, technically good photograph is taken in the street; this does not
night. Other times they may be less action-
make it a street photograph. Ansel Adams, a man decidedly not a street photographer, said it this way: “There is nothing worse than a
sharp image of a fuzzy concept.” dependant, more mood or light-based. It is
okay to make beautiful photographs, too:
the world can be a beautiful place, and
© Richard Bram while we tend to concentrate on more edgy
moments these days, it’s still okay to make
beautiful photographs sometimes.”
Richard Feaver’s choice of subject grew
organically from the path his photography
took. “My photography started like most
others, messing around with a film camera,
a Canon A-1,” he says. “However, I focused
more on just wandering around and
shooting with a trial-and-error approach.
When I would go home and make my
negatives and prints, I would try and see
where I was going wrong and correct these
next time around. I started photographing
music and picked up a Nikon D70.”
During his time photographing music,
Feaver found himself drawn towards the
smaller bands that needed help promoting
their music rather than bigger bands with
huge press pits and plenty of hype. He
also found himself enjoying capturing
moments on the road or backstage where
8SOhO CaFE
“I was on my way to meet my wife at a Soho
restaurant on a bitter cold, freezing and rainy
January night and went by a cafe window. I was
late and wet, but had my camera. I stopped
briefly and made two frames”
Shot details: Leica M6 with 35mm lens,
TMax 400

Wall Street Fall

“On my way home from the post office
one summer morning, I was waiting out a
sudden shower under a building overhang.
Passing the time, I began photographing
pedestrians coming through the
intersection, the reflections and patterns
they made in the rainwater. A man slipped
and fell and his umbrella went flying. The
camera was at my eye and it seemed as if it
went off by itself”
Shot details: Leica M6 with 35mm
lens, TMax 400
© Richard Bram The black & whiTe PhoTograPhy book 81
Techniques
© Richard Feaver
8
Bathed © Richard Bram
By water
He spent the first 16 years of
his life living in a hospital; at
some point during this period
he was infected with HIV. He
is now under the care of Love
Light Romania and enjoys a
safe, healthy and happy life
the Sanctuary
with f5.6, 1/200, ISO 400
8Mainz,
GerMany 1996
The out-of-focus little girl in
the background was wearing
a bright fluorescent patterned
jacket. If this were shot in
colour, the jacket would have
constantly pulled your eye
away from the focus of the
photo, the couple lost in
their moment
Shot details: Leica M3 with © Richard Bram
35mm lens, TMax 400

Erica
The light and shadow on
the faces of the subjects
add a dramatic dimension
to the worried expressions
they wear. The image
shows a Romanian woman,
Erica, who lived on a
rubbish dump with her
three children after her
mother died of AIDS
5D with 24-70mm lens at
35mm with f2.8, 1/60sec,
ISO 1600
© Richard Feaver
people were in a natural setting. This was “Their philosophy was similar to mine in
during the same period as his work with a terms of my photography. They would
not simply turn up in a poor community
Street photography
and the law
local paper which turned out to be a push
in the right direction: “The stories I had to and give out bags of clothes then move
cover had such little life or substance in into the next. They were looking at long- If the public arena is your photographic playground, then knowing the rules is
them that it only drove me on to pursue term solutions for the children in getting essential. The laws governing photography on the street are fairly simple but
photographing real issues on my own.” them back into schools and educating important to take note of.‘Members of the public and the media do not
From there he decided to shoot the parents. This approach allowed me to need a permit to film or photograph in public places, and police have no
documentary: “I was wary of going into really get to understand the people I was power to stop them filming or photographing incidents or police personnel’, the
Met Office states on its website. While police do have the right to stop and
press photography because I felt I would photographing and give an accurate picture search a person who they reasonably suspect to be a terrorist under Section
not have enough time if on assignment of their lives and needs.” Feaver believes 43 of the Terrorism Act 2000, they do not have the power to delete digital
and working to a deadline to accurately Romania has serious issues which are images or destroy film during a search. Section 44 of the Terrorism Act 2000,
photograph someone’s life. I decided hidden away and only uncovered through which previously gave officers power to stop and search, no longer exists.
instead that if I worked with charities foundations such as those he works with. Learn the laws and be confident in your rights as a photographer; carrying a
copy of the laws pertaining to photography in your camera bag is a good
not only would they benefit from the Feaver works close to his subjects,
way to conduct an informed conversation with any person that questions
pictures, but I would be able to spend getting to know each of them individually your presence. The ‘I’m a Photographer not a Terrorist’ campaign (www.
longer amounts of time with the people and forming a relationship with them photographernotaterrorist.org) went a long way to educate photographers
I was photographing. It was after I began before shooting any images. In contrast, about their rights. For a full overview of the laws visit www.met.police.uk/
working with smaller charities that I for Richard Bram one of the challenges about/photography.htm. The London Street Photography Festival made a
realised just how difficult it was for them of street photography is taking photos of video entitled Stand Your Ground to give photographers another perspective of
the issue. Watch it here: www.youtube.com/watch?v=FJH9F7Hcluo.
to raise awareness of their work and that is people without prior connection. Street
now something I am very passionate about photographers do have the advantage
working towards changing.” that subjects are often unaware of their
Since being inspired by Nachtwey, presence, yet for Feaver the trick is to make
Feaver has been to Romania for four to those aware of him still go about their daily
five month periods over the last four business as if he weren’t there.
years. The original idea was to photograph “I would never take a photograph of
the difference in Romania as they were anyone who I hadn’t asked permission
joining the European Union, but this focus from beforehand,” Feaver says. “I can
soon broadened when Feaver found Love understand why street photographers do
Light Romania. “It was very clear to me this to try and capture a moment, however
from when I first worked with Love Light the majority of the people I photograph
Romania how passionate they were about have delicate situations. Yet I would never
their work and the people they cared for. ask people to sit a certain way either. I try
They had made such dramatic differences and build up a relationship with everyone
to so many children’s lives through sheer I photograph so that they are aware of me
hard work with budgets that were tiny being there but are comfortable enough to
in comparison larger charities,” he says. just be as natural as they can be.”

Techniques
8
Smiling
Through
The image captures
children living in poverty in
Jacodu. Despite their dire
circumstance, the children
are full of life and brightness.
Five smiling faces are huddled
together with the background
out of focus, highlighting the
sincerity in their smiles
with f4, 1/100sec, ISO 320
8
STreeT
performer
Although subtlety is
often rewarded in street
photography, the more
obvious subject choices
can still work well. Be on
the lookout for reactions of
passers-by in the background.
Or, in this case, the gentleman
in the foreground.

© Richard Feaver
8
she says and adds that it may make you When Ying Tang first started shooting Community
less annoying to your subjects. Bram says street photography she began to do Child
A child sits on the ground
that anyone who works seriously in the so in black and white: “It teaches a certain near two house structures
street will have a story of a confrontation. way to see how light can affect the world in a poor family’s community
To his mind, a smile and humble attitude and the emotion. Since then I have in Romania. Poverty is
goes a long way. “You must be able to deal never tried to change my approach and implied both by the child’s
dress and state, and the
with and talk to people without being continued work with black-and-white unkempt surroundings
belligerent, even if they are. If you look images.” Tang’s images in Shanghai included in the frame
sheepish, furtive or try to run off, all you reveal an emotional undercurrent which Shot details: Canon EOS 5D
do is convince them that you are indeed up is enhanced by the choice of mode. “I will 34mm and f2.8, 1/5,000sec,
to something,” he adds. say the approach of using black and white ISO 1000
© Richard Feaver
All three photographers excel in black in my Shanghai images do transfer certain
and white, but with varying and intriguing contrast and uncertainty in my images,
Ying and Bram rarely have the perspectives of why this suits their style which helps me reveal the current reality
opportunity to make eye contact with a and images. A mental flick through in China. I think black-and-white images
subject and never mind build a relationship some of the most memorable street and reveal more emotions and sometimes
with them. With the ‘observer effect’ in documentary images will often reveal a increase the imaginations of people,
mind, some of the best street images favouring of black and white over colour – making them timeless.”
are captured with those in the frame think Cartier-Bresson and Eddie Feaver’s subject matter means that black
blissfully unaware. While this may present Adams for example. A lack of alternative and white is often the only choice. He often
a challenge technically, it also presents in older images is an obvious retort but photographs in small, cramped poverty-
an issue of privacy that is unavoidable in modern photographers continue to follow stricken conditions with minimal light
the genre. Most public laws go a long way in the same monochromatic vein – and for available, and he feels that the stark nature
to clear up what is allowed (see boxout a reason. of black and white is appropriate. “I feel it
on page 53), but the rest is down to the For Richard Bram it’s the difference accurately reflects these environments and
photographer. Bram recommends that between drawing and painting. “In captures the ‘hidden away’ existence these
the wishes of the public, if expressed, be monochrome you concentrate on the people live in,” he says.
respected. “Most of the time people aren’t graphic elements, the lights and darks, “There are photographs that work better
aware that I’ve taken their picture at all. I and especially the action and expressions.” in one than the other,” says Bram whose
often work in big crowded places where He gives a quote whose source has been new colourful work reveals the distinction
no one notices another camera,” he says. forgotten: “In black and white you look at he makes for which mode works best
“Once in a while someone notices me and the faces; in colour you look at the clothes.” in which situation. “Colour itself can
says, ‘Don’t take my picture!’ I don’t take Well known for his black-and-white images be a major part of the composition,”
his picture. Taking this as a challenge and in particular, Bram has only recently begun he says. “In other instances there are
then trying to do so only makes people to shoot in colour too. “Colour introduces photographs where colour would have
angry. There are other pictures elsewhere.” so many more variables to deal with: the been a distraction.” Changing his mind,
Ying says that familiarising yourself with rainbow itself,” he says. “Controlling this though, is not a habit of Bram’s. Should
your surroundings and being comfortable and making it work within the frame is he shoot an image in colour that’s the way
as you work goes a long way to bring a different, harder. You must handle the way it will stay. To remove the coloured pixels
smile to the face of your subject if they the colours move across the frame – do with postproduction software would be
notice you. “That gives you confidence,” they dance or do they just clomp around?” defeating the point.

Techniques
© Richard Feaver
8
OxfOrd When shooting in black and white, it’s that are good in low light, a constant battle raised high for what is considered great
Street GOGGleS the Leica M6 loaded with TMax 400 that he faces. “If you have good glass that can will work to push photographers further
“I was shooting pedestrians in you’ll find in Bram’s hands. If it’s colour help you get the shot you need it’s worth rather than lulling them into a unhelpful
the late-afternoon sun as the he’s after that will be replaced by the M9 investing in,” he says. state where an online thumbs up translates
light reflected from windows
above, creating spotlights with either a 35mm f2 lens or a 24mm f2.8 Bram’s recommendation on the kit into an acceptable accolade.
on the street. A man went by on it. “I got my first beat-up, brassy but front is a sturdy, comfortable pair of As genres, both black-and-white street
with his son on his shoulders working M3 – all manual, no meter, no shoes and, fundamentally, a camera. “Any and documentary photography continue to
and as I raised my camera the
boy put his fingers up to his
electronics – back in 1987 and it just fit,” camera, whatever type or format, a camera push against their own limitations – both
eyes as if making sunglasses. he says. “They are not for everyone, and phone, whatever, but something that can technical and social. New talent, new
One cannot plan this, ask now even used ones are very pricey. But record an image with you all the time! technology and new interest look set to add
permission, or stage it. It is they are quiet, unobtrusive and, when you You can never know when something to their importance, as professionals in the
totally spontaneous – one
must be ready and fast” get used to them, very fast to use. However, wonderful, quirky, peculiar, is going to field persevere daily to capture candidly,
Shot details: Leica M6 with you have to know what you are doing.” happen, except to know that it will always holding a mirror up to us, challenging and
35mm lens, TMax 3200 Other than that, the equipment list happen when you don’t have a camera,” inspiring us to see life differently or take
is limited to spare rolls of film and a he says. Camera phones are making it action to help the lives of those that we
handheld light meter. “Anything else is easier for people to capture the everyday don’t see too often.
superfluous to the way I work,” Bram says. and be ready when the unexpected Richard Feaver finds his documentary
“Quite a lot people ask me what camera moments happen. Along with the increase work gets extremely personal.
a street photographer should have,” says in available technology has come a “Photographing anybody who is suffering
Ying. “I always suggest a basic DSLR regenerated interest in the genre. is always disturbing, but I will only
camera, with a basic focal lens. The lens While this increases the volume of photograph if there is some way the
I have is a standard one which I have had images produced, Bram does not believe picture I am making will help make a
for more than six years (Nikon 18-70mm, this necessarily increases the number difference to their life. I spend many weeks
f4.5). I think every camera or lens has its of images that can be called ‘good street with the people I photograph, some I
advantages and disadvantages, so when images’. He has previously said there have known for years, and I think it’s very
you realise what they are and [how the way is a difference in those that ‘can do’ and important to have that relationship where
you shoot fits with these] you can [work those that can’t. “Working in the street you are not just some guy who turns up
fast in the best way possible].” is challenging. Having the result be with a camera for a few hours to shoot and
For Richard Feaver it’s the an old interesting, even intriguing, with an then leaves,” he says.
Canon EOS 5D that does the brunt of his implied meaning beyond the obvious For Bram, his photography is more of an
photography, mostly with a Canon f2.8 24- action in the frame, is incredibly difficult.” internal effort than a public display. “These
70mm lens or alternately a fixed f1.4 50mm Bram believes there is more to a great images are my visual diary,” he states.
lens. Admittedly not a technically fixated images than a technically passable street “They are not staged or created artificially.
photographer, Feaver recommends lenses scene, and he takes the stance that a bar Reality is strange enough.”

Inspiration... Matthew Ben

RichaRdson
Expressive Engagement
The image was taken
at a local music festival
and there were many
fantastic characters to
photograph. The man
stares expressively past
the lens, his deep burrowed
forehead in contrast with
his bright youthful eyes
shot details: Canon EOS
5D Mark II with 85mm
lens at 85mm and f1.4,
1/1,000sec, ISO 100
dP gallery: www.
Bennybo
© Matthew Ben Richardson
ian
PettigRew
© Ian Pettigrew
“There were many fantastic
characters to photograph”
Smoker Elderly smoker
stares ahead. This shot was
taken outside of Woodbine
Racetrack and Casino,
Toronto, ON, Canada.”I see
this same old lady every © Mervyn Dublin
time I am there,” says Ian
with 85mm lens at f2.2,
1/1,250sec, ISO 100
dP gallery: www.
ianpett
© Brian Dicks
BRian dicks MeRvyn duBlin

St Pancreas No 2 The lines of the escalators lead the eye up into the vast space of St Dam Square This image was captured in Amsterdam. Punters sit among pigeons as a worker and a
Pancreas station, bustling as a young contemplative woman reaches the top of the steps. traveller cross painted city scenes of years gone by
shot details: Canon EOS 7D with 8-16mm lens at 8mm and f7.1, 1/80sec, ISO 1600 shot details: Canon EOS 1D Mark IV with 16-35mm lens at f3.2, 1/500sec, ISO 100
dP gallery: www.dphotographer.co.uk/user/BrianDicks dP gallery: www.dphotographer.co.uk/user/mervyndublinphotography

Techniques
© Carol Allen Storey

Documenting life in
black and white
“You come back to a still image like a good piece of
music; it’s a powerful instrument to provoke debate”
“I

TEMEKE, t’s almost like someone who’s Carol began this commendable vocation Ut. It was the picture of a naked young
TANZANIA naked and needs to cover things almost 15 years ago after a colossal career girl running away from being burnt by
Amina had been forced up,” says photographer Carol Allen swerve from her role as executive vice napalm. Everyone knows that picture and
to wear a red badge sewn Storey about the black-and-white president of world wide marketing for that really changed the mood and acted
on her school uniform veil
since she started school medium she uses so frequently. “It Chanel. “It was a very different industry, as a catalyst for positive action in the
age 5 identifying her as strips away the peripheral components but I decided I had to get back to my States. You come back to a still image like
AIDS/HIV positive. Amina is and forces you to focus on what the story roots,” she says, agreeing that there was a good piece of music, a symphony; you
excluded from participating
in playtimes due to her HIV
is about.” For Carol, a photojournalist, the an inevitable edge of uncertainty, but the can hear it many times and it’s interpreted
positive status story and the subject are everything. Her determination to pursue this path was in many ways and you contemplate it. It
work looks past smashed windows and something that had played on her mind is a very powerful instrument to provoke
riots, zooming in on those suffering quietly for years. Having been a self-confessed debate, to have people think about things,
in developing worlds. “It’s about giving a ‘photo news junkie’ since she was a child, both the bad and the ugly depending on
voice to the voiceless,” she explains. “In getting excited when she unwrapped what you want to do, but particularly in
particular, dealing with humanitarian National Geographic magazine on her photojournalism, I think.”
issues among women and children; I birthday, Carol knows the power an Carol’s workload is a mixture of
wanted to tell untold stories. We live in image can have over a person. “If you assignments from charitable organisations
a celebrity led culture with the Hello/ think of the iconic images that you’re and self-funded personal projects, which
Goodbye magazines and I thought that aware of, you may not know the name of she often finds by flicking through a
if I can create a provocative story so that the photographer but you know it made newspaper or magazine and immersing
someone has to think about what they’re some change,” she reasons. “For example, herself in the necessary research. Her
seeing, which may not be a popular subject, in the Vietnam war there was a fantastic current project is fondly titled ANGELS At
then maybe I could trigger some change.” image by a photographer called Nick The Edge Of Darkness and focuses on the

Documenting life in black and white
MAJIMATITU PRIMARY
SCHOOL, TANZANIA
These girls had some knowledge of
the HIV virus which is limited because
their families refuse to talk to them
about it . Although both are HIV+, they
have no idea why they wear the red

badge. One of the girls said simply:
“AIDS is death, nothing more. Everyone
knows that AIDS kills”

Techniques
Kisiumi, poverty-stricken women and children of Carol that her photographs show dignity. said to me ‘Satisfy a man, you satisfy
Tanzania Africa, people that you can see on these “When photographing a sensitive subject your hunger’. It’s as simple as that. They
Fatuma is in mourning. Her very pages. “These are women of genocide or people that are in pain, you have to have such humility and generosity of
mother died recently and her in Rwanda, women that were raped and be very aware of their integrity. I never spirit, and they know me because this is
father a few years ago, both
parents succumbing to the mauled during the ’94 war, and now in make a picture, never, without it being a my fourth trip in the last three years so
AIDS virus. She too has tested 2011 are suffering from AIDS or extreme collaboration with the sitter,” she explains. they trust me to make pictures. I’m not
positive but has not been told, poverty,” says Carol. “Many are homeless “I don’t mean that I’m ‘setting up my images’ going to do anything that will embarrass
a common occurrence among
children where AIDS is spoken and are forgotten because the NGOs and because my style is totally reportage and them or create pain; they have enough
[about] in whispers disaster relief agencies have moved on that’s what I rely on. So, if there’s a greasy to deal with.” She considers it her duty
to the next disaster and there’s nothing spoon lying on the floor or a finger that as a photojournalist to tell the truth, tell
sustainable established.” Living in basic nipped into the end of my frame, it’s the story and not to play to an audience.
8 Kongowe, lodgings where the water ration is provided because that’s how I’m shooting it. I’m not Therefore, Photoshop is out of the question.
Tanzania in two buckets – one hot, one cold – and controlling what’s happening, I’m allowing “One time one of my assistants said ‘Carol,
Mwita has suffered from
the AIDS virus for more than on the menu is anorexic chicken, Carol events to occur.” maybe…?’ and I said ‘Not on your life. Do
four years. After their father travels light. Slinging 20 kilos on her back Her most recent trip saw her journey not touch it’,” she recalls. “For me, what
abandoned the family when to Uganda to photograph what she calls
Mwita became seriously ill, his
and hopping on a motorcycle to get to her you do in Photoshop is what you would
mother decided to move close next rural location, she packs the essentials ‘reluctant sex workers’. “There were do in a darkroom; you can make things a
to the capital so that he could and forgoes assistants for a solitary ‘fixer’. women living in a very remote fishing bit darker and moodier but if you’re not
receive treatment. He has This person will be a local who can act village on the Congolese border where 70% shooting it right, what’s the point? There
physically recovered but bitter
that he was ill for most of his as a translator and trustee of the people; of the them, including grandmothers, are has to be something left in the world that
youth with no medical support there is nothing more important to sex workers,” Carol says. “One woman you can trust.”
“When photographing a sensitive subject or people

in pain, you have to be very aware of their integrity”

Shooting mostly on a Mimiya 7, a basic
film camera that’s void of the advanced
features found on digital cameras, the
“There are a lot of extremely painful
reportage process is inevitably slowed
down. This is something that Carol prefers, images that can be considered fine art
because they are sensitively done”
however, as it grants the time to think. “It’s
good to work in different disciplines,” she
says. “I did a very interesting thing with
my reluctant sex workers essay. At the
end of each photo session I decided to use
the iPhone and I’m very excited by what GETTING TO KNOW…
I was able to produce and the quality.” It
is hoped that these will be shown in an Carol Allen Storey Current project: ANGELS At The Edge Of Darkness
exhibition and it serves as an apt reminder Web: www.castorey.com is my current personal project. It focuses on the women
that photojournalism is so accessible to the Specialist genre: and children managing the AIDS pandemic in Africa,
public in this digital age that any member Photojournalism illustrating their courage and dignity and the horrific
of the public with a camera phone can Why photojournalism? I knew impact of unabated poverty as this unrelenting killer
document important events as they occur. from the beginning when I grows exponentially.
Keeping up to speed on all the latest embarked on my photographic Top tip: The most important thing when photographing
developments in photography, Carol career that I wanted to photograph a sensitive subject or people that are in pain is to be
also shoots video interviews on a people and create documentary very aware of their integrity. We don’t have that right to
Canon 5D Mark II, which she describes essays on serious social and political situations, with an exploit people for our own gain for rewards as a photographer.
as “very forgiving”, and always brings emphasis on humanitarian issues, especially among women, It’s up to us to tell the truth and not to manipulate it in any
a pocketable Canon G10 along “just in children and the disenfranchised. manner or form.
case”. Rummaging through her kit bag In the kit bag: Mimiya 7, Canon 5D Mark II, Canon G10, prime Why black and white? It’s quieter for me, it’s more
you’ll also find four prime lenses: a 35mm, lenses (35mm, 50mm, 24mm, 85mm), light meter, tripod. contemplative; colour is too frenetic for certain subjects.
50mm, 24mm and an 85mm, and the

Techniques
RANGI TATU

PRIMARY SCHOOL,
TANZANIA
Iklami huddled under the
shade of a tree with another
of his classmates who also
wears the red badge. He broke
into tears because his mother
had died a day earlier and his
father had also passed away
earlier in the year. He said he
was afraid he would be alone
because his grandmother was
old and she too would die
MAJI MATATU,
TANZANIA
Joseph and Richard are twins
born with acute disabilities
related to the AIDS virus shoot itself rarely gets more complex than that the photographer internally is crying Nothing demonstrates this more
carried by their mother during taking a light meter reading. However, as and making an image of something that than an assignment she carried out for
pregnancy. The family live in
severe poverty sharing a cell- Carol points out, this in itself can turn is a catastrophe, a disaster, but beautiful.” the WWF organisation, which centred
size room. Their mother sleeps into a difficult task: “Flash upsets the Dealing with such poignant photo stories on environmental education among
on the floor and the twins, with environment and the atmosphere so I can be emotionally distressing but, as women and children to alleviate poverty. “I
their older brother, share the Carol points out, “you can’t take good spent over 28 months travelling all over
only bed
rarely use it. I could be in a very dark room
where the only light is provided by a crack photographs through tears”. Instead, she Tanzania with the programme and we
in the door and you have to be very careful reflects on the day’s events once the shoot had a big exhibition at the Proud Gallery
how you meter it, especially if you’re has been shot, the equipment is packed in London, raising over £25,000 off the
shooting black skin, but I’m used to it.” away and she’s alone with her journal, back of print sales, which was fantastic!
This fierce work ethic and curiosity which has become a nightly ritual. It all went back into the programmes in
about the world has led to three degrees It is this fervour for the profession that Tanzania because that was my condition,
from universities in the States and in motivates her to keep pressing the shutter I said I’d only agree to do this virtually
the UK, but the Central St. Martins and bringing these worthy causes to the pro-bono, just the expenses covered, if it’s
Photography programme is where public’s attention. “Budgets are limited guaranteed 100 per cent goes back to these
she truly mastered the medium. “The but if you’re really committed and totally programmes and it did.” This is a prime
photography course I took was at St passionate, which I am, you can make example of the power a still image can

KIPATI TOWN, Martins specifically because it was a it happen,” says Carol, who began her wield over the beholder, creating an impact
TANZANIA fine-art school,” she says. “There are a photography career with self-funded that can be felt by those in positions to
At the Kizuiani Primary School lot of extremely painful images that can projects. “There’s no guarantee you’re enforce positive change and those who are
the children play exuberantly
simple games during one of be considered a fine-art image because going to make a lot of money, but that’s not daring enough to dedicate their life and
their breaks in the morning it’s so beautifully and sensitively done what it’s about.” work instigating it.

Mandazi Town,
Tanzania
Sauda is an orphan like far too
many children at the Nzasa
Primary School. Most orphans
at this school are a result of
the AIDS pandemic which has
decimated their community.

She is ill and her great
grandmother is desperate
to access the life-saving
antiretroviral drugs for her but
cannot afford the bus fare to
go to the clinic
Techniques
© Nicolai Amter

Story behind the still
Story
behind
still
the
Photographer: Nicolai Amter

Website: amter.com
Location: London
Shot details: Canon EOS 5D Mark II with 24-70mm
lens at 32mm and f4.5, 1/50sec, ISO 200
N
icolai Amter is a London-based director and
photographer. His work includes a mixture
of directing music videos, fashion films and
documentaries. He also shoots music photography,
portraits and travel images. Nicolai’s extensive
range of clients includes MTV, Disney, E4, Discovery Networks
and National Geographic to name just a few.
“This image is a still from a series of photographs I shot in
Kibera, Kenya,” he says, “which is an area of slum in Nairobi and
one of the biggest slums in Africa.
“The image was taken in natural light with no flash. As I was
shooting video that day too I had a vari-ND filter on the lens,
hence the slow shutter speed in the bright conditions. The black-
and-white conversion was completed with Silver Efex Pro 2 using
my own custom settings.
“I was on a directing job for the BBC World Service and part
of the shoot was located in Kibera. Immediately as you enter the
slums, the extremity of the situation hits you on many levels.
There are many people living in such cramped conditions, and
the imposing smell and muddy surroundings is impossible
to escape. It was an alien and imposing place, and was such
a contrast from the normal working environment I’m used to
being in. Usually I’m photographing musicians and making
music videos.
“I felt I needed to return, and a few days later I spent most of
a day filming and photographing people who lived there. These
two in the image were waiting patiently for their mother to finish
chatting. They were two of the many I photographed and spoke
to that day. The severity of their situation I was told many times,
‘this is not living, this is just surviving’.”
A sharp contrast to Nicolai’s regular subjects of musicians and

performers, these children from Kibera, Kenya, live in desperate poverty

Shooting skills
98
Take your black and
white photography
skills to the next level
with our informative
shooting tutorials
98 Understanding flash
Learn about flash techniques
104 Achieve perfect

studio lighting
Part 2 - Take it to a pro level
110 Natural portraits

Step out of the studio and use the power of
daylight to produce black and whites
116 Black & white portrait tips

Industry pros reveal their top tips
120 High & low-key lighting

Master modern high and low-key
photography techniques
126 Control images with filters

Improve your black and whites with filters
132 Master composition

Make sure it’s all in the frame
138 Understand metering
132
Shed some light on fine-tuning
135
your images
144 Discover RAW

What are RAW files, how do they work
and do you really need them?
150 B&W abstracts

Search for shape, pattern and
structure and go abstract
156 Story behind the still

We dissect a shot along with its creator
“There comes
a time when
you want to
become a
little more
creative”
120
150

Shooting skills
Understanding
your flash
Delve into flash photography and learn more
about the techniques and equipment that
will have your portraits leaping off the page

Understanding your flash

Shooting skills
© Christian Hough
“It’s time to get to grips with studio sea
lights and get yourself out there” car
T
8
Dragging the here comes a time when been introduced to flash photography, you
shutter you want to become a little may well be wondering what monoblocs, subject
This was shot with a single more creative and progress flash heads and power generators are and
Bowens 500w Monobloc on from a single flash. You can why they are used.
a Battery Pak. A large silver
umbrella was used to light begin utilising more advanced Monoblocs and flash heads are usually
both the car and subject, while techniques with different equipment, designed for studio use, are much larger
a slow shutter and high ISO such as multiple speedlights or battery than speedlights and will not run on your
were used to capture the camera on
rapidly fading sunset and
generators and flash heads. Since this standard AA batteries. They need to be
tripod umbrella & flash
background scenery bookazine has been written with the run off an external power source, such as on battery pack
settings: f10, 1/6sec, enthusiast in mind we’re going to skip a battery pack or battery generator. The
ISO 400 the easy part and head straight into the power requirements, compatibility and
level above. It’s now time to get to grips technical specifications will vary with than speedlights and need to be metered
with studio lights, to get yourself out there, manufacturers, but the principle of an manually. So why would anybody want to
put your skills to the test and get your external battery and separate head are use them? Battery-powered monoblocs or
creative juices flowing! But before you pretty much the same. Each head will battery generators and flash heads produce
start, consider what equipment you may need a physical connection to a battery, much more power and produce a much
need. Everybody knows what flash guns via a lead. Monoblocs and generators stronger flash. Other factors such as flash-
and speedlights are. If you’ve only recently are more expensive, larger, less portable recycle times and the range of lighting

expert advice
Mel Boonstra tells us about

his kit and settings
We talk to Mel Boonstra, a leading exponent in
senior and graduation portraits, to get some
insider knowledge on how he maximises his
speedlights when shooting on location.
DP: You clearly shoot lots of location work. Do you
shoot mainly on location?
MB: While I do prefer location, I shoot about 70%
location and 30% studio. I prefer location because I like the interaction with
the surroundings. It presents infinite possibilities.
DP: Do your clients prefer shooting on location?
MB: I find my clients are much more relaxed and at ease on location, which
helps to capture a more natural feel and more of their personality, as
opposed to being in the spotlight within a studio environment.
DP: How do you choose your locations?
MB: I spend many hours scouting locations in the off-season. I am constantly
looking for new locations as I like to keep my photographs looking fresh and
interesting. It’s good for the photographs and for business!
DP: What lighting equipment and camera do you use?
MB: I am shooting with a Canon EOS 1D Mark II N and mainly use a Canon EF
70-200mm f2.8L as it creates a nice length for portraits and works well on
locations. As for speedlights, I use the 550EX, 580EX-II and 430EX. They
have good power range, are extremely portable and Canon’s ETTL fits my
style of constant movement without the need to constantly re-meter.
DP: How do you meter the lights?
MB: 80% of my location shooting is shot in Aperture Priority mode with
speedlights set to ETTL. I dial in anywhere from 0 to -2 exposure
compensation and +1/3 to +2/3 flash exposure compensation. This allows
me to drop the ambient exposure, giving my subject more ‘pop’ and nice blue
skies. There are, of course, occasions when lighting is tricky and I will
manually meter.
© Christian Hough
large softBox
(140cM) suBject
suBject
steel structure
wall
DIffuser
caMera
caMera
Dual sPeeDlIghts & translucent

2 sMall softBoxes (60 x 60cM) shoot-through uMBrella
8
faux daylight 8two’S company

© Mel Boonstra Jr
A single large diffused light source from the Dual speedlights mounted on a single stand
front of the model, such as a large softbox or and shot through a translucent ‘shoot-through’
shoot-through created the nice flat light, while umbrella. The shot was taken on a bright,
a second large softbox from behind gives the sunny day, so needed to utilise the power of both
impression of daylight through a window speedlights
Settings: 1/125sec, f8.0, ISO 250 Settings: -2/3EV, Mode: Av, f2.8, 1/5000sec
THE bLACk & WHITE PHOTOgrAPHY bOOk 101

Shooting skills
© Christian Hough

the subject. The term ‘fill light’ refers to a
flash that is used to lift or ‘fill’ the shadows
and create a softer-looking image.
Professional portrait photographers will
use the key light to shape the face and
then add a fill light to control the amount
of shadow detail they want, making the
image look softer or harder. For example, if
you were to photograph somebody without
any flash in the evening sun, you would
have one side of the subject brightly lit,
whereas the other side would have dark
shadows. If you decided to add a flash to
lift the shadow detail, then you would be
‘filling the shadows’. The principle is the
same with flash, although the main flash,
known as the ‘key light’ acts as the sun and
the secondary flash, the ‘fill light’, brings
back some of the shadow detail.
There are any number of ways you
can use your flash to light your subject,
but there are also some tried-and-tested
methods to get you started. Many
professional portrait photographers will
use their key light off-axis for standard
portraits, simply because it can be used to
create a flattering shape to the face. The fill
light is usually used on axis or close to the
camera to simply fill in the shadow detail
and avoid cross lighting. Remember, your
fill light should be at least one-two stops
lower to avoid flat-looking portraits.
Dragging the shutter is another
technique worth exploring; basically this is
a really simple way of allowing the ambient
light back into your portraits. Roughly
translated, it utilises a slow shutter speed
with flash.
Start by metering and setting your
aperture correctly for the flash at 1/125sec,
but instead program a lower slower shutter
speed into your camera. The subject
will be frozen and properly exposed by
the flash, while the slower shutter will
© Mel Boonstra Jr
allow some of the darker surroundings
to properly expose. It’s also a great way
modifiers you can use greatly increase of allowing ambient light to balance the
bed water
their versatility and appeal to professional colour in your photograph and remember
photographers. The trade off, of course, is that a tripod can be a very useful accessory
subject portability. Many wedding photographers on slow shutter speeds.
tend to stick with speedlights for their size You can also use your additional flash
subject
and portability, whereas photographers in other ways, for example to light the
who shoot a lot of group portraits and background behind the person you’re
need a little more power may well use photographing or even to light specific
a monobloc and battery pack to light a parts of them, such as their hair, etc. There
camera greater area. It’s time to think ahead a are a range of different modifiers and light-
speedlight
& small
little and picture where you see yourself shaping tools available to help you create
softbox heading in the photographic world! some great effects and give you more
ringflash (key light) Another option is multiple flash, which control over the light too. Of course, there
many people are put off using simply are tried-and-tested methods, but with a
because they are worried about controlling little creativity and experimentation it
speedlight & small the light and how best to use it. Yet given may still prove to be very beneficial. Get
camera softbox (fill light) a little practise and understanding of the creative and you’ll be pleasantly surprised
techniques, it will soon become second at what you can produce with even the
8
8 nature and you’ll be using them without simplest set-up. Remember to plan your
less is more sunset shot
Using a Bowens QuadX power Small softboxes were used to create soft thinking in no time. You may have heard shoots and leave nothing up to chance.
pack and a 3kw Ringflash was flattering light and utilise the warm sunset as the terms ‘key’ and ‘fill’ before and they Studio lighting and fill in flash may appear
all that was needed to get this the backdrop. Utilised Canon’s ETTL, set to 2:1
moody and striking shot – a ratio with the Canon STE-II on camera to trigger
apply to all areas of flash photography, daunting and confusing at first however
little goes a long way the flashes. mode: Av, Camera set to -2/3 EV regardless of flash equipment. The term with a bit of practice they are simple to
settings: f10, ISO 100 with exposure locked on subject’s face ‘key light’ refers to the main flash lighting master, so keep going.

Shooting skills

Achieve perfect studio lighting
Achieve perfect
studio lighting
Progress into the world of sophisticated studio
photography and explore ways in which to turn your
own home into a mini black-and-white studio

Shooting skills
“It’s a good idea to start small and expand your

equipment as your skills and experience increase”
I
t’s a common misconception are several 500w/s two-head lighting kits
that you need lots of studio lights available, and they’re a great place to start.
lastolite collapsible to make a great portrait. In fact, all They come with most of the essentials
velvet background you really need to get yourself going you’ll need to get you up and running,
is just one, solitary little light. It’s such as stands, reflectors, umbrellas
all a matter of controlling and shaping the and/or softboxes. Your choice of brand
light and where you place it that counts. will inevitably depend on your budget;
That’s not to say you cannot make great however, its always a good idea to stick
subject photographs with several lights, either. As with the main, well-known manufacturers,
you would expect, the more lights you add, such as Bowens, Elinchrom and Profoto for
the more creative you can be, but the more example. All offer good reliability and UK
control and understanding of your lighting support. You’ll also find that these systems
you will need. Luckily, we’ve got great tips are the most widely available, which make
8
prop it up! to guide you through the basics of studio them perfect for expanding and buying
Using simple things like portrait photography and some example extra accessories for as your demands grow.
coloured fabrics and scarfs
can give a sense of mystery. lighting setups to get you started. While backgrounds aren’t the most
Cropping in tight on the So, what equipment do your purchase exciting things to think about, they can
image and using the portrait for your home studio? If you’re just getting really make your image pop. Each type
format really concentrates on
the eyes. A single softbox to softbox into studio lighting, it’s a good idea to of background has its pro and cons – it’s
camera left metered at f11 is camera at f13 start small and expand your equipment as all about finding what’s right for you.
all it takes your skills and experience increase. There Seamless background paper is the most
© Yoke Matze

widely used and is available in two widths

(1.35m and 2.72m). They are available in
a huge range of different colours and are
fairly cheap. The cons are that they crease
and tear easily and will eventually run
out as your trim off the soiled lengths.
There is also a small range of vinyl
backgrounds, which are more robust
than the paper and wipe-clean, but they’re
only available in a few colours, and they’re
more expensive too.
Another option is to use a fabric
background, which is similar to a giant
sheet and cheaper than both paper
and vinyl. The fabric can be stored and
transported easily, plus simply popped
into the washing machine when dirty.
The downside is that the fabric creases
easily, ruffles around peoples’ feet and
is not suitable for background lighting
effects. Finally, it’s also worth considering
Lastolite’s collapsible backgrounds. These
are good quality, very compact, extremely
portable and very quick to set up.
You’ve got your first customer, set up
your studio and you’re ready to go. Most
people are a little nervous and self-
conscious within a studio environment, so
it’s your job to get them to relax: a relaxed
subject can make or break a shoot. It’s
time to utilise your interpersonal skills
and establish a little rapport! Portrait
photography is as much about dealing with
people as it is taking pictures, and a little
conversation while you’re metering your
lights can work wonders for your shoot.
Try to establish a common interest, such as
travel and holidays. These are often a good
place to start and tend to invoke happy
black seamless paper background
subject
500w head
with red gel
500w head
with blue gel
camera
60 x 60 softbox
8
gel with your model
Adding a couple of coloured gels to your setup
can make the image more visually appealing.
Meter your key light (camera left) at f11 and then
increase the colour of the gels until you achieve
the desired effect. The power needed for the
gels will vary, depending on the skin and hair
tone of your model. In this setup the 500w head
with red gel is mounted on the ground and the
500w head with blue gel is mounted high above
the subject on a boom stand
© Christian Hough

Shooting skills
keep it simple
A two-light setup against black seamless
paper really works for this image, which
makes the most of the landscape framing.
Meter your key light at 45 degrees (left)
and then your fill light between one and two
stops lower (around f5.6-f8). Place the fill
close to the camera axis (right) to help lift
those shadows
© Christian Hough
© Yoke Matze black seamless paper background
Useful tips
Home studio helpers
subject
Histogram and HigHligHts:
The histogram is a useful visual tool to
help you judge your exposures at the
time of shooting and assist you in
spotting and rectifying problems
straightaway. As you shoot more
studio photography, you’ll see that the
histogram will behave differently
when you change backgrounds and 60 x 60
lighting. A rule of thumb is to expose softbox
at f11 camera
properly and achieve a full histogram.
However, if you are shooting on a very 60 x 60 softbox
at f5.6
dark background, you’ll notice the
histogram shift to the left. If you’re
shooting on with a high-key
background, you should try to achieve
a fairly full histogram with a noticeable
spike at the far right-hand edge where
lastolite collapsible
the highlights are just clipping. The velvet background
flashing highlight function will help
you to see if you’re clipping that
black polyboard
all-important highlight data!

subject
raW: It always pays to shoot RAW for

maximum flexibility when adjusting
images in post-processing. Think of a
RAW file as a digital negative: it
contains more information than a softbox at f13
compressed JPEG and will therefore
give you the highest level of flexibility
camera
when it comes to adjusting the
exposure, contrast and dynamic 8
range in your shots for example. It also simply black & White
opens the door to more aggressive A single softbox to camera left at f11, a velvet
post-shoot noise removal, if necessary. hood and black velvet background really give
this image tons of shadows. Add a simple black-
white conversion and you’ve got loads of drama!

© Christian Hough
expert advice
Yoke Matze shares her favourite

lighting setups and settings
Yoke Matze is a seasoned portrait photographer and lecturer in
London, with 20 years of experience. Yoke runs her own portrait
school in London and her work has been widely exhibited. Digital
Photographer meets up with Yoke to find out how she goes about
her portrait sessions.
DP: How do you meter your lights?
YM: For a single light, I meter the reflected light at the subject.
However, for dual lighting, I tend to meter each light individually. As for a hair light, I carefully
avoid burning out the highlights and adjust the light depending on the hair of the model.
DP: Do you have any preferred lighting setups?
YM: Not really. I generally work instinctively and react to each person, so have no ‘fixed’ lighting
per se. My starting point is always a key light at 45 degrees and a little fill light nearer to the
camera. I tailor the lighting towards each subject.
DP: Do you change the lighting when shooting the same subject?
YM: Once the person feels relaxed and confident I suggest trying something different, both in
terms of lighting and poses. I usually do this towards the end of a session.
DP: What are your favourite reflectors for the home studio?
YM: Less is more. I use a softbox as the main light and an umbrella as a fill. I really like to use a
single light without a reflector, to create a strong theatrical feel to the image.
DP: How do you get your subjects to relax?
YM: I tend to treat them with respect and usually chat before the session. We look at some
photo books, which help to guide me in terms of the type of photograph the person likes.
Effectively, the model becomes part of decision-making process.
8high-key
background lastolite Hilite
The Lastolite Hilite
background gets the
high-key background
in small spaces. Single
reflective umbrella to 500W 500W
camera left at f11, with
two studio heads in each HeaD HeaD
side of the highlight;
powered background
lights clipping histogram subject
60 x 60
softbox at f11 caMera
“A relaxed subject can help

to make or break a shoot”
memories, which naturally the body. You’ll also find that some poses
make the subject feel work better for women than for men, and
more positive. vice versa. For example, male subjects look
Get organised and ensure more masculine when the head remains
that all of your equipment at 90 degrees to the shoulders or leaning
is set up before your on the far elbow. A female subject, on the
subject/s arrive. This other hand, tends to suit a tilt of the head
will help you to create towards the near shoulder, with the hands
a relaxed atmosphere placed in the lap. Experiment with lots of
and concentrate on the different poses. Utilise the legs, arms and
person in front of the lens. hands to help create shape and interest,
It’s now time to guide and pose but be mindful of them getting in front
your subject. A good pose really of the face. Try purchasing a couple of
makes a photograph, so it’s a different backless seats and stools and see
good opportunity for you to think which one works best for your subject.
about shape and how the lens Finally, don’t be afraid to get stuck in and
exaggerates certain aspects of demonstrate the pose yourself.
THE bLAck & WHITE PHOTOgrAPHY bOOk 109

Shooting skills
Take portraits
in natural light
We step out of the studio and use the power of
daylight to produce black-and-white portraits
Take portraits in natural light
Asleep
How best to transform a best
friend’s picture into something
else? Be prepared when he or
she is not. It’s not only the eyes
that produce a nice photograph
shot details: Canon EOS 1D
Mark IV with 85mm f1.2 lens at
85mm, f1.2, 1/4000sec, ISO 100
lighting setup: Sunny end of
the day at the beach
© Nicolas Orillard-Demaire

Shooting skills
“Natural light portraits provide perfect

8
Surf’S up
Munich, Germany. Taken
on the perpetual wave. The
opportunities to work outside the studio”

bridge just next to this world
renowned surf site allowed me
to have this unusual point of
view. I lived there for two years,
N
trying as much as I could to
get the shot of a surfer
Shot details: Canon EOS 1D atural light is a real gift for floor are perfect for creating a glorious light the subject gently on one side of the face
Mark IV with 70-200mm lens photographers – and a free box to illuminate the whole of your subject and tapers out to create soft shadows on
at 73mm and f2.8, 1/320sec, one at that. It’s amazing rather than just the face, whereas windows the other side of the face.
ISO 100 positioned very high in the wall or Velux
Lighting setup: Natural light
what can be achieved using a Hard light is direct and is intensified
on a grey day, diffused through large window and a few key windows in the roof space are trickier to when the source is made smaller. A small
clouds and nearby trees accessories. With a well-positioned model work with. It’s often useful if the window window, for example, will produce a
and the tilt of a reflector, you can achieve has net curtains as these act as a great harder beam of light as opposed to a big
stunning black-and-white portraits all diffuser to soften the light. For a stronger, window. The result of hard light is harsh
without the flicker of a single studio light. contrasty look, use bulldog clips to pin the shadows and very bright highlights. The
Natural light portraits provide perfect nets up and out of sight. harsh light of the midday sun can create
8Nikki opportunities to work outside the It’s also worth noting what lies directly unsightly shadows in portraits. Since it sits
Mont Saint Michel, France. Not confines of a studio. Whether you opt outside the window. Watch out for objects high in the sky at this time, the light hits
the place you’d think about for for an environmental family portrait in a such as cars, painted walls or dominating the top of the model’s head and produces
portraiture, but the coast and
its always-changing weather beautiful garden or a moody model shot foliage that could cause colour casts in ugly shadows under the nose and in the
produce a wonderful light for gazing out of a window, there are plenty of your shots. This obviously is more of an eye sockets. Unless you plan to create an
black-and-white portraits opportunities to grab hold of. issue when shooting in colour, but it can edgy, high-contrast portrait, avoid shooting
Mark IV with 85mm lens at
When shooting naturally lit portraits also affect the temperature of your shots in in direct sunlight at midday. Look for shady
85mm and f1.2, 1/3200sec, indoors, your first step should be to black and white too. areas for a softer effect or head indoors to
ISO 100 identify the best light source. Ideally this When shooting in natural light, you create a window portrait instead.
Lighting setup: Natural light, should be a large unobstructed window need to be aware of its direction and its For a classically well-lit window portrait,
a bit overexposed to get a
high-key picture with post- that spans as wide and high as possible. effects and remember soft light are easiest you should position your model side-on
production Windows that are positioned low to the to work with. It’s the kind of light that hits to the window, creating highlights on one

Kit advice
Consider this kit to create
compositions to be proud of
VelVet
What it does: Gives you more control over the
natural light
Using dark coloured velvet, you can help
control the light and subtract or ‘dull’ it.
Black velvet has the most colour absorbing
properties, although any dark shade will do the
trick nicely.
ReflectoR
What it does: Bounces light and fills in any
unwanted shadows
To bounce light, use a reflector to direct light
into the face. You can buy reflectors in silver,
gold and white or you can easily make your own
using a piece of card covered in kitchen foil. It’s
a cheap, quick fix.
WindoW light
What it does: Enables you to create portraits
with natural light while indoors
Of course the most important thing in any
photo is the perfect light. A large window is
all you need to create a stunning portrait in
black and white. The lower it is to the ground
the better.
“Watch out for objects or dominating

foliage that could cause colour casts”
Shooting skills
side of the face and soft shadows on the
EXPERT ADVICE other. This provides a three-dimensional
look, unlike the flat effect you would
Nicolas Orillard- have more character than any hard post-processed fashion
pictures. These little details are often wonders when correctly achieve if you positioned your model
Demaire tells us how used in a B&W portrait. They tell the story of a person, as it’s part facing straight towards the window.
to get great portraits of their life. And as beautiful as a picture can be, most of the time You can use a white wall or white
if you see the ‘wow’ factor, it is because it tells you a story. You reflector on the opposite side to the
What are the main can read the picture, and not just look at it.
considerations for successful window to bounce light and fill in the
portraiture? What is the appeal of naturally lit B&W portraits? shadows a little. Likewise, if you needed
NOD: You need to keep in mind NOD: First of all, natural light is free of charge. No need for soft
to subtract light, then a black surface will
that your model, whether pro or not, will have a limited attention boxes, flashes etc. I prefer to shoot when the sun is far from its
highest point – often in the evening – as this makes hard help absorb light and tame the highlights.
time frame. Even if it’s physically there, the time to catch the life
in their eyes can sometimes only last five minutes. You need to shadows disappear, creates fewer contrast differences and Black velvet absorbs light particularly
hurry before they get bored. Beauty comes from every single gives you a more natural photograph. well, so pick up a scrap from your local
person on Earth – you just need to find what exactly can make What are your top shooting tips for the genre? textiles shop and mount to a piece of card
your subject stand out from the crowd. And be relaxed; talk with NOD: Think black and white. Try to see structures, lines and for a low-cost accessory. This is known
the person behind the lens. You can see stress on people’s faces, contrast more than colors. as subtractive lighting. A well-placed
even if they are laughing… - Avoid direct sunlight, especially between 11am and 4pm. piece of black card either side of the face
What are your preferred techniques when shooting in - If possible, use prime lenses. Build and optic quality is at its best, can produce a wonderful effect, adding
natural light? and most of them have a large aperture that enables you to play definition to the temples and cheekbones.
NOD: More than anything else, using a very large aperture (f1.2) with the depth of field.
to let the bokeh transform the picture. I focus on the eyes and all Since you are relying on nature to
the rest is ‘sweet’. I generally try to catch a moment. I don’t really - Focus on the eyes. Eye contact is a great way to make a portrait provide your light, it’s a great help to work
like people posing for me; I like natural poses as they get on well ‘come to life’. with a lens that has a large aperture, so
with natural light! - Rain and clouds are your friends – be prepared to get wet! it can let as much light in as possible. An
Do you find certain faces or characteristics work better in - Don’t forget to talk with the person you are shooting. Try to 85mm or 50mm lens at f1.8 or even f1.2
black and white? catch attentions and motivate the crew! will help you achieve stunning portraits
NOD: For me, wrinkles, freckles, scars and natural skin texture - Act quickly. The sparkle in a model’s eye can quickly fade. even when the light is limited. Using a
wide aperture will also mean you can
achieve wonderfully creamy backgrounds,
while your subjects, or parts of, remain
8CERE PhylE pin-sharp in the foreground.
I could look directly in his eyes,
touching his soul, reading a Just because you’re shooting in natural
part of his past life, full of anger light don’t let all your basic portrait skills
and sadness. Quite an intense
moment where I needed to
go out the window. Remember the classic
act quickly portraiture rules. Always focus on the
Shot details: Canon EOS 1D Mark eyes and ensure they’re the sharpest part
IV with 85mm f1.2 lens at 85mm of your image. Use a large aperture to
and f1.2, 1/125sec, ISO 100
lighting setup: Rainy day in an create a good depth of field, throwing your
alley of trees, making light and background out of focus and keeping the
shade everywhere on his face attention on your subject.
Finally, always shoot in RAW if you can.
This means you have ultimate control over
your image after it has been captured. You
can tweak the exposure, add fill light and
generally improve on things if the lighting
was not quite as expected. It’s the best
back-up plan if you want to get creative
post-shoot.
88AuToPAblo
The first model you have is you!
A great way to try to test your
gear and how the light works is by
taking a self-portrait
Shot details: Canon EOS 1D Mark
IV with 50mm lens at 50mm and
f7.1, 1/40sec, ISO 100
lighting setup: In a dark room
with natural light coming from a
window and a small lamp giving a
© Nicolas Orillard-Demaire © Nicolas Orillard-Demaire
bit of directed light

Top tips when shooting in natural light

1 Avoid shooting when the sun is low in the sky and at 6 For indoor window shots avoid shooting when the Rainy poRtRait
window level sun is low in the sky. When shooting outside, The end of a rainy day
2 For a low-cost accessory, use white card to embrace the low-lying sun outside shooting with model
bounce the light and black card to help absorb 7 Fill-in flash can give natural portraits an editorial feel. Solenne. That was her
and subtract it Use it when shooting on the beach to create a first time posing. She has
3 For a straight-on portrait, face your subject straight polished look such a great presence and
beautiful eyes
on into the light and use black card either side of the 8 Position your subjects away from the sun on bright Shot details: Canon EOS
face to add shadow definition to the cheekbones days to avoid squinting 1D Mark IV with 85mm
and temples 9 Outdoor portraits work will in the dappled light of f1.2 lens at 85mm and f1.2,
4 By positioning your model around two metres from tree branches. The shadows can produce great 1/200sec, ISO 100
a wall or background you will be able to create a dark textures in black and white Lighting setup: Taken in
or black backdrop due to the fall-off of light 10 For a harsh contrasty effect, position your subject my garden on a rainy day,
5 Use a reflector on the darkest side of your model to next to a window with slatted blinds to create a the foliage of the trees was
balance the light in their eyes patterned effect on the face a useful diffuser

Shooting skills
Black & white

portrait tips
Perfect your monochromatic
portrait skills as the pros
in the genre reveal
their top tips
1 Use natural light

Photographer Anya Brewley
Schultheiss (www.absphoto.co) captured
this black-and-white portrait using natural
diffused light from a side window. “I wanted
the setup to be uncomplicated and produce
soft, smooth tones, which the black-and-
white conversion also adds to. The photo
has the feeling of delicacy and innocence,
which is what I wanted to convey.”
2 Children
© Anya Brewley Schultheiss
Children and babies take particularly

beautiful black-and-white portraits, and
if you’re looking at it from a business
perspective then the monochromatic finish
will sell particularly well to parents
and grandparents.
4 Contrast © Mayra Roubach
Black-and-white portraiture works

effectively in high-contrast settings. Look for
plain dark or white backgrounds to enhance
the subject. This style of photography works
particularly well with baby photography in
the studio.
5 Include
scenery
surrounding
To give your portraits context, include
the surroundings and relevant objects
© Anya Brewley Schultheiss in the scene. Mayra Roubach (www.
mayraroubach.com) captured this image of
3 Blur the background

To keep the subject matter in focus and have a bokeh-
blurred background effect, set your camera to a shallow
Afro-Cuban folklore performers inside the
cave of El Palenque de los Cimarrones. “[It]
is a cave that used to be a runway for the
depth of field and keep your focal point on the eyes. A prime slaves who escaped from the plantations in
lens will work best for this effect, and the wider you can open Vinales, Cuba. They used to seek refuge in
it the better. this hideout.”

Black & white portrait tips
6 Go vintage
Photographer Dave Kai Piper (www.
davepiper.org.uk) took the shot to the
left with a single Speedlight modified with
an Orbis ringflash adapter. His simple
setup shows you don’t need lots of fancy
equipment to do a high-end shoot. The soft
lighting adds impact to the vintage styling of
the clothes, hair and makeup.
7 Use negative space

In this image, Andy Teo has used
the dark space and shadows to create a
dramatic portrait. “Despite emerging from a
mud hut, this Malawi gent was immaculately
dressed for church,” he explains. “This was
taken on a medical mission to Malawi I was
part of in 2009. I used the natural window
light and a Canon EOS 5D with a 70-200mm
f2.8 lens.” Andy finds it easier to visualise
the scene in black and white before he
presses the shutter. He remembers to take
a close look at where the shadows are falling
and makes sure they are generating some
© Dave Kai Piper sort of interest before he commits. © Andy Teo
© Eric Fabico
8 Think fashion
Eric Fabico took the high-end fashion portrait
shown above called Monochromatic Eve. The choice of
9Textures and patterns
The textured hair in this shot enhances the model.
Look for contrasting textures to make an impression. If
10 Emphasise the eyes
Putting emphasis on the eyes of the subject
will create drama for the whole image. The eyes are key
clothing, makeup and hair all stand out in a black-and- your subject has textured skin, take advantage of this to many successful portraits – if the model is looking at
white finish. by cropping in close to the face. the camera, make sure the focal point is on them.

Shooting skills
13 Document the event

© John Powell
The image to the left was taken in

freezing cold temperatures (-5 degrees
celsius) at the world’s toughest endurance
course: The Tough Guy Challenge.
Photographer John Powell (www.
dotcomjohnny.com) explains how he
captured the moment: “Here, runners are
shown soaked to the skin, having to wait
their turn to negotiate a 12-foot-long tunnel
of tractor tyres after having just waded
through ice cold water, four feet deep!” To
get the most from the situation, John
advises: “Make sure your image contains
a full range of tones and that your subject
has feeling and atmosphere, and also try
to capture the mood of your subject and
their surroundings.”
© Hannah Couzens
11 Use props © Dave Kai Piper
One way to transform your black-

and-white image into something different
is to use props and makeup, as Dave
has demonstrated with his image Ice
Queen. “Originally shot for a magazine a
14 Side-light your subject
Photographer Hannah
Couzens (www.hcphotography.co.uk)
couple of years ago, the Ice Queen seems snapped this black-and-white portrait of
to be somewhat of a standout photo in professional footballer Jay Bothroyd. “I
my portfolio,” he explains. “It’s one of my used side lighting to accentuate his athletic
favourites; I particularly like the catch lights. physique and to create a strong contrast
I shrank photos of the Earth into her eyes to within the image,” she tells us. “This was a
create them. When the photo is printed large, three-light setup using Bowens 500W Esprit
you can make out the shape of England.” gridded heads.”
12 Take a candid portrait

Snapping documentary images on
the go is great fun. A candid street portrait
finished in black and white, if shot in the right
circumstances, looks great and traditional.
Neha Singh (www.frozen-stories.com) took
this image of a coconut seller in Hampi,
India. Neha felt the melancholy look on this
old man’s face stood out. Glimpses of his life
are included in the surrounding scenery.
© Neha Singh

Black & white portrait tips
© Anya Brewley Schultheiss
© Kim Aldis
15 Add a subtle tone

Kim Aldis (www.kim-aldis.co.uk)
took this character close-up portrait of
a man named Rusty in South Devon. To
enhance the portrait she added a tone, as
she explains: “Digital monochrome can
sometimes look a little clinical, and in the
film days bromide printing paper had a hint
of colour to it. I like to replicate this effect by
toning the image a touch with a little warmth
17 Take a self-portrait
Anya Brewley Schultheiss wanted her
self-portrait profile to jump out, especially
in the highlights and alter some blue blacks. the hair, so she selected to backlight it and
Keep it subtle, though, as it’s easy to overdo.” converted the image to black and white.
“The black-and-white finish highlights the
16 Frame the moment

Photography enthusiast Bryan
Rapadas (www.flickr.com/blrapadas) got
curves and lines of the face and the wildness
of the hair exactly as I pictured it,” she says.
the timing of this portrait just right. “When

the smoke machine blew smoke at the front
stage, Jay Contreras, the lead vocalist of the
18 Silhouette
Detail is not always necessary, as
this example shows. Look for interesting
Kamikazee, puffed some and blew it as if he profiles. If you want to take this style of
was smoking with a cigarette.” image, try to keep the background as
plain as possible. You can push the darks
and lights at the editing stage if you don’t
capture it first in camera.
19 Converting
Although there is the option to shoot
in black and white in most cameras, it is
recommend you shoot in colour and convert
later. When at the editing stage, use the
channel mixers so you can have full control
over the tone and contrast of the image.
Tweak the image in Levels if it needs it to
finish it off.
20 Communication
Unless you want to take a candid
image then communicating with your
models is important to ensure you’re getting
what it is you want out of the shoot. If it’s
a set-up shoot make sure you pre-plan
what you’re going to do and don’t leave it
to chance. You can experiment with your
approach once you’ve achieved what you set
out to do.
© Bryan Rapadas

Shooting skills
High & low-

key lighting
Find out how to master modern high and low-key
photography techniques and enhance your black-
and-white portraiture

High & low-key lighting

Shooting skills
We delve into the world of

high and low-key photography
T
© Christian Hough he subject of high-key advice from professional photographer
photography is a great place Annabel Williams and look at a very quick
to start this feature. However, alternative post-processing technique that
we need to break this down can be applied to almost every high-key
into its commensurate image to give your photograph that overall
parts if we’re not going to get confused light-contrasting appearance.
between the two different types of high The beauty of the high-key background
key. It’s therefore a good time to make the lies in the fact that it’s uncluttered, totally
distinction between high-key photographs neutral and places the emphasis of the shot
and the high-key background, as they are on the most important thing – the subjects.
both frequently confused. The high-key Not only does it work well with all types
background is just that – white – whereas of mood from happy to sad, it also has an
a high-key photograph is more commonly added dimension when printing. The high
described as a photograph consisting of contrast of the high-key background makes
predominantly light tones. it perfect for all types of printing medium,
We’ll look more at achieving the high- from paper to the very popular canvas.
key background in this section and will It’s true that whether you’re in the
cover different setups, plus ways in which studio or on location, the overall tonality of
it can be achieved, as this tends to be the the shot will determine the photograph’s
more difficult to grasp. With regards to suitability for any form of post-processing.
the high-key photograph, we’ll get some So if you have a lot of very dark areas, it
probably wouldn’t be suitable for high key.
However, you will often find that the high-
 TIME TO GET MOODY key effect is exacerbated in post-processing,
The Lastolite black velvet collapsible either by curves or other Photoshop
background works really well for techniques. This only applies when the
close-proximity portraits and keeps that
background looking black. Add a single light tonality of the shot is right to begin with.
to really cast those shadows and add a touch Start by exposing your shots properly
of drama and think about your post-processing
afterwards. By exposing ‘properly’, we
Lastolite collapsible black
velvet background mean exposing to achieve a complete
histogram, or so that the subject has a
balance of highlights and shadows. This
will give you maximum flexibility for both
editing and retaining highlight data where
it is needed. It’s important to look after that
Subject important highlight detail as most image
and sax data resides in the shadow areas. Hence,
Studio light fitted with 60
x 60 softbox it is easier to retrieve shadow information
than highlight detail. By deliberately
overexposing to make the image high
key in camera, we are likely to get a very
washed-out and flat image, plus risk losing
Camera at f11
the important highlight detail that we may
Essential kit Useful products for your high and low-key shots
Flash heads Collapsible black velvet Illuminated background
A decent set of flash heads is a prerequisite for studio
photography, regardless of whether you’re shooting
background An illuminated background is perfect for high-key images. You
can get your subject right up to the background without any
If you’re interested in low-key photography, then a black
high key or low key, or indeed portraits – if you’re going velvet background is absolutely essential, and the Lastolite resulting spill light, and say goodbye to awkward background
to shoot products these will come in handy then too. Collapsible Black Velvet Background (pictured) is a great supports, white sheets and
The Bowens Gemini Heads (pictured) are a great place to start. The crease-resistant velvet fabric absorbs the washed-out images. The Lastolite
investment and come with a great range of modifiers light to give a deep, even rich black HiLite (pictured) is one such
and accessories when you eventually decide to background colour, and it folds into a background, and it provides a quick
expand your setup. third of its original size for easy and easy way to achieve a high-key
You will likely also get transportation. If you’re lucky background. If you’re interested in an
stands and accessories enough to have a sizeable piece of illuminated background, make sure
when you purchase the black velvet lying around, then this you know what size you need – not
heads, but make sure will work well too, but be aware that only can the wrong size affect your
this is the case before it probably won’t be as easy to studio setup, you may be spending
you buy. transport around. far more than you need to.

“Start by exposing your shots

properly and think about your
White Background Paper
post-processing afterwards” Studio lights fitted

with Bowens High
performance reflectors
Subject
Fill light and softbox at

f5.6 mounted up high
Key light and silver on stand
umbrella at f11
Camera
 SOFTLY DOES IT
Soft light for children always
works beautifully, as their faces
still have very gentle contours
and relatively few creases.
Adding a touch of fill with a
second light really helps soften
their features even further. Be
sure to get that fill light up high,
just right to the camera axis,
avoiding the second catchlight
in the eyes

Shooting skills
Lastolite HiLite background
Studio light fitted with

standard Bowens reflectors
Baby on Lasolite
Baby Poser
Studio flash and small silver

umbrella at f11
Camera
© Christian Hough
8
KEEP IT SIMPLE
Babies can be difficult
subjects to photograph,
High-key processing
but the lighting setup is
easy and can be done in a in Photoshop
small space. Set up your We could use the Curves palette, but let’s play with
Lastolite HiLite or other white another very simple technique to give your images
backdrop and throw a fur rug a different high-key feel. It’s super-quick, very
over the baby poser. Then
simply meter your key light to
simple and can be modified and adapted to suit
about f11 and adjust your own images and photographic style. You can,
the background power of course, vary the layers and saturation, selectively
colouring or keeping it mono. Be creative, play
2Desaturate
as necessary. It’s quick and
very easy to do!
1Open your image and select Hue/
Saturation from the Layers palette.
the image using the
Saturation slider and click OK.
around with the image and experiment to see
what you can create.
3Highlight the Hue/Satuation layer by

clicking on it once. 4From the menu on the Layers palette,
select Overlay and blend the layers. 5Saturation
Simply adjust the opacity of the Hue/
layer to your own taste.

“Low-key High-key tricks & tips
photography Annabel Williams is no stranger to beautiful high-key images. We find out how she
approaches her modern lifestyle photography and stunning high-key photographs
is just as Check out one of Annabel’s many seminars to

help get you started…
Tel: 01539 821791
the face is the key thing for me and can even help the
background wash out even more, making the image become
effective as
softer and lighter.
Email: enquiries@annabelwilliams.com
Web: www.annabelwilliams.com Q: When you shoot, do you envisage the outcome of
Q: We know you’re a bit of a master at high-key the image before or after post-processing?
high key, but photography. What do you consider to be important

factors for a high-key photograph?
AW: As the term relates to indoor studio lighting, it’s been years
AW: I always envisage the image as I shoot it. I aim to get it right in
camera, from cropping and positioning to exposure. The only
thing I do afterwards is use curves to slightly brighten up the
it’s preferred since I’ve shot against a high-key background! However, when I
think about high key, I see it as a washed-out light feel to my
images, which has been shot outdoors on a beach, for instance.
image. 99% of my work is in the original image.
Q: You shoot mostly natural light and on location. What
when the Q: What sort of lighting conditions do you prefer for

your high-key work?
pieces of equipment wouldn’t you be without?
AW: My Canon EOS-1Ds Mark III, spare body, 70-200mm IS and
35-70mm IS. I don’t use flash on portrait shoots, but occasionally
photographer
AW: I prefer very soft and flat light on the subject’s face, but it use a reflector on a commercial shoot if I have no choice about
doesn’t end there! I love bright sunlight in areas of the the lighting. Keep it simple, that’s my motto!
background or across parts of their clothes, but always keep the
is trying
light soft and even on their faces. Q: What three things would you recommend for
somebody wanting to shoot high-key portraits?
Q: What considerations do you make when setting AW: Shoot on a wide aperture to get shallow depth of field. Try to
your exposure? use a light background, such as soft sand on a beach. I also find
to create a AW: I’m not one for checking the histogram, as I am too busy
relating to the person to ensure I get the most natural expression
possible. I always shoot on AV with a wide aperture. Exposing for
that soft-coloured clothes blend with the background, and give
an overall light effect. Avoid deliberately overexposing, but overall,
just don’t worry about it all too much and go out and shoot.
more serious
mood or be unable to retrieve later. So bag your image first
and the rest will follow! There are several ways of
There are several ways to achieve a low-key
background within a studio environment,
dramatic feel”
processing your images to achieve that high-key ranging from paper to fabric. The amount of
feel, from curves to layer blending. space you have will help determine the type
Low key is simply the reverse of high key. of background you choose, the modifiers you
Instead of the image consisting of a lot of light utilise on your lights and how far you position
tones, it will contain mainly dark tones and deep your subject from the background.
shadow areas. Low-key photography is just as In a large studio, black or thunder-grey
effective as high key, but it tends to be preferred background paper is ideal, as the lights can
when the photographer is trying to create a more be placed where they won’t reflect off the
serious mood or dramatic feel. For example, background and you’ll have enough depth of
location shots at night work really well and will field that the creases will not be noticeable. In
help you maximise the shadow areas, which would a small studio or living room this won’t always
be difficult to do in the midday sun. Shadows are be ideal, but don’t panic – we’ll look at some
just as important as light, and will be used to give excellent products to help you maximise the
shape and texture to your subject. potential of your space.
8
more poWer
Make the light even
White reflective wall
softer by literally just
lighting the background
with a bit more power.
Use a couple of white
reflectors or polyboards
High-power Bowens lights to reflect light back onto
fitted with Bowens High- the subject. This creates
performance reflectors a very gentle summer
haze and works well with a
touch of movement
Subject
f13
White polyboards
© Christian Hough
Camera
ThE black & WhiTE PhoTograPhy book 125
Shooting skills
Control images
with filters
Be it for sweeping landscapes or simple portraits,
black-and-white images are often bettered with
the right filter – learn how here
Images © Matt Golowczynski

Control images with filters

Shooting skills
Master the use of filters

in digital photography
A
s with a number of other colours we see, all of which can be
ARCHITECTURE traditional photographic created by mixing different proportions
Complex architecture with
strong geometric shapes like practices, filters have of red, blue and green light. The role of
this building works best if fallen a little out of fashion any filter is to change something about
there’s plenty of contrast in
your shot. As with the other
since the advent of digital the light coming into the lens – and by
image on this page, an orange capture and manipulation. What was using a coloured one we can decide which
filter helps to provide this once a useful way to control tonality, and a wavelengths ultimately reach the sensor.
contrast boost and really bring way for a photographer to accentuate key The most common types for black and
out the shapes and smooth
textures of the structure, for elements within a scene, has today been white are red, green, orange and yellow,
added impact sadly lost among a number of post-capture each of which transmit their own colour
Shot details: Canon EOS 350D processing options. and absorb others. What results is the
and f11, 1/100sec, ISO 200
So what argument remains for the same colour recording lighter next to the
use of filters prior to capture? Getting it absorbed colours, which record darker.
right in-camera offers more than just the Yellow filters are typically the first port of
immediate satisfaction of seeing your call for landscapes and portraits, as their
envisaged results instantly – something effects retain a neutrality which is lost with
Photoshop will never be able to replicate. other filters. As well as lightening yellows,
Using filters to achieve a particular aim they also lighten some reds and greens
hones the photographic eye, and enables while darkening blues a little – which
the photographer to recognise scenes makes them useful for bringing out clouds
with potential for striking black and white from skies. Orange filters serve a similar
images. Whether you intervene to bring purpose, darkening blues and greens while
out a few clouds in a landscape, or boost lightening reds, greens and yellows, the
ORANGE FILTER contrast in the strong geometry of an result being that blue skies are darkened
Architecture is another
subject which can lend itself architectural image, the application of even further to provide a much more
well to black-and-white filter filters is a useful one to understand. noticeable contrast.
photography. Here, an orange Both coloured and non-coloured With red and green being two of the
filter has helped separate the
shadow and highlight details filters can be used for black and white three primary colours, their effects are
in the structure, boosting photography. Coloured filters work easier to understand: red filters absorb
overall contrast by filtering out certain wavelengths of blue and green while green filters absorb
24-70mm lens at 24mm and light and letting others through. These blue and red. A red filter used in the same
f11, 1/8sec, ISO 800 wavelengths correspond to the different scenario will have the greatest

Filter tips
and tricks
Award-winning
photographer and
author Ross Hoddinott
is as good an authority
on outdoor photography
as there is. The author of
six photography books,
including The Digital
Photographer’s Guide
To Filters (2007), Ross
was awarded the
accolade of ‘British
Wildlife Photographer of
the Year’ last year, and
together with photographer Mark Bauer,
runs a series of workshops where he shares
his expertise of South West England with other
photographers. For more information on
Ross visit www.rosshoddinott.co.uk, and
for further details of his workshops visit
www.dawn2duskphotography.co.uk.
What camera equipment do Do you have any preferred type
you use? of filter system?
RH: I’m a Nikon user, using both RH: For quality and versatility,
D700 and D300 bodies, along the Lee Filters system is, in my
with a host of Nikkor, Zeiss and opinion, unrivalled. Its 100mm
some Sigma optics. size is just large enough to be
Which filter do you find used in combination with super-
the most useful for black and wide angles without vignetting
white work? occurring, and being
customisable, you can have one,
RH: In my view, the most useful two or three filter slots and also
filters for atmospheric black and add an adapter ring to take a
white landscape photography polarising filter.
are neutral density filters,
particularly extreme density What tips would you have
versions like the Lee ‘Big for anyone who is starting out
Stopper’. 10-stop ND filters are using filters?
currently very popular and used RH: Avoid the temptation to
appropriately they create overuse filters. Filters are
striking, surreal looking results. essential accessories, but their
They are particularly effective in effect can be very seductive
overcast light and their effect through the viewfinder.
suits conversion to mono – I Although filters are primarily
would say they are definitely designed to correct and enhance
a must-have for black and an image, used incorrectly they
white landscape photographers can also ruin a great shot just
these days. as easily!
ORANGE FILTER
The medium contrast of
an orange filter is ideal for
enhancing landscape images
such as this one, bringing
greater contrast to the building
as well as the sky
24-70mm lens at 24mm and
f11, 1/125, ISO 200

Shooting skills
What to look for

Once you’ve decided one of your lenses. Stepping rings offer a solution, with
to invest in a filter or one side screwed into a lens and the other into a larger
two, the next issue is diameter filter. Square filters differ in that their use
which type to go for. isn’t dictated by a particular filter thread, although they
Filters may be circular require an adaptor and holder for them to be mounted.
and threaded onto a Even so, they allow for the same filter to be used across
lens, or square and different lenses simply by changing the adaptor – which
mounted in a holder. is often cheaper than the price of an additional filter.
The advantage of the Filters also differ in how they are made, with resin,
former is that it’s all you glass or polyester filters being the most commonly used
need – simply screw it in and you can start shooting. materials. Glass and resin filters are recommended for
Some also allow you to continue using a lens hood optimum quality – and this will typically be reflected
when in place. The disadvantage is that it will only fit in their price – but the former is more susceptible to
one particular filter thread, meaning it may well only fit damage if mishandled.
“The filter you should use will be the

same colour as the details in your
scene you wish to emphasise”
effect, rendering blue skies and foliage camera has both of these options. That
YELLOW FILTER
as black to introduce a sense of drama. way you can check whether the exposure The subtle contrast of a yellow
Green filters, meanwhile, are perhaps used at which your image will retain a good filter has helped separate the
less, but are called upon when shooting tonal balance, and you will also be able main focus in this image from
the surrounding buildings
foliage. Blue filters also exist, though to witness the effects your filter has on Shot details: Nikon D700 with
they are seldom used in black and white the scene. It’s also a very quick way to 24-70mm lens at 24mm and
photography. see whether any vignetting has occurred f10, 1/160sec, ISO 400
It’s not just coloured filters that find through filter use, which is particularly
their place in black and white photography, noticeable with circular threaded filters
though. Polarisers can still be used to used at wide apertures.
eliminate reflections and boost contrast, Of course, there’s no requirement for
just as neutral density graduated filters can you to use a filter for each black and white
be called upon to help balance brighter image that you take. Indeed, many won’t
areas against darker ones. Furthermore, require one at all, and some images may
standard neutral density filters are suffer from an incorrectly used filter. It may
especially useful for cutting down the also be tempting to reach for the strongest
exposure by a few stops – particularly filter you have for the greatest effect, but
when a slower shutter speed is desired. these will not always be suitable. You POLARISER
Knowing which to use in a given will need to bear in mind that filters tend A polariser was used in
situation takes some practise, but to work best in fine conditions, such as this image, which has
helped increase the contrast
understanding which colours a filter when there is already a good contrast in between the blue sky and the
absorbs and transmits is key. Broadly the scene. In the case of a landscape, for white clouds
speaking, the filter you should use will example, this could be when there are Shot details: Canon EOS 350D
be the same colour as the details in your already defined clouds against a deep with 18-55mm lens at 18mm
and f11, 1/100sec, ISO 200
scene you wish to emphasise, although blue sky.
it’s useful to consider how such a filter
will affect the other colours in your scene.
Other filters such as polarisers and neutral
density types should be used with the
same considerations, and in the same way,
as for colour photography.
As all modern DSLRs use TTL
metering to calculate exposure, you’ll
find that fronting their lenses with a filter
automatically adjusts the reading. As such,
it will only be necessary to decide whether
these exposure settings are still suitable
for the situation, though occasionally you
may need to apply exposure compensation
depending on the scene and filter you have
chosen. One way to work out whether any
adjustment is necessary is to use live view
in conjunction with a histogram, if you

Compare and contrast Thedifferingeffectsofcolourfilters

As different as the
colours are in this
image, the black and
white conversion
shows how similarly
the two colours have
recorded in tones.
Different colour
filters show the ways
in which this can be
altered, either by a
red filter to make the
flower brighter than ORIGINAL COLOUR BLACK AND WHITE GREEN FILTER RED FILTER
the background, or Shot details: Nikon D700 with Shot details: Nikon D700 with Shot details: Nikon D700 with Shot details: Nikon D700 with
a green one to make 24-70mm lens at 70mm and f8, 24-70mm lens at 70mm and f8, 24-70mm lens at 70mm and f4, 24-70mm lens at 70mm and f4,
it darker. 1/40sec, ISO 400 1/40sec, ISO 400 1/25sec, ISO 400 1/15sec, ISO 400

Shooting skills

Master composition
Master
composition
Follow this in-depth guide to discover the principles of
good composition in black-and-white photography
PERSPECTIVE
To accentuate
perspective, choose
your lens and
viewpoint carefully.
A wide-angle lens and
a central viewpoint
will emphasise
distance within a shot

Shooting skills
Rules of composition: when

to use and when to break…
C
omposition is a tricky provide a far more striking image than a determining the depth and perspective
thing to master. Unlike the muddle of conflicting elements screaming of scenes before us, such as never-ending
technical aspects of picture- at the viewer from every direction. A tunnels and rolling mountains in the
taking, composition cannot be simple crop, moving in closer or removing distance. However, the camera needs a
measured like exposure, white the unnecessary extras can all work helping hand to transform what would be a
balance or focus. It’s a subjective thing that wonders to help you achieve top shots. flat photograph into the depth-filled image
requires personal taste and an appreciation Once you’ve decided what to retain and that we see before us. If your scene would
for a range of aspects such as line, shape, what to discard, the next job is to consider benefit from a bit of oomph in the depth
perspective and value – to name a few. your viewpoint. You can easily transform a department, then this can be controlled
Without a solid set of rules, composing scene by looking at it from above or below. with a carefully considered choice of lens
photographs well can feel a little Assess the available vantage points of the coupled with a decent viewpoint.
overwhelming. Over the next few pages scene and consider whether it could look To exaggerate the effect of distance in
you will discover some of the aspects that better shot from a different angle or height a tunnel or a long straight road, for
contribute to a well-composed shot. It’s up other than eye level. This approach can example, you need to emphasise the
to you to figure out the best combination transform bland objects into something converging verticals – a term referring to
for your shot, put them into practice and exciting and original. A spiral staircase can appearance of the scene squeezing to a
assess how you can use them to emphasise really benefit from being photographed point in the distance. Do this by using a
your scene. It’s about self-expression and from above, in order to emphasise the wide-angle lens, which will exaggerate
evoking mood and atmosphere, rather height and curve of the structure. Likewise, the width at the start of the scene and the
than replicating the scene as your camera a monument or large imposing structure narrowness at the back. Position yourself
sees it. The word ‘composition’ is defined can be made to look even more dramatic centrally so the converging lines look
as ‘a mixture of ingredients’ – here we’ll by shooting from below and looking longer and consider giving the camera a
provide the ingredients, but then it’s your upwards, exaggerating its height. slight upward tilt to maximise the sense of
job to make the cake. This leads us nicely onto the idea of distance between the beginning and end of
One of the first things you need to perspective. Our eyes are capable of the scene.
establish in your scene is what to keep and
what to discard. As a photographer it’s your
job to actively edit your scene to get the
best from it. This could mean waiting for a “Offsetting your subject
towards the corners of the
person to get out of your shot, gardening a
few distracting blades of grass away from
the flower you want to photograph or

PATTERN
Look for pattern and texture
in your subjects. These can
produce great abstract images
simply deciding to only photograph part of
the scene rather than all of it. If you learn
one thing about composition, the key is
frame helps to create a
more free-flowing image”
if photographed close-up, or
add interest to an otherwise to simplify your scene as much as you
flat image can. Photographing the bare essentials will
Important elements Abriefguidetosomeofthemostoft-usedrulesofcomposition

SYMMETRY DEPTH OF FIELD MOMENTS IN TIME TEXTURE
Be careful when considering symmetry When organising space, depth of field If your scene is a source of action, To really appeal to the viewer’s senses,
in your images, as it can be too easy for can play a big role in how the image will pre-focus in order to capture the moment incorporate texture into your shot. The
the viewer to flit over it. For a decent look. Think about what you want to see in time. Anticipation is key, so be prepared appearance of texture can be heightened
symmetrical image to work, there needs to sharp and then adjust your depth of field and choose your moment carefully. with the aid of good lighting. A light source
be a sense of tension, which can be created accordingly. Macro shots generally look Alternatively, use Continuous Shooting raking across the textured surface will
by elements of suspense or surprise. best with the background out of focus. mode to capture a sequence in time. exaggerate it beautifully.

Master composition
Just as lines are important to perspective,

they also play a vital role in other aspects of
photography too. The term ‘leading lines’ is
frequently thrown around in photography
and refers to structural elements in a
photograph that lead the viewer’s eye into
the picture. The most obvious line used
in photography is that of the horizon – a
perfectly straight line by which everything
else is arranged around. Just think how USE OF LINES
obvious it is when a scene has a skewed Lines can help draw the
viewer into the shot and
horizon – it’s the epitome of distraction direct them to the point
and a serious schoolboy error, which of focus. Alternatively,
separates the amateurs from anyone more they can also act as a
serious about their photography. There distraction, so be careful
how the lines in your
are plenty of man-made lines to think scene lay
about too, including buildings, power lines,
cranes, vehicles and structures. Think
about how lines feature in your scene and
where they are leading. Are they a main
feature of the scene? Are they leading your
viewer into the scene or are they causing
a distraction to the main event? Consider
your viewpoint and perspective to establish
how you can make the lines work well
in the scene. For example, certain lines
impart different qualities. A diagonal can
give the impression of speed, curves can
have a calming influence and angular lines
often impart a sense of discord.
A great example of this is with fine art
photography, which relies on the soft
curves of the body to achieve a calming
natural flow throughout the image. A
racing car’s speed can be accelerated by
capturing it on a diagonal or a slight tilt,
while an abstract image is given energy
FORM

To take an image that really
appreciates form, look out for
areas of shading within your
TONE subject. The greater degree of
Tone relates to the full range of greys shading and number of tones
present in the scale from the blackest there are, the more pleasing
black to the purest white. For a tranquil the subject. Position yourself
appeal, it’s best to aim for low-contrast to capture as many shades
images. To emphasise extremes, opt for a as possible.
high-contrast effect.
COLOUR 
Assess your main subject
and consider whether it will
benefit from colour treatment.
A bleak black and white scene
can sometimes be made
more dramatic by selectively
colouring a single element.
Pick out key items from your
image and emphasise them
using this technique.

Shooting skills
SPACE
When photographing moving subjects, always
ensure there is room in front of them. This gives
the picture a sense that there is room for your
subject to move into and emphasises their journey
RULE OF THIRDS
The rule of thirds is a common practice FRAME THE
for many photographers. This FRAME
compositional technique works by dividing Looking for natural
the scene using a grid system of two vertical frames within a scene is a
and two horizontal lines, dissecting the great method of drawing
image into thirds. the viewer into your
The ideal placement of your subject photograph. They focus the
should be at one of the points where the eye and give the viewer a
lines intersect. Decide in which of the sense of secrecy,
four intersections you want to place your as if they are witnessing a
main subject and then compose the scene private moment
accordingly around it. Obviously not every
scene will line up precisely with the grid, but
a rough adherence to the rules will provide
you with a well-composed image.
Many cameras come with a display
option which can be turned on,
superimposing a grid on top of the image
on your LCD or within your viewfinder for
accurate rule of thirds composition. The rule
of thirds is generally a good system to go by
when in doubt, but be careful not to rely on
this theory for shot after shot, as images will
become bland and unexciting. Some of the
best photographs come about by knowing
the rules and consciously breaking them.

Master composition
“Just think how obvious it is when a

scene has a skewed horizon – it’s the
epitome of distraction and a serious
schoolboy error, which separates the
amateurs from anyone more serious”
and dynamism by accentuating its angles
and edges. Pick a theme you want to
emphasise and use the available lines to
your advantage.
Line usually gives way to shape, which
is another important compositional
aspect you should be considering in your
photographs. Shape can appear from
unsuspecting influences such as light
and tone. Consider the striking effect
of a silhouette cast on a stonewall, or a
bundle of bright fuchsia petals forming
an interestingly shaped cluster on a
pathway. Alternatively, shapes that can be
misinterpreted as something else can also
make interesting images – clouds, trees
and close-up shots of vegetables often offer living subjects room to move into. For
quirky shapes within them. Whatever your example, if you photograph a local walking GOLDEN SECTION
shape, it’s important to think about the down the street from left to right, place The golden section is a
compositional rule, which
balance within the image. Where there the man on the left and leave space on hails from a twelfth-century
are a variety of shapes in the scene, the the right for the man to metaphorically Italian mathematician
largest or darkest in tone will generally be walk into. For objects, sizing should be known as Fibonacci. This
the dominator. Ask yourself whether this is considered. A macro shot of a flower historical figure is famed for
his discovery of a number
the effect you want to achieve – if not, then looks so much more dramatic when it’s sequence, which starts with
recompose the shot so the dominating positioned to fill the frame, whereas it can 0 and 1. The series forms
shape is no longer in the scene. Some look rather puny in an expanse of space. by adding the previous two
numbers together, hence the
shapes, however, can actually go a long A clever compositional technique formation: 0, 1, 1, 2, 3, 5, 8,
way in helping to define the main subject. is to look for a frame within a frame. 13, 21, 34, 55, 89, etc.
Blacked-out areas such as silhouettes offer Shooting a scene through a window When you divide each
an ideal opportunity to frame or accentuate gives viewers a chance to step back, successive pair, you come up
with a result of 1.6. Known
a coloured part of the scene and bring it to separate themselves and get a sense of as the ‘golden number’
the forefront of attention. what it feels like to be the photographer. as highlighted by the
Successful composition relies heavily on These are just a few of the elements that Greek letter Phi, this is the
essential key to mathematics
a good sense of framing. A badly framed should be considered when composing and proportions, which is
image will leave your subject looking lost an image. Your job as a photographer is to where composition comes
and unimportant. Remember that - thanks determine the importance of each element into the picture.
in the scene and react accordingly, making A rectangle can be divided
to cropping - you are not restricted to the into golden number
aspect ratio of your camera. It’s important sure the right parts are emphasised. It’s proportions, which is meant
to visualise how you see the final picture, your photo, and you have a certain set of to demonstrate harmony
and compose your shot in accordance with emotions and ideals you want to convey. in an image. This ratio can
be used to decide where
this vision. The actual cropping process Composition will help you express these to place the main subject,
can be done in-camera or in Photoshop emotions, taking a regular scene and where to place the horizon
later on, but bear in mind you’ll sacrifice transforming it into something with and generally how to divide
the frame. As always, this
image quality if you choose to go with the meaning that’s personal to you. is not a fix-all solution and
latter option. Another important factor is Composition is something that is always should be used with care.
the placement of the subject within your done, whether you’re a good photographer
frame. Amateurs will commonly place their or a bad one. What distinguishes you from
subject centrally in the scene, which rarely the bad photographer is the ability to know
makes for an engaging image. Offsetting how to compose your shot well. Taken
your subject towards the corners of the on board, these pointers will help you
frame creates a more free-flowing image consider the scene and its outcome before
and offers suspense. It’s important to give you press the shutter.

Shooting skills
Understand
metering
Whether you’re shooting on the move or have all
the time in the world, it pays to know metering
modes inside out. Read on to shed some light on
fine-tuning your images…

Understand metering
With lots of contrast in this

scene, it’s vital to measure
the metering spot-on

Shooting skills
W
ith an overwhelming what and aims to make sense of them. The
number of camera metering itself does not work off colour
settings at your but rather the reflected light itself, trading
disposal, it’s easy to off the good, the bad and the ugly until
convince yourself to the exposure settles on what is best for the
stick to a few basics. Apply the shutter mode you’ve chosen.
speed, stick to your favourite aperture and Some cameras will have at least three
away you go – click, job done. However, metering modes, while most will have
by taking time out to delve deeper into four, and not all of them will be called the
your gear’s capabilities, you suddenly arm same thing. For instance, one of these
yourself with a wealth of creative arsenal modes covers pretty much everything;
that will make your work stand out from a kind of Jack of all trades that is often
the crowd. All those fine tweaks and handy referred to as ‘Pattern metering’. Canon
tools will finish the job off nicely. Metering will call this ‘Evaluative metering’, Nikon’s
modes are a testimony to all this. choice of flavour is ‘Matrix’, Olympus goes
When you start off, it will be a case of for ‘Electro Selective Pattern’, Sony has
trial and error; the more you push ‘Multi-pattern’ and so on. While all brands
yourself creatively, and the more images and makes have their own unique way of
you take, sooner or later you will grasp dealing with Pattern metering, in essence
an understanding of how to interpret they all do the same thing.
GOOD LIGHT

what metering mode is best suited to any Almost all these brands will share
The low sun hits the subject
side-on; the beach and sky are
number of given scenarios. names for the other modes, namely
illuminated enough to balance Metering modes offer you the chance Centre-weight, Partial and Spot, which
all shades, ideal for applying to stick with an overall Pattern mode, or to will make using terminology in this article
Pattern metering step out of your comfort zone and become about 75 per cent easier! Just to throw a
50D with 28-70mm lens at f8, that little bit more experimental. These spanner in the works, some brands will
1/1000sec, ISO 200 modes take light readings, work out what’s allow you to make tweaks to Centre-weight
mode with various allowances of how
much of the image is metered. While we
try to make sense of them in this small
piece, it is strongly advisable to read up
on your camera’s manual for a more in-
depth understanding.
If you are in the good habit of taking
your camera everywhere, then it helps to
leave the settings to something simple like
Pattern metering. Most brands, if not all,
do a sterling job of evaluating the entire
composition, which is ideal for those
moments of spontaneity. There will often
be times when you are more concerned
about bagging a photograph on the move
and have little to no time to spend messing
about with the complexities of fine-tuning.
When you’re shooting street candid
photography, sporting events or wildlife,
capturing the moment is much more
crucial, so it seems common sense to
© Michael Bosanko © Michael Bosanko
leave the camera to work out all the
Know your modes Metering jargon messing with your mind? Allow us to help…
PATTERN CENTRE- SPOT
METERING WEIGHTED METERING
This ‘do-it-all’ mode is AND PARTIAL This metering
great, but you’re at the METERING mode is where
mercy of what the Metering in creative flair truly
camera ‘thinks’, rather Centre-weighted mode comes into its
than what you actually will evaluate the entire own. The area you
see. For most occasions, Pattern metering is good for when scene yet throw strong emphasis on the central part of the expose is pinned down to around 1-3% at the centre,
there’s a good mix of tones in the entire scene. Street scenes, image, anything from ten per cent upwards. Some cameras will although some camera models allow you to switch the
landscapes without too much shade, your standard family allow you to make adjustments to coverage. This is a great spot position to any active focus point. This is the most
snaps – all of these are fair game. Pattern metering is also mode if you want to concentrate on a main foreground topic. accurate mode purely because you read from a minute
good if you’re on the move, in search of those elusive Partial metering falls between Spot and Centre-weight, while area; this also makes it the most difficult way to meter,
decisive moments. Depending on your camera model, this ignoring the area outside its limit. There’s often a preference but with practise you’ll soon understand how it can apply
could also be called Matrix, Honeycomb, Evaluative, trade-off between Centre-weight and Partial depending on the to unusual lighting situations. It’s the most difficult
Segment or Multi-zone metering. On some cameras, this is brand of camera or creative leaning, but if you’re going for metering mode to perfect, but once you’ve mastered it,
the default setting. portraits, experiment with both until you get the best results. it’s hard to let go!

Understand metering
Centre-weighted
around the hut, as
the subject matter
dominates the
composition
Shot details: Canon
EOS 50D with
28-70mm lens at f8,
1/250sec, ISO 200

A chance to
get creative,
a choice was
 made to blow
the highlights on
The main the outside to
focus area throw emphasis
here is the foot on how small
grill. Centre- the people are
weighted, you in relation to
are drawn the cave. Spot
deep into metering was
the centre used on a darker
Shot details: area of the cave
Canon EOS Shot details:
400D with Canon EOS
10-22mm 50D with
lens at f5.6, 10-22mm lens
1/160sec, at f3.6, 1/10sec,
© Michael Bosanko
 ISO 100
© Michael Bosanko ISO 200

Shooting skills
© Michael Bosanko
Middle grey
Mid-grey is what your camera will try and
return the exposure to. If your
composition is awash with dark or light
areas then there’s every chance your
metering will struggle to produce a
desirable exposure, depending on the
end result you want. A handy item to
carry around is a grey card (18% grey)
for the purpose of metering. Most
camera shops will sell these , or do some
online bargain hunting.
Some websites will display a portrayal
of a grey card, but keep in mind the
brightness and various calibrations a
monitor gives off; hardly an ideal
scenario for comparing an object in the
real world with a bright picture on a
monitor. These cards will usually be
labelled 18% grey, as most metering
systems are calibrated to this figure. You
will need to hold or place the card in front
of the lens, then adjust the exposure
accordingly. Place the card down,
recompose, and then take the final shot.

Here a good amount of
Understand metering
light hits all sides of the
main subject, perfect for
Partial metering
50D with 28-70mm lens at
f5.6, 1/250sec, ISO 200
Bracketing
There will always be the odd occasion where a scene will prove a
nightmare to capture. Luckily for us digital photographers, we have
another trick up our sleeves – bracketing. In your camera’s menu there
will be an option to bracket three images, with the ability to toggle how
light and dark you want your images either side of a normal exposure.
This is by no means a get-out clause and shouldn’t be viewed as a
replacement to metering, but you get a fighting chance to pin down the
correct exposure, should the metering be fooled. Things can still go
wrong when bracketing, and the same metering rules apply when
taking readings. If you are content that you have done all you can yet still
want to bracket, then invest in a tripod and cable release.
Make sure your set-up is as solid as possible, then fire off your
bracketed shots. The first shot you take will be a midway exposure, the
second will usually be darker and the last shot will be lighter. Because
they have been taken using a tripod, there’s a chance that all three
images have the exact composition with little or no camera shake.
When you finally download them, you have the option of blending these
images in a photo-editing program to create a combination of all three
exposures. The quickest way to bring out light and dark areas is to use
the Dodge and Burn tools in Photoshop. However, there’s the danger of
destroying image quality.
 
Many tonal An opportunistic
differences shot. Pulling
going on in this the car over,
image. Spot the camera was
metering was whipped out
taken from the left in Pattern
side of a pillar; mode, leaving
the mid-tone only shutter and
helps balance aperture to
out the rest worry about
Shot details: Shot details:
Canon EOS Canon EOS
50D with 400D with
28-70mm 10-22mm lens at
lens at f5.6, f8, 1/200sec,
1/200sec, ISO 100
© Michael Bosanko ISO 200 © Michael Bosanko
“When you’re shooting street candid

photography, sporting events or
wildlife, it’s common sense to leave the
Partial metered for
the background
using the entire
dark tunnel area
camera to work out the metering”
to frame the image metering and to average things out. Of metering comes into its own when you
Shot details: course, we do not want to rob ourselves have plenty of time to play with and can
Canon EOS 50D of having ultimate creative control, but it afford to properly assess the entire scene,
with 10-22mm
lens at f8, is in these spontaneous moments where picking out those mid-grey or mid-tonal
1/60sec, ISO 200 your favourite player scores a goal, or areas with a fine-toothed comb, which will
when someone has a Laurel and Hardy in turn lead to a superb overall balance of
moment where they slip on a banana skin light tones.
that you will kick yourself if you spend A great exercise to try out when Spot
any more than a few seconds mulling over metering is to switch your gear into
the best metering mode, let alone any Monochrome. In doing so, you are then
other settings. free to play target practise with those
If you’re in the habit of grabbing quick mid-grey areas and seek out the best
close-up portraits of people out and about, overall exposure. Take exposures at
then you can easily get away with leaving different settings, then check the results
the metering set to Centre-weight or Partial, on your monitor when you get home;
as for most of the time it’s the head shot you’ll soon see the difference in your
that’s important, far outweighing the photographic work. After a few trials,
lesser important background detail. This switch to colour and pick out those neutral
is often thrown out of focus, especially hues. It may well take a few attempts, but
© Michael Bosanko
when using a very wide aperture at close stick with it. Before long, it will become
proximity to the main subject matter. Spot second nature.

Shooting skills

Discover RAW
Discover RAW
Everyone talks about how
good RAW files are, but what
are they, how do they work
and do you really need them
for black & white?

Shooting skills
Before After
R
AW files give you three things: quality, adjusts things like the colour saturation, contrast then ‘develops’ (or processes) it internally to produce
control and choice. The improved and white balance as it saves the image, but if you the JPEG file saved on the memory card. When you
picture quality can include better detail work with RAW files instead you can control these shoot a RAW file, however, the camera doesn’t do this
rendition, an extended contrast range adjustments manually. processing. Instead, it saves the ‘undeveloped’ image
(less highlight ‘blow-out’, in other words) This is the other point about RAW files – they let as a RAW file onto the memory card. However, the
and sometimes reduced noise and/or colour fringing. you postpone many of your picture-taking decisions. image still needs to be ‘developed’, or processed, but
So why should RAW files produce better quality? Instead of setting the white balance on the camera, for this time you do it on your computer instead of leaving it
Think of it this way: the camera’s image-processing example, you can shoot a RAW file and then open it to the camera.
engine has just fractions of a second to apply all these on the computer and experiment with different white RAW conversion software processes these RAW
adjustments, but a RAW conversion program is a balance settings to see which one works best for each files to produce JPEG (or TIFF, in Photoshop) image
much more sophisticated piece of software, running particular image. files that you can view and work on directly. Camera
on a machine with vastly more computing power. The key to understanding RAW files is to think manufacturers provide their own RAW conversion
Not only that, but you get more control over how of them as like undeveloped film. If you shoot JPEG programs either free with the camera or as paid-for
your photos turn out, too. With JPEGs, the camera files, the camera records the image on the sensor and extras, and there are many third-party RAW conversion

Discover RAW
Third-party RAW converters Basic conversions
It’s impossible to say which of the many RAW conversion programs on the market is best – each has its STRAIGHT CONVERSION
strengths and weaknesses and a lot depends on which camera you’re using. There are, though, some clear This is our starting point, a straightforward
differences between the manufacturers’ own RAW converters and third-party programs like Photoshop; not conversion of a RAW file. Much of the time this is the
sort of conversion you might want to produce –
so much in quality as in tools and practicality. When you use a program like Canon’s Digital Photo Pro, for
simply tweaking the exposure, white balance or
example, you get is an exact duplication of the image settings on the camera, so you can apply the camera’s sharpness settings, to improve on the original.
Picture Styles, such as ‘Monochrome’ on the computer. The maker’s own RAW converters mirror the camera
controls exactly, so you can get familiar with what the camera can do and reproduce it reliably. Third-party
RAW converters like Adobe Camera Raw ignore this. If you shoot a picture in Monochrome mode on your
Canon, the RAW
file will be tagged
with this data,
but ACR will pay
no attention: it
will display
generic colour
files which
you have to
convert to mono
yourself . Third- WARM SUNSET
You can adjust the white balance to give a much
party RAW ‘warmer’ look, like when the sun is low in the sky.
converters may We’ve also used the software’s vignette correction
be slicker and tool to darken the corners of the photo.
more
convenient, but
they sacrifice
the camera’s
own colour, tone,
contrast and
sharpness
controls.
programs too. Adobe Photoshop and Elements have save it in, notably sRGB (for general photo display
their own in-built RAW conversion tools, in the form and printing) or Adobe RGB (which is better for
of the Adobe Camera Raw (ACR) plug-in. commercial printing processes). You can set this in
In the old days, photographers use to swear by one the camera when shooting JPEGs, but RAW files give MOODY MONO
This time we’ve created a black-and-white version,
brand of film developer over another; in the digital you the option. emphasising the red channel to create the effect of a
age, the arguments continue, only now the debate’s One of the big advantages of using RAW files is red filter with black-and-white film. This increases
about RAW converter does the best job rather than that they allow you to postpone some of your contrast, creating a strong, dramatic look.
which chemical formulation. decision-making until later, as we’ve explained.
There are some more technical reasons why The other point is that the original RAW image is
RAW files are superior to JPEGs, which help never changed. Your adjustments are saved by the
explain why different programs can produce different RAW converter, either in an internal database or
results and why RAW files are very important to as ‘sidecar’ files. All that’s being saved is a set of
professional photographers. processing instructions – no changes are made to the
Each RAW converter uses its own ‘demosaicing’ image data itself.
system. This is the process whereby the ‘mosaic’ of With that in mind, what settings can you actually
red, green and blue pixels captured by the sensor is alter during the RAW conversion process? RAW
interpolated into a full-colour image. The differences
between different demosaicing systems are only Pentax DSLRs can shoot generic Adobe DNG RAW files. The
format hasn’t really caught on, though, and other camera
visible under high magnification and even then may makers still stick to their own
not be obvious, but this is one of the factors that can proprietary file formats SIMULATED MOONLIGHT
produce differences between RAW converters. By applying an overall blue colour, increasing the
contrast and reducing the brightness, we’ve
While JPEG images contain eight bits achieved a moonlight effect. All four images were
of data for each of the red, green generated from a single RAW file, which in itself
and blue colour channels, the RAW images remains unaltered.
captured by the camera are at a higher
bit-depth and contain subtler colour
information. RAW converters can use this
to output 16-bit files instead. These are
twice the size and cannot be opened by all
image-editing programs, but while it may
be impossible to spot the difference under
normal circumstances, 16-bit images do
tend to survive heavy manipulation better
than 8-bit images.
Finally, when you convert a RAW file
you can choose which colour mode to

Shooting skills
Anatomy of a RAW converter

AdobeCameraRawisoneofthemostwidelyusedRAWfileconverters.Here’saquicktour…
Camera Raw window Adjustment tools Image preview Histogram
Adobe Camera Raw is a Photoshop You can rotate and crop photos, use You can see the effects of changes on your Use this to check whether the
plug-in. It launches automatically the white balance eyedropper and photo as you work, so you know exactly shadows or highlights are clipped
when you open a RAW file even fix red-eye with these tools what the processed photo will look like and adjust the exposure accordingly
Colour mode & bit depth Exposure controls Colour intensity White balance controls Further adjustments
Because of the extra data in These enable you to make full The Saturation slider Correct the white You can correct lens
RAW files, you can generate use of the extended tonal intensifies all colours equally, balance if you didn’t get distortion, for example, and
sRGB or Adobe RGB photos range of your RAW files but the Vibrance slider it quite right at the time chromatic aberration
compared to ordinary JPEGs intensifies only the weakest of shooting
converters usually include an Exposure (EV) White balance is another setting you can change. you work on the RAW file on your computer, you can
Compensation slider, designed to correct over- or When you shoot JPEGs, the camera uses the white choose different values.
under-exposure. However, this can’t change the balance setting during the image processing to So is it worth making these adjustments on the
shutter speed, lens aperture and ISO settings used adjust the colour balance and discard data it thinks camera at all? Well, they’re embedded in the RAW
to take the picture, and they can only work within is unnecessary. The RAW file, though, will contain file and if you’re using the camera maker’s own
the range of tones captured by the sensor. all the original colour data, so you can decide for RAW conversion software, it will be able to recognise
Nevertheless, the RAW file will usually contain yourself which white balance setting works best. and apply these settings so that you hit the ground
additional highlight detail over a JPEG image, and The same applies to the sharpening level used, the running. If you use a third-party RAW converter
some RAW converters can take advantage of this contrast, colour saturation and picture style/tone. they are largely ignored, though it can still be useful
to provide a little extra latitude and recover some All of these settings are applied by the camera when to make these settings on the camera so you can
‘blown’ highlights. it converts the RAW data into a JPEG image. When evaluate images on the LCD when you review them.

Discover RAW
Right first time!

RAW files have many advantages, but they can also
be an excuse for laziness. Why bother getting the In-camera processing
white balance, colour settings, contrast and even
the exposure right when you can ‘fudge it’ later in
your RAW converter? There are actually three good
reasons for getting it right first time:
1) The closer you get these settings when you
shoot, the less work you’ll have to do later on the
computer.
2) Exposure is critical, whether you’re shooting
RAW files or not. RAW files may give you a little
extra leeway, but it’s a dangerous game to play.
3) If you get into the habit of shooting JPEGs and
RAW files simultaneously and work at getting the Processing/
conversion
pictures right first time, you may find that most of
your JPEGs are perfectly good and that you only
need to resort to RAW files now and again, rather
than having to convert the whole batch.
RAW sensor data Digital image
RAW converter
The RAW data captured by the camera’s sensor must always be processed/converted into an image file. When you shoot
JPEGs the camera does this internally; when you shoot RAW files, you do it yourself on the computer
What’s wrong with this JPEG? Nothing! If you

concentrate on getting the camera settings right when
you shoot, you’ll find you don’t need the extra data in impossible to change the point the lens was focused RAW files may prove useful, and this is especially
RAW files anywhere near as often as you might think. on, or the depth of field. These are optical properties true of the Olympus E-520/620 and the Panasonic
of the image as it forms on the sensor, and there’s models. These cameras tend to clip highlight detail
The other point is that many cameras can shoot nothing the camera’s processing engine or your RAW quite aggressively when shooting JPEGs, and you can
RAW files and JPEGs simultaneously. The JPEG conversion software can do later. get much better dynamic range from the RAW files.
versions will be ready for use straight away, while ISO is another setting you need to make on the It’s unwise to assume that one RAW converter will
the RAW files can be kept back for those occasional camera, regardless of whether you’re shooting be better than all the rest, too. Their qualities vary –
images that require special treatment. If this is how RAW files or JPEGs. When you increase the ISO some are better at noise reduction, some are better
you intend to be working (it’s a lot quicker than on a camera it’s actually amplifying the light levels at white balance adjustments, and you’ll even get
having to convert all your photos as a matter of recorded by the photosites (pixels) on the sensor. variation between camera models and brands (some
routine), it still makes sense to choose the camera This amplification process takes place on the sensor programs are good for Nikon files, some are better at
settings carefully. itself before the RAW image data is created. Canon files and so on).
But for all the things you can adjust when RAW files may give you extra quality, control and Which leads us on to some of the more serious
converting RAW files, there are a number of things choice, but they do mean extra work, and it’s also drawbacks of RAW files. Some are obvious – the
you can’t. These are nothing to do with the way the unwise to assume that they will always provide better camera takes longer to save them and they take up
image data is processed, but unchangeable optical quality than JPEGs. This depends largely on how more space on your memory cards. They must also
properties of the image itself. You can’t change the good the camera is at processing JPEG images. For all be processed later on the computer. Integrating
shutter speed, for example, nor the lens aperture. It’s example, the JPEG files produced by Nikon DSLRs RAW files into your photo-cataloguing system can
are very close in quality to those you can produce be tricky, too. If you convert them to produce JPEGs
from RAW files. There are times when the extra or TIFFs, how do you keep the conversions and the
highlight detail in RAW files may be useful, or when originals together? Your filing system may no longer
you want to pick the white balance and be quite as simple as it was before. While programs
tone/colour settings later, but much of the time a like Aperture and Lightroom make it easier to work
JPEG shot in the camera is perfectly good enough. directly with your RAW files, they do tie you to that
Canon SLRs are different. Canon’s in-camera particular RAW conversion engine.
processing produces smooth-looking images, but There is another way to manage RAW files that
with less fine, textural detail than you can get from might appear more primitive and restrictive, but
the RAW files. The JPEGs are fine if you’re in a hurry which is likely to make your life (and photography)
or you’re not going to print or display at maximum much simpler. Shoot RAW files, but convert them
resolution, but to really get the best from these once and then put them away out of sight and stick
cameras you need to work from the RAW files. to JPEGs for all your regular cataloguing, printing,
What many photographers might not realise is that different Current Pentax and Sony DSLRs produce really slideshows and photo projects.
RAW converters are like different film developers. If you vivid, punchy JPEGs, and it may be hard to improve Experiment and find a workflow solution that
process the same RAW file using three different programs, on their tonal rendition or their sharpness with RAW suits the way you shoot and the way your create your
for example Digital Photo Pro (seen here), Capture One and
Adobe Camera Raw, you’ll get three subtly different images files. As ever, though, the extra highlight detail in images, and you’ll never look back.

B&W abstracts
We guide you through the steps to understanding and creating
beautiful black-and-white abstract images
Shooting skills

B&W abstracts
bracelet
Macro abstract image of a metallic
bracelet taken straight on in a light
cube with a single speedlight to the
left providing the only illumination
105mm lens and f14, 1/15sec,
ISO 200
© Chris Humphreys

Shooting skills
© Chris Humphreys
“All you need is the world around you and your camera.
There are no rules – just you and your imagination”
A
8
headboard bstract photography is one of you take colour out of the equation? We subject and can that be used as a way of
Headboard in a hotel bedroom, the hardest genres to define. are simply left with shades of grey. In a creating abstraction?
the reflective quality of the
tiles caught the light well to
One man’s abstract is another way this makes the life of the abstract Probably one of the most commonly
make a good abstract subject man’s fine art. Purists would photographer even simpler – we just need used methods of creating abstract
Shot details: Nikon D700 with say that to be truly abstract to concentrate on tones, shapes, lines and photography is macro. Taking recognisable
50mm lens and f1.4, 1/80sec, an image must no longer represent reality light. Colour cues can help us identify objects and closing in to see detail that is
ISO 200
or contain any recognisable objects. But objects, so removing this reference makes usually missed by the human eye is a great
where’s the fun in that? Perhaps an abstract the task of abstracting an object easier. way to create surreal images. Removing
image should be one which generates The great thing about this genre is colour cues from a macro shot of a plant,
intrigue and makes you question what you that there are no rules – apart from for instance, can make for a very abstract
are looking at. Or an image that is instantly composition, perhaps. Exposure, focus, image. Look for macro subjects that
recognisable but makes you see something ISO and shutter speed are simply a means contain a large amount of surface detail
in an entirely new way. to an end to achieve a pleasing image. and contrast which will work well when
An early pioneer of abstract photography, Opportunities are all around – they might converted to black and white.
Lester Hayes, took photographs of be a very small scale or set within a wider There are many abstract subjects in
everyday objects and showed them context, but you need to train your eye and architecture and the built environment,
in a different way using only a Kodak practise some simple techniques to make probably because buildings contain a
Instamatic camera. He once commented the most of them. good amount of repetition and structural
that everything is beautiful when Look for rhythm and repetition in elements within larger compositions.
8petalS photographed from the proper angle and objects, nature and the built environment. Light plays a vital role in successfully
(top right) under the right lighting conditions. He Objects that repeat and align can make capturing a black and white abstract image;
Macro shot of a Zinnia, the
new petals in the centre of the
looked for opportunities to create abstract great subjects for abstract photography; architecture provides opportunity with
flower have yet to fully unfurl images from whatever he chanced upon. balustrades in a stair, street lights, trees in a reflections and transparency. Look also
and are almost unrecognisable However, much of abstract photography, wood. Remember that, for black and white for geometric patterns within structural
as petals even the early work of Lester Hayes, used abstract photography, you need to think in elements, repetition of structure and
105mm and f25, 3sec, ISO 100 colour as a means of creating abstraction terms of light and shade. Is a shadow cast? interaction with light and shade can
and interest. So what happens when Is the shadow more interesting than the produce strong compositions.

B&W abstracts
Simple
lighting setups
How to light your abstracts
Abstracts can be done anywhere at any
time, but it is useful to practise with objects
around the home. A simple lighting setup
can assist, particularly if the image is to be
converted to black and white. A single light
source will create dynamic shadows and
tonal contrast.
SINGLE WINDOW
Natural light is free, but it isn’t particularly
controllable. There are, however, some things
you can do to introduce some level of control.
Think simple; a darkish room with a single small
window will provide a good soft light source
that will produce very pleasing ambient light. A
reflector can be used on the opposite side to
bounce light back onto the subject and a sheet
or blind to limit the light intensity.
PAPER BACKDROP
SUBJECT
NATURAL LIGHT SOURCE

REFLECTOR
LIGHT CUBE
Light cubes come are usually associated with
product photography; however, they offer a
huge degree of flexibility and are very easy
to set up and use, so are well suited to taking
abstract shots. The subject in the cube can be
lit from any number of lights or flashes around
the sides. To keep things simple, start with
the flash to the left or right and experiment
with different shades of infinity background
to affect how the light reflects around the
cube. The advantage a light cube offers more
control over ambient light than either a natural
© Chris Humphreys
light or shot through umbrella setup, but at the
expense of flexibility.
BALUSTER SUBJECT
Looking down a void with
vertical balustrading FLASH
gives an unusual view.
The shot needed to be
handheld so the ISO
was ramped up and the
VR lens helped to keep
the shot stable at a slow
shutter speed
Shot details: Nikon UMBRELLA
D700 with 16-35mm
Shoot through umbrellas turn your flash gun
f4 lens at 18mm and f5,
into a soft light source for minimal expense.
1/30sec, ISO 2500
The single light umbrella setup is also portable,
giving you more options for subjects to shoot.
Set your flash to remote setting and use your
built in flash or a wireless flash trigger to trip
the flash. You need to try to minimise the
effect of natural light in the room so use a
combination of aperture and shutter speed to
underexpose the image by 2-3 stops. You then
control the flash from the camera, turning it up
and down accordingly.
PAPER BACKDROP
SUBJECT
UMBRELLA
© Chris Humphreys

Shooting skills
© Chris Humphreys
frost plant
A heavily frosted plant
shot against a dark
background with levels
adjusted to create a high
contrast abstract. The
centre of the plant was
placed at the intersecting
thirds for strong
composition
shot details: Nikon D80,
18-135mm lens at 135mm
and f22, 2.2 sec, ISO 100
Take this shot

A cardboard box with cut-out sides and
translucent film or thin paper taped to the sides
makes an effective home-made light cube. A larger
sheet of paper rolled up the back of the box on the
inside can create an infinity background and a
single remote flash on either side of the box gives
an even but dynamic lighting effect.
1 Setting up Set up your home-made light cube

on a table, put your camera on a tripod and if
possible use a macro lens, or at least one with
close focusing capability. A piece of blu-tack is
useful for positioning your object at different
angles. Set your camera to manual and select a
fairly narrow aperture (even a narrow aperture will
give a shallow depth of field at macro distances).
3 Adjust, rotate and crop With an abstract image we

2 Position flash Position your flash to the left or right of the can take some liberties with post-processing. Cropping,
box, experiment with the angle of the flash and with the distance rotating and flipping the image can all be used to create a
it is from the box. Start with a setting of 1/30th power – this will stronger composition. Use the ‘black & white’ adjustment
give you plenty of scope for increasing or decreasing the layer tool to convert the colour image to B&W – this enables
intensity. You want the flash to be providing most of the light, so you to take control of the individual colour channels and make
set your camera to underexpose the object. finer adjustments.

B&W abstracts
Patterns often help us to identify objects
whether they are organic or man-made.
But taken out of context, a pattern itself can
become abstract. Bark from a tree may be
instantly recognisable, but its own pattern
and rhythm can still be considered abstract.
Deep bark with plenty of texture works
well when photographed under strong
sunlight, remembering that all we are
interested in for black-and-white abstracts
is light and shade.
We can also use some simple
photographic techniques to create abstract
images, for example selective focus and
depth of field. By using a very shallow
depth of field (with a wide aperture) and
focusing on a specific part of an object,
we can throw the rest of the object out
of focus and remove some of the visual
cues we need to understand what we are
seeing. This is a great method of creating
abstraction from simple everyday objects
and works particularly well when used in
combination with macro shots.
Another easy technique to try is zoom
abstract. Using a long shutter speed
(around 1-2 seconds) focus on a subject
© Chris Humphreys
© Chris Humphreys
with the telephoto end of a zoom and

during the exposure slowly change the
focal length to the wide end. This can
even be combined with a rear sync flash
at the end of the exposure to highlight a
specific part of the subject. Again, look for
Boost micro contrast subjects with high tonal contrast which
will work well when converted to black
Black-and-white imagery is all about tones and
and white.
contrast – as a general rule it is good to try to make
your darkest part of the image black and the So there you have it, black-and-white
lightest pure white. Use levels adjustment to abstract photography is a genre that you
achieve this. Curves are usually used to increase can practise any time and any place. All
contrast and create the ‘pop’ in an image; however, you need is the world around you and your
curves can sometimes affect the overall balance of camera. There are no rules – just you and
a photograph.
This useful trick in Photoshop will enable you to
your imagination.
create a controllable amount of micro contrast
without affecting the overall tonal balance of your 1 Adjust levels Open your black-and-white abstract
image. This can be used on colour images also but
8
image, using the Levels tool in Photoshop, hold down BridGe (aBove riGht)
works particularly well with black and white: Cmd/Ctrl and Alt then slide the left and right markers in Looking down directly up at a translucent
on the histogram until you can just see clipping in both bridge in a shopping centre, the shot was
the highlights and the shadows (represented by patches timed to include the shapes of people walking
of black and white). over the bridge
shot details: Nikon D700 with 50mm lens and
f4.5, 1/640sec, ISO 200
8
PaPer curves
(toP middle)
A set-up abstract shot using plain A4 paper
curved over itself and stapled together. Shot in a
light cube with a speedlight flash to the left
shot details: Nikon D700 with 105mm lens and
2 Duplicate and high pass Hit Cmd/Ctrl+J to f14, 4/5sec,ISO 200
duplicate the background layer. Then go to
Filter>Other>High Pass. Within the High Pass filter
use the slider to increase or decrease the effect. This
is resolution-dependent, so for 300dpi images a
figure of around 60-80pixels works well. Once you are
happy, click OK.
3 Soft light Click on the layer blending modes

(top of the Layers palette), and start by selecting 8Grated (main shot left)
‘soft light’. You will see the effect this has on the You don’t need to go far to create a B&W
abstract shot – just look around the kitchen and
micro contrast of the image by toggling the layer pick something with interesting texture. Metallic
on and off. You can use the opacity slider for the objects work particularly well
high pass layer to lessen the effect if wish. shot details: Nikon D700, Sigma 105mm f2.8
EX DG at f14, 1/6sec, ISO 200

Shooting skills
© Sandro Bäbler

Story behind the still
Story
behind
still
the
Photographer: Sandro Bäbler

Website: www.sandrobaebler.com
Location: Studio in Zürich, Switzerland
Client: Personal project
Shot details: Canon EOS 5D Mark II with 85mm lens
at f14, 1/160sec, ISO 100
I
nspired to shoot an editorial-style series featuring a
male with really dark skin, self-taught professional
photographer Sandro Bäbler explains that finding
someone suitable didn’t prove too difficult: “I found the
perfect model. He’s a sprinter and because he’s an athlete
his body is very toned.”
Having found his man, the next stage in the process involved
designing the ideal lighting setup: “The pictures needed to have
a lot of contrast between the white background and the model’s
skin. In order to make the most of this, I worked with a red lens
filter to make the model’s dark skin even darker. Two studio-
lights were used to light the white background from either side
behind the model. In terms of lighting the model himself, I used
a small reflector in front of the model to achieve a soft, subtle
lighting effect on his skin and just enough light in his eyes.”
Once Sandro got to work in the studio, things went very
smoothly and there was certainly no shortage of material
produced: “The whole editorial includes about 30 photos,” he
reveals. A total of 16 of the images from the session can be seen
on Sandro’s website.
WHITE BACKGROUND
MODEL
SILVER
REFLECTOR
“I used two Broncolor lights fitted with standard reflectors and

directed them at 45-degree angles onto the white background so the
light from each overlapped slightly. A silver reflector in front of the
camera meant that some of this light bounced back onto the subject
providing just enough modelling on his skin and body shape.”

Editing
190
Tips and tricks to help you edit your

monochrome images like a pro
160 Six black and white 190 Create atmosphere
conversion techniques Evoke a dramatic mood with Photoshop
The ultimate guide for converting colour
images to black and white
195 Graduated filter
Use Lightroom to create a dramatic sky
168 Create high-key effects 196 Master tone edits
Use Photoshop to up the contrast Work with tone for masterful monochrome
172 Use Dodge & Burn to 200 Add emphasis to eyes
enhance portraits Apply a rainbow effect to your black-and-
Lighten and darken areas under control white portraits
176 Create a black & white HDR 202 Classic portraits with
in Photoshop gradient maps
Blend three black and white images into one Get effective B&W with this technique
180 Re-create a glamorous 204 Sepia tone your images
black & white portrait Add a traditional brown tone to your photos
Glam it up with some Hollywood style
206 Blue tone your images
183 Create actions in Photoshop Particularly effective for a landscape
Simplify your workflow
208 Fix your old photos
184 Selective colouring All you need to know about restoring your
184
Take control of your editing skills old photographs

208
Before
176 After
168 160
After
Before
Before
After THE BLACK & WHITE PHOTOGRAPHY BOOK 159
Editing
After
A good black
and white
conversion
allows you
to enjoy the
image by
removing the
distraction
of colour
from the
building and
the blue sky
Before
Before
After

Six black and white conversion techniques
Six black and white

conversion techniques
An essential guide to six different techniques for converting your digital
images to black and white using Adobe Photoshop CS5
G
oing back 15 years, creating a enough ventilation! There are numerous ways of There are more ways to convert your colour images,
black-and-white image used to be for creating a black and white image in Photoshop and including in Adobe Camera Raw or in Lightroom, but
photographers with a darkroom or a this workshop is all about deciding which of these on this occasion we’re going to focus on techniques
patient family who did not mind techniques you are going to use. We are going that can be done from within Photoshop or Elements
giving up their bathroom. This was to teach you six of our favourite ways to convert 8. The key to converting images from colour to black
where chemicals, enlargers, black and white paper an image from colour to black and white. Now, and white is to do it non-destructively so that the
and a lot of trial and error were used to achieve a the reason we do not stick to just one particular original colour image and all the settings applied are
distinctive look, however it normally resulted in technique is because different methods are good retained for the future, just in case you want to adjust
one or two decent prints, and a lot of wasted time for different image types and it would be very short the settings for a different look at a later stage as well
and resources. sighted to just use a “one technique fits all” approach as keeping the pixels intact and tonal range crisp
These days it’s so much easier and less smelly, to making the most of Adobe Photoshop, which and bright. Read on to get started on creating your
and there are no more headaches from not having provides plenty of options. monochrome masterpieces.
Removing colour using Desaturate
1withtechnique
Copy background layer You can apply a desaturate
to the background layer but that leaves you
very few options. By copying the background layer PC
2 Desaturate background copy Now that we have a
copy of the background layer. It’s time to apply
desaturate. You can either go to Image>Adjustments>
3 Create a Levels Adjustment Layer Desaturate
produces a very flat image, so we need to correct the
tonal values of the shadows, midtones, and highlights.
(Ctrl+J) or Mac (Cmd+J) you can apply it non-destructively Desaturate or apply the keyboard shortcut Ctrl/ Create a Levels Adjustment Layer by going to Layer>New
to the background layer copy. Cmd+Shift+U to the layer. Adjustment Layer>Levels.
4 Adjust the sliders Move the shadow slider towards the

right side by bringing it into the edge of the histogram.
This will darken the shadows. Use midtone slider and move
5 Grouping layers All that is left to do is a little
housekeeping. Hold down the Shift key and click to
highlight the levels and desaturate layers. Then apply the
6 Save and close The image can be saved as PSD or TIFF
with all the layers intact and ready to be re-edited at a
later date. Desaturate works best with landscapes, flowers
it either to the right (darken) or to the left (lighten). keyboard shortcut Ctrl/Cmd+G to group the layers. and animals etc, but not so well with photographs of people.

Editing
Before
Raw effects
Although we are not including any of the Adobe Camera
Raw methods of black and white conversion, that does
not mean to say that you cannot save your image as a
TIFF, close it, then re-open it into Adobe Camera Raw
dialog box. This is where you can take advantage of the
Film Grain
and Post
Crop
Vignetting.
Try Amount
20, Size 25,
There is a fine line
between creating a and
warm black and Roughness
white or just sepia at 50 for a
subtle grain
After toning an image with
Hue/Saturation effect.
Hue/Saturation: Creating a warm black and white
1abletechnique
Create a Hue/Saturation Adjustment Layer This
produces a warm black and white and to be
to do it, you must first of all create an Adjustment Layer
2 Colorize Hue/Saturation After you create the new
Hue/Saturation Adjustment Layer, tick the Colorize box
from within the Adjustment panel and set the hue to 30 and
3 Adding curves Using the Adjustments panel this time,
click on the Curves Adjustment Layer icon to activate
a new adjustment curve and create a gentle S-curve by
by going to Layer>New Adjustment Layer>Hue/Saturation the saturation to five. This will produce a warm-toned black- pulling the lower part of the curve (Shadows) down and
or via the Adjustment icon in the Layer panels. and-white image. higher part (Highlights) up.
4 Grouping layers Hold down the Shift key and click to

highlight the curves and hue/saturation adjustment
layers. Then simply apply the keyboard shortcut Ctrl/
5 Combining layers Shift-click all layers to create a
combined layer copy and apply the following keyboard
shortcut: Shift+Alt+Ctrl/Cmd+E. This will then create a
6 Hi-pass sharpening Click on Filter>Other>High Pass
and in the dialog box set the radius to somewhere
between one and 2.5 pixels. Apply the high pass effect
Cmd+G to group the layers together and then rename the combined image layer that we can subsequently sharpen, and change the blend mode to soft light. Then adjust the
group ‘hue/saturation’. using high-pass. Opacity to 85%.

After Before
Channel mixer: mixing black The key to using a

Channel Mixer layer
is to use subtle
and white with the channels adjustments in

the red and green
source channels
1Adjustment
Creating a Channel Mix In the Adjustments panel click
on the Channel Mixer icon to create a Channel Mixer
Layer. Or alternatively select Layer>New
2 Monochrome The secret to using the Channel Mixer
is to balance the numbers. The channel output
should never exceed 100%. But first things first! Tick the
3 Balancing the numbers Balancing the Channel Mixer
numbers is a mixture of science and art. We have set
the Red channel at 50% and then divide the remaining 50%
Adjustment Layer>Channel Mixer from the Layer menu and monochrome box to turn the colour image into a single between the Green (30%) and the Blue (20%) which adds
this will also create it. channel black and white image. up to 100.
4 Color Balance In the Adjustments panel click on

the Colour Balance icon to create a Colour Balance
Adjustment Layer. Otherwise select Layer>New Adjustment
5 Luminosity blend If you adjust any of the colour
balance sliders while in normal blend mode, you will
apply a colour tone. However, if you change the blend mode
6 Midtones and shadows You can adjust the Colour
Balance sliders to taste. In the case of the woodland
image example, we are going to adjust the midtone to 50%
Layer>Colour Balance from the Layer menu and this will to Luminosity on the menu you will alter the tonal value of Red, then click on the shadows tone and move the slider to
also create the same effect. the black and white. 15% Red.

Editing
Just because you’re losing

the colour doesn’t mean
you’re losing the impact of
the image
Before
Vibrance: vibrant
After
black and white
1OrVibrance
Adding Vibrance In the Adjustments panel click on the
icon to create a Vibrance Adjustment Layer.
alternatively you can select Layer>New Adjustment
2 Desaturate Once you have added a Vibrance
Adjustment Layer, take the Saturation slider from within
the Adjustments panel and drag it all the way over to the left
3 Adjusting Vibrance Now that the image is in black and
white, you can slide the Vibrance slider around to adjust
the tonal qualities of the image to suit your individual taste.
Layer>Vibrance from the Layer menu and this will also so that saturation reads -100. This will turn your image into a In the case of the tulips, -68 worked best by making them a
create the Vibrance Adjustment Layer. black and white shot. little lighter.
4 Hue/Saturation Vibrance is so easy to do there is

no real step four. But you can add hue/saturation as
shown on the previous page and apply a stronger colour
5 Colour Balance Another option is to once again use a
Colour Balance Adjustment with the blend mode set
to Luminosity. This combined with Vibrance gives you full
6 Vignetting Finally, the last optional step is to save
the image as a TIFF or JPEG and re-open it in Adobe
Camera Raw. While there you can apply a vignette from
tone by ticking Colorize and increasing the Saturation slider control over the image and its tonal range. In the example within the Effects panel and also add a little film grain style
to around ten. we use midtones, Cyan -34. if you deem necessary.

Before
Gradient Map
1Map,start
Default Colours So that you don’t
with a weird looking Gradient
reset the foreground and
background colours to black-and-white.
You can do this by clicking the small
icon on the Tools panel or by pressing
the (D) key.
The Gradient
Map method
of creating
a black and
white is one
of the hidden
gems of
Photoshop
2 Gradient Map In the Adjustments panel click on the

Gradient Map icon to create a Gradient Map Adjustment
Layer. Another option is to select Layer>New Adjustment
Layer>Gradient Map from the Layer menu and this will
perform the same task.
3 Adding curves Using the Adjustments panel this time

click on the Curves Adjustment Layer icon to activate
a new Adjustment curve and create a gentle (S) curve by
After pulling the lower part of the curve (Shadows) down and the
higher part (Highlights) up.
4 Heavy contrast If you wish to crank up the contrast a

little then simply copy the Gradient Map Adjustment
Layer using the keyboard shortcut Ctrl/Cmd+J and this
5 Hue/Saturation Once again if you wish to warm up
your image then you can add hue/saturation as shown
on the previous page and apply a subtle warm colour tone
6 Save your work This is a pretty easy technique to
master but it is still good to remember to save your
work as an unflattened TIFF or PSD. If you are using Bridge
will double the Gradient Map effect and give you a very by ticking Colorize and increasing the saturation slider to and ACR then go for the TIFF. If you use Lightroom then
contrast-heavy image. around five. choose PSD.

Editing
B&W Filter: black-and-white adjustments The Black & White Adjustment Layer does what it
says on the tin and so much more besides
After
Before Add a hint

of colour
for effect
Even though all of these
techniques are designed
to give you different styles
of black and white with
different tonal values. You
can also choose to drop
the opacity ever so slightly
on mostly all of the
Adjustment layers. The
idea is to re-introduce just
a hint of colour back into
the monochrome. You
can make it so subtle that
the viewer would doubt
there is colour there at all.

1comprehensive
Open image We have saved the best way for last.
The Black & White Adjustment Layer is the most
method of converting your colour image
2 Black & White Adjustment Layer In the Adjustments
panel click on the Black & White icon to create a Black &
White Adjustment Layer. Or alternatively select Layer>New
3 Magnify image It is
normally best to work at
around 100% view. So using the
to black and white. First though, you will need to open an Adjustment Layer>Black & White from the Layer menu and Zoom tool (Z), apply the new
image up for conversion. this will also create the Adjustment Layer. CS5 scrubby zoom option and
drag the Zoom tool to the right
to zoom in and the left to zoom
out again.
5 Highlights Target the brightest part of the image to

start with then click and move the Scrubby slider to the
4 tones
Scrubby Target tool The Scrubby Target tool takes a bit of getting used to but basically it allows us to target the specific
by selecting different parts of the image. Once your mouse is held down you can drag left or right.
right to either lighten or darken the highlights. If you watch
the panel it will show you which colours are active.
6 Midtones You are now going to repeat the process but

this time for the midtones which are not the brightest
nor the darkest parts of the image. The idea is to alter the
7 Shadows Next we are going to select the darkest tones
in the shadows. The aim to is to darken them down
enough that we can get a good balance between all the
8 Tint Finally, to finish things off tick the Tint option and
choose a very subtle blue/white to cool the tones of the
image down. We used the RGB settings 241, 242, and 243
colours until your subject looks tonally correct. tones but leave them with enough detail for printing. to produce a cool blue tint.

Editing
Create
high-key
effects
We show you how to turn a
portrait into a light-filled, detailed
black-and-white creation using a
few quick Photoshop adjustments
H
igh-key effects are popular among has become unrecognisable as a living being, though, you can
photographers who are looking to get creative be pretty sure you’ve hit the former.
with their images of people. Although the Layer masks and adjustment layers are the tools of choice
effect can be applied to any style of photograph, here, allowing a boost of highlights to be applied to a chosen
it works best when used to bring out the area. The finished look should accentuate points of interest,
features of a person’s face, such as the eyes, mouth and hair. while making areas like the skin seem less obvious. Once
It’s an interesting way of bleaching out the photo’s highlights converted to black and white, the Curves adjustment is put to
to the point of no return and then deepening the shadows good use as it’s capable of controlling the variations needed
in your image, but at the same time keeping hold of details between the highlights, midtones and shadows. Follow this
wherever possible. ten-step tutorial to discover how a combination of blend
There’s a fine line between overdoing the effect and getting modes, masking and image adjustments can make a stylish
it just right so keep this in mind. If the person in your image high key image from any starting portrait.

Create high-key effects
Before

Editing
Desaturate, duplicate and dodge

Convert the image to monochrome and apply a blend mode
1 Desaturate the portrait Open the starting image from your disc and duplicate
the Background layer by going to Layer>Duplicate Layer and hitting OK in the
2 Lighten monochrome Navigate to Image>Adjustments> Curves (Ctrl/Cmd+M) and, using the
adjustment’s histogram, bend the top half of the line upwards. Slightly pull the middle of the curve
back down (as shown here). This will lighten the highlights, increase contrast and deepen the shadows
pop-up window. Hold Ctrl/Cmd+Shift+U to turn the layer black and white. to start off the effect.
3 Boost brightness Duplicate the black and white layer 5 Soften image To create a softer high key
effect, go to Filter>Noise>Median. In the
by dragging it onto the Create a New Layer button in
the Layers palette. To lighten this duplicate version, go to
Image>Adjustments> Brightness/Contrast, increase the
4 Apply blend mode For the high key effect we need more contrast, so
duplicate the layer you just lightened (at the top of the layer stack) and
change its blend mode to Hard Light. Lower its Opacity to 80% to reduce
filter’s pop-up menu, set Radius to 30px and hit
OK to apply the filter. You should see how the
entire image goes softer but retains definition
Brightness slider to 80 and hit OK to apply. the harshness of the blend. within the essential features.
7 A black layer mask

Click the Add Layer
Mask button at the base
of the palette and hit
Ctrl/Cmd+I to switch
the mask from white
to black. Using the
Eraser tool, set to a
soft black brush tip
and paint over the eyes
and hat to bring the
6 Enhance catchlight In the Layers palette, move the darkest of the three black
and white layers (the first one made) to the top of the layer stack. Select the
Dodge tool and in the Options bar set to Midtones with Exposure at 60%. Brush over
contrast through.
Lower the tool’s Opacity
to 40% and brush on
the eyes and hat of the model to accentuate the highlights and add contrast. the mouth.
170 The blaCk & whiTe PhoTograPhy book

Create high-key effects
Polish the results

Adjustment layers help to control the effect
8 Increase overall brightness To create a

washed-out appearance for your image, go
to Layer>New Adjustment Layer>Brightness/ 9 Reduce wrinkles To reduce the creases
under the eyes and any other lines that might
Contrast and hit OK in the pop-up window.
Increase the Brightness slightly to about 5
detract, select the Dodge tool set to Midtones,
and boost the Contrast up to 40 to get a really

Strength to 60% and a small soft brush tip. On the
layer where we applied the Median filter, brush over
10 Retrieve details On the Brightness/Contrast adjustment layer, use the
Brush tool with quite a soft tip and set it to black. Paint over the lips and
nose shadow on the layer’s mask to bring through the final details and the darker
dramatic difference. the wrinkles to make them lighter and less obvious. tone from the layer beneath.
Tinted black and white Layer structure

Add colour with Hue/Saturation Understand the effect
Although this effect works great with a standard black
and white image, it goes well with a coloured version too.
When you’ve completed the effect, add a Hue/Saturation
adjustment layer from the Layers menu to give a tint to the Adjustment layer
image. Inside the adjustment, tick the Colorize box. Boost
the Saturation slider to 15 and leave Hue at 0. This will give
the image a faint brownish tint. However, by moving the
Hue slider around you can create tones and change the
mood using other colours. A Hue value of 200 gives a cool
blue tint, whereas setting it to 50 gives a soft yellow tone. High contrast B&W
Tip Median filter

Manipulating
layer masks
When working with
layer masks you can
use the Shift key to
turn it off for a quick Lightened B&W
before and after, or
use the Alt key to
reveal a black and
white version of the
mask, which can then
be edited with the
Brush or Eraser tools. Background
The Command (Mac)
or Control (PC) key
can show you the
mask as an active
selection.
THE BLACk & WHITE PHoTogrAPHy Book 171

Editing
Before

Use Dodge & Burn to enhance portraits
Use Dodge & Burn to

enhance portraits
Working with both the Dodge and Burn tools, use shadowing
and highlights to improve this portrait
W
hether you like it or not, that you choose what pixels to work on. This enables to use the Dodge and Burn tools to help define
photographic manipulation you to paint in your shadows and compose your these shadows and highlights. To start with, we will
exists. Both the arguments highlights very selectively. work with the Dodge tool, exploring how we can
for and against it have grown If you look at our ‘Before’ photograph, you can use it to take away from the general imperfections
along with the enhancements see the direction of the light is casting some uneven of the human skin and help our subject to glow. In
in traditional photography and the manipulation of and somewhat distracting shadows on the face. Also, this tutorial we will use a workflow that allows
those images. Once you’re trained in the Dodge and most of the highlighting is occurring around the nondestructive editing of the photograph by using a
Burn tools you can make your own moral decisions centre of the face and the lower neck. We’re going transparent overlay.
to use your powers for good or for evil.
The Dodge tool and the Burn tool (try to keep
them separate in your mind) are your best bets for
enhancing an image, drawing the viewer’s eyes’ “The Dodge and Burn tools enable
you to paint in your shadows and
attention to a certain area or just to help bring out
the shadows and highlights of a photograph. Much
like working with Levels or Curves you are basically
lightening or darkening the image; however, the
freedom that both Dodge and Burn give you is in compose your highlights”
Guide to the Dodge tool After Dodg
e
1 Setting up Hold Alt and click on ‘Create a new layer’;

this will open up some adjustable options. Select
‘Overlay’ on the mode option and tick ‘Fill with overlay-
2 Choose your brush Select the Dodge tool and choose
Highlights, which tells the tool what areas to work on.
Also, bring your exposure down to between 3-5%. Select
neutral colour (50% gray)’, creating a nondestructive ‘Enable airbrush mode’. All these options will help create a
workflow to edit the photograph. subtle but effective look.

Editing
3 Skin Hold down the left mouse button, identify the lighter parts of the skin and start going over
them with the brush. Be careful not to overexpose the areas. Avoid a patchy effect by evenly
dodging all areas.
4 Selective areas Ring your brush size down, zoom in and look for specific
highlight/midtone areas that need lightening (eyes, lips, nostrils, light hair).
Zoom out to review your progress, making sure the changes are subtle.
Guide to the Burn tool
5 Hair Work the Dodge tool over light areas of the hair. Zoom out and review the changes by
hiding the grey overlay to reveal your original image. Also notice how imperfections of the skin
are lessened. Compare the two.
1tool,too
Selecting your brush Now we’ve used the Dodge tool, our subject looks a little
bright. So select the Burn tool and mimic the same options as with the Dodge
but this time select Shadows instead of Highlights.
2 Shadows Work the skin areas as before, but think about how you want your shadows to cast.
Bring out the shadows on the right-hand side of the face to begin bringing in a dynamic tone to
the photograph.
3 Selective areas Go in close to the image to alter the areas. The easiest way to
do this is to use the magnify tool or navigator bar. Keep coming in and out of the
image to check it looks natural.

Use Dodge & Burn to enhance portraits
4 Hair Work the darker patches of hair to bring them out against the highlighted areas. Our model
has light and dark patches in his hair, so by the time you’re done the hair should really stand out.
5 Final touches Finally, merge all layers and adjust your colour balance to get rid
of any imbalance in colour after using the dodge and burn effect. The more you
desaturate the image, the more the effect will work.
After Burn “Once you’re trained in the

Dodge and Burn tools you can
make your own decisions”
Landscapes
In this landscape example, the shadows and highlights have been enhanced using the Dodge and Burn
tools. The clouds in this photograph have lots of variation in terms of density and how much light they’re
letting through. Be meticulous about where you add the dodge effect so as not to completely bleach out
the texture of the lighter clouds.

Editing
Before

Create a black & white HDR in Photoshop
Create a black & white

HDR in Photoshop
Learn how to create high dynamic range results in easy to follow steps
H
igh Dynamic Range Imaging (HDRI) exposures: faux HDR techniques are better for
utilises methods to help increase this, for example shooting in RAW format and then
the tonal range recorded in a digital pushing and pulling the exposure of a single frame
image, from the darkest blacks to and layering adjusted frames one above the other
the brightest whites. Standard digital in Photoshop and using masks to hide and reveal
cameras struggle to record extreme dark and light certain areas.
tones in a single exposure. A common method to We’ve chosen to photograph this Oak tree in bright
increase tonal range is to shoot multiple shots of sunlight to illustrate how HDR can help bring out
the same subject at different exposure times. These detail in the shadows and highlights.
shots are then blended together into an HDR image We will cover a standard technique to shoot
that has a higher bit depth (tonal range). This image for HDR and then quickly look at the HDR Pro
is often then “tonemapped” down to a viewable Low in Photoshop CS5. This will merge our multiple
Dynamic Range (LDR) for everyday monitors such as exposures seamlessly into one. We will then take
LCD or CRT screens. a 16-bit TIF file into Camera Raw to make some
Due to registration issues when combining more adjustments and then convert to black and
multiple shots together, HDR is only effective when
shooting static subjects such as landscapes, interiors
white, bringing out some of the rich detail within the
image. The final infrared look shows how far you can 1camera
Shooting checklist If you’re shooting for HDR from
scratch you will need two key pieces of equipment: a
with manual override options and a tripod with
and architecture. HDR in moving subjects will push and pull images like these to create incredibly camera head. Optional equipment includes: lens hood, grey
show ghosted edges as positions change between dramatic black and white imagery. card, spirit level and cable release.
“HDR is only effective when shooting static subjects

such as landscapes, interiors and architecture”
2 Setting up your shots Set camera to manual focus and aperture or Aperture priority.
Compose your shot and meter an average tone. Green grass or a grey card is ideal. Shoot
bracketed exposures by adjusting your shutter speed either side of the average exposure.
3 How many shots? Typically shoot between five and nine exposures and bracket
between one and two stops for each exposure. Even if you don’t blend them all, it’s
better to have all the tonal range in case you want to blend other exposures back in later.

Editing
4 Bring them into Photoshop Open up your bracketed shots. Use RAW (best quality)
or JPEG. Select the images to blend together. We’ve selected six from the nine shots,
ignoring the brightest ones. Choose Tools>Photoshop>Merge to HDR Pro.
5 HDR Pro dialog box Take a break while the images are loading, this takes time. Once
loaded, you’ll see the individual thumbnails at the bottom and a merged preview in the
middle. Familiarise yourself with the sliders and presets on the right.
6 Custom presets All the presets are quite subjective,

you’ll either like them or not. For this tutorial we’re going
to work with the Photorealistic preset. Select this setting
7 Remove Ghosts Check this is on to help remove
ghosting in your image. In this case some leaves may
have moved slightly in the wind. You can also apply this to
8 Outputting file Select 16bit mode and then click OK to
process. Save the file as tree.tif file and then in Bridge
select the file and press Ctrl/Cmd+R to open it up in the
from the drop-down menu. individual frames by selecting them first at the bottom. Adobe Camera Raw interface for adjustment.

Create a black & white HDR in Photoshop
9 Camera Raw adjustments Once in Bridge apply the

following settings to bring out detail in the bark and give
it an infrared feel. Exposure: -0.40, Recovery: 30, Fill Light:
10 Adding a grad filter Press G to select graduated filter,
and hold down Shift and draw a line from the bottom
upwards. Enter these values: Exposure: -0.70, Brightness:
11 Black and white conversion Click on the hand icon
at the top to take you back to the main menu options.
Now click on the HSL / Grayscale tab on the right (the icon
79, Blacks: 46, Brightness: 38, Contrast: 13, Clarity: 78. -11, Contrast: +85, Saturation: +20, Clarity: +43. that looks like slider lines) Check Convert to Grayscale.
13 Sharpening to finish Click on the output settings (text link at the base of the image)
You can output to a colour or greyscale profile and 16 or 8bit. Finish by a small amount of
sharpening either in Camera Raw or Photoshop.
Lith effect
You can take your black
and white images further
and experiment with a
number of different tinting
techniques. Here we have
used split toning in
Camera Raw and
warmed up the midtones
with some reddish brown
and cooled down the
shadows with a blue/
black. This resembles the
darkroom technique of
Lith printing where you
would over-expose the
paper to light and then
develop it in Lith
12 Black and white adjustment Now we have a basic black and white conversion
we can tweak sliders to create the high contrast infrared feel. To achieve this look,
start by inputting the following; Reds: -9, Oranges: -37, Yellows: -33, Greens: +54, Aquas:
developer that is
partially oxidised.
-13, Blues: +9, Purples: +15, Magentas: +4.

Editing
After
Smooth, polished images
are created with a little
Brush tool practice and
many layers!
Before

Re-create a glamorous black & white portrait
Re-create a glamorous
black & white portrait
How to add a touch of Hollywood glamour to your
portraits in a few easy steps with Photoshop
T
he iconic images of Fifties Hollywood and cover up common portrait flaws like under-eye it editable and drag it over the Create new layer icon,
still live on in the modern day. This style bags and stray hairs with the Clone Stamp tool. We’ll found at the base of the Layers palette.
creates stunning, pro-looking portraits also show you how to add dramatic lighting tones The start image used here was found at iStock.
and is all down to Photoshop. to your image with the Burn tool and Levels. Lastly, com (image number 4944807). We picked it because
Photoshop allows you to add the we’ll show you how to tie this all together to create a of the classic pose and retro feel, but this effect will
polished film star treatment to your own portrait convincing Fifties Hollywood starlet. transfer well onto your own portraits. For reference
images. Building up your images slowly with Building up layers as you work in Photoshop is we used Google images and used the classic style
many layers is the key, using all tools at low opacities vital when working on a detailed piece like this, so of Elizabeth Taylor, an iconic star who has had her
and strengths. make sure you label your layers suitably for ease. portrait taken by many famous photographers and
In this tutorial we show you how to cut out your Also make sure you make a duplicate of your original artists. So with your start image downloaded from
model and leave the hair looking perfect, as well as photo layer, as insurance for any mistakes. To do iStock.com or plucked from your own stock pile, so
how to expertly paint fresh skin using the Brush tool this, double-click on your Background layer to make let’s begin…
“Building up layers as you work in Photoshop is vital

when working on a detailed piece like this”
1introCMYK.
Stage one: Cut out the hair Convert your image to
Working on the newly duplicated layer (see the
text), select the Pen tool. Make sure the tool is set to
2 Cut out the model If you aren’t comfortable creating a
Path with the Pen tool, use the Magnetic Lasso instead
and then press Cmd/Ctrl+J to lift the active selection onto
3 Clean the backdrop Cmd/Ctrl-click on the saved
Path to create an active selection, then press Cmd/
Ctrl+J. With the cut-out model on its own layer, add a new
the Paths option in the top toolbar. Zoom in and cut out the its own layer. If you are using the Pen tool, complete the layer directly underneath it (found at the base of the Layers
model as carefully as possible. path, go to the Paths palette>top right arrow>Save Path. palette) and go to Edit>Fill>White.
4 Sort out the hair Click on the new layer and click the
Lock transparent pixel button at the top of the Layers
palette. Select the Clone Stamp tool from the side toolbar
5 More hair work Select the Smudge tool, a size one or
two brush at 90% strength. Drag out pieces of hair
where needed. With enough hair pulled out, select the Blur
6 Stage two: The face Select a large soft-edged brush.
Set the blend mode in the top toolbar to Multiply and
lower the Opacity to 20%. Alt-click to sample a light skin
and pick a soft brush, 30% Opacity. Alt-click a clean patch tool at 30% and soften the hair on the edges. Add a new colour, go to the Swatches palette and click and name your
of hair and paint over the edge to rid any remaining black. layer at the top of the stack. new swatch. Repeat so you have a selection of skin colours.

Editing
7 Paint in new skin With your

model layer still locked, select
the lightest colour and on the new
layer paint over the cheek and
forehead. A subtle airbrushed
effect will be created. Gradually
build up layers with more tones –
if it looks too much then lower the
layer’s opacity.
8 Take a look Zoom out and you’ll notice that the model
looks a bit dull. Go to Image>Adjustments>Levels and
drag the right slider inwards to lighten her up. Repeating the
9 Tidy up The areas under the eyes and some stray hairs
need editing. Select the Clone Stamp tool at 30%
Opacity, Alt-click a clean area of skin and paint out the flaws.
10 Finish the face To add more glamour, add white
highlights to the bridge of the nose and left cheek
edge. Zoom into the eyes and with a small brush (white
painting process select a bold red and paint her lips. Use a We have painted the face, so now paint/smooth out the colour) paint at a low opacity over the whites – don’t forget
small brush so you don’t get the teeth. chest and arm, getting rid of all blemishes. to paint the teeth too!
11 Add depth To add impact to the model’s eyes, select

the Burn tool from the side toolbar, and in the top
bar set the tool to Midtones and at 20% Exposure, before
12 Darken the hair Make sure you’re clicked onto the
model layer and paint over the eyelashes, pupils and
brows. They will darken and become more sultry. Zoom
13 Final touches The model’s top is a bit too modern
for our classic feel. Add a new layer at the top of the
stack. Select a small soft brush and sample the top’s colour
carefully painting over the irises in her eyes to introduce out and Burn the hair, concentrating on where the hair is (Alt-click) and paint. Lastly, add a new layer under the model
more depth to their tone. naturally darker. and paint on a vignette for true Hollywood style.

Creating actions in Photoshop
After
Creating actions
All the steps
involved in this
mono conversion
can be recorded
in Photoshop
as an action
Want to convert more photos in less

time? Actions are the thing for you!
If you think about it, there are almost certainly quite a number
of processes that you perform in Photoshop on almost every
image that you take. This might include sharpening, contrast
boosting and perhaps converting to black and white. If there’s a
good chance that you’re going to be doing the exact same process
on several images, it’s worth taking the time to record a Photoshop
‘action’. Each step that you carry out in Photoshop is literally
recorded and the complete process – the ‘action’ – can be played
back later for use on other images that require the same editing.
Actions can be short, containing just one or two simple
adjustments, or they can be very long, containing multiple steps for
much more dramatic editing. You can also retrospectively adjust
the action so that values and settings in individual steps can be
tweaked as you replay it, so that they better suit a particular image.
Steps can also be added in or removed at a later date, all of which
makes actions not only powerful but also highly flexible too.
Adjust an action
Once your action is complete, you can choose to
make some (or all) of the individual steps in the
action adjustable as the action plays. In order to
do this, simply click the box to the left of the step
that you wish to make editable. When you hover
your cursor over this box, the message ‘Toggle
dialogue on/off’ will be displayed, as you are Before
choosing to make the dialogue for the filter or Actions are ideal
adjustment appear (or not) as the action runs. for applying edits
to multiple images
1be asked
Create new action At the base of the Actions palette,
click Create New Action then give it a name. You’ll also
if you want to set a function key to activate the
2 Record the steps When you click Record, you’ll notice
a red record symbol at the base of the Actions palette.
Everything that you then do within Photoshop will be built
3 Stop and replay When you have finished recording
the action, simply press stop by clicking the button on
the far left at the base of the Actions palette. Replay your
action. You can adjust both of these later on if you need to. into the action. Try to get each step right as you go. Action on a new image to ensure that it works correctly.

Editing

Selectively colour your black-and-whites
Selectively colour your

black-and-whites
Get creative with monochrome and learn how to use layer masks, the
Brush tool, clipping masks and selections to create a painting in progress
S
elective black and white effects have experiment with different styles of painting. With the Our two starting images are effective for this type
always captured the imagination. They help of layer and clipping masks, areas of paint can of editing but you can just as easily use any image to
draw attention to the subject in your image be added or taken away quickly without worrying paint onto. Simply re-position the hand wherever you
through the contrast, adds a different twist about destroying the original image. want the paint to be applied. All that’s required is a
to the overall composition and can turn a If you’re feeling adventurous, try out the other couple of masks to cut out the hand and brush, a dab
dull black and white into something really special. approach to this tutorial by using the original canvas of paint, and some subtle smudging… well, there’s
But why stop at just selecting colour? Here, we’ve in our picture of the hand. Move the flowers onto this a little bit more to it than that so follow these simple
taken a different approach by introducing an actual image and blend the black and white version with steps and learn exactly how it’s done. Soon you’ll be
paintbrush to ‘paint’ colour on our image. Using the colour. See our version over the page and you can a master of the layer mask which in turn will greatly
Photoshop’s pre-installed brush tips, it’s easy to chose this one if you prefer the effect. help you improve your other Photoshop skills.
1yourimage “It draws attention

Open starting
Open
starting image
to the subject in
of the hand and
zoom in to 50%.
Pick the Quick
Selection tool and
your image through

set its brush size
to 50px in the
Options bar, also
the contrast”
make sure Auto-
Enhance is ticked.
2 Make
selection
Using the Quick
Selection tool,
form a selection
over the hand
and wrist as well
as the brush and
bristles. For the
background area
between the
fingers, reduce
the size of the
tool to 10px and
zoom in closer,
then Alt-click on
the area.
3 Refine selection Go to Select>Modify>Feather and enter 0.5px and hit OK. Go back into
Select>Modify, and this time choose Contract. Enter 1px in the pop-up window and hit OK.
Add a layer mask in the Layers palette to apply the mask.

Editing
Smart
Objects
After the hand has been
masked, go to Layer>
Smart Objects>Convert to
Smart Object. This can be
dragged onto the image of
the flowers and edited in a
separate window if you
need to. Simply
double-click the Smart
Object’s layer to edit. The
advantage of a Smart
Object is that it keeps the
hand’s layer mask out of
the way, as well as making
sure no pixels are distorted
if the image is resized.
4 Drag ‘n’ drop Open the second image and drag the
hand onto the image. Resize and move the hand using
Edit>Free Transform (Ctrl/Cmd+T) for a better composition.
5 Desaturate flowers Drag the flowers layer onto the Create New Layer button
to duplicate. Double-click the locked layer (bottom of stack) to make it editable.
Go to Image>Adjustments>Desaturate to remove this layer’s colour, leaving the
colour duplicate above.
7 Choose
your brush
Select the
6 Select for painting Use the Quick Selection tool to make
a selection around the flowers and the stem above where
the hand is positioned. This doesn’t need to be exact. Add a
Brush tool and
hit F5 to open
new layer mask to the colour flower layer (mid-stack) to show the Brushes
the black and white underneath. palette. Select
the Flat Bristle
brush, found
within the Thick
Use the original canvas Heavy Brushes,
with a size to
Instead of masking out the hand, you can opt for the match that of the
brush being held
original canvas from our starting image. All that’s needed
(around 70px).
is some perspective transformation and work with the
Brush tool. First, drag the flowers onto the image of the
hand and use Edit>Transform>Perspective to match the
position of the canvas. Once placed, duplicate the layer and
desaturate (Image>Adjustments>Desaturate) the
bottom of the two flower layers. Make a selection of the
hand (see steps 1-3) and add a layer mask to both of the
flower layers. On the colour flowers, use the Eraser tool to
remove the areas of colour and reveal the black and white
layer beneath.
8 Brush
dynamics
Click on Shape
Dynamics in the
Brushes palette.
Set the Size
Jitter to 50%
and Minimum
Diameter to
60%. Set both
the Angle Jitter
and Roundness
Jitter to 0%.
Make sure that
Smoothing is
ticked too.

Better
mask
If you’re using Photoshop
CS3 or later, take
advantage of the Refine
Edge command. The
Refine Edge option has
Feather, Contract, Smooth
and Radius all in one
window, similar to the
Modify options we’ve used
in this tutorial. This will help
make your selection
precise and smooth.
9 Apply paint Select the layer mask in the Layers palette

and use the Brush tool with white foreground and black
background colours. Paint the blue back into the sky, increasing
10 Individual flowers Press the X key to alternate between the foreground
and background colours, switching between adding and deleting the layer
mask. Zoom into the image and remove areas of paint to reveal whole flowers in
the brush size to cover the large areas more easily. black and white.
“Where colour meets

the black and white,
use the Brush tool”
11 Careful
transitions
Where colour Different brushes for
different styles
meets black
and white, use
the Brush tool
in a vertical The Brushes palette has many preset tips to use for different painting styles.
movement to Open the palette to access all the options inside the drop-down menu at the top
accentuate
right. Groups of brushes include Natural Media, Assorted, Thick Heavy and Wet
the edges of
the brush tip. Media. Each group contains a range of traditional brushes and random shapes
Remember to for applying to your canvas. Whether that’s Chalk, Charcoal, Smooth Round ones,
resize the brush Pastels or Permanent Marker brushes, each can be manipulated using the
back to the size options inside the palette. Open a blank canvas and, using a bold colour, try
of the actual different brushes on small patches to compare.
brush pictured
when doing this.
12 Tidy up
Alt-click
the layer mask’s
thumbnail to
show which
areas have been
masked and
which are visible.
Use the Brush
tool set to black
to paint over
any white spots
in the bottom
half. Alt-click
on the mask’s
thumbnail to
revert back to
normal mode.

Editing
13 Add depth When you’re finished painting, double-click on the hand layer to open the Layer
Style menu. Click on Drop Shadow, and select Opacity 60%, Distance 70px, Spread 15%,
14 Detach shadow The Drop Shadow doesn’t sit quite right under the brush tip.
Ctrl/right-click on the Drop Shadow’s layer and select Create Layer from the
list. Use Edit>Free Transform to rotate the shadow so it’s sitting directly under the
Size 40px and Angle to 110. Hit OK to apply the shadow. brush’s bristles.
15 Add clipping mask Add a blank layer in the Layers palette, which should be directly above
the hand layer. Ctrl/right-click on the new layer and select Create Clipping Mask. Anything
added will only affect the hand on the layer below.
16 Pick colours Using the Eyedropper tool (I), pick a dark purple from the
flowers. Use the Brush tool with a hard round tip and paint the colour onto
the bristles. Do the same for a dark green from the stems and a blue from the sky,
adding them each to the bristles.
“Use the brush

tool with a
17 Set up the
Smudge Select
hard round tip
and paint the
the Smudge tool and
in the Options bar,
choose the 19px Hard
Round tip. Set the
Strength to 50% and
make sure the Finger
Painting option is
colour onto
the bristles”
turned off. Zoom in
100% to the bristles
with the paint.

18 Smudge! Use the Smudge tool to blend and blur the purple, green and blue paint together
on the bristles. Smudge up and down the bristles to bring through their direction, and work
the paint around to look like real paint on a brush.
19 Clone paint Use the Clone Stamp tool, set to 50% Opacity with a size of
40px and Alt-click on the smudged paint on the bristles. Clone to the metal
parts of the paintbrush and the fingers of the hand.
Layer structure
Levels 1 adjustment layer
Paint on bristles & fingers
Hand & brush
Hand Drop Shadow
Colour flowers
Black & white flowers
20 Adjust lighting At the moment, the hand layer is looking quite dark, so add a Levels
adjustment layer and Ctrl/right-click to give it a clipping mask. Brighten the highlights by
pulling in the far right marker underneath the Levels histogram, and you’re done!

Editing
Create
atmosphere
Evoke a dramatic mood with Photoshop
H
ave you ever wondered how they there, or you can use your own photos, for example filter, simulate realistic rain and ripple effects, and
make those beautiful panoramic of your home or your garden. employ the Dodge and Burn tools non-destructively
landscape prints that you always Either way, choose wisely. You want photos with to enhance shadows and highlights. A few sneaky
see around? Rather than forking out a bit of, or the potential for, atmosphere. Good, clean blend modes and a beautiful vignette effect will
your hard-earned cash for a print like landscape shots work well, and a slightly spooky achieve an HDR-style photograph that you’ve created
that, we’ll show you how you can achieve the effect building would look great in the final result. With all on your own. Once you’ve finished your dramatic
yourself with a few adjustment layers and some your composite done we’ll show you how to create a panorama, check out the printing guide on page 216
manipulation techniques. You can use the supplied punchy black and white effect and change the global for advice on how to make your images look as good
images to create your starting composite and go from illumination of the scene using the Lighting Effects in real life as they do on the screen.

Create atmosphere
Start images
1stocktoChoose First decide on which photographs you want

use. Try to keep your scene simple using one or two 2 Create the foreground Open ‘Rocks.jpg’ (or your
own image) and use the Quick Selection tool (W) to
select the sky. Keep the outline of the rocks fairly smooth
3 Add the background Create a new layer under the
foreground and paste the second image on it. Use
‘Largo Background.jpg’ from the disc or an image of your
images. It will make your life easier and you will still
get the same dramatic result. In this particular case, only and precise using Refine Edge in the Options bar. Click on choice. Adjust its position using the Move tool (V)but try to
two stock images were used. Add vector mask at the bottom of the Layers palette. maintain a realistic perspective.

Editing
Lighting
effects
One of the most
important steps in this
tutorial was created
using the Lighting
Effects filter. Naturally,
the eyes will travel to
areas that have more
light and with this filter
you can create a
spotlight effect for a
beautiful vignette. It’s
also a great filter to
even out the
illumination of the
entire image thanks to
the various settings
that enable you to
change the light
colour, focus, contrast,
direction and other
options too.
4 Water effects We will add some rain later on, so for now create
some ripples in the water using the Distort filters. First duplicate the
5 Ripples selection The objective here is to mimic the water ripples
caused by the falling rain. Select the Water Ripples layer and then
the Elliptical Marquee tool (M). Make an oval selection, keeping the
foreground layer so you have a backup and name it Water Ripples. sense of perspective, but avoid making perfectly round selections.
6 ZigZag filter With the selection active, go

to Filter>Distort>ZigZag. Generally you
should use an Amount of about 30-35 7 Create more ripples Once you create a single ripple
you can repeat the process until you fill the surface. 8 Black and white If you want a dramatic effect on your images,
monochrome never fails. Add a Black & White adjustment layer on
and 4-5 for the Ridges. The style we used was You can speed up the process by moving the selection with top of your composition. Use the sliders for manual adjustments or use
Pond Ripples. the mouse and pressing Cmd/Ctrl+F to reapply. a preset. For this image the Lighter preset was used.
Dodge and
Burn tools
Dodge and Burn are really powerful
retouching tools that are often
overlooked by beginners. They are mainly
used to enhance local contrast,
particularly the rocks in our image. The
Dodge tool is used to enhance the
highlights and the Burn tool to enhance
the shadows. With a bit of practice you can
end up with truly stunning results that will
catch the eye instantly.
9 Increase contrast Use Levels or Curves to increase the

contrast between the highlights and shadows. Keep
it subtle for now – we will work on the contrast in the next 10 Change the illumination We will focus the light with a non-
destructive technique using the Lighting Effects filter. This can be
step as well. For this image we used Levels to darken the used to add light to important parts of the composition and also create
midtones and brighten up the highlights. a vignette effect. Start by creating a new layer and filling it with white.

Create atmosphere
Closer look How to make it rain Realistic rain
Discover the key tools and techniques used to achieve this effect Use multiple layers to create
realistic raindrops.
Increase spacing Random angle

Use the Scatter setting to Slightly change the angle of
increase the spacing between the raindrops using the Angle
drops and the Size Jitter Jitter option. A variation of
setting to randomly change just 2% is enough to create a
the size of them as you paint. more interesting rain effect.
Add more depth

Depth effects can also
be applied to rain. Paint
rain on a new layer and
apply a Gaussian blur
for a more realistic look.
Droplet colour
Avoid using a strong white
colour when painting the
rain, as it rarely looks realistic.
Use a light grey hue instead.
11 The Lighting Effects filter Now go to Filter>

Render>Lighting Effects. We used a narrow focus
to get some vignetting, reducing the Gloss to -44 and 12 Dodge and burn Create a new layer above your filter
layer, go to Edit>Fill and choose 50% Gray from the
13 Dodge the highlights Select the Dodge tool and use
it to brush on all the areas where you see highlights
or where you want more light. Use an Exposure setting of
Ambience to 0 in order to reduce the amount of light. Click Contents list. Click OK and change the blend mode of this 10-15% and brush several times with a medium soft brush.
OK and change the blend mode of the layer to Overlay. layer to Overlay, ready for the Dodge and Burn tools. Go over the entire image in this way.

Editing
15 Custom rain brush Creating a rain brush is fairly easy. Create a new
document about 500 x 500px and paint two or three vertical black lines
with different lengths using a 2px soft brush. Now go to Edit>Define Brush Preset
to save it as a brush.
Layer structure
Composite
14 Burn the shadows Switch to the Burn tool and do the same as you did with the highlights,
but brushing over the shadows. Use the same Exposure settings and adjust the brush size
according to the details you’re painting. This is done to increase contrast on parts of the image.
Add your stock images on
separate layers and use
layer masks to blend them
together.
Ripples
Duplicate the foreground
layer. Apply the ZigZag filter
to elliptical selection areas.
Black &White
Add a Black & White
adjustment layer. Use the
Lighter preset or adjust the
silders manually.
Contrast
Add a Levels adjustment
16 Create raindrops Using your new brush,

paint some water drops on a new layer
17 Strong sharpening Select the top layer
in the palette and press Shift+Cmd/
Ctrl+Opt/Alt+E to create a stamp of all the
and darken midtones and
brighten the highlights
sliders.
using a light grey colour, for example #a9a9a. visible layers. Go to Filter>Sharpen>Unsharp
We painted the rain on at a 15-degree angle, Mask and set Radius to 25px, Amount to 50% Focus
but varied this in some instances by changing and Threshold to 0. These settings are for our
Angle Jitter in the Brush palette to 2%. image but will depend on your canvas size. reate a new layer, fill it with
white and add the Lighting
Effects filter. Set to Overlay
mode.
Dodge & Burn
Use the Dodge and Burn
tools on a layer filled with
50% grey and set to the
Overlay blend mode.
Rain Brush
reate a simple custom brush
by painting vertical black
lines on a new document.
The Rain
Paint the rain adding scatter
to the brush. Use different
layers and apply blur.
Sharpen
Apply strong sharpening to
the image. Change the blend
mode to Darken.
Enhance
18 Sharpen the shadows After applying

the filter, change the layer’s blend mode
19 Sharpen the highlight Duplicate the
sharpened layer by pressing Cmd/Ctrl+J
or from the menu Layer>Duplicate Layer, and
Finish by duplicating the
sharpened layer and change
to Darken. This has two effects; it will make change its blend mode to Lighten. This has the
the shadows darker and sharpen them at the same effect as the Darken blend mode but for its mode to Lighten.
same time. Reduce the opacity to taste. the highlights. Reduce the opacity to taste.

Graduated Filter in Lightroom
Graduated Filter
in Lightroom
After
This landscape image
needed some drama,
which the tool was able
to add
Before
Use Lightroom to transform the Basic edits

atmosphere in three simple steps You can find the Basic Edit bar below the Gradient
tool. This is useful for tweaking colour casts and exposure
T
values. Lightroom is a great programme for making
he Graduated Filter in Adobe When using the Graduated Filter tool, preset the minor amendments to your images; however, for
anything major you will need to use Adobe Photoshop.
Lightroom is simple to use and will Brightness to -40, the Contrast to +40, the Saturation
Most of the tools work
come in very handy for many different to +10, the Clarity to +35 and keep the rest on zero. by simply sliding the
occasions. In this landscape image the You can then further tweak the settings if need be. control up and down
original sky was lacking drama, which For those who only need to make quick and on the bar. Custom
the Graduated Filter was able to add back. By minor amendments to their images, Lightroom is a settings can be
making the clouds appear darker at the top, the quick and easy software solution. Preset and custom programmed to make
it easier to adjust
composition of the image becomes much stronger settings can also be made if you want to adjust images in bulk.
and leads the viewer’s eye into the centre of the images in bulk which is a great time saver for those
clouds and to the volcano. needing to do easy and quick edits on a big job.
1fromtoImport the image Copy the image onto your desktop or

a folder on your computer. Go to File, Import Photos
Disk…. Select your image and then click on Develop
2 Add the filter To add the effect, simply drag the cursor
over the image. You will see the results instantly and
three lines and a dot will appear. Holding the Shift key
3 Tweak the results Click and drag either of the outside
lines to increase or decrease the affected area. Tweak
the image to the results you’re happy with. To hide the
on the right-hand side of the screen. Select the Graduated when applying the tool will ensure that the horizon remains Graduated Filter press H, and again to bring it back. This
tool icon and set the tool to the preset settings listed in the horizontal. Click the centre of the pin to reposition the filter makes it easier to assess the image without leaving the tool.
text above. at any time. When you’re happy, Export the image out of Lightroom.

Editing
Before

Master tone edits
Master tone edits

We show all levels of Photoshop users how to work with
tone for masterful monochrome
B
lack and white effects have always black and white digital images, as well as the attention to the colour that is not there and layers
been popular with photographers. means to make them that little bit more exciting and colour adjustments can help with this.
Monochrome images can be created with additional effects. We’ll look at three core Duotone effects are also addressed, as these can
in a host of ways using the power of techniques in total. be the best method when creating for print. Most
Photoshop, and it’s up to the user to What you must always remember is that just printers can’t reproduce the tonal range of a digital
establish which works best for them. Here we’ll show because no colour shows does not mean it can’t black and white image, so we show you how to take
you just some of the many ways to approach your enhance your images. Black and white often calls out the guesswork when applying this style.
Method one Adjustment layers

Create your black and white image with non-destructive edits
1editseffects
Non-destructive
Some
change your
image irreversibly.
If you want to work
with an editable
effect instead, we
recommend using
adjustment layers.
Start by going to
Image>Adjustments>
Black & White.
2 Black & White adjustment To create a monochrome

effect, set the sliders to: Reds -15, Yellows 110, Greens
40, Cyans 60, Blues 100, Magentas 80. You should tweak
these settings depending on your own image, though, to get
the best spread of shadows and highlights.
4 Brightness
/ Contrast
The previous
settings will
have dulled
the subject’s
eyes. To remedy
this, select his
pupils with
the Elliptical
Marquee tool,
apply a Curves
adjustment layer
to the selection
and tweak
the highlights.
Apply a final
Brightness/
Contrast
adjustment
on top of
3 Selective Color adjustment Now, beneath the Black & White layer,
apply Selective Color. Set Reds Magenta to +10% and Yellow to
+15%. Yellows Magenta is set to +10, Blues Cyan to +100% and Black to
everything
to finish.
-25%. Apply a Hue/Saturation adjustment layer on top and increase the
Saturation to +30 for a boost.

Editing
Add colour back in
We show you how to colourise your
black and white images
Before After
Before After
Method two The Channel Mixer
Adapt the settings of this very specific adjustment layer to transform your
image into monochrome. Even though it’s black and white, tweaking the colour
channels gives great control over your values
Layer mask
To achieve this effect you should have all your layers
live so you can apply more adjustments. All you need
to do is activate the Black & White adjustment’s layer
mask.
1Don’tand
Channel Mixer Open your colour image
apply the Channel Mixer adjustment.
use this as a fixed application from the
Adjustments menu as we want to be able to
keep editing in a non-destructive way. Select
the option from the Layers palette adjustment
2 Value relationships Once in the Channel Mixer dialog box, activate
the Monochrome option to transform your image to greyscale. You’ll
notice that by default Red and Green are switched to 40% and Blue to
Gradual colour layers instead. 20%. This equates to 100% or perfect black and white.
Now paint back in eye colour gradually with a 70%
black brush. If you are working with a flat black and
white layer, pick similar eye tones and paint these 3 Give them a
name Basically
if you keep all the
to a selection on a new layer instead.
setting values
equating to 100%
your image will show
through true black
and white, without
any oversaturated
areas of shadow or
light. However, you
can create different
looks by tweaking
each of the red, green
and blue channels.
Blend modes
With your eye colour down, set the blend mode to
Color and select the Color Overlay layer style. Apply
a warm orange hue then set the Opacity to 40%
and the blend mode to Vivid Light.
4 Save presets
Once you
Quick mask
“Once settled on have settled on
a look that you
like you can Try using a quick mask to
a look that you

save this to use select an area. Hit Q on your
on subsequent keyboard to begin and select
projects. It’s easy. the Brush tool. Set the
Access the fly-out
like, you can

Foreground colour to black
menu from your and start painting. This
dialog box (top-
right) and choose
applies a red-coloured mask
save it to use on
Save Channel to that area. Painting with
Mixer Preset. white erases the mask. Now
Name your effect, hit Q again to select
everything except what you
other projects”
save it to an easy-
to-find location and just painted over, or choose
then load from the Select>Inverse to select the
same fly-out masked area itself.
menu later.

Master tone edits
High-key effect
Enhance the focus and exposure
in your monochrome images
Merge layers
Applying high-key effects is a great way to draw the
Before After
eye when there’s no colour. Merge layers (Ctrl/
Cmd+Alt/Opt+Shift+E) and select Smart Sharpen.
Method three Master duotone effects
Monochrome doesn’t have to be just black and white – the darker tones can
be replaced by another colour for dynamic imagery. We show you how to
achieve this duotone look
Smart sharpen
Apply the Smart Sharpen filter with 125% Amount
and 2px Radius. Duplicate this layer and apply
Filter>Blur>Gaussian Blur at a Radius of 2px.
Layer mask Apply a layer mask, masking away from

the eyes, nose and mouth, bringing these into focus.
Duplicate your sharpen layer again, place on top and
apply a Gaussian blur with 20px Radius.
1outduotone
Lab mode When making monochrome
images, first you’ll want to even
the greyscale so lights and shadows
aren’t blown out. The best way to achieve
this is to visit the Lab colour mode via
2 Duotone mode Select the Lightness Channel only from the
Channels palette, then choose Image>Mode>Grayscale. Flatten
your image and select Image>Mode> Duotone, opening the Duotone
Image>Mode>Lab. Options dialog box. Select Duotone from the Type drop-down options.
3 Duotone presets
You can activate the
Select Ink Color options
by clicking on the swatch,
setting to any Pantone hue
Another mask you like. Duotone Options
Apply another mask on the face leaving the edges comes well equipped
blurred. Apply Curves to blow out the highlights and a with presets, though.
Solid Fill adjustment (#563705 tone) set to Color Apply Yellow bl 4 from
mode at 20% Opacity. the list and then open the
Duotone Curve dialog box.
4 Duotone
Curve Your
Duotone Curve
determines
the spread of a
particular colour
in your shadows,
midtones and
highlights. 0 is
the highlights, 50
is your midtone
value and 100
your shadows.
However, presets
offer an automatic
choice that works
most times.
5 Creative additions You can, of course, experiment further and have a
little fun, changing black for a blue tone. You could also sharpen some
details and bring out exposure by applying a High Pass filter with a 3px
Radius (Filter>Other) set to Vivid Light mode.

Editing

Add emphasis to eyes
Add emphasis
to eyes Use gradients and Hue/Saturation to
apply a rainbow effect to your portraits
W
hether or not you believe the And if that want happens to be for maximum you can dab on whatever colours you wish with a
eyes are the windows to the effect, check out the technique we applied to our brush, then apply a Gaussian blur and blend modes
soul, there’s no denying that image on the opposite page. It involves calling upon to bring everything together.
they can make or break a the gradients to wash a rainbow sheet of colour over It works on any image you have to hand (even on
portrait. We know that dull a selection before using a Hue/Saturation adjustment pet pictures!) but you get the most impact if applied
and unengaging peepers make for a dull and and blend modes to make the whole effect sit to a black and white shot. Just make sure it isn’t in
unengaging image, so you want them to be the best together nicely. You don’t have to stay with the Grayscale mode otherwise your rainbow will be black
they can be. rainbow effect, either. Instead of using the gradient, and white!
“Dull and unengaging eyes make for a dull and

unengaging image, so make them the best they can be”
2 Gradient application Pick the Gradient

tool from the Toolbar and then click on
1drawMake the selection You need to first select the eye area to apply
the effect. Using the Lasso tool (or any selection method you prefer),
around the inside of the eye. Once the selection is made, click the
the Gradient Editor area in the top Options bar.
Pick the Spectrum gradient preset and then
click OK. Drag across the selection to add the
3 Blend mode Things are too harsh at the moment, so
scoot down to the Layers palette and click on the blend
modes drop-down menu. Pick the Color mode to merge the
New Layer icon from the Layers palette. colour. Repeat until you get a pattern you like. gradient with the photo.
4 Edit the colour Go to Image>Adjustments>Hue/ 5 Alter the colours Staying with Hue/
Saturation, you can also use the Hue slider
Saturation and use the Saturation slider to tame things
further; simply drag it to the left to reduce the effect. It
might be that you want to go further, in which case slide it
to alter the colours in the eye. Simply move the
slider left or right to get the effect you want.
This is such a simple edit but makes a massive
6 Tidy up Press Ctrl/Cmd+D to deselect the area you had selected.
Zoom in and check that the colours haven’t seeped out anywhere. If
it has, pick the Eraser tool from the Toolbar and wipe away. Once happy,
to the right. different to the final result. repeat the process for the other eye.

Editing
Before After
Classic portraits
with gradient maps
It doesn’t matter what type of image you are dealing with – it’s
possible to make anything look better with gradient maps
U
nless you create a lot of graphic art, these will automatically apply a gradient over your a classic effect. It isn’t difficult to make a black and
it’s unlikely that you spend time photo to instantly transform it. You can go for wild white image – and there are many ways to create one
playing with the Gradient tool. and whacky colours to go with a collage theme, make – but this method gives you the ability to quickly edit
For the day-to-day task of editing a shot look like it was taken at a different time of day, the intensity of the monochrome wash.
images, it’s never needed so most of or for an instant lift to portraits you can stick with As you get used to the techniques shown, why not
us just leave it to gather up virtual dust by sitting in subdued hues. print out the same image with different gradient maps
the Toolbar. Gradient maps, though, are something We are going to show you how to apply a black applied and hang them together? It will make a great
entirely different. Applied as an adjustment layer, and white gradient over a colour image to re-create talking point.

Classic portraits with gradient maps
1Layers
Apply the adjustment Open up your start image. Apply
an adjustment layer, by going down to the bottom of the
palette and clicking the New Fill or Adjustment Layer
2 Click to edit The default gradient is blue and definitely
not the effect we are after. We need to alter this to
something more classic so click the long gradient bar to
3 Go for black and white The Gradient Editor will open.
You can see the preset gradients, so click the Black,
White option. This has improved the effect but we can make
icon. Select Gradient Map from the menu that appears. make the change. things even better.
“This method gives you the

ability to quickly edit the intensity
of the monochrome wash”
The Gradient Editor
Become a gradient guru in no time at all
Presets
This area contains the
gradients that ship
with the program.
4 Slide for control Use the black and white sliders
underneath the main gradient bar (the Color Stops).
These control how intense the dark and light areas are and
Any you have saved
will be here too.
it’s just a case of clicking and dragging to make changes. We Color Stops
moved the black stop to 12% and the white stop to 71%. Click and drag these to add more
or less of a colour to the gradient.
Double-click on a stop to edit it.
Pick a colour
If you double-click on a
Color Stop, the Color Picker Gradient bar
will appear. Use this to edit This represents the
the hues used in a gradient. relationship between the
colours in your gradient.
5 A different colour If you prefer a colour tint, you can

change the black and white parts of the gradient to
anything you like. Double-click one of the Color Stops to call
up the Color Picker. Choose your colour from here, click OK
and it will be applied.

Editing
1Duplicate
Duplicate your background Duplicate your layer by
right-clicking it in the Layers palette and selecting
Layer. Name it ‘Sepia’ and choose OK. This will
2 Open Hue/Saturation On the top menu, go
Enhance>Adjust Colour>Adjust Hue/Saturation. In this
menu we are working with the colour present in the image,
3 Tackle the hues Use the Hue slider to change the
colour within the image. Moving it left will bring you to
reddish-brown shades. Choose the best colour for your
create a copy that we will work on to keep the integrity of hue, and the amount of colour present, saturation. Tick the image; in this case a value of 25 has been selected. Click the
the original image. colourise option in the bottom-right corner of the menu. OK button.

Sepia tone your images
Sepia tone your images

Add a touch of sweet nostalgia to your images by desaturating
the colour and applying a subtle kiss of sepia
A
warm sepia tone can add an antique of your image also plays a role in what shade of sepia
feel to your images, invoking moving looks natural. Family images, romantic scenes and
memories of yesteryear. Originally city settings beg for a touch of sepia attention. Other
used to warm monochromatic black- scenes, especially with modern references, can look Before
and-white film images, sepia has come out of place doused in a feeling of days gone by. This
to reference any application of a reddish-brown tint said, you should always let your personal preference
to images – most commonly, these days, through guide you.
digital retouching. Sepia effects can range from a Applying a sepia tone requires a few easy steps
minimalistic hint of laid-back brown to an unabashed and makes use of only a handful of tools available
hue of orange or amber. on standard editing software packages. It’s advisable
As with all photo editing, the amount of sepia you to use a nondestructive editing method to preserve
can apply to your image without making your post- your original photograph should you change your
production corrections too obvious depends largely mind about your changes or wish to add in other
on the individual image you are working with. Less is changes later. In this tutorial you will be using the
always more, as the saying goes, and it pays to apply enhancement menu to adjust the colour and lighting
this to sepia effects. A lightly touched image almost within your image.
always outshines an over-processed one. Of course, To finish off we’ll be sharpening the image to bring
if you plan on making a statement, perhaps pushing out the details. See our tip below to add an optional
the colour norms may be the only way. The subject vignette to your sepia-toned image.
“Sepia effects can range from a minimalistic hint of laid-

back brown to an unabashed hue of orange or amber”
5 Sharpen up Bring
out the detail in
the image by selecting
Enhance>Unsharp
Mask. Change the
amount to 80% and
the radius to 2.0
pixels. If your image
is particularly soft,
increase the sharpness
further. Alternatively,
if you wish to keep a
romantic blur, decrease
the percentage.
Add a vignette
Creating a vignette on sepia images enhances the vintage
feeling that sepia invokes. To add a vignette to your
picture, use the Elliptical Marquee tool to draw out the
borders of the image. Choose Select>Select Inverse to
work in the area that we are going to fill with black, and in
the same menu choose Redefine Edges and add a
feathered edge to give your vignette a soft feel.
Lastly, fill the selection by choosing Edit>Fill Selection
4 Tackle light Open the Levels Menu by selecting
Enhance>Adjust Lighting>Levels. Adjust the Highlights,
Midtones and Shadows in your image by using the sliders.
from the top menu. Now choose Black as the fill and
decrease the opacity to 75%. Deselect to reveal your
newly created vignette.
Again, settle on a value suited to your image. In this example
the shadows have been adjusted to 25.

Editing
1theaConvert to monochrome Open up your image and add

Black and White adjustment layer using the button at
bottom of the Layers palette. Adjust the colour sliders
2 Increase contrast Add a Brightness/Contrast
adjustment layer, make sure the Use Legacy box is
unchecked and increase Contrast to suit. A setting of
3 Add Dodge/Burn layers Now we need to think about
dodging and burning. Add a Brightness/Contrast
adjustment layer and push Brightness to max with a single
to get a pleasing array of tones, or choose a preset from the around 80 worked well with our image here, but be sure to point. Invert the layer mask (the blank rectangle) using
drop-down menu. experiment with your own images. Cmd/Ctrl+I. Repeat for a layer with Brightness at min.

Blue tone your images
Blue tone your images

Learn how to convert your image to monochrome and apply
a blue tint to add mood and atmosphere
T
he art of toning black-and-white possible arrangement of tones and then dodging
photographs goes way back to the and burning (lightening and darkening local areas)
1880s, and a blue tone has traditionally afterwards to really bring the image to life.
been used to convey a sense of Secondly, remember that the eye is very sensitive
Before
starkness, loneliness, or any other to colour, and little is actually needed to transform
moods of a more solemn and contemplative nature. a shot from monochrome. In other words: don’t
In the present day, it’s also been used to represent think you really need to go hard on your blue colour
the modern, giving something of a contemporary feel to produce a satisfactory effect. Understatement
to urban or fashion-style images. And in landscape is usually the more powerful option. Finally, note
terms, it’s typically used to add atmosphere to wintry, that toners traditionally showed more effect on the
blustery or seascape scenes. midtones than the highlights and shadows, which
The first point worth remembering is that meant pure blacks and whites would retain some
converting an image to black-and-white and then integrity. It’s for this reason that we’re steering clear
toning it does not in itself guarantee an image fit of the Hue/Saturation adjustment with Colorize
for gracing exhibition walls. The emphasis is on toning technique, which plasters the entire tonal
enhancing, not transforming, so be sure to pick your range with colour. Our chosen method is Color
best images to start. In the same vein, you need to Balance, which allows us to target specific parts of
make sure that your black-and-white conversion is the tonal range, maintaining neutral blacks and
decent, working the colour sliders to obtain the best whites. Here’s how to go about it…
“Don’t think you really need to go hard on your blue

colour to produce a satisfactory effect”
5 Add blue tint
When your
mono conversion is
perfected, it’s time
to add some colour.
Add a Color Balance
adjustment layer, leave
the Midtones ratio
button selected and
use settings of -20 for
Cyan/Red and +25 for
Yellow/Blue to add our
blue tint.
Dodging and burning

Dodging and burning are the traditional darkroom terms
used to describe lightening and darkening areas of your
image, and the terminology has carried on into the digital
age. Without colour, the eye is guided around your image
according to the lightness of tones, so it often makes
sense to darken the corners and edges to prevent the
eye moving out of the frame. Remember too that the eye
is drawn quickly to areas of white, so you can lighten
4 Dodge and burn work Select a large, soft white brush
at 20% opacity. Select the layer mask on the top layer
and gradually build up the adjustment in areas that you
areas to draw attention to them, or darken them down to
divert attention elsewhere. It’s all about creating balance
in the frame.
think need darkening down. Repeat with the layer below to
lighten areas.

Editing
Fix your old photos

Remove colour casts, fades, rips, folds, cracks, dust
and scratches from precious family photographs
T
his guide is all about repairing, to a rapid demise in the right quantities – and that’s to replace bad areas, and the Spot Healing Brush
restoring and retouching images. before we’ve even considered accidental damage. tool (J) and the Clone Stamp tool (S) are the
All the images are sourced The most common problems you’ll encounter staple tools for the job. While using the former
from original negatives, slides include dust, rips, scratches, folds and cracks, as is a mostly automated affair, using the latter
or photographs that have been well as fading, yellowing and colour shift. Nothing requires a bit more thought about where you
damaged or have deteriorated in some way. we can’t handle, you’ll be glad to know! source the information from. It needs to be from
Many of the examples we’ve used are relatively Restoring contrast to faded photos and somewhere with a similar pixel makeup so it
aged photographs, but photos of any age can removing colour shift are fairly straightforward all blends nicely, making sure that no cloning
deteriorate given the right conditions. Direct tasks. Removing dust, scratches, cracks, folds and patterns are obvious. Check out the information
sunlight, high humidity and gases like paint suchlike is a bit more challenging. The technique on the following page to see when and how to
vapour can bring any photograph or piece of film basically centres on using good areas of the image use each tool.

AFTER
Fix your old photos

The Clone Stamp tool is perfect for
replacing missing areas of an image
with information from elsewhere
The Spot Healing brush is unrivalled for Where information starts to get a
removing blemishes in areas of even bit more detailed and complex, the
tone, such as the sky here Clone Stamp tool is the safer bet
Healing and cloning BEFORE

When to heal and when to clone
The Spot Healing brush and Clone Stamp tool will be the tools
you’ll use most in the majority of repair situations. Spot Healing
removes blemishes by using nearby information and blends
to match. Clone Stamp just copies directly from one area to
another. The general rule is to use the Spot Healing brush over
Clone Stamp unless you’re working near edge detail. In these
situations you can find the Spot Healing brush ends up blurring
detailed edges, or that colour spills over into areas it shouldn’t.
Here, the Clone Stamp is the better choice. The Clone Stamp
may also perform better in the case of images that contain a lot
of blemishes like fungus, dust or scratches which Spot Healing
can end up replicating, especially when focusing on larger
blemishes such as tears, folds and cracks. It’s best to have a go
with the Spot Healing brush in even tone areas and see the sort
of results you get. If they’re not good, you’ve got no choice but to
stick with the Clone Stamp tool throughout.
Scanning advice
Scan in RGB mode not greyscale, and set your desired output size at a
given resolution (240ppi is good for print). Work any exposure controls
to ensure the image isn’t overly light or dark. Select Adobe RGB rather
than sRGB colour space unless your image is for web only.
In severe cases of dust and scratches, the dedicated filter is better

than healing and cloning.

Editing BEFORE
Fade and colour casts

Eliminate odd colours in your shots
The Photoshop Auto Contrast and Auto Color adjustments are a great place
to start for removing fade and colour casts. In most cases they’ll get you at
least very close to where you want to be, and you’ve got the option of adding
a Levels adjustment layer to tweak as desired. Where problems can occur is
if fade or colour casts aren’t uniform across the image; perhaps either one is
restricted to a single corner or area. In this case the Auto adjustments will
be fooled and you’ll have no option but to work manually. In this scenario
you’ll also need to make use of the layer masks attached to any Levels layer
in order to localise your adjustment changes. For example, if you were
correcting for fade that was only in one corner of the image, you’d need to
take a large black brush and brush out the adjustment in the remaining
area where contrast was okay. In some cases you might need two Levels AFTER
layers: one to remove the localised fade area and a second to establish good
contrast for the image as a whole.
“In some cases you may

need two Levels layers”
BEFORE
After an initial try with the Auto

AFTER Contrast function, we used a Levels
adjustment layer to add contrast
Fight the fade, cull the cast

Photoshop provides
Auto adjustments for
removing fade and 1StartTry Auto
Contrast
with
restoring decent contrast the Auto
as well as removing Contrast
function
colour casts from colour to improve
photographs. When the contrast and
remove any
Auto functions don’t work, colour casts.
you can use Levels to do Duplicate
the manual work instead. your
background
As always, be sure to layer with
use an adjustment layer Ctrl+J. Go to
rather than an adjustment
directly onto layer content.
Image>Auto
Contrast and
look at the
2 Levels manual contrast If Auto Contrast doesn’t
do the job, we need to work manually instead. Add
a Levels adjustment layer and drag the black and white
results. Histogram sliders inwards until the contrast improves.

Fix your old photos
Brush it out
Sometimes areas of clipped information, like the sky here, can
look worse with contrast changes. Brush the adjustment out
with a black brush.
Use a layer mask

In this case there’s patchy fade, so some areas look too dark
with the contrast increase. We brush these out with a black
brush and the layer mask selected.
Set contrast
We can usually ensure decent contrast to correct fade by
dragging the black and white End Point sliders inwards to meet
the edges of the histogram info.
Bring contrast and definition

back using layer masks and
simple editing tweaks
Boost contrast
We can increase contrast further without introducing clipping by adding
a Curves adjustment layer and plotting a shallow ‘S’ to darken shadows
and lighten highlights.
Desaturate
For non-adjustment layer corrections we start by duplicating our
background layer – in this case to apply the Desaturate command to
remove the yellowing.
3 Try Auto Color To remove a colour cast

just use Image>Desaturate on the duplicate
layer. For a colour photograph, use Image>Auto 4 Levels manual colour 1 If colour still doesn’t appear totally
neutral, add a Levels adjustment layer and click the drop- 5 Levels manual colour 2 Next, select Green from the
drop-down menu and repeat. Repeat again for Blue.
Color instead. Generally it does a good job of down menu that says RGB. Select Red and move the middle grey You can also select RGB and use the middle slider to lighten
getting you a neutral result. slider left to add red, and right to subtract. or darken the image without affecting colour.

Editing
By combining
cloning and
spot healing
techniques,
we can repair
Working on the right layer

the damage
BEFORE
A note on tool setup and using layers
Use the Spot Healing Brush tool and the Clone Stamp tool on blank layers rather than
duplicates. Check the box Sample All Layers in the Tool Options bar for healing, or Current
and Below for cloning.
An essential tip is to add the blank layer above the background and below any
adjustment layers, making sure that you turn off any adjustment layers temporarily, using
the eyeball icon, if you’re performing healing (Sample All Layers will be checked). This way
the repair work is done sampling the background layer only, ensuring that you can alter
your adjustment layers at a later date without the repair work suddenly shifting in tone. It is
important to make sure you follow this rule.
BEFORE
To repair missing
corners, add a new layer
and use the Clone tool
to add in the detail. Add
adjustment layers above
Creases and folds

Tears, scratches, folds and cracks are common with
old photographs, and are best dealt with through the
usual combination of Spot Healing Brush tool and
Clone Stamp tool.
AFTER
“Use the Spot Healing Brush tool and

the Clone Stamp tool on blank layers
1Spacebar
Duplicate and zoom Create a new layer then zoom in
rather than duplicates” to 100% using Ctrl/Cmd+ Alt/Option+0. Hold down the
and click and drag to where the problem begins.

AFTER
Fix your old photos
Dust and
Scratches
The Dust and Scratches
filter does soften detail a
little, so add a layer mask
using the button at the
Layers palette base, zoom
in and use a black brush to
rescue detail in important
areas such as eyes.
4 Multiple Undo We use Multiple Undo with Ctrl/Cmd+ Alt/Option+Z to reverse our
healing work, and have a go with the Clone Stamp tool instead, sourcing first with the
Alt/Option key.
2 Spot Healing brush Now press J to select the Spot Healing brush and use
the ‘[‘ and ‘]’ keys to size the brush to suit. Make sure Sample All Layers is
5 Cloning work The Clone Stamp tool works far better for this image, so we use it to slowly
work away at the cracks, making sure to regularly re-source from nearby areas.
checked in the Tool Options bar.
6 Remove dust
and scratches
Create a merged
duplicate with Ctrl/
Cmd+ Alt/Option+
Shift+E and run
Filter>Noise>Dust
and Scratches.
3 Try healing Now click a small section of the tear area and keep clicking
along to see the result. We need several goes to remove the crack mark, but
the result isn’t great.
Radius 6 and
Threshold 16 does
the job.

Editing BEFORE
Top ten tips for vintage pics

Top tips on cleaning your photos and slides for scanning, as
well as tips for handling, storing and restoring your photos! 1mayReplacing lost areas If there’s a
piece of a photograph missing, all
not be lost. Look at your image and
see if the missing bit can be made from
Old photographs pose many challenges of time when you need to search for them other areas. For this image, we simply
to the Photoshop user, but rest assured later on. flipped the good side and used it to
patch up the bad!
there is always a solution at hand. It’s good Here we round up our essential advice
practice to organise your old photographs on getting the best out of your images, no
on your computer, so they can be accessed matter how battered they may be. Whether AFTER
quickly and easily. Remember to name it’s a case of getting the best possible scan
them and even archive them by date, or choosing a correct repair method, we
generation or family. This saves you lots show you how…
2 Scanning care If you’re scanning an image

and want to include the border, try not to
get any of the white scanner base underneath,
3 Removing dust Far better to clean your
photos or slides before scanning than to
have to do lots of cloning work afterwards. Start
as this will fool any Auto Contrast adjustments. by trying to shift dust with a can of compressed
If it’s unavoidable, be prepared to use Levels to air or a purpose-designed soft brush.
make your changes.
4 Stubborn stains
For stains, fungus
and other blemishes, you
need to use a specialist
cleaner like the widely
available PEC-12 product,
with either cotton swabs
or non-adhesive wipes
like PEC-Pads. PEC-12 is
suitable for cleaning both
film and prints.
BEFORE
5 Clever cropping If there’s an

area of an image that you don’t
feel confident about repairing, don’t
disregard the option of cropping the
bad stuff out if you really want the
image looking blemish-free.
AFTER
“If there’s an area you

don’t feel confident about
repairing, don’t disregard
the option of cropping
the bad stuff out”
Fix your old photos
“Here we round up
our essential advice on
getting the best out of
your images”
6 Good storage practice Photo storage boxes, envelopes,
sleeves and albums will all help protect your photographs,
negatives and transparencies against light, dust, handling, air
pollutants and rapid fluctuations in temperature and humidity.
Never leave materials lying around loose.
Bring back some

definition to your
photo using the
Smart Sharpen filter
7 Handling photos Handle your photos,
negs and slides as little as possible
and use white cotton gloves to shield your
materials from damaging fingerprints.
Wash your hands first to avoid gloves
getting contaminated with dust and dirt.
8 Smart Sharpen Photoshop’s Smart

Sharpen filter (Filter>Sharpen>Smart
Sharpen) can do wonders to rescue blurry
photographs. Try both the Gaussian Blur
and Motion Blur settings, and experiment
with both the angle and sliders.
Feel free to get creative

with your old photos and
9 Toning old photoss Even if your
image is a neutral monochrome,
there’s still nothing to stop you toning it to
add a nice warm tone
add something extra. Use a Color Balance AFTER

adjustment layer with Midtones checked.
Combine red and yellow for an old-looking
sepia tone.
“Even if BEFORE
your image
is a neutral
monochrome,
there’s nothing
to stop you
toning it”
10 More on storage Humidity and

high temperatures are the
greatest enemies of photographs,
negatives and slides. Store your
precious photographs and film in a place
that’s as cool and dry as possible –
basements are generally too damp and
attics are too hot.

Editing

Perfect prints
Perfect prints
Edit your photo, computer, and printer’s settings to
achieve fantastic physical versions of your images
Editing
“You may wish to look at a printer that can
print black and white images direct from
the standard driver”
T
here’s more to printing a is to use images that aren’t too burnt The A3 Epson R2880 also has an extra
black and white image out on the highlights, but rules are there Vivid Magenta ink to help produce better
than simply cutting out to be broken and if the shot still looks monochrome images.
the colour. You need to be good, print it. The type of paper you decide to print on
thinking in black and white Despite colour performance being a will be determined by the style of image
when you take the picture because colour primary concern when selecting a printer, that you are printing and what you’re going
plays a big part in a photograph normally. if you’re going to print monochrome to do with the print afterwards. Glossy
Removing colour shows the raw image regularly you may wish to look at a printer paper looks great but reflects a lot of light
and light is your best friend. Consider that can print decent black and white and can be rather annoying to view. Matte
the light and use it to create texture and images direct from the standard driver finish adds a bit of texture and gets rid
atmosphere in your shot. When you come such as the Epson Stylus Pro 3800. Other of all those harsh reflections. There are
to the editing and printing stage, remember printers use colour ICC profiles and smaller many different types of paper available
to work from a RAW file so that there’s printers will use colour inks to produce and if you’re a fan of fine art paper, you
as much information as possible. There black, which can result in colour casts on may want to take a look at a pigment ink-
are a number of ways to cut the colour your prints. However, over time some casts based printer such as the Canon Pro9500,
from an image in an editing suite such can dissipate but there’s also a danger of however this printer is incompatible with
8
Landscape 3 metamerism. This phenomenon gives an high gloss papers.

This shot of the landscape on top as desaturation, converting to greyscale
of the Snake Pass gives a feeling or messing around with the RGB colour image a bronzy look in parts of the print Your printer will be supplied with a set
of bleakness except for the channels. Depending on how you’d like the when viewed under certain lights or from of inks that may go down quite quickly,
dramatic clouds image to look on your print, play around an angle. Epson has eradicated this on depending on your usage. Most of the
with 18-55mm lens at 18mm with the contrast to harden or soften the printers A3 or larger by introducing its K3 larger printers will use individual tanks so
and f10, 1/250sec, ISO 100 look of the image. A general rule of thumb technology which uses a new grey ink. you only have to replace the colour
© Matt Grayson
218 The black & whiTe PhoToGraPhy book

© Matt Grayson
© Matt Grayson
8
Perfect prints
Dog
Of course, having a monotone subject in the first place helps with
contrast, but don’t mess around too much or you’ll lose detail
Shot details: Olympus E-3 with 50mm lens at 50mm and
f4.5, 1/100sec, ISO 100
Portrait
Portraits look great in mono and lack of colour
forces you to think of how to use the available light
8
Changing SettingS Shot details: Canon EOS 350D with 18-55mm

Changing the setting to Grayscale allows you to play with the lens at 24mm and f2.8, 1/30sec, ISO 100
gamma and clicking Settings will open contrast and brightness
The psychology of colour –

or lack thereof
It’s all very well printing black and white, but what can these colours do to a
photograph and how will the viewer feel if you get the balance wrong? Black
is made up of all colours, completely absorbed and mixed together. Its essence
is, essentially, the absence of light and it’s because of this that we often perceive
it as threatening. Black is an imposing colour that looms and creates a feeling
of unease. It envelopes personalities and shrouds everything in mystery. It
absorbs all wavelengths of light and too much black can leave you feeling
pressured and alone.
As the opposite, white reflects all light wavelengths and is associated with
tranquillity, happiness and serenity. However, an overbearing amount of light can
give the impression of sterility, emptiness and purity, the latter sounding good,
but it’s in a “hands off” way. Grey is the only colour in existence to not have an
emotional or psychological link. However, it’s quite depressing to look at, which
is why it’s good to have a decent amount of pure blacks and whites in the prints
instead of as mixture of greys. Grey can give the impression of lacklustre or lack of
confidence in using hard black and white.
The black & whiTe PhoToGraPhy book 219

Editing
© Matt Grayson
Landscape 4
We love the way the clouds break the
monotonous sky up and also cast a
lovely shadow on the hillside
with 18-55mm lens at 18mm and f5,
1/80sec, ISO 100
220 The black & whiTe PhoToGraPhy book

Perfect prints
“Clicking into the printer
© Matt Grayson
properties will give you
many different choices for
adjusting the image”
you run out of. There are third-party ink Using the products and information
companies available and you may find that listed above will produce professional shADoW lAnDs
they work well enough, as well as saving results worthy of selling. However, if you’re Days when fluffy white clouds cast shadows on
you some money. However, it’s also worth thinking smaller scale, an A4 printer can the land are perfect for mono work
bearing in mind that the printer will be give perfectly decent pictures. The Epson shot details: Canon EOS 350D with 18-55mm
lens at 18mm and f11, 1/125sec, ISO 100
optimised to use the manufacturer’s own Stylus PX650 costs around £100 and can
inks and you may find that some things produce excellent photographs. It doesn’t
may not work as efficiently. A well-known have the K3 technology found on the larger
problem is the ink levels not showing, printers and prints can come out with a
so you can never be sure when they’re mild cast, but it does tend to fade over a
running out until your print comes out and 24 hour period. ICC profiles can be used
it has a colour missing. on these types of printers too, but if you’re
If you’re dissatisfied with the printer looking to save money, you probably don’t
profile for black and white printing, you want the extra expenditure.
could always use a separate one such as If you’re not a Photoshop wizard, you
RetouchPRO, QuadToneRIP or ProfilICC might not have adjusted your images to
who will custom make a profile for you black and white before printing, but you
and your computer. It’s also necessary to can still do it. Clicking into the printer
calibrate your monitor and printer or the properties will give you many choices
contrast and tones on your screen will look for adjusting the image from quality to
different on your print, meaning you spend greyscale. Open a picture, convert it to
more on paper to get the balance right. The black and white and try all the different
ColorMunki calibration unit is a popular settings by printing them on 6x4 versions
option for example, because it calibrates of the paper you’re going to use. This
8
the monitor based on a colour test sheet will give you a feel for the effects that the
ProfIle chAnge
Changing the profile is done on the first window when you go to print. It’s found on
you print off, and performs well. settings do without using masses of paper. the right side
Print tips on numerous shoots, but recently

settled down in Manchester to
Which printer do you use and why did
you choose it?
repeat sales based on the first
performance. If the inks are unbalanced
Andy Whittaker open his own studio shooting fashion and the photograph fails, I have to
for advertisements, editorial and AW: I use the Epson Stylus Photo Pro reprint which costs me money and I get
model books. 3880. It’s A2 so it covers a lot of sizes I an unhappy customer.
He is currently working on sell and the pictures I get are spot on.
clothing shoots for well-known What’s your favourite paper
fashion houses and in the Do you think there’s a better one and why?
future will be shooting for YQ out now?
magazine, along with some of AW: I don’t really gravitate towards a
his own personal projects. You AW: Possibly, but nothing has caught particular type of paper because it
can see a further selection of my eye. I’m happy with how the 3880 could influence my choice with a shot
Andy’s work at his website. www. works, the quality it produces and the and I could make the wrong decision. I
andywhittakerphotography.co.uk size of it. I thought of a large format do really like the warm tone papers
printer but decided against it because though, for portraits.
Is there much call for black and white it’s unlikely I would actually get enough
pictures these days? requests to warrant the outlay. What are your top tips to anyone
Over the past 15 years Anything larger than A2 I send off to a wanting to print their images in
Andy Whittaker (www. Andy Whittaker: I don’t do too badly professional print house. black and white?
andywhittakerphotography.co.uk) from it. There’s something raw about a
has worked in various parts of the mono image that stirs deeper emotions Do you think that manufacturers’ AW: Make sure your printer and
photographic industry including in customers. Vintage and retro are own ink is the best to use or is a monitors are calibrated properly. If not,
taking family portraits, fashion and very on trend at the moment and it third-party type just as good? you’ll spend ages trying to get what you
lingerie. He developed a passion spreads from clothing to interior design see on your screen to what you hold in
for photography as a child when he and photography. People like to see a AW: I always use manufacturer’s own your hands. It took me a while to get
picked up a camera for the first time. collection of black and white pictures inks because the printers are set up to used to but once I cracked it, the
He has travelled the world assisting because it looks old fashioned. use them. This is my livelihood and I get difference was phenomenal.
The black & whiTe PhoToGraPhy book 221

Editing
© Danny Santos II

Take this shot
Story
behind
still
the
Photographer: Danny Santos II

Website: www.dannyst.com
Location: Singapore
Shot details: Nikon D300 with 85mm f1.4 lens at f1.4,
1/250sec, ISO 200
I
f you ever take a trip to the world-famous Orchard Road
in Singapore then there’s quite a high chance that you
may run into street photographer Danny Santos II. he’s
influenced by greats such as Philip-Lorca DiCorcia,
Garry Winogrand and William Klein, and he has been
trying to capture the energetic atmosphere of this particular
place in the city.
Orchard Road has many interesting characters passing by
at all times of the day, and these scenarios that are always
occurring are the ones that Danny loves to capture. “I’ve been
photographing strangers on the streets for three years now,
and in this time I have been lucky enough to take quite a few
keepers for my portfolio. As a result, I’ve been commissioned by
advertising agencies on a few jobs.”
“I’ve always been fond of photographing strangers candidly
in the rain,” Danny explains to us. “It’s interesting to witness the
kind of human drama that bad weather brings. In this image,
I was right in middle of the hustle and bustle when the rain
started to pour down quickly and heavily. I heard a group of
friends laughing loudly as they ran for cover, so I crouched down
and hurriedly took a few photographs of them.”
Photographing in the rain can have its drawbacks, as Danny
tells us: “I had to stop for a moment to bring out my umbrella
else I risked water damage to my camera. It had already been
exposed to quite a few large raindrops so I didn’t want to risk it
even further.”
© Danny Santos II
Danny Santos II on the street, capturing his own reflection. He

spends a lot of time on Orchard Road in Singapore to capture the daily
occurrences and people passing by
THE BLACK & WHITE

DIGITAL
PHOTOGRAPHY
PHOTOGRAPHER
BOOK 223
Improve your black and white
photography skills with this guide
to shooting and editing your
monochrome images
From the makers of
www.dphotographer.co.uk
Volume 1 Revised Edition £12.99
ISBN-13: 978-1908955678
9 781908 955678 >
www.imaginebookshop.co.uk

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TM

All you need to know about black and white photography

There is something magical yet traditional about monochromatic photography.

Senior Art Editor

Distributed in the UK & Eire by

Distributed in the Rest of the World by

44 The benefits of B&W

64 Shoot stunning landscapes

76 Shooting the streets in B&W

88 Documenting life in B&W

6 THE BLACK & WHITE PHOTOGRAPHY BOOK

110 natural portraits 172 Use dodge & Burn to

THE BLAck & WHiTE PHoToGrAPHy Book 7

Master monochrome by learning how to

THE BLACK & WHITE PHOTOGRAPHY BOOK 9

&white Before you begin shooting straight in monochrome,

Shot details: Canon EOS 1D Mark IV

10 THE BLACK & WHITE PHOTOGRAPHY BOOK

The black & whiTe PhoTograPhy book 11

Getting started in B&W photography

“Traditional black-and-white colour filters will

2 Apply the effect

12 The black & whiTe PhoTograPhy book

similarly in tone and therefore your black-and-white

most notably in seascape scenes, softening moving water and

THE BLACK & WHITE PHOTOGRAPHY BOOK 13

&white Using filters in

14 THE BLACK & WHITE PHOTOGRAPHY BOOK

The black & whiTe PhoTograPhy book 15

16 THE BLACK & WHITE PHOTOGRAPHY BOOK

THE BLACK & WHITE PHOTOGRAPHY BOOK 17

&white Shooting for black and white

3 Camera ready Ensure you have inserted a fully

5 ISO option Ensure your

18 THE BLACK & WHITE PHOTOGRAPHY BOOK

THE BLACK & WHITE PHOTOGRAPHY BOOK 19

22 The black & whiTe PhoTograPhy book

Essential kit for

The black & whiTe PhoTograPhy book 23

24 THE BLACK & WHITE PHOTOGRAPHY BOOK

“Picking a lens for your camera to use so it is perfect

for black and white photography

is dependent on the subject full-frame EOS

that you’re shooting”

LENSES FOR LANDSCAPES

THE BLACK & WHITE PHOTOGRAPHY BOOK 25

Getting started in B&W photography

HOYA COLOUR FILTERS

Pick your colour Original Blue Green Red Yellow

26 THE BLACK & WHITE PHOTOGRAPHY BOOK

“If you want dramatic and striking

access to a good image editor”

CAPTURE ONE PRO 6

THE BLACK & WHITE PHOTOGRAPHY BOOK 27

“You may More printers

things that HP PHOTOSMART

you don’t PRINTER SERIES

CANON PIXMA IP4850