Photo Editing Tips For Digital Photography

Writen by Thad Pickering

Digital photography has a lot of advantages over film photography in many areas, but one of the most useful is the final output of the image itself. With film cameras you had to rely on the processing lab to make any general adjustments needed to your photos to make them appear their best, but with digital photos you as the photographer have all the tools you need to enhance and edit your own photos right at home.

Of course, how much editing you do to your photos before printing is entirely up to you and there are all kinds of preferences on photo editing from those that do almost no editing at all, to those who like to make major adjustments to almost every photo that they take. And there is plenty of middle ground in between those two extremes as well.

Quite often, many basic editing tasks can be done in the camera itself after the picture is taken including some simple cropping, removing red eye from flash photos, and rotation from landscape to portrait and vice versa. For many people, this is about all that they require anyway before printing out their snapshots, and this keeps things very easy and simple.

But to start to realize the potential that digital photography puts in the hands of the average person, a photo editing software program will be needed where you upload your photos from the camera to your computer and then open them in the program. You can then begin to perform all kinds of editing tasks including more advanced cropping, change the file size or format, adjust color saturation, contrast and brightness, and apply special effects.

There are several good free digital photo editing software programs available for download that can fit the bill for most common photo editing needs. All you have to do is perform a search for “free photo editing software” and you should have plenty of results to choose from.

But there are two programs for sale that seem to meet the needs of most average photographers whether novices or even serious hobbyists, and they are Adobe Photoshop Elements and Corel Paint Shop Pro 9. Both of these programs are very highly rated in most independent and consumer reviews as being very easy to learn and use, while also handling most any editing task that the average photographer could need.

For even more high end photo editing the full Adobe PhotoShop program will provide enough editing power to meet the needs and expectations of even the most discriminating photographers, but expect to pay quite a bit more for the added power and capability.

It should be clear then that regardless of the amount and scope of photo editing that you intend to do, there is a program that will let you do exactly what you want.

Thad Pickering writes on many consumer related topics including digital photography. You can find the best photo editing software and photo editing programs by visiting our Digital Photography website.

Choosing a Web Based Photo Storage Service

Writen by Kadence Buchanan

As digital cameras replace film, more and more users are turning to web based photo storage services to manage their photo archives. There are a dizzying array of sites, all offering different services at different prices. Choosing a storage service can be a confusing process, particularly when you are choosing a company to entrust with your precious family photos. Here are some things to look for when you’re choosing a photo storage service.

First, take a look at the interface. How easy or difficult is it to upload photos to the site? Most of the major photo storage sites offer the ability to download software that will let you upload batches of photos, but some sites still rely on web interfaces that are slower and more clumsy.

Once you’ve checked out the interface, investigate the pricing structure of the site. Compare costs carefully using a standard print size, such as 4×6 for comparison. The difference in printing costs can vary wildly from one site to another, from as little as 12 cents at one site to as much as 29 cents at another. Don’t forget to consider traditional sources of photo-processing like drug stores. These companies are making it easier to place photo orders over the web by offering storage and customization of photos and frequently cost less than dedicated photo storage services.

Continue to investigate pricing. For example, is there a cap on the number of photos you can upload for free? How much does it cost beyond that? Compare priced for specialty items like calendars, greeting cards and enlargements. Finally, compare shipping and handling costs, which are often a hidden source of profit for many companies.

Of less importance than cost, but still an important consideration, is whether a photo storage service allows you to create custom items. Almost all sites allow the user to customize items like greeting cards, but some offer a wider array of products than others. If this is important to you, compare the number of products offered and the interface used to create custom items.

Finally, be sure you completely understand how long a photo storage service will host your photos. Some have a set time limit, tied to the last time a user logged in to their system. Never completely rely on an online photo storage system to store your photos. Always keep a backup copy of your photos on external media in case of problems.

Classical Portraiture vs Stiff Portraits

Writen by Stan Cox II

Classical (as in Contemporary) Portraiture
vs
Ultra-Conservative, Stiff & Staid Portraiture

I fell in love with the Old Dutch Masters paintings way back when I was “knee-high to a grasshopper”, mostly because of the way they depicted light and shadow. I’m particularly drawn to the chiaroscuro style, or what might be referred to today as ‘Low-key’ portraits.

Of course, I have no way of judging the accuracy of the Master’s portraits, as far as the actual countenance or expressions of the subjects, but looking at them, you get the feeling they are more than accurate. More than simply recording a likeness, these guys painted in some real personality! And, of course, it is partly because of their uncanny ability to disclose the genuine personalities of the subjects of their portraits, that their works are revered even today.

Some of the other reasons for the extreme success of the Dutch Masters works include their beautiful interpretation of the way light and shadow interplay to reveal forms, animals, places and people common to our experience. And their techniques in applying colors and texture to their canvases.

As a modern, contemporary portrait artist, working in Light and Shadow, (photography), my goals are to 1) show my subjects in the best light, 2) portray them honestly, so the viewer gets a sense of their personality, and 3) make them look better in the finished portrait than in real life!

I’m sure that at least for the commissioned portraits, the goals of the Old Masters were identical to mine!

When I studied photography and portrait lighting, I learned about Classical, or “Rembrandt” lighting, (along with a bunch of other stuff!). So, as my personal tastes run that way, I’ve always considered myself a “Classical” Portrait Artist.

The other day, I had a client call asking about my studio portrait sessions, and said they wanted something different from what they had done back in their home country. What they had was “very classical, and formal”, they told me. I didn’t know quite what to make of that, but I was sure I could do something different from what they had, if I knew what they had..exactly. They came to the studio and we talked further.

While waiting for them to arrive, I was thinking about my concept of “Classical Portraiture”. I really see photography as painting with light and shadow. I favor the medium to high ratios from highlight to shadow in my portraits, and the classical style of lighting. I think it’s very flattering. I always recommend to my clients that they wear solid colors, or very low-contrast prints. And keep all the colors in the same tone range.

Again, I think of myself as a Classical Portrait Artist, and so I was wondering what could this client, or anyone for that matter, object to in portraits that are beautifully lit in a flattering way, and are constructed to make them look better than in real life?

Turns out the client didn’t have any examples with them to show me, so I have no idea how they were lit.but I can tell you this: It’s about the POSING! Apparently they had been to a studio back home where they were sat down together, facing straight ahead, hands on thighs, and I assume in formal dress, and photographed that way.

I can tell you from the short experience I had meeting these people so far, (their session is scheduled for next week), what that was, was not a portrait! And I can see why they want something different.

It’s true that a high number of Old Masters Portraits feature their subjects in static, rather stiff poses, but even so, that certainly isn’t the case with most of their expressions! The reasons for the stiff poses include the fact that many of the subjects were noblemen of various ranks, and the poses suited their, (at least imagined), dignity

Of course, when the ‘Classical” portraits were being painted, they were ‘contemporary’ for their time. So, I am putting forth the definition of “Classical Portraiture” as portraiture that adheres to the Classical goals: Beautiful Lighting, Flattering Views, Personality, and a finished presentation more beautiful than the real thing!

Contemporary Classical Portraiture then, adheres to the classical ideals, and in doing so, takes advantage of the wider range of socially accepted expressions, and connections within couples and families, even co-workers relationships, when developing poses.

I say developing poses, because, most often, I find that when I give just a little direction to people, they will find the most natural-for-them pose. And what that does is to allow the individual to express their own body language, which is a revealing aspect of personality. And in any case, when the subject is comfortable, they are more naturally ‘themselves’.

When I was first trying to make a living as a full-time portrait photographer, I was doing a lot of promotions where I would give a short portrait session, and a free print for a small registration fee. These sessions were 15 minutes, and I would literally grab people by the arms and move them into a position! I would push on their shoulder to get the right angle, make them cross their legs even if they never did that. I had to in order to get it done. But I was forcing poses that weren’t necessarily even close to natural for the individuals.

I was lighting them beautifully! Often people would say how much better they came out than they ever expected! And I’m guessing now, that had a lot to do with the way they were posed! They didn’t expect them to come out very well because they were posed in a way unnatural for them. Good pose maybe, but just not natural for them. Now days I still hear many wonderful expressions of how beautiful my clients’ portraits turn out, and how much they love them, but I haven’t heard the part about not expecting them to!

The biggest difference is that when people have a great experience during the creation process, they fell good about it, and expect good results! What I do hear quite a bit is, (usually the husband say at the end of the portrait session), “That was a lot more enjoyable than I expected it to be!” And I love hearing that! Often I’m told, “You made that fun! We really had a good time!” Guess how the portraits turned out

Out of an average of 90 exposures per portrait session, most clients “must have” 30. Generally that is 30 different poses, groupings and variations. You can bet that’s a lot better than what I used to get with the 15 minute promos! True I take one to two hours on portrait creation these days, but it’s well worth it! Both the client and I have a much more enjoyable time with the process, and that has more value than I can tell you! We get far better results, the client is happy, and that makes for better sales! And of course that leads to referrals.

Is there a place for the Ultra-conservative, stiff, staid and boring, “Formal” “Classical” portraiture? Well, I guess there must be! What comes to my mind is those life-size painted scenes with Ma & Pa Kettle with cutouts for people to put their faces in and have a picture taken. But obviously my client I mentioned earlier had been to a studio producing just that kind of photography, and they probably aren’t the only ones! But in my opinion, photographs of that nature are for novelty purposes only. They certainly don’t fit my definition of a Portrait!

Photography A – Z the Easy Way: P – Portraits

Writen by Eric Hartwell

Taking portraits can be fun but if you want to get the best results you need a few pointers. Otherwise your images will end up uninteresting and jaded. Many people either snap haphazardly without any thought or take the whole process far too seriously.

Try and think about the following:

What type of portrait you want?: formal, candid, informal, close up, groups – try and plan beforehand

What pose are you looking for?: relaxed, serious, funny – having pictures taken can be nerve wracking – put your subject at ease and tell THEM what you want them to do (after discussing their own desires beforehand, if appropriate)

Consider a prop: people are more natural and relaxed when doing something with their hands – give them a flower or newspaper or something else to hold – even get them to position the item in different ways

Talk to your subject: distract them and make them feel more relaxed

What lighting do you want?: studio flash, natural light, a candle? – choose the appropriate lighting and use reflectors to remove or lessen shadows

Watch the background: make the background appropriate to your subject and get rid of all the clutter

Choose the correct lens / zoom: wide-angle lenses and telephotos will give an unnatural appearance to your model – use 90 – 130mm (35mm film equivalent)

Take lots of images: you will always get people with their eyes closed or looking different to what you intended – by taking lots of pictures you will heighten your chances of success

Know your equipment: make sure you know how to change settings on your equipment – fumbling around does NOT inspire confidence in models!

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com.

Tips On Finding A Los Angeles Photographer

Writen by Christopher Luck

How do you find a Los Angeles Photographer for that special occasion at a price I can afford? As if moving to Los Angeles isn’t difficult enough in and of itself, there is always the hassle of getting things done when you don’t know anyone to cope with. So to find a Los Angeles Photographer, or any other service for that matter, in the town, there are some steps I always take to make sure I get what I want at the price I want.

When it comes to service providers, like a Los Angeles photographer, the first step you should do is to figure out exactly what you want. In the case of a Los Angeles photographer, you will need to determine whether you are going to have portraits done, candid photos as a party, or formal pictures and portraits at an event like a wedding or graduation. Once you determine what exactly you need out of a Los Angeles photographer, you will have an easier time looking for someone who fits your specific needs.

Next, you need to do your homework. Get out your yellow pages and look up photographers. It seems like an elementary way of locating a good Los Angeles photographer, but it is a necessity to get started. Find a few that look good to you based on the ad and what it looks like they specialize in. Once you have scoured your yellow pages thoroughly, check out the internet. Look up Los Angeles photographers in a search engine or business directory and look for more places you can check out. Also, you may want to look up the ones you have chosen from the yellow pages to see if they have a website. Often the sites have sample photos, portfolios, and the like which can help you to make an informed decision about the photographer that will work best for you.

Last comes the calls. Once you have narrowed your list of Los Angeles photographers down, you should start making calls. Talk to the photographer, find out about availability, find out about prices, and get a feel for the business. You want someone you feel comfortable with, so it is okay to just go a little bit on gut feeling. In addition, you should ask about additional services, like video or album creation. Once you have talked to all of the photographers on your list you will likely have a fairly easy time making your decision. Choose someone you have confidence in and feel comfortable with and you won’t go wrong.

Moving to a new city can be incredibly difficult. Having to find a service provider in that city, then, can be equally as daunting. However, finding a Los Angeles photographer or any other services provider doesn’t have to be that bad. By taking three simple steps, you will have done your homework and be able to book a photographer that meets your needs at the price you are looking for. Take your time and work with confidence and you will find your Los Angeles photographer in no time.

If you would like to find more of my personal articles on california photographers please check out my website on photographers!

Digital Cameras – 10 Tips to Get Great Pictures

Writen by Sara Wells

Photography is an art, and therefore there are no set rules for getting the perfect pictures. The following tips, however, will help to improve your photographic style, experiment, and get great pictures on a regular basis. Whether your subject is a child, a pet, or nature, try some of these tips on your next photographic foray.

1. Get on Their Level – With a live subject it is important to get at eye-level before taking the shot. For children and pets this may mean kneeling, squatting, sitting or even lying down to get on the same level as your subject. While it is fun to experiment with different angles, you will have much greater success if you look your subject in the eye.

2. Fill out the Frame – Photographs are more powerful and interesting if the subject fills out the frame. Many photographers make the mistake of being too far from the subject. It is best to zoom in close enough the that the subject reaches or goes just beyond the edges of the photo frame in your view finder. This allows the viewer to see more detail and expression, and prevents the background from taking over the photograph.

3. Get a Little Closer – When you think your shot is set, try taking a few steps closer. Get in closer to your subject will show detail and emotion that add interest to your photographs.

4. Simple backdrop – When photographing a specific subject be aware of what is going on behind them. You want to choose a backdrop that will not distract or obscure the look of the subject. Choose plain color background or simple natural greenery with few accents to really highlight your subject.

5. Use the Flash – Most people think that outdoor photos never require the use of a flash, but that is not the case. When the sun is at its brightest, can be the time when it casts the most shadow. Adding a flash on an already sunny day can even-out the shadows cast by wrinkles, strange angles, or other people. Just make sure that your camera flash is close enough to the subject to be effective.

6. Watch the Light — Light is one of the most important factors in photo taking. When you get ready to take a shot, pause for a moment to take accounting of where the sun is and what shadows may be obscuring the view. You don’t want your subject squinting into the sun, nor do you want the light so bright behind them that it makes the subject look dark in comparison.

7. Go Vertical – Don’t get stuck in a rut. Many pictures would look better if you just turned them vertically. There are certain subjects that lend themselves to a vertical framing such as lighthouses, the Eiffel tower, or a beautiful tree. Try going vertical with some less likely subjects to see the difference it will make.

8. Get out of the Middle – Another common mistake photographers make is to put the subject of the photograph directly in the middle of the frame. This technique is usually not the most pleasing to the eye. Instead shift your subject to one of the four corners of the frame so that it is prominent, but not center stage.

9. Steady does it – Make sure the camera is steady when you are taking photos. A steady camera will prevent a blurry photo. If you are not the best at holding steady consider using a tripod to get a clear shot.

10. Shoot Away – If you really want to get better pictures, take more pictures, more frequently. With a digital camera it is no longer a waste to snap away. Feel free to take a lot of photos of the same subject, just varying the angle, lighting, or backdrop. Experimenting will allow you to find the tricks that work best for you, and will ensure that you will have at least a few great shots of each subject.

Sara Wells is a successful writer for CameraLensETech.com She provides information and details on cameras and accessories on her website.

Fill-in Flash Photography – Some Things You Should Know

Writen by Roger Lewis

I’ve been asked should I use my camera flash when taking photos outside and under the following conditions the answer is YES.

If you’re shooting a portrait or close up where the subject fills the frame completely and your shooting in bright sunlight where the person is partly back-lit, the answer is most definitely yes!

It will bring the image to life by making it stand out against the background, it will also light up the face helping to remove unwanted shadows and adding a sparkle to the eyes.

You see, when you are shooting pictures of people where the majority of the light is from behind or where the sun is reflected off water, without your flash turned on their face will be too dark .

The same applies when the sun is casting a shadow across the face but with the use of your flash, you can eliminate dark shadows from the eyes and nose and create a better result which will please the most discerning critic. In affect this also helps to soften the face and in some cases helping to hide wrinkles, but remember you cant please everyone.

Which reminds me of the story of the wrinkled old Woman that had her picture taken by the local portrait photographer and even after the photographer spent hours retouching her picture he still couldn’t remove all her wrinkles. When she saw the picture she complained saying to the photographer, “This picture doesn’t do me justice,” he said “Madam you don’t need justice you need mercy.”

Why then, does you camera take a dark picture when the subject is back-lit, you see the camera will be fooled by the bright back-lit surroundings and set the exposure to cope with the bright conditions only allowing the face to appear dark, but with your flash turned on you end up with the perfect picture every time, so much so that your friends will ask how you did it. Also remember to use flash when bright sunlight is casting shadows over the subjects face, even if the conditions are not back-lit, it will also add a sparkle to the eyes.

By using your flash or turning flash on, you will fill-in the shadow areas making your picture much more pleasing.

Photographers please note, the best time of the day to shoot people is about two hours before sunset or two hours after sunrise, when the shadows are long and the light is soft and warm in color, especially by the ocean. It’s no wonder that professional fashion photographers shoot around this time of day.

Consider the days when I started out studying to be a young photographer at the age 13/14, the camera was a medium format size roll film camera, image size 6×6cm. and the film size was 120 black and white negative.

There was NO built-in camera flash, in fact there was no electronic flash, period. I use to own a flash gun that used flash bulbs, which I attached to the camera with the flash sync cable plugged into the camera bulb flash socket. The flash bulb was like a light bulb in size which you screwed into the flash guns bulb holder directly in front of the large flash reflector. The bulb was filled with magnesium wire and when you fired the shutter the batteries in the flash gun would ignite the magnesium in the flash bulb and create a flash. The flash bulb was covered with a protective layer of plastic to prevent it from exploding and I seem to remember that most times it was successful in doing so, but on the odd occasion it would explode… quite an alarming experience. It was a good idea not to work too close to the subject!

Back in the early fifties, it was quite an undertaking to shoot any event. But I was busy studying photography at school and in my spare time and was learning the basics.

Soon the early electronic flash guns started to arrive on the market and I remember that they had huge power-packs that you carried on your shoulder via a shoulder strap. Also flash guns were starting to get popular with novice photographers, with smaller size flash bulbs and then later the smaller electronic flash guns.

What does this mean to you, very little I expect but it may be of some interest to those of who might be of the same age as I was then, to know how far we have advanced. Just think for a moment and supposing you are 14 years of age now, how far things would have advanced when you get to be my age…

But you know, the same conditions apply when shooting an image if your in a ‘professional mode’, I mean careful composition of you picture, correct exposure and lighting and although with the advance of digital cameras the technology has changed, the above mentioned facts apply and are still as relevant to day as they ever were, plus the added advantage of your computer and the ability of digital manipulation.

To learn more about your Flash Photography go here: Flash Photography Pro Secrets

I’m from London. I started out in the days of the Swinging Sixties and London was quite a place to be. In those days we use to shoot catalog fashion shots with a 10X8 inch View camera, so the transparency images would be the same size as the image on the catalog page, I have to tell you right now that took quite some doing. Now I spent most of my time with my website: Pro SECRETS of Money Making PHOTOGRAPHY, writing about and teaching photography, occasionally shooting assignments.

To learn more about the author go here: PhotoRog Secrets blog

Welcome to the Wonderful World of Glamour

Writen by John Lloyd

Never before has their been so much opportunity for all, regardless of age, sex and looks now virtually anybody with a little ambition and perseverance can be part of this exciting and developing industry.

The dictionary defines glamour as

Professional High-end Digicams: Weaving Delight for the Serious Shooter!

Writen by Lopa Bhattacharya

Are you a serious shooter looking for more precise controls, enhanced features & better lenses, superior image quality while purchasing your cherished digicams for professional product shoots, adwork or publicity campaigns? Well, come out of the idea once and for all, that all these cameras are necessarily big and expensive beyond your affordability. Truly, digital has really come a long way in a short time, and professional high end digital cameras today cover every assignment for real-life application, so that the photographer can concentrate fully on making stunning images with cutting-edge technology. After all, there is the growing need for digital images in both print and electronic media, for which most photographers and graphics professionals are examining the options for capturing images digitally, whether by scanning film or by using digital cameras. And here, they are preferring the functionalities of the professional high-end digital models because of the gains in control, efficiency, flexibility, and productivity.

Did you know before reading this that with consumers worldwide buying 10 million digital cameras in 2003 and 2004, the sales of film scanners have declined considerably? Ask any commercial photographer today about his/her purchasing plans in the near future, and you’ll find a whopping percentage say that they plan to buy a professional SLR over a usual point-and-shoot variety. “Our point of view is that color scanners are past their sweet spot,” says Vince Naselli, director of TrendWatch Graphic Arts. “Increasingly, we think that creative professionals are going to be acquiring their content digitally in the first place so that, down the road, the increased use of digital cameras will lead to a decreased use of color scanners”, he adds. Kerry Flatley, research analyst at InfoTrends, also comments that “as digital cameras continue to improve in quality and provide professionals with needed flexibility, they will most likely cut into film scanner sales”. Thus, at the cusp of a migration from film and scanners to digital cameras, we are standing in the face of a vast expanse where the buzzword has shifted from ’scan’ to ‘direct digital capture’.

Now, let us have a look at some of the market-leaders of this huge variety of professional high-end cameras, the ones that creative professionals are buying and using for the best-quality scans, with high resolution, wide image density, large film format as their hallmark.

Kodak EasyShare DX6340 (MRP: Rs. 18,900): a unique combination of advanced performance, ease of use and value in a sleek design, this 3.1 MP camera, with a large high-resolution 1.8″ Indoor/Outdoor LCD display screen and unique, wide aperture professional-quality 4X Schneider-Kreuznach Variogon zoom lens that provides stunning image quality, has high-performance features such as aperture and shutter priority modes for the discerning photographer. No wonder that it has been declared the “Best performance” and “Best value camera” for the year 2003 (as per the Digit magazine’s Test Drive on digital camera comparison)

The latest offering for the Indian consumers from Eastman Kodak Company is the sleek EASYSHARE LS755 zoom digital camera (priced at Rs. 21,900/-), sized like a deck of cards to fit the pocket of the person having acumen for design and style. Featuring a professional-grade 4X Schneider-Kreuznach Variogon 3X (36 -108 mm equivalent) zoom lens and 5.0 megapixel CCD sensor to optimize photo quality, it comes with a 3X optical zoom and continuous auto focus capability.

Cannon India Pvt. Ltd., a pioneer in manufacturing a comprehensive range of the latest digital imaging products, has come up with professional high-end models like Canon PowerShot A95, Canon Ixus 500 and so on.

Featuring an increased sensor size of 5.0 Megapixels, the A95 has a total of 21 shooting modes – more than any other Canon digital camera. Including many features found in Canon’s higher end S and G series cameras which offer users flexibility and creative control, it stands for outstanding image quality and ease of use. While the 5.0 Megapixel CCD sensor enables it to provide superb image quality (suitable for high quality photo prints up to A3 size), its 21 shooting modes, ranging from fully Auto to Manual, offer users total control for complete creativity. An added advantage of it is that it can simplify things to ensure great looking photos in tricky situations.

On the other hand, Canon’s Ixus 500 model happens to be the ultimate in stylish, high performance digital photography, delivering quality prints up to A3 size. With a super hard Cerabrite finish, it brings together uncompromising build quality and an abundance of integrated technologies. With a 3x optical zoom offering a wide angle of coverage, with the 9-point AiAF ensuring accurate focusing, even with off-center subjects and with its DIGIC delivering superb image quality at high speed with less drain on the battery for extended performance; beautiful, instant photo prints are achieved effortlessly, thus making I an obvious choice for professional shooters.

Again, with the Digital SLR range of Canon’s professional high-end digicams (like the EOS 300D high resolution 6.3 megapixel cameras, the EOS ID Mark II cameras with faster processing of large files with superior color rendering and detail precision), digital technology is taking a quantum leap.

Thus, offering an extensive range of professional hi-end digicams, these brands are gratifying any and every need of entertainment and digital imaging. And, we welcome the new technology and price cuts for the quantum jump of sales of these “hi-end photographers’ toys”.

Lopa Bhattacharya is a content writer/developer working on websites for overseas/Indian clientele. Has worked for various corporate website projects, CD-Rom presentations, brochures, flyers and other communication materials on varied themes ranging from travel, hotel industry, photography, web design and software development to US-based clubs and network communities. Was previously an editorial associate for a news, culture and entertainment portal based on the life and times of Kolkata.

Black and White Photo Conversion

Writen by Peter Horner

Most images were produced in black and white for nearly a hundred years after the invention of photography, but now colour images have become commonplace. Creating strong three dimensional images on a piece of paper is one of the best attributes of black and white photography, as the effect can be more striking than with a colour photograph. Without the colour to distract us we become more aware of the subtle tones which can be found within a black and white image. In this article I will share the technique I use that will help you create beautiful, striking and moody black and white images from your colour photographs.

Digital cameras have a black and white mode but more information and detail will be recorded in colour, which will also create a higher quality printed image. This is why I always shoot in colour then convert images later. There are several ways of converting an image to black and white using Photoshop and many other image editing programs. You could simply desaturate the colours, but creating a black and white image with real tone and definition goes beyond this. Levels, curves and the Unsharp Mask can be used creatively with black and white conversion to provide further control over tones and contrast to create a stunning image.

Channel Mixer – I have found that using the Photoshop Channel Mixer is the easiest way to convert an image to black and white and produces the best results. The Channel Mixer allows you to control how much red, green and blue contribute to the final monochrome image.

The Channel Mixer can be selected from the adjustment layer popup menu in the layers palette or you can also access it from under the image menu.

Clicking on the left tick box entitled Monochrome will convert your photograph into a greyscale image, and gives you the ability to blend the red, green and blue channels. Adjust each of the sliders to produce an image to your liking. As a rule make sure that the total values for each channel adds up to 100%. This creates monochrome images that are the equivalent of ones shot on black and white film through red, green or blue filters. For example if you wanted to maximize cloud contrast in a blue sky, then a red filter would achieve this. I usually set the red channel to 0 and the green channel to 100 to cut down on the amount of noise, or sometimes a combination of red and green depending on the image.

Curves and Levels – Brightness and contrast can be adjusted in Photoshop by using the curves and levels tools, which can be found under Image > Adjustments Curves/Levels. Both curves and levels allow you to adjust the tonal range of an image. When using the levels command you can make adjustments to just three variables, highlights, shadows and midtones. I prefer to use curves as it gives you more precision. With curves you can adjust any point along a scale while keeping up to 15 other values constant. By adjusting the black point and white point in curves you can give your image more contrast. At opposite ends of the diagonal line you will find a small dot. When you grab hold one of the dots with your mouse and drag it around you will see the image change. To create more contrast drag the black point lower and the white point higher, so that either end of the diagonal line is curved. Practice using curves and levels and explore the different effects you can achieve with your images.

Unsharp Mask – The Unsharp Mask is my preferred tool for sharpening images, which can be found under Filter > Sharpen > Unsharp Mask. It is a traditional film compositing technique used to sharpen edges in an image and corrects blurring. The Unsharp Mask locates pixels that differ from surrounding pixels by the threshold you specify and increases the pixels’ contrast by the amount you specify. In order to get the look which I desire in my images I use the Unsharp Mask twice. I begin by using a high radius and lower amount, such as a radius of 50 pixels and an amount of 30%. This gives the image a much more intense look and details will stand out. The second time I use a lower radius of 1 pixel with a higher amount of 30%, which will correct any blurring and sharpen the image.

Peter Horner has years of experience in digital editing and printing technologies, as well as a passion for landscape photography. With this experience he co-created DesignerPrint, a large format printing company creating canvas prints, block mounts and poster prints. Learn more about Canvas Printing from DesignerPrint.co.uk