February is here! So it’s time to start looking at your world through a black and white lens! And just for fun, we’ll add a little dash of red in for good measure on the 14th. To help us along in our black and white shooting we’ll be reviewing the book “Black and White: From Snapshots to Great Shots” by John Bartdorff. You don’t need the book to participate, but it helps to have it when you need more detail. So let’s get to it!
While many authors enjoy getting right into the more artistic aspects of black and white photography, Bartdorff spends the bulk of chapter 1 reviewing gear, camera kit essentials and properly setting up your equipment before he goes into the nitty-gritty of black and white. If you are fairly new to the world of digital photography this section will be very helpful. If you are an experienced photographer, you will be happier just skipping it altogether. If you’re somewhere in the middle (like me), a quick once-over of the material can’t hurt especially if the section heading is something you’ve wanted to know more about.
For Flash of Red purposes, we are going to jump right into the deep-end with Bartdorff’s advice, “The question for me isn’t when do I shoot in black and white, but when do I process an image in color?” and assume that we’ve decided our picture was meant to be a black and white. Bartdorff contends that color can date a picture, but black and white gives it a timeless quality. To have a strong picture though takes more than a timeless feel, it requires several elements: strong tonal contrast, lots of texture, strong lines, shapes and patterns. And although it may seem strange, understanding the basics of color helps to improve our black and white skills. Color plays a key role in tonal contrast and has 3 main components: hue (it’s name- red, blue, etc.), saturation (it’s intensity), and lightness (the amount of white or black mixed into the color). Contrast increases or decreases depending on the amount of saturation. So when you are shooting in black and white “you want to train your eyes to look for contrast more than color. Look for light versus dark, and saturated colors next to unsaturated colors”.
Chapter 2 is all about “photographing with intent”. The goal here is to learn how composition, lighting, textures, and lines all work in harmony to create an intentional image. Bartdorff believes that visualizing what you want your photo to look like before you go out to shoot can be a great mental exercise and tool for composing a great shot.
LIGHTING is probably the single most important factor in creating a black and white image (which is true for any picture for that matter). Light is instrumental in creating highlights and shadows (the overall contrast in your photo) which allows us to identify shape (circle, square, etc.), form (cylinder, cube, etc.), lines and texture. Bartdorff advises us to watch for how the light is creating shadows that pull your eye through the frame. Following this brief explanation the author describes high-key and low-key lighting and how to use a histogram, a 2 dimensional representation of your image in graph form that represents the entire tonal range that your camera can capture in the image. It ranges from black (darkest) to white (lightest) and everything in between (mid-tones).
CONTRAST is the difference in brightness between the lightest and darkest areas of an image. It helps our eyes to see shapes and forms. Contrast can also create a mood. When the contrast is high, we may perceive power, boldness, even danger. When it is low, the photo takes on a much gentler and softer feeling. Bartdorff has two questions he works with concerning contrast: What is the intention of this shot and how can I use the contrast within this image to express what I’m seeing? Using your histogram you can determine the image’s tonal range (how wide or narrow the difference is between the lightest and darkest areas of your scene) and its tonal contrast (high, normal, or low). Generally speaking, in order to have contrast in your image, you want to have a high tonal range as well as high tonal contrast. This means you should look for a histogram reading which reaches from edge to edge in the shape of a stretched out U.
PATTERN, SHAPES, FORMS, LINES, TEXTURE, and MOTION are also defined and illustrated in chapter 2 with some of Bartdorff’s own work. These components are key factors in creating a strong image that keeps the interest of your viewer. Pattern creates a sense of symmetry and rhythm. Shapes and forms are created by light and shadow. Lines (vertical, horizontal, diagonal, curved, or converging) draw a viewer into the picture and direct their eyes through it. Texture gives a physical sensation to a shot. For example, we’ve all seen a picture that conveys such softness we wish we could run our fingers over it. Motion is achieved through shutter speed. A high shutter speed will stop the action and freeze it in time. A slow shutter speed will give a sense of speed by blurring the image.
Chapter 2 concludes with a look at FRAMING and THE RULE OF THIRDS. Framing is a compositional device that uses the outer edge of your picture to hold the visual elements of the picture within the edges. Windows, doors, arches, tree branches, mountains, etc. can all act as “frames”. Frames also give a sense of depth to a shot. The Rule of Thirds is probably the most fundamental of all compositional rules. Imagine a tic-tac-toe grid placed over your image. If you are photographing a single subject and following this rule, the most interesting placement of your subject would be the four spots where the lines of the grid intersect. These spots are the most interesting positions in the photo and it gives your viewer “space” to move within the image. If you are photographing something broader such as a landscape the Rule of Thirds then shifts to the 3 horizontal and 3 vertical spaces created by the grid. Balancing your subject matter among the sections in a 1/3 to 2/3 ratio gives the eye something pleasing to look at. While the Rule of Thirds generally makes for a better composition, there are exceptions when placing something in the bull’s eye position (center) can work. It takes time to develop an eye for this, but it can be developed.
WHAT TO SHOOT THIS WEEK:
Choose one or any combination of your own design-
This week get to know your camera and its setting a little better. See if you can learn how to set your camera in monochrome and shoot your pictures that way. Or you can shoot in color and covert to black and white in post-processing. Practice using the Rule of Thirds, choosing one of the components of a good shot for your emphasis (pattern, shape, form, texture, line, or contrast). Pay particular attention to the lighting and framing in your images.
Check your camera manual and figure out how to put the histogram up on your LCD screen. As you are shooting your subjects take note of the readings on your histogram. Remember the optimal reading is U-shaped, but don’t be afraid to experiment with high-key or low-key shots. Refer back to Bartdorff’s illustrations for extra details on how to read the histogram and what a high-key or low-key histogram will look like.
never use my in camera histogram so that will be a good learning tool, how do you change your settings to achieve this U curve, that will be the question for me this week. thanks Ann
It is interesting to see how the camera can shoot B&W and to apply some of the classic filters. But after you find that out, I would suggest you still consider shooting in color, and in raw if available to you, and converting in the editor.
Why? One fundamental reason - if you shoot B&W, you will only ever have one interpretation of the grey-scale mapping, how the colors are evaluated in terms of tone. And it is an interpretation, B&W being indeed an abstraction, so you should feel free to experiment since you aren't dealing with "reality" at all. Except for the small percentage of people who are completely colorblind. In landscapes, try for dark skies, light foliage for instance. Or in our case of "a spot of red" pull that small spot very high and lower most of the others.
Also if you shoot in raw, you will have all 12 or 14 bits of each RGB channel still available for manipulation, and that can create extra color/tone contrast. Yes, when you finally convert to jpeg you will be down to 8, but as you haven't done that compression until the very last moment, you will often have many more editing/tone contrasts available to consider.
I hope we all have a great B&W month! Thanks again Ann for hosting this.
A wonderful précis Ann, thank you.
I will continue to shoot in RAW (as Frank suggests @frankhymus ) and have set my camera to view b&w on my monitor, as well as displaying the histogram. Beyond that I hope to focus on the other elements you mention.
@frankhymus Thanks for the feedback and insight Frank. I am merely repeating what the author wrote, not necessarily offering my opinion. But you always have such worthwhile input I'm glad you posted it here for others to read.
Yes folks! I shoot in color and then convert to black and white as Frank suggests. But after having done this monthly challenge twice, and shooting black and white more consistently throughout the year, I find it's easier for me to "see" the black and white in color now. If you follow Frank's advice or Bartdorff's you'll start to "see" in black and white too.
@kali66 I think Frank answered your question better than I can, but basically, you can set your camera LCD screen to show the histogram while you are composing your shot. It will look like a little graph with white sections showing your light spots and "un-white" sections showing the darker areas. In Bartdorff's book he shows several different configurations that might appear on this screen. In his opinion the best contrast shows up in a U shape- that is the white area is high on the right side and left side and low in the center. This does not mean you have to take your pictures like this all the time, nor does it mean you can't take the shot if the white and non-white areas have a different shape. But it will help to have a balance in your contrast if that's what you desire. Remember- rules can always be broken!
@frankhymus yes thankyou, I know, i just never look at the histogram, even when i am processing from RAW i do it all by eye, so will try to get more savvy in-camera with manual controls to see how it influences the histogram...
@kali66 Well good, it will give you something to work on.
Truth to tell though, I seldom look at the histogram when shooting. It's not that accurate anyway so don't sweat the details.
One other thing to do if you do want some immediate exposure feedback when shooting, turn ON the so called "blinkies" (look in your playback menus for something to do with "clipping") that will flash on the playback after you've shot if and where you have clipping at the top (and for many cameras at the bottom too). Then to correct if I have them, I use the "exposure compensation" function and shoot again. If of course there is no motion. I find that technique useful at times. But remember, sometimes you do want to "clip" the ends for effect. Someone who does this effectively in B&W is @northy, in her inimitable and distinctive style. I must say I don't know if she shoots this way or edits this way. You may care to ask her. Her final histograms are anything but "classic." :)
I always work to histograms when editing because eyes suffer colour and tone fatigue, and ambient light changes what we 'see'.
The U shape in a histogram means you will have an image with strong native contrasts - ie you will have lots of 'white' and lots of 'black'. A an inverted u (n-shaped) histogram has mostly 'grey' (mid-tone) pixels. There are good examples showing this at http://ricknunn.com/thoughts/histograms.
@ltodd When editing, yes indeed Lyn histograms are an essential tool. Especially if used in conjunction with overlaid levels or curves. But in camera, I don't find them terribly useful.
This is great Ann and thank you Frank @frankhymus for your ever valuable input. Is sepia acceptable as part of this challenge. I thought I read somewhere that it was. Maybe I'm getting confused with another challenge!
Off to find out about my Nikon and histograms. I must admit to having taken little interest in them when shooting so here goes!
@ltodd Thanks for the links Lyn. I'm only working with the book, and these things are basically new to me as well. I think people are misreading me as some sort of expert. Not so as you know!
@salza The tag is flashofred2016. I'm lazy with the dashes!
@thistle sepia is fine if you want to work with it, however, the red won't pop as much as it does with the black and white. I don't police this thing- my themes and challenges are always open to your own interpretation. You know the saying, "Your project; your rules!" Do what inspires you and that's good for me!
@ltodd@frankhymus I am merely giving an overview of what Bartdorff covered in the book here. I'm afraid I don't do it justice as it's a fairly new subject to me. So please don't get the impression that I am telling everyone this is the only way you should work with a histogram or with black and white settings. I truly appreciate your feedback and input. I suspect that using the histogram as a tool for balancing your black and white shots is as subjective as the kind of equipment you use. As for me, I'm looking at the information not as a guide line that should always be adjusted to a certain shape, but as a way to see what your shot looks like in black and white before you take it. That's just the way I'm interpreting what I've read in the book. The original Flash of Red February didn't use a book at all. There were weekly themes the one little pop of red on the 14th. Somewhere between the 1st and 2nd year another 365er asked if we could combine it with a book on black and white. It's a lot of work for me, but I've enjoyed reading the different author's perspectives. Honestly speaking, this book doesn't work as well as last year's but it's still a good book. So thanks again for adding some insight on this week's readings and as the month progresses I hope folks will learn from you and the author too.
@olivetreeann Ann, no criticism intended at all! Just the opposite. Thanks on behalf of everyone for taking the time. And indeed, all that histogram stuff is useful to understand if people have never seen it before. You are doing us all a great service.
Thank you so much for writing this out, @olivetreeann it's so helpful to read your summary and so nice for me to have some guidelines on how to photograph this week, appreciate it.
So is it just one picture a week that has to be b&w, with only splash of colour on the 14th? Or is it the whole month of b&w? If that's the case than I need to delete my photo for today :(
@frankhymus Thanks so much Frank- I appreciate the vote of confidence!! @stephanies Thanks Stephanie- it's helpful for me too. @cherrymartina Glad to have you join us Martina! @jocasta Great! Welcome aboard! @overalvandaan Thank you Saxa! @altadc Glad you found it Alta! @juleshoogstraanderson Yes, it's black and white everyday for the month of Feb. But don't worry about it- perhaps you can change the shot to black and white in post-processing. As an ace member you can click "edit in picmonkey" in the box at the right of the page your photo is displayed on and then convert it there. Once it's done you can resave it and put it back up on 365 without losing your comments. But only do that if you want to- it's not a problem to leave it as is. @daisymiller Thanks Daisy! Glad you'll be joining us.
@mzbull Great MZ! Post-processing is fine. I shoot my photos in color and convert to black and white in processing all the time. The "assignments" are merely suggestions. You can do whatever you're comfortable with.
@grammyn Thanks Katy! With 56 participants, this is going to be very active!! Nice textures on your shot.
@franssiscaxvria Good for you Franssisca! I have found that every time I've put to work something I've learned here, I can see my pictures getting better.
Thanks so much Ann for all your input and hard work here - and to Frank @frankhymus as well for his sage advice as always. Really appreciate your time and generosity. I really liked the look of this challenge last year but was too new to 365 to give it a go. This year, though, I am up for it. Great stuff on histograms and contrast and other useful ideas to think about.
@thistle Glad to hear that Joyce- me too! @pistache I'm looking forward to seeing your pictures! @tabarlett I have grown quite partial to it myself- and my appreciation for black and white photography too.
Hi Ann Could I please be added to the list? I am eager to learn (and have been shooting but not yet posted from the 1st of February)! Thank you for the great summary :)
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It is interesting to see how the camera can shoot B&W and to apply some of the classic filters. But after you find that out, I would suggest you still consider shooting in color, and in raw if available to you, and converting in the editor.
Why? One fundamental reason - if you shoot B&W, you will only ever have one interpretation of the grey-scale mapping, how the colors are evaluated in terms of tone. And it is an interpretation, B&W being indeed an abstraction, so you should feel free to experiment since you aren't dealing with "reality" at all. Except for the small percentage of people who are completely colorblind. In landscapes, try for dark skies, light foliage for instance. Or in our case of "a spot of red" pull that small spot very high and lower most of the others.
Also if you shoot in raw, you will have all 12 or 14 bits of each RGB channel still available for manipulation, and that can create extra color/tone contrast. Yes, when you finally convert to jpeg you will be down to 8, but as you haven't done that compression until the very last moment, you will often have many more editing/tone contrasts available to consider.
I hope we all have a great B&W month! Thanks again Ann for hosting this.
I will continue to shoot in RAW (as Frank suggests @frankhymus ) and have set my camera to view b&w on my monitor, as well as displaying the histogram. Beyond that I hope to focus on the other elements you mention.
Yes folks! I shoot in color and then convert to black and white as Frank suggests. But after having done this monthly challenge twice, and shooting black and white more consistently throughout the year, I find it's easier for me to "see" the black and white in color now. If you follow Frank's advice or Bartdorff's you'll start to "see" in black and white too.
Well, here it is Week 1! Get ready (read chapters one and two), get set (choose an "assignment" for the week), and go (out and shoot some pictures)!
Thanks for joining in the conversation! I'll be looking forward to your shots!
Truth to tell though, I seldom look at the histogram when shooting. It's not that accurate anyway so don't sweat the details.
One other thing to do if you do want some immediate exposure feedback when shooting, turn ON the so called "blinkies" (look in your playback menus for something to do with "clipping") that will flash on the playback after you've shot if and where you have clipping at the top (and for many cameras at the bottom too). Then to correct if I have them, I use the "exposure compensation" function and shoot again. If of course there is no motion. I find that technique useful at times. But remember, sometimes you do want to "clip" the ends for effect. Someone who does this effectively in B&W is @northy, in her inimitable and distinctive style. I must say I don't know if she shoots this way or edits this way. You may care to ask her. Her final histograms are anything but "classic." :)
The U shape in a histogram means you will have an image with strong native contrasts - ie you will have lots of 'white' and lots of 'black'. A an inverted u (n-shaped) histogram has mostly 'grey' (mid-tone) pixels. There are good examples showing this at http://ricknunn.com/thoughts/histograms.
And here is an article titled 'How To Read And Understand Image Histograms In Photoshop'
' http://www.photoshopessentials.com/photo-editing/how-to-read-and-understand-image-histograms-in-photoshop/'
Can you put me on your list. @moonmtn
Off to find out about my Nikon and histograms. I must admit to having taken little interest in them when shooting so here goes!
@beachdog welcome aboard!
@ltodd Thanks for the links Lyn. I'm only working with the book, and these things are basically new to me as well. I think people are misreading me as some sort of expert. Not so as you know!
@moonmtn Absolutely!
@salza The tag is flashofred2016. I'm lazy with the dashes!
@thistle sepia is fine if you want to work with it, however, the red won't pop as much as it does with the black and white. I don't police this thing- my themes and challenges are always open to your own interpretation. You know the saying, "Your project; your rules!" Do what inspires you and that's good for me!
@rachelwithey @radiogirl @julieco @gailmmeek
thanks Rachel, Kathy, Julie and Gail! I'm looking forward to it as well!
@ltodd @frankhymus I am merely giving an overview of what Bartdorff covered in the book here. I'm afraid I don't do it justice as it's a fairly new subject to me. So please don't get the impression that I am telling everyone this is the only way you should work with a histogram or with black and white settings. I truly appreciate your feedback and input. I suspect that using the histogram as a tool for balancing your black and white shots is as subjective as the kind of equipment you use. As for me, I'm looking at the information not as a guide line that should always be adjusted to a certain shape, but as a way to see what your shot looks like in black and white before you take it. That's just the way I'm interpreting what I've read in the book. The original Flash of Red February didn't use a book at all. There were weekly themes the one little pop of red on the 14th. Somewhere between the 1st and 2nd year another 365er asked if we could combine it with a book on black and white. It's a lot of work for me, but I've enjoyed reading the different author's perspectives. Honestly speaking, this book doesn't work as well as last year's but it's still a good book. So thanks again for adding some insight on this week's readings and as the month progresses I hope folks will learn from you and the author too.
Ann, I would like to join in. Try and see what can I acomplish...
and @ltodd @frankhymus for your thoughtful input, especially regarding the histograms.
@stephanies Thanks Stephanie- it's helpful for me too.
@cherrymartina Glad to have you join us Martina!
@jocasta Great! Welcome aboard!
@overalvandaan Thank you Saxa!
@altadc Glad you found it Alta!
@juleshoogstraanderson Yes, it's black and white everyday for the month of Feb. But don't worry about it- perhaps you can change the shot to black and white in post-processing. As an ace member you can click "edit in picmonkey" in the box at the right of the page your photo is displayed on and then convert it there. Once it's done you can resave it and put it back up on 365 without losing your comments. But only do that if you want to- it's not a problem to leave it as is.
@daisymiller Thanks Daisy! Glad you'll be joining us.
@grammyn Thanks Katy! With 56 participants, this is going to be very active!! Nice textures on your shot.
@grammyn And now we're up to 61!
@pistache I'm looking forward to seeing your pictures!
@tabarlett I have grown quite partial to it myself- and my appreciation for black and white photography too.
@annied I love this Annie!!