By George Schaub
•Shows photographers the way to use electronic printing options to create masterful black-and-white images
•Digital printing is changing the darkroom-everyone who shoots in black and white must comprehend those really good techniques
Everybody's taking pictures in black and white-for weddings, for studio paintings, for pictures and relatives photographs, and whatever that appears nice with a vintage, documentary kind. electronic cameras allow you to shoot in black and white, yet many photographers are suffering to create the pointy, crisp, undying glance of serious photos during this medium. they want Amphoto's consultant to electronic Black and White Printing. From new electronic how one can practice conventional darkroom thoughts (such as publicity, burning and dodging, and spotlight keep watch over) to dealing with duotones, hue saturation, or even "hand coloring" effects...it's all right here, in black and white.
Read or Download Amphotos Guide to Digital Black and White Printing: Techniques for Creating High Quality Prints PDF
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Extra info for Amphotos Guide to Digital Black and White Printing: Techniques for Creating High Quality Prints
Sample text
This time I had much more success. A small fly landed on the damselfly, causing it to suddenly flick its wings to remove it. The movement was quicker than a blink of an eye, but the frame-byframe footage revealed four images showing just how the wings moved and bent slightly when flicked. A few seconds later and the same fly returned, but this time the damselfly leapt into flight to try to eat it. The fly got away, but I had around a half of a second of footage of the action – 12 frames showing the very intricate movement of the flight of the damselfly (see above).
2, ISO 200 THIS really is a handsome chap, with a fine set of antlers and posing very nicely for the camera. I’m a big fan of silhouettes, as they can demonstrate graphic shape and help us appreciate the lines we see every day but fail to recognise since we are usually distracted by detail. For a silhouette to work, though, we need a clear contrast between the subject and its background. In Alan’s photograph, the ears and the base of the stag’s antlers stand out well because their background is quite light, but the action end of the antlers blends into the treeline, and the stag’s body is rather too much the same tone as the shaded grasses behind it.
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