Why More Megapixels Are Actually Better for Black and White Photography

This is going to sound a bit odd, I mean how the heck are megapixels and black and white correlated?

Does it have to do with details? Well, no; not really. Instead, it has to do with the capabilities of your camera sensor, and more often than not, lower megapixel cameras aren’t as capable when it comes to editing. Smaller megapixel cameras are great when it comes to high ISO output. But with higher megapixels, you often get a vast dynamic range and colors. Believe it or not, that’s precisely what you want and need here.

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Cheap Photo: The Ultimate Guide to Black and White Photography, Now $200 Off

Black and White photography is often seen as simpler than working in color – the trick is in the nuance

In this day and age color reigns supreme and black and white photography is often an afterthought to many photographers. But there is something about the medium, a complicated nuance that is easy to overlook due to its perceived simplicity. If you have ever tried to work in black and white, not just applying presets without much thought, then you know how powerful black and white can be if you take the time to master it.

Thankfully, you don’t have to do it all with trial and error. The Ultimate Guide to Black and White Portrait Photography is a collection of two courses that cover everything you could want to know about black and white portraiture over the course of 6 ½ hours. It is normally $250 but thanks to an incredible deal you can currently get your hands on it for just $49.

Interested? Get the Ultimate Black and White Portrait Photography Guide.

But of course, this isn’t the only deal worth talking about today…

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Avoiding Too Much Clarity and Sharpness in Black and White Photography

I think we’ve all seen it: photography that follows a simple recipe.

It’s in the black and white world, and it goes something like this: convert to black and white > raise clarity > raise sharpness > raise contrast > export. Sometimes they’re done well, but more often than not, that’s very rare. Most of the time, the images look like tacky digital simulations due to people not understanding light and exactly what’s going on. All of this has its roots in the film days.

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Black and White Photography is Truly The Best Way to Embrace Image Noise And You Shouldn’t Be Ashamed About it

Editor’s Note: This is one of La Noir Image’s free blog posts. You can subscribe for as little as $15/year. But there are more goodies at the higher tiers.

Years ago, there were photographers who used to tell me that converting an image to black and white just to save it from high ISO noise is the lazy way to go about working with the image. And further, if the image couldn’t be de-noised, then throw it out. You failed. There wasn’t another chance. You should be ashamed. But that toxicity is really just that–toxicity. It’s an old world mentality that was probably formed and shaped by internet trolls and more toxicity that actually happened in real life. This was in the days of early digital. As I’ve grown older myself, I’ve learned that those statements are incredibly false and that it’s completely wrong of us as photographers to push this on newer artists. The primary goal is to create an image that people will like. That’s it. You goal isn’t to satisfy photographers–generally speaking lots of photographers won’t buy a print made by other photographers unless they’re some sort of great master.

And perhaps that’s one of the biggest problems in the photography world that we don’t understand and that we don’t care about enough.

When it comes to getting critiques, the mainstream way is to get critiques from other photographers online for free. That’s a fantastic way for photographers to do it when they’re just starting out. But when you want to go even further, you need to look at a different target audience. Photo Editors such as those at publications, are the ones who look at the images of other photographers all the time. That’s how you get better. And even then, to each their own. The Photo Editor of the NYTimes will look for something much different than the Photo Editor at GQ. You can’t sit there and say that you’ll see the images of Brad Pitt recently done for GQ anywhere in the NYTimes. They’re just completely different standards and yet their audiences tend to intersect in different ways.

All of this comes full circle back to the black and white photography world. If you’ve never heard the saying “Black and white is a weakness” then you’re pretty lucky. But the truth is in the end that if an image looks good in black and white, then it looks good in black and white. And no matter what, any photographer who made the effort to actually make their images look good no matter what should be applauded. It shouldn’t be shamed because it shows genuine effort instead of wanting to post something so incredibly, stupidly flawed. That’s not to say that there can’t be any sort of beauty found in flawed images, but in the case of digital cameras there usually isn’t vs film analog.

So why does a high ISO digital photo look good in black and white? Because very few people who may try to license or buy your image can tell the difference. It looks like film. Do you have any idea how many people are out there that think that their images look like film but they’re not actually film at all? You’d be shocked at the misinformation out there being abundant. However, to unfortunately play into it this conversion process lends itself to images that have a classic look and feel to them. They’re made astonishingly simple and that makes the mind’s eye happy. In the end, that’s what we care about.

Don’t think this matters? Let’s take the very famous Eddie Adams image of a General executing a rebel. Let’s think more about this. What do we see here? We see a man being assassinated. His hands are tied behind his back, he’s scared. He’s sorry. And there is nothing he can do. He’s hopeless. It’s a frightening moment. But at the same time, it’s a very shocking moment.

An image like this helped end the war because of its interpretation: all that people saw was a horrifying incident that haunted the general for years to come. It wasn’t Eddie’s intent, he was simply documenting the scene. Very few people really know or understand the story behind the image. And obviously, at the time people didn’t care. They’re more caught up with the content. As long as the content in the image is gripping, it’s bound to force emotions out of people. And in that way, you can cover up or embrace those flaws that others may be distracted by with a simple conversion to black and white.

How Do Leading Lines Work in Black and White Photography? (Premium)

Leading lines: they’re one of the first things that every photographer learns about when it comes to shooting images in school. If you learned online and without format training, then you probably studied the rule of thirds first. But when you’re looking at a photo, one of the best ways ro artfully create an image that photographers have traditionally been taught is by using leading lines. Call it a rule that needs to be broken, it’s still a very effective one that when done correctly, can trump pretty much any other rule out there with the exception of using text in an image. For many years, black and white photography was the way to go. But when color came around, things changed quite a bit. So let’s explore leading lines and black and white photography.

What are Leading Lines?

First and foremost, what are leading lines? Well, let’s look at the image above. The main lines in the image are:

  • The shadows of the people on the boardwalk
  • The people casting shadows
  • The horizon that goes inwards to the people
  • The lines and patterns that the birds are making

Why are these leading lines? Well, it’s because those are the areas that are leading a person’s eye around a scene. That’s more or less what leading lines do. Leading lines in photography find a way to take the viewer’s eye and direct it to exactly what the photographer wants someone to look at. Some photographers think about this later on while others are on point and look at it as it happens. Typically, the latter requires a specific creative vision but it can also just come with an understanding of how light works.

Leading lines can be used in conjunction with other compositional methods like working with the rule of thirds for example. They’re an inherent part of geometry–which is what Henri-Cartier Bresson worked with and that a number of other photographers work with every day. And in order to make the most effective, there needs to be a whole lot of contrast. But we’ll get into that deeper later on. As a preface, these days the movement of urban geometry and cityscape photographers tend to work the most with leading lines. They work just fine during the day, but arguably when they tend to come out the most is during the night. At nighttime, there tends to be a whole lot more contrast.

Understanding When Leading Lines are Most Effective

Now, let’s get something straight here: not every image will have leading lines per se. But you can find them in an image through cropping, editing, or even composing in a specific way. The old school photography minded folks out there will think that the image above is absolutely horrible due to the leading line that it cutting the man’s head off. This is why photographers use techniques such as depth of field and decluttering their background. Of course that works when you’re not being candid and quick, but you’d otherwise need to take your time and search for a background that isn’t visually distracting. The old school mentality would call this image a technical failure even though new school techniques would find it acceptable.

This is a problem that can be pretty easily fixed in post-production. The long way of doing this is by creating a mask and lightening up that entire area. But that becomes too tedious and not always fun.

In the example above, I simply created a gradient from the side going into the center and lightened the entire right side of the photo. It still looks pretty natural and the line doesn’t have as big of an effect now because it’s not extending out into the very end of the image. In this case, the leading line effectively worked against us but it can be negated pretty easily if you’re just careful. This satisfies both schools of thought.

Leading lines can also work really well when they’re not there simply because the human eye is designed to look at something and make sense of it. The example above with the roller coaster showcases that pretty well. It goes from tallest, to slightly shorter, to even shorter. It’s using the horizon to make your eye create a sort of triangle.

In Color vs Black and White: The Contrast

Believe it or not, black and white works significantly different when it comes to creating leading lines and working with them vs color. With color, you’ve got various shades of the ROYGBIV spectrum and colors can be used subtly to differentiate one subject from the other. Photographers have been using this technique for years. Here are a few examples:

  • Steve McCurry’s portraits
  • Landscape photography
  • Pretty much almost all of drone photography

Color is more or less easy to work with, but black and white is…well, different. Where color relies on luminance/saturation of colors, black and white photography relies on their tonality more so when it comes to working with leading lines. 

I want you to take a look at this example above. Can you guess which building was a shade of green? If you’re guessing the one all the way at the end, you’d be wrong. Instead instead the building with scaffolding on it. That building was a light shade of green but because of how light that shade is, it tends to blend in with in the white buildings on the right side of the frame. The buildings on the left were more greyish. However, just by looking at this image in black and white, you couldn’t tell.

So how do you use that effectively when it comes to leading lines? For starters, ensure that there is a high degree of contrast in the scene. Then ask yourself these questions:

  • What colors are in the scene?
  • Are each of these colors bright or dark?
  • What is the ratio of bright to dark colors in the scene?
  • Do these colors contrast a whole lot if you were to make them monochrome? Further, are there enough bright colors next to dark colors that create contrast and layers?
  • Do those tones end up leading our eyes around the scene in a specific way? How?
  • Is the scene distracting?
  • Should I step forward or move back?

Let’s start out with these.

Winners of MonoVisions Black and White Photography Awards 2017 Announced

Screenshot taken from the MonoVisions Black & White Photography Awards Website

Fans of black and white photography, rejoice: the winning snaps of the first annual MonoVisions Black & White Photography Awards have been recently announced, and they are absolutely stunning.

From over 4,000 international submissions, a handful of Single and Series entries were selected for 12 categories, including Abstract, Conceptual, Fine Art, Landscapes, Travel, and Photojournalism. Dutch Photographer Kars Tuinder was awarded the Black & White Photo of the Year 2017 and $2000 cash prize, while British photographer Anup Shah bagged the Black & White Series of the Year 2017 and $3000 cash prize.

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NYRoamer: Timeless, Classic, Seductive Black and White Photography (Premium Interview)

All images by Ashley NYRoamer. Used with permission.

“There is something so alluring and soulful to me about black and white images.” says Photographer Ashley NYRoamer, an Instagrammer and a member of the Sony Alpha Collective who shoots a whole lot in black and white. “I feel they are timeless, classic, and seductive.” Based in NYC, she sees the world in lines, light and moments. But most importantly, she isn’t techy. Instead, she’s straight up just artistic. Ashley is one of the many photographers who has found recent fame due to Instagram as have a lot of others in the Urban Geometry community.

By combining just the right tones and lighting, Ashley captures moments in cities that aren’t so much of a one trick pony as you’re probably used to seeing in the Instagram hashtags. Instead, her work varies from being minimalist, linear, and sometimes even gives us a number of angles for us to check out.

Talk to us about how you got into photography.

My dad bought me a Nikon DSLR, that I had intermittently played with over the years. I remember going to Alaska in 2010 and really taking an interest in shooting the landscape. It wasn’t until Instagram that I really began to focus on taking pictures regularly,

So what attracted you to Urban Geometry? It’s a genre you seem to shoot a whole lot of.

It was a natural process for me, living in NYC. It’s so easy to come across these lines and shapes in the city, mixed with the beautiful scenery of buildings, streets, architecture, and various subjects. I feel like NY is a photographer’s playground.

You indeed shoot color, but the majority of your work is in black and white. So why do you tend to go more for black and white than color?

I began shooting solely color, but fell in love with black and white photography about 2-3 years ago. There is something so alluring and soulful to me about black and white images. I feel they are timeless, classic, and seductive.

If you weren’t doing photography, how do you feel you’d try to creatively express yourself? Do you feel that maybe because of your predisposition to black and white that you may have gotten into charcoal drawings?

I have always appreciated art and creativity. I can’t imagine myself not taking pictures, so it almost difficult to imagine any other creative outlet. However, I did love drawing and painting as a kid, so it is quite possible that I would have explored that. I also played the violin for 15 years, so it is possible I would have explored musics.

What are some ways that you’ve continued to stay motivated and shooting? Do you think that having a day job gives you that sense of balance at all?

I feel so fortunate to live in a place like NYC, which constantly provides so much visual stimulation and countless opportunities to photograph. Again, it is a photographer’s playground, there is simply never a dull moment. I think simply living in in the city constantly feeds my passion to photograph everything. It is a passionate hobby that continues to inspire me.

I do think having a day job, one that is not creative, provides me with balance. Working in corporate America, with facts and figures, deadlines, analyses, and the need for continued solutions can sometimes leave me feeling frazzled. The opportunity to snap a few pictures after a long, stressful day is cathartic.

As you’ve gotten more and more into photography over the years, what photographers do you feel have influenced you and your work?

I was first exposed on Instagram to black and white photography, in following @mr007. His images opened a door for me, which perpetuated a fascination with black and white photography, and lead me to explore the works of the great Ansel Adams, obviously more nature based, Vivian Maier, Henri Carter Bresson, Irving Penn. I am blown away by Vivian Maier’s incredible work.

Do you feel that moving to the city has changed the way that you think about art and photography? How so?

I don’t think moving to the city has necessarily changed how I think, but I believe photography in general has done that. I am incapable of looking at beautiful scenery (no matter where I am) without wanting to immediately capture it. If I see gorgeous sunlight or light reverberations, I am immediately reaching for my camera. It has changed the way I see everything.

Where are some of your favorite places to photograph in NYC? What makes them so magical?

That is a difficult question, as there is simply never a dull moment in NY. I can be on my way to shoot Central Park, which is one of my favorite places to be, and I will see ten other things on my way that I snap. There are great areas like the Village or Chinatown, or Lower East side, great for street photography and amazing subjects, but, I don’t limit myself. No matter how many times I see it, standing on the Manhattan Bridge and shooting the Brooklyn bridge and cityscape, still amazes me. Standing in Jersey City and looking at lower Manhattan still amazes me. I think it is the view of the city that sill excites me. We are a resilient, strong, and beautiful city. Seeing the World Trade Center will still bring me chills and sends a message of hope.

What do you think is more important: shooting what you feel or feeding the Instagram algorithm machine? How do you tend to maintain a balance?

Shooting what you feel is much more important. I don’t understand the algorithm machine and I never will. I have never been a suggested user, I grew organically, and I have never been on the “fast track” algorithm that many people are, which means, they get insane likes no matter what is posted. I think it can get very old and monotonous, to continue to post solely for likes — feeding the audience the cliche shots of Empire State Building everyday. While it is beautiful to me, I sometimes find myself wondering where the creativity is. I have much more appreciation for an image that captures amazing light and the silhouette of someone,as opposed to an image which may simply “feed” the algorithm machine and uses no skill.

I try to maintain a balance by posting what I love. I learned long ago on Instagram that black and white photography was the minority. Therefore, if it was just about seeking likes, I picked the wrong choice! (ha)

Talk to us about your rise on Instagram. What do you feel have been your bigger turning points?

When I started on instagram, I posted silly pics of my personal life- food, dogs, etc. As I became more interested in photography, that changed and my feed improved. I think for me, the pivotal point was when I started posting better images, that I felt were artistic and of good quality. I had been iPhone for a long time, The absolute turning point for me was getting a Sony alpha camera. The quality of pictures did not compare to what I had previously posted.Sony Alpha for me was the absolute turning point, about 2 years ago.

What about the gear that you use? Tell us about that and the way that you process your photos?

I feel like I should be embarrassed to say that (ha!) I am still shooting with a Sony a6000. I almost feel it is antiquated at this point!
I have had my eye on the a7, which I will probably get soon. I predominantly use the kit lens which is the 16-50 mm. I also sometimes use the 55-210 mm lens.

I am also probably the only one who STILL (ha!) edits on my iPhone. I minimally edit my pictures, for better or worse. My go to edit is snapped and filterstorm. I try to really preserve the integrity of the picture and only usually sharpen and crop the picture.

What do you tend to do to keep your work fresh?

That is a difficult question, as I don’t “think” too much about what I shoot. I shoot what I love, what I see, and what I feel. It comes very naturally to me. I am drawn to light, as most of us are and it seems so easy to find in NY and there are so many opportunities. I also find my love of black and white photography draws me to moody street scenes, like a rainy day in the city that depicts a man holding an umbrella. Timeless classics appeal to me and those Vivian Maier style scenes drive me.

So what’s on the horizon for you Ashley? How do you see yourself progressing as an artist within the next year due to the ever changing industry?

I feel fortunate to have this as my passionate hobby, it is something that continues to interest and challenge me. Instagram has changed in many ways, much not for the best, but I am grateful to have met so many amazing creatives. I am grateful to be a part of the Sony Alpha Collective, as I feel shooting with Sony has changed my life and provided so many wonderful opportunities for me. I will be grateful to remain a part of Sony and strive to continue to improve my skills. Having just returned from the Sony Kando trip was just the dose of inspiration I needed. It also further solidified my devotion and appreciation of the Sony Alpha family.

Canton Vander Built’s Beautiful Classical Take on Black and White Photography

All images by Canton Vander Built. Used with permission.

Photographer Canton Vander Built describes himself as a photographer who is more interested in light, form, movement, color, perspective, and shutter speed than in any particular genre of photography. To that end, he says that his favorite subjects are those that are present before him at the time. At the other end of the spectrum, CVB’s work explores the boundaries between recognizable imagery and the most minimal aspects of shadow and light that comprise an “image.”

Canton draws influence form Anne W. Brigman, Martin Munkacsi, Seydou Keita, Daido Moriyama, and Francesca Woodman. When he shoots, he’s most likely toting around his Lecia SL with Vario-Elmarit-SL 24-90mm f2.8-4. But don’t scoff just yet, because he’s also a fan of the Nikon D810 with Nikkor AF-S 50mm f/1.8G and a few other pieces.

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Steve Gosling: Hypnotic Pinholes and Black and White Photography

All images by Steve Gosling. Used with permission.

Photographer Steve Gosling is a true black and white artistic photographer. To him, the gear is only secondary to his creative vision. This is evident in his choice of mediums. He’s used pinhole cameras, large format, and even works with Phase One cameras and lenses. His affinity for the artistic side of photography started when he was really young. He had no interest in math, science, etc. Instead, he was captivated by photography. Luckily, that passion never died out for him.

But if you’re a lover of landscapes, you’re surely going to enjoy his photos and his thought process.

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Stefano Edoardo Pusceddu: The Language of Black and White Photography

What makes black and white photography so important to you?

Black and white photography is the essence of the images that my eyes can see but can not capture forever. The absence of color is related to my subconscious. It is quite rare that I remember my dreams in colors. I always been fascinated by my grandpa’s photos during the second world war. He spent years on the planes, risking his life, taking pictures of places and people that began part of my memories in monochrome. I would say that think in black and white for me is easier and familiar.

What inspires you to create photographs?

It has been a necessity since I was a child. My parents bought me a camera when I was 10 to keep me busy while they were working, then I started taking photos of my brothers, neighbors, my dogs, streets, my house. It was an obsession. I still remember rolls of negatives just about plugs (it began an expensive toy for my parents). Life moves too fast, too many significant things happen every minute and I need to catch them. Life is my inspiration, people, my family and me.

Why is black and white photography so important to our future in the art world?

Why do we still study latin at school? I compare black and white photography to a language that comes from the past. We have the duty to preserve it. I think black and white photography can make a strong difference in the future, redefining the role of the photographer in art.

The world today looks like a color party, is crazy, faster, confused, too saturated. Chromatic minimalism, analog processes and more personal research could help us to slow down.

Be sure to check out Stefano’s work on InstagramFacebook, and Flickr. All images used with permission.

Has Digital Technology Ruined Black and White Photography?

This is a syndicated blog post from Street Silhouettes. All images and text from Horatio Tan. Used with permission.

There was a time when all photographers shot black and white film. For the most part, the decision to shoot in black and white had very little to do with choice or preference for black and white photographs. In most cases, it was because black and white film was more convenient to develop, when compared to color film. And in case you’ve forgotten what develop means, it’s not when you drop off your film at the local photo-mat. It means going to the darkroom and developing it yourself.

It was in developing film and printing images that separated real photographers from those who just took photographs. Whereas the latter group had no control in optimizing the look of the images (after it was developed and printed at a photo-mat), the former had complete control limited only by the scope of his ability in the darkroom.

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Great Selections From Our Black and White Photography Contest

La Noir Image is teaming up with PhotoCrowd to give away two subscriptions to the magazine when it finally becomes a reality.

Check out the contest here. Details are below. These obviously aren’t the results as we’re not done yet

There’s less than a week to go in our Black and White Photography contest on Photocrowd.com, where you can win subscriptions to La Noir Image. We’ve picked out a selection of the stunning photos that have been entered so far – don’t miss your chance to join in this extra special celebration of black and white photography from around the world. If the magazine doesn’t get funded, then the website will go behind a paywall and the winners will receive according prizes.

And please be sure to support our Kickstarter and the new content we’ve been doing!. Also follow us on Instagram and Facebook! Now for iOS and Android!

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The Best Leica Lenses for Black and White Film Photography

Black and white film lovers rejoice!

Film has to be one of the most fun photography experiences we have! Some of us just want to create in a completely different way. Indeed, film does a lot of things that digital doesn’t. When used properly, it will ultimately make you think more about your photos before shooting. You’ll pay a lot of attention to the frame before you shoot. And eventually, you’ll become a master of the format. If you’re looking for the best Leica lenses for black and white film photography, check out our selects.

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Comparing Different Color Filters for Black and White Film Photography

If you’re new to using different color filters for black and white film photography, here’s a quick comparison.

Before the digital days, photographers made use of various filters to produce a big portion of their desired looks in-camera for black and white photography. As we learned in a previous video tutorial, filters allowed them to darken the skies, increase the contrast, or give flowers a more dramatic look against the rest of the foliage. Some may argue that we can simply use our go-to editing software to produce the same effects, since we’re in the digital age. But, if you’re shooting black and white film, filters will still be your best friends and produce the look you want straight from the negatives, potentially minimizing the work you’ll have to do in post. If you’ve yet to use filters for shooting black and white, we have just the video to show what to expect.

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Photography Cheat Sheet: How to Make Great Black and White Images

Getting stunning black and white images is all about using the right techniques, as today’s photography cheat sheet tells us!

When it comes to black and white photography, adapting a different mindset is necessary. There’s more to it than shooting with your camera in monochrome mode. Instead of evaluating a scene through eye-catching colors, you’ll need to look closely at the balance between light and shadows, and of light elements against dark ones. It will definitely take a lot of practice, but with photography cheat sheets like our featured guide today, you’ll have a jump start to making those impressive black and white images.

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Three Ways Shooting in Black and White Improves Your Photography

Shooting in black and white can actually change the way we see things and boost our composition. This quick video tells us how.

We often hear about how black and white photography is a different experience for many photographers, and how it trains us to look at scenes differently. By stripping away the colors, we are forced to simplify our creative vision and focus on what’s important: the composition. In today’s featured video, Pierre Lambert reminds us exactly how shooting in black and white improves our composition, and thus, our photography.

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Tips for Shooting Black and White Street Photography at Night

Ever notice how street photography in black and white takes on a different mood at night? Here are some quick tips to help you make the most out of it.

If you’ve only been shooting black and white street photography during the day, there’s actually a lot of dramatic and compelling images you’re missing at night. In a brief video, Vladimir Pcholkin shares his insights on shooting black and white street photography at night, and shares a few simple tips for making the most out of it, should we decide to give it a go.

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Photography Tips: When to Choose Black and White Over Color

Been struggling to decide if your final image should be in color or black and white? These simple photography tips should be able to help!

One of the most important creative decisions you’ll make when editing your photos is choosing between color or black and white. When does a photo look better in monochrome? What should the highlight of your photo be if you want to go for a black and white image? How do you know which option lends a better mood to your photos? JT of the Run N Gun YouTube channel answers these questions and more in one of his latest rundowns of useful photography tips.

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5 Classy Examples of Black and White Boudoir Photography (NSFW)

Having a black and white aesthetic can add a touch of class to boudoir photography.



When executed correctly, boudoir photography is one of the more polished and artistic genres within the field of photography. Shooting the work in black and white adds an extra layer of sophistication to it, making it extra appealing to those who view it. Of course, other components like strong lighting and an experienced model contribute to giving the imagery and extra edge. But being a master of the black and white look is going to push the photographs a little bit further than the rest. Thankfully, there are incredibly masterful photographers working today in black and white boudoir photography. We’re going to take a look at five of the best.

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How to See in Black and White for Street Photography

We hear it all the time, but what does it really mean to see in black in white? How exactly do you do this? This quick video holds the answers.

Black and white photography involves a totally different mindset when it comes to shooting, and a different way of seeing things before you even press the shutter. But what exactly are these about? How do you train your eye to hunt for the right scenes that will look best in monochrome? What makes a good black and white image? With some tips and insights from today’s featured video, you’ll be able to gain some insight about these questions for your next black and white shoot.

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Jenna Shouldice’s Powerful Black and White Documentary Photography (NSFW)

All documentary photography by Jenna Shouldice. Used with permission. 

“During labor, I feel like a magnet to the experience,” explains Jenna Shouldice. She’s a documentary photographer based on Vancouver Island. Her curiosity in the human experience has led her to document one of the most emotional moments a person can go through – giving birth. The process of giving birth is often misunderstood. People cringe at the thought of blood, pain, sweat, and tears. But in her series, The Labor Process, Jenna has managed to show the beautiful, gentle, binding journey people go on when moving into parenthood. This project is extremely moving. To see such a moment of vulnerability communicated in a series of powerful images is special. We spoke to Jenna to learn about how she first had the idea, and to understand how the process of putting it all together was for her.

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