About this item
Black-and-white photography poses unique challenges; without color to guide the eye, contrast, lighting, and composition take on even more importance. In Creative Black and White, 2nd Edition, renowned photographer Harold Davis explains these elements and demonstrates the basic rules of black and white photography, as well as when and how to break them. He breaks through the complexity of this photographic medium, explores opportunities for black-and-white imagery, and shows how to capitalize on each and every one of them. This new, revised, and expanded edition brings the tools up to date with extended sections on monochrome in Lightroom, Photoshop, and related plugins. TABLE OF CONTENTS THE MONOCHROMATIC VISION Past, Present, and Future Thinking in Black and White Contrast Color Implied The Tonal Landscape Visual Implication Seeing in Black and White Pre-Visualization Techniques Black and White Composition Framing Patterns and Lines Shape and Form High Key Low Key Shades of Gray Finding Monochromatic Subjects Black and White at Night Photographing People Portraiture in Black and White BLACK AND WHITE IN THE DIGITAL ERA Digital Black and White Roadmap The RAW Advantage Black and White in Adobe Camera RAW Black and White in Lightroom Grayscale Conversion Using Presets HSL Conversion Exposure Gradients and Adjustments Exporting Virtual Copies into Photoshop as Layers Multiple Layers and Masking in Photoshop Multi-RAW Processing in Photoshop Black and White in Photoshop Blending with Black Using the Channel Mixer Black & White Adjustment Layers Silver Efex Pro Topaz B&W Effects OnOne Perfect B&W The Digital Analog to the Analog Zone System Combining Conversions in Photoshop CREATIVE BLACK AND WHITE OPPORTUNITIES Lighting and Monochromatic Photos Creating High-Key Effects Creating Low-Key Effects HDR in Black and White Shooting for HDR Using HDR Software Toning and Tinting Tinting with a Black & White Adjustment Layer Split Toning The Ansel Adams Effect Selective Color Hand Coloring Using LAB Color Inverting the L Channel Equalizing LAB Channels Swapping Tonalities Using Blending Modes LAB Inversions Soft Focus Adding Soft Focus Pinhole Effect Solarization Using Curves to Solarize an Image Simulating the Blossfeldt Effect Duotone and Tritone Effects Adding and Reducing Noise Film Effects Infrared Camera Conversions Infrared Conversion without an IR Camera Creating X-Ray Images MOBILE BLACK AND WHITE Black and White using a Cell Phone Camera Working with Snapseed Toward a Monochromatic Mobile Workflow Notes and Resources Glossary Index.
About the Author
Harold Davis is widely recognized as a leading contemporary photographer and artist. He is also the author of more than 30 books, including Creating HDR Photos: The Complete Guide to High Dynamic Range Photography from Amphoto/Random House and Photographing Flowers: Exploring Macro Worlds with Harold Davis which is published by Focal Press, and has been called "one of the most beautiful books ever created. "Harold Davis believes that advances in the technology and craft of digital photography have created an entirely new art form. Trained as a classical photographer and painter, his photographic images are made using special HDR (High Dynamic Range) capture techniques that extend the range of visual information beyond what the eye can normally see. Davis creates and processes his images using wide-gamut and alternative digital methods that he has invented. His techniques combine the craft of photography with the skills of a painter. Photographic adventures and assignments have taken him across the Brooks Range, the northernmost mountains in Alaska. He has photographed the World Trade Towers, hanging out of a small plane, followed in the footsteps of Seneca Ray Stoddard, a 19th-century photographer of the Adirondacks, and created human interest photo stories about the residents of Love Canal, an environmental disaster area. Harold is well-known for his night photography and experimental ultra-long exposure techniques, use of vibrant, saturated colors in landscape compositions, and beautiful creative floral imagery. He makes his over-sized original prints on unusual substrates such as pearlized metallic and washi rice papers. Davis states, "I believe that nothing like my prints has ever been seen before. They simply could not have been created until recently. I've been able to innovate in a domain where many techniques and crafts have come together for the first time. My prints are made meticulously, and have a 200-year archival rating for ink and paper if they are handled properly.
