Black and white beach photography can be a really cathartic experience. Standing on the rocks hearing the crash of waves, feeling slight spray whilst watching the sun come down, can help the day’s worries just evaporate! After this blissful experience, you get home hoping for some gorgeous black and white masterpieces that you envisaged, but sometimes you end up with grey, lifeless images.

Let us show you 5 techniques that we use to get around this problem, when doing black and white beach photography. These will ensure that every time you go down to the sea, you will come back with unique photographs to be proud of.

During our recent trip to Cape Town, South Africa, Ally and I took a day trip to a tiny beach called Slangkop. (This means Snake Head in Afrikaans.) If you’re looking to go there, it is right next to a small village called Kommetjie. There is a beautiful old lighthouse there that dates back to 1919. This 33m high round cast iron tower looks so interesting from a distance that we hoped to get some amazing images of the area. We arrived mid afternoon and stayed until just after sunset. As you will see from the images in this article, the lighthouse was probably the least interesting thing to photograph, mainly because it closes at 3pm and is surrounded by a huge ugly electrified and barbed wire fence.

Why use black and white photography

One of the joys of photographing along the shoreline are the subtle colours one gets from the turquoise of the sea to the orange of the setting sun reflected off of rocks to the pale tan sand. It’s a watercolour painter’s dream, so why would we want to give up these amazing subtleties for a black and white image? There are a number of reasons, but the main ones we find are it forces you to look at the shapes of your scene and we end up with much better compositions.

Black and white can give you incredible dramatic images that any colour can dilute.

Everybody has taken photographs of the beach. Sofor your images to stand out you need to present them with something that’s not been seen hundreds of times before. Black and white photography will do this.

The 5 top techniques we use

1: Photography in the Golden Hour

The golden hour is the hour before sunset and after sunrise. It gives colour photographs a beautiful soft warm colour cast that is really desirable but what does it do for black and white photography? Well, we love shooting in the golden hour because the lighting gives objects a wonderful 3D feel with long and dark shadows. All the textures on rocks just come to life and even sand takes on a new textured look.

2: Silhouettes and contre-jour lighting

Of course the golden hour is perfect for photographing contre-jour. For a more in-depth look at contre-jour look at our article here.  By photographing into the sun you will find the scene take on new and interesting shapes as the light just touches the rim of objects, throwing the rest of the object into darkness. With large areas of darkness you can create mystery in your images as it leaves the viewer’s brain to fill in the details. Be careful with the extreme lighting as it’s really easy to totally blow out (lose all detail) in your highlights. If you’re photographing in an auto mode be careful as your camera could be lying to you by giving you the wrong exposure. Exposure compensation is your best friend in these situations.

There are so many interesting things on the beach to photograph and some of them take on a totally different look and feel when photographed as a silhouette. The stacked rocks have almost an alien world feel to them.

3: Details, details, details

The shoreline is like a fractal. The more closely you look, the more detail you see. Worlds within worlds. So why just photograph the big world everybody else is doing. Look at the details and sometimes some of the most interesting landscapes can be found there. Rocks and sand have so many beautiful textures on them but our favourite textures are to be found on old metal. When doing texture photography we look for old rusted structures wherever we go as they always give wonderful detailed images.

4: Polarising the light and filters

One of the must have filters for any outdoor photography is a polarising filter. A polariser will do so many things to both colour as well as black and white images. For our black and white beach photography we use it mostly to darken the sky. However it is also very useful for getting rid of reflections.

Slangkop lighthouse with a dark sky created by the polarising filter

The other filters we use in beach or any landscape photography are red or orange filters. This filter also darkens the sky (black and white photography only). We always have a UV filter on our lens to protect it as well. The protection is not just about damage either. Sea spray on your lens will degrade the contrast of the image and its so much easier to swap to a clean filter halfway through your shooting rather than trying to clean a lens in sandy sea spray conditions.

Be wary however of ‘stacking’ multiple filters on your lens. Unless they are the very expensive multi-coated variety, you will lose quality especially when photographing contre-jour. With wide-angle lenses you will also be adding a vignetting effect.

5: Neutral Density Filters for misty movement

Another technique is to use a long exposure to get a misty water movement. An ND filter will cut the light coming through your lens allowing you to do really long exposures that give the water a misty ethereal effect.

Don’t forget to use a stable tripod for these long exposures. Even the smallest bit of wind can cause subtle movement and ruin an otherwise perfect image. Usually, we try to put the tripod on rocks or really hard compacted sand to keep it totally steady.

If you are using film be aware of your exposure and reciprocity law failure and compensate accordingly. Depending on your exposure time you might even end up doubling the length of exposure to compensate. If you are not aware of reciprocity law then just bracket your exposures like mad.

Extra techniques – safety for you and your camera

The coastline and your camera don’t mix very well. Salty sea-spray will corrode your pride and joy so very quickly. Keep it out of the spray or sea mist as much as possible. This might mean keeping it in a bag when you’re not shooting or, if the spray is really fierce then put a clear plastic bag over it. (The ones you get for keeping food in work well.) Just cut a hole for the lens.

Be aware of changing lenses in areas where sand is blowing around. Once again sand and sensors don’t play well together.

Be aware of your surroundings. When we were photographing at Slangkop, I was so busy with an image that I didn’t see a very shifty looking person hovering around eyeing our stuff. Fortunately Ally was there, and some locals arrived too, so he scuttled off but if I was on my own things could have been very different.

Extra techniques – what settings should I use for best beach photography

We are doing a whole series on aperture, shutter and exposure compensation articles in this blog but the main thing about beach photography is that your camera can be fooled very easily. The bright sand and reflections off the sea make the camera think that there is more light than there really is so your images can turn out slightly underexposed. If in doubt, bracket a lot.

370,000 miles of unique possibilities

Around our planet there’s approximately 370,000 miles of coastline from stunning long sandy beaches to ragged cliffs. There is just so much variety and so many options to create unique and exciting images. Be safe, look for the less obvious and craft your own black and white beach photography and masterpieces every time.

The post Black and White Beach Photography appeared first on ImageExplorers.

Everyone has seen the images of scenes where the sky looks really dark and the clouds stand out and look awesome. From a slightly darkened down adjustment to an almost black sky these skies just bring out the cloud formations beautifully. We’d like to show you how you can also make the sky dark in a photo, whether it’s black and white film, black and white digital, colour film a or colour digital. Each requires a slightly different technique but by the end of this post you will be a “dark sky photo-ninja”!

Black and white film

Black and white film uses a full range of colour to create a full range of tones on your black and white negative. What we need to do, is to stop some or most of the blue in the scene from reaching and exposing the film. To do this we use a filter. The filter we need to stop blue is the opposite to blue on the colour spectrum, so a filter that is yellow, orange or red will do the trick. Try out different colours to achieve different amounts of darkness. See our post on what makes a good black and white image. New to film photography? See our guide on best film cameras for beginners.

To make the sky dark in a black and white film image use a yellow filter – Hoya make really good quality filters

A few things to note:

• Anything blue in the scene will also go darker.
• A filter stops light from getting to the film so if you are using a hand held meter you might need to compensate for the exposure. A through the lens meter should give you an accurate reading.
• (You can also use a polarizing filter like in colour film. See below.)
• Experiment with other colour filters. A colour filter in black and white photography will lighten the same colour and darken the opposite one.
• If you are printing your own photographs you can also ‘burn’ in the sky in the darkroom.

Colour Film

You can’t use a red, yellow or orange filter to make the sky dark in a colour film photo, as it will just give you a colour cast. So how do we do it? We use a polarizing filter.

Here is the techy-geek explanation first, and then I’ll do the normal human one after that.

Light reflected from a non-metallic surface becomes polarized. A polarizer allows light to pass in only one direction. This allows us to reduce reflections on non-metallic objects.

Light from the sky is also polarized, so a polarizing filter will polarize the light and reduce how much light enters the camera. As a result this will make the sky dark in a photo.

The normal persons explanation!

A polarizer will darken down blue sky but not affect clouds. (The effect is most prevalent on the area of sky that is at 90 degrees from the sun – Look at the sun and then the darkest sky will be at 90 degrees.). It will also reduce reflections which can make trees etc seem rather vivid in colour. To use the polarizer just turn the filter until the sky goes dark or the reflections disappear.

To make the sky dark in a colour film image use a polarising filter

A few things to note:

• This polarizing filter technique will work with both film and digital, colour and black and white.
• There are 2 types of polarizer. A linear and a circular. A circular CPL polarizer is best for modern cameras as linear polarizers can affect exposure meters and autofocus adversely.
• In case of a photographic emergency you can even use your polarized sunglasses in front of the lens to achieve a dark sky.

Black and white as well as colour digital

Lightroom or Camera Raw converter to the rescue. Find the HSL / HSB (Hue, Saturation and Lightness/ Brightness) tab in either software package. Choose the Lightness or Brightness tab and move the blue slider over to the left to darken down the blue of the sky. (This technique will also darken down any other blues in the image.) Not sure whether you want to colour or black and white? See our video on how to change colour to black and white in just 30 seconds.

Using Photoshop? See our Top 10 favourite shortcuts.

Use camera Raw to make the sky dark in a photo like this one of the Vatican statues

Anything else?

Do remember that a dark sky, whilst looking awesome, can also give the post–apocalyptic feel to some images that you might not be looking for. Photograph the same image with and without filters to give yourself more final options. If your sky exposures are a little out with the highlights and shadows, check out how you can rescue them with Camera Raw.

There you have it. A few ways to make the sky dark in a photo. Most of all – have fun doing it.

The post How to make the sky dark in a photo appeared first on ImageExplorers.

Embocraft are the the local South African heroes who are empowering local entrepreneurs with skills training. Making portraits of these amazing people was a bit difficult due to the low and very extreme lighting conditions involved and required low light photography techniques.

What is Embocraft

Situated just up the road from the Hillcrest AIDS Centre Trust / Woza Moya. Embocraft was started in 1986 to alleviate poverty in the surrounding areas. They do this by conducting skills training to help local entrepreneurs develop and launch their own craft businesses. Training offered there is in sewing, basic computer skills and the internet, welding and screen printing. Work is assessed as they go and feedback given to help improve where appropriate. They are the local heroes who are empowering local entrepreneurs.

Embocraft Sewing Class

As well as these, there is a conference room for hire and a shop where Woza Moya / Hillcrest AIDS Centre Trust also have their products for sale.

Making Images

We had the privilege of Goodness showing us around and we were free to make our own images. There was a sewing class and a welding class going on at the time. The lighting conditions in the welding class particularly called for low light photography techniques.

The classes are product based and the entrepreneurs learn how to make clothing, bags and kitchen accessories. As they go along, they receive feedback from their tutors. There was an excitement amongst those where they were able to learn something that would really benefit them and bring in an income.

Thandi inspecting some work – Embocraft Sewing Class

Welding Woes

The main issue we had with photographing was with the welding. It was very dark in that area and then we had the problem of the bright light of the ‘sparks’ in contrast necessitating us to pump up the ISO and using other low light photography techniques. Once finished though, it can give a very striking image. If we exposed for the welder before he started welding, then the image would be totally overexposed when the bright welding sparks kicked in.

One way around this is to set your camera to Auto and then compensate using the exposure compensation buttons. What we did though, was to shoot manually. We took a reading from the scene and then stopped down a few stops to compensate for the light from the welding. We then did a test to see how much we needed to change it. The final resulting images look very dark, but with some Raw adjustments, we were able to pull back a lot of the details whilst still keeping and showing details in the welding sparks. See our tutorial on exposure compensation and how you can do all this in Raw.

Welding class at Embocraft

Welding class at Embocraft – necessitated low light photography techniques

Embocraft is another model example of the way that South Africans have found to help one another in tough times. It is staffed by people who care deeply about what they do and although money is always needed to make these organisations run, it is secondary to the well-being of everyone involved.

The post Embocraft – Unassuming Local Heroes and Low Light Photography appeared first on ImageExplorers.

The light meter in your camera is a very useful tool, but there are times when you need to know that it’s actually lying to you. So how you can overcome it? Exposure compensation to the rescue.

Firstly, let’s look at what the camera light meter sees. The light meter shows a scene as being correct when it averages to perfect grey. Great for most images but it means that if you’re trying to photograph a white polar bear in snow your camera will give you the perfect exposure reading to make the snow and bear a mid-grey. This is a perfect time for exposure compensation. By adding 1, 2 or even 3 stops of light we can make the grey go white and compensate for the camera’s incorrect exposure. Exactly the opposite for a black cat sitting on a black mat. We need to give the camera less light than it thinks it needs so that the cat will look black and not come out grey.

“But I don’t photograph polar bears and my cat is already grey”, I hear you cry!

Okay, so how about a sunset or sunrise? All that sun shining directly into the lens as well as a dark foreground, can fool the camera into giving you an exposure that results in an image which doesn’t look like you envisaged it.

Without exposure compensation (the camera’s ‘correct’ exposure), on this image of shipwreck in Cyprus, the sky looks too light

By using exposure compensation on the shipwreck in Cyprus we can make the sky more pleasing, but everything else is too dark, but we then use dodge and burn techniques to correct this. See image at end of post.

How about the photograph of your loved one standing on a beach in the shade of a palm tree? The camera looks at the scene and makes its exposure decision based on the sunny background so the small person in shade in the front is too dark but the bright sunny background is perfectly exposed.

Correct exposure doesn’t always mean a pleasing image

So how do we fix this?

Well, if you’re photographing in manual mode, you can just adjust your shutter, aperture or ISO a few stops to compensate for this. If you are photographing in an auto mode like aperture or shutter priority, or even program mode, then most cameras have an exposure compensation button.  This allows you to over or underexpose a scene to compensate for the camera’s light meter.

So far so good but sometimes you want the perfect exposure for the bright sunset so the sky looks beautiful. Not only that but you also want the dark foreground to look bright and vibrant too.

Well there are various ways you can have your cake and eat it.

Option 1 – Bracketing

This means taking 2 or 3 (or more) images of exactly the same shot with different exposures. Most cameras have a bracketing function built in, where it will take a number of shots, a number of stops over and under your original choice of exposure.

So what next? You open Photoshop and this is where the magic happens! Photoshop will allow you to merge these multiple images into an HDR file so you can have details in the dark as well as light areas.

Using 2 images of different exposures (circled in red) to create a third HDR image

Although one can do this in Photoshop, (you get there by selecting multiple images in Bridge and choosing Merge to HDR from the tools and Photoshop sub-menu), I would recommend using a different piece of software. Aurora HDR 2018 seems to give much more pleasing results than Photoshop.

Option 2 – Dodge and Burn

Use an image that shows the most detail in both areas. Lighten the darker areas with either a dodge tool in Photoshop or an adjustment brush in Raw (much better quality). Now darken the light areas with a burn brush in Photoshop or an adjustment brush in Raw. See our before and after tutorial of Queen Carolines Temple in Hyde park.

Similar image from shipwreck set –  with a bit of dodging and burning in Photoshop Raw to bring the ship and rock details to life

Option 3 – Shadows/Highlights

In Photoshop there is an adjustment setting in the adjustment menu called the Shadows/Highlights. This amazing adjustment allows you to lighten the darker areas and darken the light areas of an image. (You can achieve a similar result in Raw with the Shadow and Highlights sliders. You will also need to up the Saturation and Contrast a bit.)

Correct exposure doesn’t always mean a pleasing image – image copyright Adobe

Using the Shadows/Highlights tool as a form of Exposure Compensation

Finally, if your images show too much detail in the shadows and highlights area there are numerous ways of increasing contrast to get more “punch” but a quick trick is to use the Dehaze tool in Photoshop Raw. See a video tutorial here and our favourite Photoshop shortcuts here.

The post Why Your Camera Lies to You – Exposure Compensation appeared first on ImageExplorers.