[Photography] 9 Night Photography Tips for Nailing Your Exposure (Every Time)

The post 9 Night Photography Tips for Nailing Your Exposure (Every Time) appeared first on Digital Photography School. It was authored by Jim Hamel.

In this article, I’m going to tell you everything you need to know about getting beautiful night photography exposures.

As a longtime night photographer, I’m well-equipped to share with you the best night exposure techniques – so that you can create stunning shots every time you take out your camera.

Specifically, I’m going to discuss:

• the best exposure mode for night photography
• the best night photography shutter speed, aperture, and ISO settings
• a quick way to check your night exposures
• much, much more!

So if you’re ready to become a night photography master, then let’s get started!

Note: If you’re serious about night photography and want to really take your night photos to the next level, check out my night photography course. It offers easy-to-follow night photography tutorials with hours of helpful videos and case studies.

1. Work in Manual mode

Here’s your first night photography tip, and it’s a big one:

Make sure you’re shooting in Manual mode.

In Manual mode, you will set the shutter speed, aperture, and ISO. This gives you complete control over your camera.

When shooting at night, your camera will be on a tripod, and you will be working slowly. So there is no need to use any automatic mode; even if you’re not totally comfortable with camera settings, you can take your time, carefully dialing in your aperture and shutter speed and checking your exposure.

Further, there might be a little trial and error with the exposure settings (the camera can be fooled by the large differences in bright and dark areas of the picture), and you want to make sure you have plenty of control over this process.

Manual mode gives you that control.

4s | f/5.6 | ISO 400

2. Make sure you are comfortable with Bulb mode

Manual mode only works for exposures up to 30 seconds.

So if you need a shutter speed that is longer than 30 seconds, the only option is Bulb mode. Therefore, while you should generally shoot in Manual, you should also get comfortable with Bulb.

In Bulb mode, the shutter stays open as long as you hold down the shutter button. When you hit the button, the shutter opens. When you release the button, the shutter closes.

(Of course, to avoid introducing any shake or movement into the exposure, you must use a remote shutter release when working in Bulb mode.)

With Bulb mode, you can make your exposure several minutes long. If your remote shutter release doesn’t have a built-in timer, make sure you keep another timer handy (e.g., on your phone).

Also, if your remote does not have a timer, make sure it has a locking feature, so you don’t have to hold the shutter button during the entire exposure.

6s | f/5.6 | ISO 1600

3. Shoot in RAW

When shooting at night, it is particularly important to make sure you are shooting in RAW format.

RAW files coming out of most cameras are 14 bits, whereas JPEGS are only 8-bit files. The more bits, the higher the range of available colors and the smoother the transitions between them.

(In other words: RAW files look better.)

Plus, most of the colors a camera can capture are at the top (bright) end of the scale. The range of available colors at the low (dark) end of the scale is extremely limited. At night, your pictures will almost always include a large dark portion. A JPEG file, with its reduced color options, will likely display (very ugly) banding.

So always, always, always shoot in RAW.

4. Bring a flashlight

Knowing your camera controls pays off at night. You can make changes to the settings without being able to see everything.

Nevertheless, a small flashlight is tremendously useful. Keep one handy to make sure you can see everything on your camera and tripod.

(It occasionally comes in handy for lighting areas of your picture, as well!)

10s | f/9 | ISO 200

5. Choose proper settings

Proper settings will always depend on the situation. Nevertheless, there are some helpful guidelines for choosing settings at night:

• Aperture: Open up your aperture more at night than you would during the day (i.e., use a lower f-number). Most night photographs tend to require less depth of field than shots during the day. Plus, the background and sky will be black. The larger aperture also has the benefit of letting more light into your camera.
• ISO: Keep your ISO setting as low as you can. Night photography always has dark areas, and these dark areas inevitably lead to digital noise. Raising the ISO will compound the problem.
• Shutter speed: Whereas shutter speed might be the first exposure setting you worry about during the day, it should generally be the last one you think about at night. Since you will be shooting from a tripod, you can let the shutter stay open as long as you need. If you have traffic (streaking lights), a fountain, or running water in your picture, the longer shutter speed will create a very cool effect. (Note, however, that if you’re shooting in high winds or if the ground is unstable, you’ll need to boost your shutter speed to prevent blur.)

One other setting to check is Long Exposure Noise Reduction, which will be in your camera’s menu. If you enable this option, the camera will take two exposures, one normal and one with the shutter closed. Your camera will then use the second image to filter out noise from the normal picture.

Of course, photos shot with this option enabled will take twice as long to expose, but they’ll also be less noisy.

6. Meter for the highlights

Determining the proper exposure level can be tricky at night, and each metering mode presents its own challenges.

If you use evaluative metering, the camera is likely to be confused. If you use spot or partial metering, the meter will jump around, depending on whether you’ve aimed at a bright light or a dark background.

One answer to this problem is to use spot metering and expose for the highlights. So meter off the highlights, then set your exposure between +1 and +2. The +1/+2 setting will keep your highlights looking bright but will also keep the highlights within the dynamic range of your camera.

Do not worry as much about the dark portions of your picture. If the dark areas happen to turn black, it is nighttime, so there is supposed to be some black. But you can always take test shots and adjust as necessary.

5s | f/16 | ISO 400

7. Take a test shot at a high ISO

You should make liberal use of test shots when shooting at night.

However, you generally don’t want to sit around for 30 seconds, a minute, or even longer, just waiting to see if the test shot is going to work out.

So the best way to create a test file without wasting a lot of time is to take a shot at a much higher ISO than you would ordinarily use.

Let’s say you think the proper exposure settings for a given shot are 30 seconds at f/5.6 with an ISO of 400. Rather than taking that shot and waiting around 30 seconds for the exposure, just crank up the ISO, then boost the shutter speed by the same number of stops. The exposure will stay the same, but it will take much less time to capture the test picture.

For the above example, I would raise the ISO to 6400. Why? Well, raising the ISO by one stop takes it to ISO 800, two stops increases it to ISO 1600, three stops to ISO 3200, and four stops gets you to ISO 6400.

Once you’ve set your ISO to 6400, you can reduce your shutter speed by four stops to 2 seconds. After all, reducing the shutter speed by one stop shortens it to 15 seconds, two stops shortens it to 8 seconds, three stops to 4 seconds, and four stops takes the shutter speed down to 2 seconds.

Then, when you are satisfied with your exposure, just decrease the ISO and lengthen the shutter speed by a comparable amount to get back to the final settings.

8. Bracket your photos

Night photography is one area where you will want to bracket your photos. Blending and HDR can work wonders at night, but even if you don’t like to use those processes, bracket your photos anyway. Think of it as exposure insurance.

After all, if you overexpose or underexpose your file, having a bracket on hand will be the difference between a failed and a successful photoshoot.

30s | f/11 | ISO 200

9. Verify the exposure with the histogram

After you have taken your exposures, you should always check them on your camera’s rear LCD.

However, while the picture on the LCD will show you if the exposure is close to correct, you should also check the histogram.

Why?

Because a histogram is more accurate than your camera’s LCD. You can use it to carefully determine whether the exposure is within your camera’s dynamic range.

Specifically, make sure to keep the highlights on the right side of the histogram, but avoid a spike on the far right. If the dark areas spike on the left side of the histogram, that’s okay; parts of your picture are supposed to be black.

In general, however, keep as much of the image as possible within the range of the histogram, though err on the side of keeping the highlights from blowing out.

4s | f/11 | ISO 400

Night photography exposure: final words

When you follow the night photography exposure tips I’ve given above, you are likely to get some great shots. Every city lights up its major attractions, bridges, and museums – often in colorful ways. So a scene that might be boring during the day can offer great photos at night.

Because of the effects of the lights, you’ll often be surprised by what you end up with (in a good way!). Taking your time and applying these tips to nail the exposure will help you maximize the experience.

And remember:

If you want to improve your night photography skills fast, then check out my night photography course. It’ll teach you everything you need to know about night photography through hours of helpful videos and case studies!

The post 9 Night Photography Tips for Nailing Your Exposure (Every Time) appeared first on Digital Photography School. It was authored by Jim Hamel.

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[Photography] How to Create Environmental Portraits (Tips and Examples)

The post How to Create Environmental Portraits (Tips and Examples) appeared first on Digital Photography School. It was authored by Darren Rowse.

Are you looking to capture stunning environmental portraits?

You’ve come to the right place.

In this article, I’m going to share everything you need to know about environmental portrait photography.

And by the time you’re finished, you’ll be ready to create some beautiful portraits of your own!

Let’s get started.

What is an environmental portrait?

An environmental portrait is a photo taken of a person in a place that says something about who they are. It is often a place where they work, rest, or play.

Why do I prefer environmental portraits?

Environmental portrait photography:

• gives context to the subject you’re photographing
• adds additional points of interest to compositions (though this is something you need to watch, as you don’t want to distract from your subject too much)
• helps the subject relax
• often gives the viewer real insight into the personality and lifestyle of your subject

Environmental portraits sit somewhere between the purposely posed shots of a studio portrait (environmental portraits are posed and are unmistakably portraits) and candid shots, which capture people almost incidentally as they go about their daily lives.

Now let’s turn our attention to some how-to tips for stunning environmental portraits:

Tips for beautiful environmental portrait photography

Capturing gorgeous environmental portraits can seem tough.

But there are actually a few simple ways to enhance your portrait photos, starting with:

Spend time getting to know your subject

Before you select a location and start shooting, spend some time getting to know your subject.

Find out where they spend their time, what the rhythm of their life is like, and how they behave.

This will not only help you find appropriate locations but will also help you get a feel for the style of shots that might be appropriate for the session.

Plus, you’ll begin the process of helping your subject relax! If you can, you might even want to accompany your subject to some possible locations; that way, you can see both whether the location suits them, as well as how they behave and interact there.

Choose the right location

Sometimes a location chooses you – but on other occasions, you need to be quite deliberate and purposeful when making your choice. It can take a lot of searching.

You ideally want to find a location that:

• says something about your subject. After all, that’s what this style of photography is all about.
• adds interest to the shot. As I’ve written in previous tutorials, every element in an image can add or detract from the overall look. The environment in which you place your subject needs to provide context and interest without overwhelming the composition.
• doesn’t dominate the shot. Sometimes the location can dominate the image so much that it distracts your viewer from your main focal point (i.e., the subject). So try to avoid cluttered backgrounds (and foregrounds) and colors that are too bright, etc. Keep in mind that you might be able to remove the distractions with clever cropping, depth of field, and subject placement.

Use props naturally

Props can make or break an environmental portrait.

If your props are subtle and naturally fit in the environment, then they can be very appropriate and add to the image nicely.

But you’ll want to avoid any props that don’t quite fit or that distract the viewer.

The same goes for the clothes that your subject wears. Try to be true to the context without getting too outlandish.

Think about posing your subject

What sets an environmental portrait apart from a candid portrait is that you pose your subject.

(In truth, it’s a fine line between candid portraits and environmental portraits; you might end up doing a bit of both in any given shoot.)

Don’t be afraid to direct your subject to sit, stand, or act in a way that fits the environment. Some of the poses might seem slightly unnatural and dramatic, but it’s often these purposely posed shots that are more interesting and give a sense of style to your photography.

The expression on the face of your subject is also very important in environmental photography, and you should consider how it fits with the overall scene.

For example, if you’re shooting in a formal environment, it may not be appropriate to photograph your subject with a big, cheesy smile; you might prefer a more somber or serious look.

Ultimately, just mix it up to see what does and doesn’t work!

Deliberately choose your camera settings (especially your aperture!)

There is no right or wrong way to set up your camera for an environmental portrait. It will depend completely upon the effect you’re after and the shooting scenario.

You might find that shooting at a smaller aperture (i.e., a larger f-number) will be appropriate as it’ll help keep the foreground and background in focus.

I generally shoot environmental portraits with a wider focal length to give the environment prominence in the shot.

Of course, that doesn’t mean you can’t shoot with a longer lens or with a large aperture and shallow depth of field. In the end, anything goes – plus, you’ll probably want to mix up your shots a little.

How to photograph environmental portraits: conclusion

Environmental portrait photography is a great way to create unique and beautiful images.

So the next time you’re doing portrait photography, try applying some of these tips.

You’ll love the results!

Now over to you:

Have you done any environmental portrait photography? What tips would you give other readers? Feel free to share your tips (and images!) in the comments below.

The post How to Create Environmental Portraits (Tips and Examples) appeared first on Digital Photography School. It was authored by Darren Rowse.

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[Photography] Weekly Photo Challenge – Shadows

The post Weekly Photo Challenge – Shadows appeared first on Digital Photography School. It was authored by Sime.

“Simply speaking, a shadow is an absence of light. If light cannot get through an object, the surface on the other side of that object (for example, the ground or a wall) will have less light reaching it” – Science Learning Hub

#dPSShadows

After the ‘lighting’ theme last week, this week we’re about the lack of light, or ‘shadow’ – and really, unless you live in a dark cave, void of light, you have no excuses to not go out and capture a shadow in some form – the idea behind these challenges being to make you think about what you’re photographing and work at getting better every time.

Camel Shadows by Simon Pollock

I remember the first time I took a specific shadow photograph, that’s it above, and it really was that orange in the late afternoon light of the amazing Sahara Desert in Morocco… It was a bit typical “People on camels” but it was an amazing experience and I loved the shadow photo (This was a Canon Powershot Pro 1… should tell you how long ago that was!) I’ve been noticing shadow to this day. SO, go forth and capture shadows! Share them in the comments below, on instagram or Facebook and make sure you tag us! (Details below)

Missed a Challenge? Don’t sweat it, find all of our previous challenges here!

Share on Instagram or Twitter and use the hashtag #dPSShadows so we can see them!

How do I upload my photo to the comments?

Simply upload your shot into the comments field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them.

The post Weekly Photo Challenge – Shadows appeared first on Digital Photography School. It was authored by Sime.

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[Photography] Sony Unveils Three Compact Prime Lenses for E-Mount Cameras

The post Sony Unveils Three Compact Prime Lenses for E-Mount Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Last week, Sony announced three E-mount lenses:

The FE 24mm f/2.8 G, the FE 40mm f/2.5 G, and the FE 50mm f/2.5 G; all promise to deliver excellent optics in a compact form.

The three lenses will launch this May. Designed as a set, they offer a beautifully wide field of view on the 24mm end for scenic shots and environmental portraits, plus a standard perspective at the 40mm and 50mm focal lengths, perfect for portraits, street photography, and even detail shots.

Sony explains, “The lenses were designed for a wide range of photo and video uses including portraiture, landscape, street photography, and more…With these three dynamic lenses, our customers can capture a wide range of perspectives with the excellent resolution and beautiful bokeh that Sony’s G lenses are known for.”

And while we can’t currently confirm the resolution of these lenses with a hands-on review of our own, sample images look very nice, and Sony’s own tests show tack-sharp results especially when stopped down to f/8. If you’re an APS-C shooter who demands the highest optical quality, or you’re working full frame and want some compact-yet-capable prime lenses, the 24mm f/2.8, 40mm f/2.5, and 50mm f/2.5 will deliver.

Plus, all three lenses offer fast maximum apertures, which translates to lovely bokeh – especially on the 50mm f/2.5, but also on the 40mm f/2.5 and even the 24mm f/2.8 when shooting close-ups.

Of course, f/2.5 and f/2.8 maximum apertures will get you more than just creamy backgrounds. With a wide aperture, you can shoot indoors or at twilight while still maintaining a reasonable ISO, so you can photograph events and night portraits – or record low-light video – and come away with clean results.

Sony also promises “fast, precise AF with excellent tracking performance” and top-notch build quality (all three lenses are dust and moisture resistant).

But while strong build quality, image quality, and focusing do make for a powerful package, even more impressive are the lenses’ compact builds. Travel photographers, street photographers, and videographers will love the pocket-sized design, perfect for on-the-go shooting, long hours behind the camera, and international travel. In fact, all three lenses are identical in size, so you can pack them all without sacrificing weight or space. Check out the lenses next to one another:

And the prices are surprisingly reasonable. You can grab each lens for just $600 USD – not bad at all, given the optics, build quality, and AF capabilities.

So if you’re a Sony shooter in need of a new lens (or two, or three) for travel photography, portrait photography, street photography, or handheld videography, I highly recommend you take a closer look at these options. You can currently preorder the 40mm f/2.5 G here, the 50mm f/2.5 G here, and the 24mm f/2.8 G here.

Now over to you:

What do you think of Sony’s new bundle of prime lenses? Are you impressed? Are there any features that you wish Sony would’ve included? Share your thoughts in the comments below!

The post Sony Unveils Three Compact Prime Lenses for E-Mount Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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[Photography] 10 Tips for Beautiful Black and White Headshots

The post 10 Tips for Beautiful Black and White Headshots appeared first on Digital Photography School. It was authored by John McIntire.

Black and white has long been a popular way to capture headshots with impact and visual interest. The lack of color helps to emphasize the subject while discarding information that isn’t relevant. 

And in this article, I’m going to share 10 black and white headshot tips to help you get the best results.

Let’s get started.

Headshots vs. portraits

A headshot is always a portrait, but a portrait (including a closely cropped portrait) is not always a headshot. Remember, headshots (no matter the type) come with a specific goal.

If you’re new to portrait photography, it might help to clear up what a headshot actually is before you try to create one.

Portraits: In general terms, a portrait photograph is a representation of a person. Portrait photography is a broad genre that encompasses nearly every subgenre that involves photographing people. It doesn’t matter if we’re talking studio portraits, street candids, or fashion photography. If it has a person in the frame, it’s probably a portrait.

Headshots: Headshots are a subgenre of portrait photography. The difference is that headshots serve a very specific purpose. Whether it’s actors’ headshots or corporate headshots, the purpose is to sell something. That something could be an actor’s ability to fit a role’s physical requirements, or it could be your business professionalism.

Headshots are limited to close-up images of the subject’s head. They can also include head and shoulders as well as half-length shots. Before capturing a headshot, it’s important you understand where and how the photo will be used so you can get the right shot for the right purpose.

Tips for black and white headshots

Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/80s | f/5.6 | ISO 100

There are no hard and fast rules for creating headshots. However, following these tips will hopefully help!

And as always with photography, remember: There is no one way to do anything.

In other words, nothing listed here is a rule of any sort. If a tip fails to help you get the results you want or need, then discard or revamp it.  

1. Remember that a headshot is different from a portrait

Yes, we’ve already discussed this – but when you’re in the middle of a session, it’s easy to get caught up and start changing your approach. This may not be a problem in a normal portrait session, but with headshots, you need to make sure you’re focused on the specific end result. If you change tack and the results aren’t showing your subject in the desired manner, you’ll have wasted time and effort on images that are unsuitable for the subject’s uses.

One way to help keep you on track is to ask your subject to share the purpose of their headshot. Allow them to be as specific and detailed as possible. Once you have an answer to that question, you should find it much easier to stay on track. 

If you are photographing an actor with representation, ask them for their agency’s headshot guidelines (or ask the agency yourself). This will give you a strict set of limitations and help to ensure you get the required result. 

2. Getting it right in-camera is just as important as ever

By shooting with black and white in mind and getting it right in-camera, you can help make the conversion process much easier.
Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/125s | f/5.6 | ISO 100

Depending on where your headshots are going to wind up, you might find that you can’t do any edits beyond basic retouching. You should be allowed a black and white conversion and some basic blemish removal, but much more than that might not be acceptable. 

Therefore, do whatever you can to get your images right in the camera. Light your images well with good exposure and good contrast. Learn your lighting patterns and use a meter if you have to. 

Get this step right, and you might find that you have little more editing to do beyond the actual black and white conversion.

3. Start in color

It might be tempting to set your camera to a black and white mode at the point of shooting. You can do this – but if you shoot JPEGs, I would advise against it.

By choosing this route, you will be discarding a huge amount of color information at the very beginning. For the best conversions, you’ll want to later manipulate your color information to get the very best black and white results.

(However, note that RAW shooters can use a black and white mode while still retaining color information.) 

4. Avoid shooting to crop

By cropping down to a head-and-shoulders composition, you discard most of the information in the frame. Instead, try to get your compositions right at the shooting stage.

This might be controversial, but I’ll stand by it. When you are creating black and white headshots, try to get your composition as close as possible to how you want it to end up.

Doing this will ensure that your images are as big as possible and have as much detail as possible when you pass them on to your client. If you shoot before cropping out significant parts of your image, you will lose out on a large chunk of resolution.

5. Control contrast with light, not post-production

Using a medium-sized octabox up close allows for extremely soft light, thus controlling the contrast. Also, at camera right, you see a background light that reduces the overall contrast in the image.

This point goes back to getting it right in-camera, but specifically for lighting.

One of the quickest ways to ruin a portrait is to add a lot of unnatural contrast in the post-production phase.

Avoid this by setting up your lights to get the contrast you want from the very start. 

You can do this through modifier selection and lighting ratios. 

6. Use fill to control your contrast

Left: Without fill. Right: With fill. Here you can see how a fill light might help you lift the shadows and control the contrast in your images.

If you want to decrease contrast, make sure to do it in-camera.

You can do this with fill light. Whether you work with a dedicated second light source or a reflector, introducing fill into your images is a great way to control exactly how your black and white headshots turn out.

7. Think in values rather than color

In this image, you can see four distinct areas of value: The highlights of the skin, the midtones of the sweater, and two shadow areas for the hair and the background. Being able to see these at the time of shooting will help you design your black and white headshots better.
Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/160 sec | f/4 | ISO 100

Because you are starting in color, it can help to think of things in terms of values.

At its most basic, value simply describes where colors fall on a spectrum between pure white and pure black.

Now, once converted to black and white, almost everything in your images will appear as a shade of gray. If you can visualize how the colors you see with your eyes will be represented in a black and white conversion, you will be better able to design your lighting before your subject even arrives. 

How do you learn to do this?

Practice. A lot of it.

Get out there and photograph anything and everything you can, then convert to black and white so you can build this skill.

Remember, different conversion techniques affect color and value in different ways, so be sure to practice with as many conversion methods as possible. 

8. Minimize details in the frame

Because we are talking about headshots, you’ll need to remember that the entire point of the photograph is the person. Any extra details will only serve to detract from your subject.

So do what you can to minimize the impact of the background, the subject’s clothing, and other elements in the photo.

For backgrounds, you can focus your efforts on finding the cleanest, most non-distracting backdrop. For clothing, ask your subjects to dress without distracting elements that would take the focus off of them. Patterns can be fine, but it might be best if you avoided particularly bold choices like leopard-print and zebra-stripe tops.

9. Focus on form

When you are lighting your subject, take the time to ensure that you’re using the light to shape their features in the best way possible.
Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/100s | f/9 | ISO 100

This goes back to basic lighting skills.

You need to shape your subject’s face in a flattering way that also helps it stand out in the frame.

You are trying to minimize other details, so it is the subject’s features you must focus on. Make as much use of them as you can. 

10. Eyes and expressions are more important than ever

With headshots, expressions and eye contact are more important than ever. Do what you can to develop a rapport with your subjects.

As the goal of a headshot is to make your subject look as good as possible, and as you have already reduced the impact of distracting elements, your subject’s eyes and expression become more important than ever. 

Lighting for the eyes will keep them bright and prominent in the frame. Doing this also means you won’t have to spend time processing the eyes, which might work well for your client’s requirements. 

Also, to get the best expressions, ensure that your subject is comfortable and that you have a good rapport with them.

Black and white headshots: (not) the end

On their own, headshot photography and black and white photography are broad topics that are truly impossible to distill into a short list of tips. However, I do hope that these ten tips for black and white headshots will help you get started on your journey.

As always, none of these tips are rules, just guidance. If you feel that something I said doesn’t suit you or your photography, that’s perfectly fine.

Now over to you:

Which of these black and white headshot tips did you like the most? Do you have any tips for black and white headshot photography? Share your thoughts (and photos) in the comments below!

Should I shoot headshots in black and white mode?

If you’re shooting in JPEG, no. But if you’re shooting in RAW, you can decide whether to shoot in black and white or color (you won’t lose any image information in either mode).

Is black and white a good option for headshots?

Yes. Black and white allows you to strip down the information in the photo to its key elements (in this case, the person whose headshot it is).

What kind of light should I use for headshots?

Any soft light that flatters your subject is a good choice.

How should I do black and white conversions for my headshot photography?

Use whatever method suits you and your workflow best. Photoshop and Lightroom both offer great options for black and white conversions.

The post 10 Tips for Beautiful Black and White Headshots appeared first on Digital Photography School. It was authored by John McIntire.

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