According to the science the televisions are made with a verywonderful techonology and i can tell u a bit of it.
tv's are mainly depends on the crt, that's the cathode ray tube in which like encoder, camera tubes, colour camera, mirror system and the lensthat is the structure of the tube in crt's , and where the input of the transmitted signal is put through the encoder first and the result we watch pictures on the lens that's the front of the screen its use to effect if u increase the brightness and contrast on these kind of television because the rgb guns use to burn quickly and ur colour tv would show no colour any longer but green or red orblue back ground but now plasma is the modern version and the slimmer tube that's the screen like lcd's , since the screen is build of tiny molecule kind of dots and no tubular structure to ware out the rgb colour guns which use to fire the desired colours on the screen on before models of televisions now it works as lcd screen without so much work in it and lcds are designed to get rid of all these kind of problems and handy too.
since i can't explain u thoroughly but i'll come to the point-u can increase the desired contrast without any problem , but one thing u have to take care of is never leave any numbers or the channel logos on the screen as u might get a colour patch on it permenantly.
Can you make an image high contrast in the program gimp?
Yes, that's easy!!!. Click Colours > Threshold - then adjust the middle slider (black triangle) until you get the effect you desire. This will produce black and white only, with no gradations of grey.
If you don't want such a stark black and white effect, click Colours > Desaturate, then Colours > Curves - click and drag two points on the diagonal line to make an S bend, the more bendy the S, the higher the contrast.
Another way to convert to high contrast black and white involves using the Colours > Components > Channel Mixer > selecting Monochrome, and Preserve luminosity, you can then adjust the channel sliders until you get the effect you want.
Can anyone recommend a 35mm film that will produce a very grainy high contrast photo. 1940's style?
Yikes...I usually try to avoid getting too much grain. But what you probably want then is a 400 ISO or above film. Also, this depends, do you want a color film or black and white? I didn't like Kodak T-MAX BECAUSE it has extremely high contrast and is very unforgiving with the exposure. But in your case, it might be what you're looking for. It's a black and white film. But I would think that any film above 400 ISO might get the look you want.
Like I said, I don't know whether you're looking for color film or black and white. Ilford Hp5 plus is another black and white film that is a little grainy. It's 400 ISO. But the contrast is more normal. For my case, where I want landscape photos with very warm tones, I don't like too much contrast. So I don't know if it will be what you're looking for.
Anyway, those would be my suggestions. Definitely Kodak T-MAX will probably give you the look you want. I think it comes in 100 ISO and 400 ISO. The 400 speed film should give you grain, and high contrast. But like I said, it's very unforgiving with the exposure. You really have to nail it just right. That film is just plain mean to beginners!
Try Going to the Start Menu, then Control Panel > Appearance and Personalization > Personalization (or 'Change the theme', under the subtitle 'Personalization'), then select a theme from the list that pops up.
Hope this helps,
how do i take high contrast with deep shadow photographs?
if you have photoshop...work with the curves option under Image>Adjustment>Curves...if not try hdr (three or more shots of the same subject at different exposures fused together as layers...but the frames have to be taken very quickly). here is a website for that http://abduzeedo.com/how-create-hdr-photos-hdrphotomatix-tutorial
as far as for shooting at night...try painting with light...there are lots of websites on it...just google it
Why do I see a blue and orange outline on high contrast black and white shapes?
No, at least not to a level that it's noticed.
In spectacle wear, especially with high-index (thin) lenses, it's common and is caused by chromatic aberration. It becomes more apparent the further the line of sight is from the centre of the lens.
To see it in an uncorrected eye might indicate no more than a small undetected refractive error, or could just indicate a rarer condition such as a tilted or slightly displaced intraocular lens. (Though this is very rare and should not be assumed)
Is it of the same prominence in each eye, with the same orientation of colours?
The first step would be a routine eye examination to eliminate the simple, likely and obvious possibilities.
How do you achieve that high contrast, grainy green-tinted look on your photograph?
Well in the movies they just don't correct for the fluorescent lights in the scene. Shooting with available light requires a higher ISO film .. hence the grain. That's it.
You can do the with your digital camera .. no Photoshop necessary. Set your ISO for 3200 (6400 if you have it) and set your White Balance for bright sun. Then shoot downtown with all the fluorescent lights providing your exposure.
Depending upon your choice of location and lighting contrast, even the colour saturation will be what you want.
If I take a color film negative into the darkroom and print it with very high contrast and low saturation ...?
This might be splitting hairs but I don't feel that a digital file is a photograph until it is actually printed.
However, I think I know where you are coming from. It doesn't matter if the image was manipulated in PS or in the darkroom it is still a photograph.
In general slower films have more contrast. But Delta 400 should be good, expose normally but give film 15% more development than normal and print with a higher contrast paper. Get the flash off the camera and use some kind of control barndoors or whatever to control light placement, this is one time where you want rich dark shadows and almost white highlights. Barndoors and scrims can be improvised from black poster board so shouldn't break the bank.
WHATS THE HIGHEST CONTRAST OR PRETTY HIGH YOU CAN GET FOR A HDTV?
Yes there are some in the 100,000 to 500,000+ range.
Now, be careful with the interpretation of the spec's.
There are two types of spec's: 1) Static and 2) Dynamic.
The static is simply the difference between the max brightness with a fully white screen and a fully black screen.
The dynamic is obtained on some TV's by changing the TV's back-light intensity depending on the brightness of the different scenes. This leads to high contrast ratios.
A final comment is that a dynamic ratio of 10,000 is better than one of 5,000, but as this ratio keeps going up, the difference in contrast perception diminishes. So between 100,000 and 1,000,000 you may not notice the difference.
yes, high contrast will cause burn in on a signal that does not change like a still image from a camera (cctv) or computer desktop image. Dynamic is just a max value. a level it can reach at any given time.
I need sunglasses with high contrast for riding on the road?
Yellow or brown lenses give the most contrast, but the yellow gets old. A more typical grey or green is better for me. My favorite sunglasses are Randolph or American Optical 52mm pilot's glasses. With paddle temples, they fit easily under s helmet. Gold frames with brown lenses give excellent contrast. I have also had good results with Radians, at about $10 a pair with bifocals for reading.
High contrast and making the colors inverted can be easier on the eyes especially in certain low or high light situations. It is also an accessibility feature, for some people who have poor eyesight or certain eye conditions, high contrast helps them to see the screen clearly.
How do I get high contrast and interesting colours using film?
OK, judging by the photos, you want to take pics of things that are still or moving very slow. I would recommend using very low speed film, like ISO 100. You get a lot more color saturation on those than on the higher speed films.
This is a great film for landscapes or portraits, and is also really good for enlarging.
I love to shoot film, but hardly anyone wants it any more. commercially, you almost have to shoot digital these days.
check out my website, www.louisianafreestylefoto.com.
It's still under construction, but you can see some of it. Thanks in advance!
On your monitor theres probably a menu button click it and you should see some settings including contrast. If you have a laptop there might be an Fn key, hold it and press left or right or if there is a brightness button on your f1 or f2 keys press Fn then those. If that doesnt work click the battery icon in the bottom tray and there should be brightness settings there.
What's the difference in high contrast lens system and contrast ratio specs?
The lens system is just to maintain sharp focus from the center all the way to the corners. They don't specify a contrast ratio because LCD contrast ratios aren't all that great. Usually in the 1000 to 1 region.... not bad, but plasmas can do better along with CRTs. Contrast ratio has to do with the difference attainable between brightest whites and darkest blacks.
You need to take a class in photography.
The R4 is a 35 mm SLR. To increase the contrast of black and white film, the exposure is based upon the shadow area and development time is increased to raise the negatives gamma.
I don't know how a "contrast knob" is supposed to work since that is controlled during development of the film (but not colour film, that contrast is fixed by the lighting ratios you are using).
On page 17 of your user manual, you will see what is called an exposure correction feature (called EV adjustment by some makers). A +1 would over expose all your images by one stop if in that position.
What is a basic lighting setup I can do to have high contrast in my photography?
If you're looking for high contrast, I would suggest a single hard keylight, put almost directly in front of the target/model within about a 80-90 degree fan angle. Of course you can alter the position if you're looking to cast shadows or do other effects. Depending on how bright your lights are, you may want to put two or more close together to increase brightness. But generally you don't want a background light for high contrast. If you keep trying a bunch of ideas and positions, you'll probably find one that works, actually.
Good luck, and I hope this helped! Hope you have Photoshop as well, haha!
Not sure of your question: Here are two interpretations with answers for each.
Q1. How to take photos of high contrast subjects.
A. Use low speed film as described by other poster. Use fill flash if practical to bring up shadows. Use reflectors to bring up shadows. Use low contrast paper to print on. There are printing papers that have variable contrast based on the color of a filter placed under the enlarger.
Q2. How to make photos have more contrast.
A. Use high contrast developer and high contrast film. There are line-art films that are really contrasty. Print using high contrast paper. Print on glossy paper as it makes for higher contrast.
In either case, if you can scan your negatives and then process in photoshop the ability to manipulate contrast is greatly enhanced. For that matter you should shoot using color film, scan, then convert to black and white as it gives you the most control. Unless you have a digital camera - much easier there.
Ease Of Access Center
look at the options under
set up high contrast
in their you can turn on and turn OFF high contrast
as that didn't work
have you tried pressing these 3 keys
left side of the key board
the key with Alt
plus the shift key-----the key above Ctrl may have a fat arrow pointing upwards on it
plus the Prt Scr/SysRg--------middle of keyboard or near top right side
Alt + Shift + Prt Scr together answer yes to next question and wait a few seconds
do the primary colors have high or low contrast with one another?
Contrast is not just between "opposites in nature", it's the degree of difference between any juxtaposed elements. The viewer's eye and mind will discern difference between any two juxtaposed colors; they do not have to be opposites.
According to the Munsell color system, there are contrasts of value and contrasts of chroma (intensity). Value contrast is most easily discerned, but the difference between bright and dull is also discernable, especially in situations where value contrast is diminished. Primary blue, red and yellow have different home values (value at which a color is most chromatic), so there is value contrast between them. They also have different maximum potential intensity, so there is contrast of chroma between them.
Juggling f stop and shutter speed won't affect how contrasty your shots look. Two things will affect that:
1. The way you light. For minimum contrast, very big diffuse light source close to the subject, like a big light box, and with the light on as close to the same axis as the camera as possible, i.e. straight on at the object / model, if you're photographing from straight on. Just turn all this round for high contrast. Small, shiny, very bright lights, and don't get them too close. (it's counter-intuitive how distance works for contrast with lighting). Put them off to one side, and shoot from straight on.
2. Your film and how you process it. A faster film (ISO) will generally give higher contrast than a slower film. (or push it, like lazy magnet says). And even if you shoot at the rated speed, process for longer than is recommended for the film / dev / temp combination. For people shooting for alternative processes like Platinum, where you need really high contrast negs with loads of solid metal in the highlights (on the neg) it's not unusual to go double the recommended developing time.
High contrast is about throwing away detail, either highlight detail, or shadow detail, or both. Most trad rules for b/w photography are aimed at capturing and preserving as much tonal information as possible, so you're going to be chucking out much of the rulebook. In the highlights, you burn it out with light at the taking stage, or you develop it out with developer in the lab. In the shadows, you just don't let any light hit the film in the first place, so no matter how hard you develop the shot, you don't get any silver there on the neg and the print burns through to black.
burn them, that should do it, either literally, with a tripod and use the "b" setting to keep the shutter open, or shoot on grainier film, a 400 should do it. Just make sure that you compensate for this when you shoot, 400 is pretty low light, use a tripod, always when shooting experimentally. But to be honest, most professional photographers aim to shoot perfection, then do the manipulations in the dark room.
If you want to go really crazy then shoot a roll and cross process it, that is always fun, but I don't think you can buy B&W slide film anymore. But you can still do it in colour. It is literally a cross process, shoot slide film, and get it developed in a c-41 bath, which is the normal colour process. That will give you almost alien contrast, it will also switch up the yellow end of the spectrum as well. Just for fun, it is a very unexpected and unpredictable way to shoot film, and a very 'old trick' from way before Photoshop.
This artist mentions using ebony pencils for high contrast drawings.
I also recommend getting an arm "bridge" to keep your arm from smudging the paper as you draw.
Here's an example of a good one: http://www.artistsupplysource.com/product.php?productid=54023 but you can also make one fairly easily if you know your way around a woodshop (or have friends who work woodshop). I've tried rags or other sheets of paper to try to keep it from smudging, but none of them really work well, so I'd recommend the bridge.
This is not the camera's fault, but your lack of understanding in photography. Your over exposing the background and under exposing the subject. There are many ways to fix this. The simplest and easiest is, USE A FLASH to light up your subject (the black man).
It would help if you mentioned what kind of camera you have, that way I could tell you whether you can adjust exposure on it or not, and how to set the correct metering.
But, anyway since you asked for a recommendation, i'll give you some.
I will tell you to Check out the Canon SD 880 IS, best point and shoot out right now in my opinion and can be had for US $250. You can see it on the canon website, and then search bhphoto, or amazon, or adorama, or ritz camera, or beach camera for the cheapest price. These are all reputable online dealers. Remember no sales tax if you buy online :)
That being said, i'll give you my general recommendations in different ranges of cameras. But i think your budget will only allow for a point and shoot.
Compact Point and shoot: Canon SD 880 IS (comes in gold and sliver), this is one of the best point and shoot cameras out so far and costs around 250 I believe.
Prosumer point and shoot: Sony HX1 or Canon G10 or Canon SX1IS. All three of these are excellent, you can compare them yourselves to see which one you like. These cameras offer a lot more manual control than point and shoots and have higher zooms. They are a bit more advanced than the typical compact point and shoot cameras. They'll also be more expensive, around 400-600.
dslr: These are your really serious cameras, with interchangable lenses. These will cost a lot! They have interchangable lenses. Just one of the lenses alone will cost more than your point and shoot will. Here are my recommendations for dslrs.
Entry level dslr: Canon XSi or the New T1i
More professional models: Nikon D90 or nikon D300 or Canon EOS 50D
*NOTE: canon and nikon are the two biggest and best companies when it comes to cameras. Canon by far leads the way when it comes to point and shoots. In SLR, it's debatable but I prefer Nikon SLRs
"Mike" has really hit on some key points about this "white copy on black bacground" idea.
There are only a few applications where this is practical. It works on some kinds of signage and as headlines on SOME printed material. I note that you (or your client) have already limited it's use to headline text. (I think I read it correctly) This is fine because a LOT of light text on black is very hard on the eyes.
A clear coat layer, like varnish, may help the inks from rubbing off and keep the text clear and sharp, but this process is expensive. It is, essentially, like adding another color to the printing run. And there are, like he says, fingerprint issues.
As he suggested, you really should get some help form local groups who have the expertise on vision impairment issues and what the best ways are to create these kinds of presentations. I'm sure that you can get some consultation help from them at no charge. They would WANT the museum to offer more accessability to impaired patrons.
Try the links on this site to find more information. You may get help finding local resources to help you on your project.
How do I create high contrast photos with my Canon 350d?
A camera cannot capture a high contrast scene accurately in a single frame, so you need to take steps to reduce the contrast range. You have a few choices.
Take several images of the same scene, exposing for the highlights, midtones & shadows, (ie bracketing the exposures) without moving the camera in between. The images are then combined in software (CS3 or above, Dynamic Photo HDR or Photomatix Pro) to form an HDR image.
Use a graduated neutral density filter (this method mostly useful for landscapes). Meter the sky, then meter the foreground - the difference in stops in the amount of grad ND filter you need to bring the sky down to match the foreground.
You can also use some fill flash - useful technique when you have a subject near enough to be flash lit, or you are using a flash off camera to light them. Again, meter for the sky (or even under expose a stop or so for darker colours) and apply the flash at a power that will bring the exposure of the foreground subject up just enough.
For all of the above, you need to know how to meter (particularly spot meter) & shoot in manual.
How do I photograph high contrast images like I see in stock photography?
Try this link for a good tutorial: http://www.princetonol.com/groups/iad/lessons/high/Cathy-photo.htm
And, this is on high/low key lighting: http://www.diyphotography.net/lighting-high-key-and-low-key
There is likely some sort of adjustment (Image > Adjustment) involved. Threshold is probably as extreme as contrast gets, but more likely you'll just need an S-shaped curve in Curves, or tighter inputs in Levels (i.e. the sliders on the left-side Levels bar are closer together).
How do you get high contrast when taking pictures with a manual black and white camera?
Using film you can use high contrast developers and high contrast papers. You have to build up a working knowledge of how different developers react with different films, not only is this time consuming its expensive too. If you get it wrong (and you will from time to time) it means that shot will never reach its full potential.
Look for articles on the 'Zone System' used by Ansel Adams and others to great effect. This system means you have to expose the shot in camera (measuring all the different tones in the scene with a spot meter) and then to fit that with the processing regime you are going to employ at the developing stage to get the results your after.
Its all so much easier with digital, you just shoot in colour and use Photoshop or similar to convert to B&W, the big advantage is you can alter the contrast or tones in different parts of the image independently, having the colour information 'behind the scenes' means you can still use that information to select say all the blues or cyans etc. and lighten/darken or adjust contrast to just those areas. You can also select areas with various selection tools and alter those irrespective of the colour/tone involved. Its a very powerful technique that Ansell Adams would have died for.
To get the most data you have to shoot in Raw and open the files in 16bit, as this way you have all the data the camera recorded available. Even 'burnt out' areas will still contain an amazing amount of data. This is not copping out and going for the easy option as, for best results, the exposure has to be spot on without the latitude that films tonal response offers, there is no latitude on a digital camera their response to light levels is linear.