By John Beardsworth
Electronic photographers can now reach the long-lasting great thing about black-and-white images of their personal paintings! There’s extra to monochrome than simply discarding the colour in Photoshop, yet many books easily deal with it as an afterthought. now not this one! John Beardsworth teaches each significant approach to creating a colour photograph black and white, and explains what sort of pictures are top, and why. either bold newbies and complicated lovers will the best way to in achieving the richest tonal intensity and stability, use black and white to interpret the topic for the viewer, reproduce historical and darkroom procedures, upload inventive and lighting tricks, and bring exhibition-quality prints.
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Additional resources for Advanced Digital Black & White Photography (A Lark Photography Book)
Since and that is to introduce the role of most of limited computing power such fine-tuning is so much easier channels and creative black-and and disk space, and predates now using other techniques, it isn't white conversion. Photoshop layers. immediately appealing. Calculations Such limitations are now behind can produce great results, but its us, and Calculations is neither as awkwardness can limit your convenient nor versatile as modern creative experimentation. Left: Although it can be awkward to use, Calculations does offer a degree creative control.
The underlying principles of light filtration are unchanged and still relevant. It's just that they apply not when the light enters Background � the lens, as with black-and-white film, but later when you convert the picture to black and white and manipulate the Above: Shooting in RAW and in color red, green, and blue channel values. If allows much more creative flexibility. For you are shooting JPEG-only, this occurs the final image, two channel filtrations as the camera processes the capture Above: Digital sensors consist of a grid data and creates the JPEG, but if you of photocells, each sensitive to one white, like using yellow and red lens filters are shooting in RAW format, the color channel.
The example on these pages shows how that happens in practice. EJ Activate the Background layer and add a second Hue/Saturation adjustment layer, which should be below Film in the layer stack. Like the film user's colored lens filters, this layer's purpose is to control the colors that the Film layer will capture. Name the new layer" Filter" and change its blending mode to Color. EJ Double-click the Filter layer's Hue/Saturation icon and adjust the Hue slider until the image looks right. You can also alter the Saturation and Lightness sliders if you wish.
Advanced Digital Black & White Photography (A Lark Photography Book) by John Beardsworth