Black and White Photography: Learning Grayscale Conversion


Black and White Photography: Learning Grayscale Conversion


Lesson Info

The Details of the Print

I'm going to show you a piece of software that comes with the epson will comment in beta right at the moment and I got permission to show you this which is something called epson print layout this is in beta so this isn't available yet and what I want to do is I want to show you the black and white driver the advance black and white mode in the absent printer. Now if we look at let's, open up a print here if we look at this image which I made this is the default mode of the eppes in printer driver for this image, right? So we'll look at some of the issues this area here is little blocked up in this area here is little block, but this is a two and a half hour experience for me to get one photograph I'm on a subway in new york and I took a picture of this and I was almost where this is and I went, oh my god, this is cool so go back across the williamsburg williamsburg bridge crossover wait for the old subway because the glass is different get on the train put the cameron film waster didn...

't get anything nuts I said another word, but not so get across the thing go back over for two and a half hours so that what I could do, what I'm proud of is line this lines straight up nicole and with the v now I went through all sorts of changes to convert this from color to black and white or chromatic grayscale. Now when I make the print I have some issues more successful print now I can go back is here I got all this detail back that's all in there I can go into photo shop and start playing with things or what I can do is I can use let's pull up the printer driver in a second you'll forgive me. My computer has had one too many zaps of x rays traveling, so it's decided it's going to give me beach balls of death when you're working with the eppes and um printer and the ups in driver, if you're doing black and white, you want printer to manage colors so you go from photoshopped managing colors, which is what you do for color and you go to printer manages colors for black and white the reason that is that we're going to access the advanced black and white driver the advanced black and white mode and so the printer driver is going to mix the colors gray for you, so it's got a printer settings so we're in advanced black and white mode and you see these sliders here watch what happens here so I can affect this image seo I can affect this image I can't tell what this is doing and I can't really tell what this is doing as it exists now, but all of these controls allow me to further find tune the image the other thing that I can do watch what happens here I can change the tone ality of the image which is pretty cool if you think about it right, I like the warm town print so let's go back to that ok, but the problem is that this doesn't necessarily allow me access so this is what the evolution is but please keep in mind that this is beta and this isn't out yet and it might not be out for a while, but I want to show you what you can do. What I can do is I can come in and I can come in and I can see you know what? I want to open up those shadows, you see how I can do that and I can make it so that I can see what's going on on to my image and I can increase the brightness of the image. I can increase the contrast of the image all of these things that I can do to further come in and fine tune the image so that what happens is instead of having to go back in, I could make micro adjustments to the final print. This is pretty cool um I'm looking forward to eventually when this goes out of beta, but this is what the printer driver is capable of doing what you basically have is a many rip how many people are familiar with what rips are rips raster image processor for lack of a better way to describe it is basically the printers operating system but if you thought the lean the learning curve and photo shop was steep at least there's a curve when you're dealing with rips off where they can be very, very, very complicated this allows you to have access to very powerful tools that will become very, very useful in the final print because ansel adams said the negatives everything the print is all negative the sheet music but the prince of symphony um so the file maybe everything but the print that comes off this printer is also let's make a print so we're all set up ready to go yeah standard but up up up up everything here go to max quality advanced black and white mode I have put in the numbers that I want I'm going to hit print what's going to happen is that it's gonna print? So when it comes to a black and white image chromatic grayscale to take away that I want you to get is they want you to get that color matters at every step of the way color is the key he or she who controls color of a chromatic grayscale image winds that means that you can have just the slightest amount of information coming out and subtlety in the flower you can have the background have just the right amount of detail in the black because you can poll detail from the red channels in the hair you could have just the right amount of shine and speculate highlight because you can pull that out of the green channel but you can tap the blue channel to make sure that it's dark enough that's the kind of control that you can have simply by using human saturation adjustment layers let's me show you helps if you turn the printer on first rule of printing always turn the printer on just you know like I don't trust a surgeon who cut himself shaving these you just things that I live by I don't trust the doctor that says books in an examination just just basic rules of thumb so yes if you want the printer to print turn the printer on now the the other thing is that people have signed a magic to the printer that it's not necessarily does deserved in that area printers a default device and what it means is that it's only as good as the file you've send it now this is a spectacular device for making spectacular prints and produces a black and white image or crowded grayscale image second to none but it's only as good as the file you send it which again gets back to color calibration if I make it look pretty on my non calibrated monitor on the monitor and I make a print what color when you're walking down the street in somebody's watching television what colors of light that comes out of the window from the tv tens of the blue so I'm going to put in magenta right to make it look pretty here and then if it's not calibrated I printed here the print will come out magenta and what do you blame the printer it's called the for such a inverse square root law of technological blame that which is your fault you blame technology that which is technologies fault you assume is yours so always turned the pretty ron very important and always make sure that you work with calibrated devices and with profiles because you will get the maximum possible quality out of the print um so that said let me show you this file where'd she go yes this is everything that went into making this file let me do this step by step all right so this is the base file this is the basic um things that I did to make the adjustments to get the photograph to perfect retouch so that's the first step now once that's done just getting the picture repaired for skin the next are all the aesthetic just adjustments so if we take a look at when we turn these on all of these things here let's look at all of the individual steps that go to do that so add warms back to the picture this is too dark in the image so far you see everything still in color right this is to bring detail to control where the eye goes to the eyes this is to lighten up the face pick up speculate highlights in the hair and to diminish the background here now here are all of the color adjustments that I made using just human saturation adjustment layers now I ask you do you see color that way on lee if you're in the movie twilight and you need to feed but if we look at and let's just create above this actually equal values of red, green and blue do you see how that makes that? And if I turn off all of this stuff and we look at it this way you see how the image starts building itself up and that what I get is instead of using contrast curves to do this and introducing multiplication artifact ing and blowing highlights and stuff I can buff the image I prefer to use things as an emery board you go global too granular and you polish and polish and polish so this is what the final color would look like these air further color tweaks get back here! So this is using the blue filter in the red filter to produce the final image that gives me this image, which I am using a plug in paper toner from nick to produce that, but at no time did I leave the rgb color space at no time that I dumped any of the data, and everything I did was with adjustment layers so that I would minimize artifact ing and that when I'm all done, what I have is total control of the color and total control of the detail in the same way that which we fell in love with silver photography would have captured it, but I'm printing it on a device that is capable of a camera that captures at fourteen point two stops of dynamic range were eighteen thousand plus levels of great asian. I now have a printer that is capable of printing to an l star count of two l b l star being the lab value of luminous zero is theoretical one is the next number two's the next number after one, so we're pretty close to the absence of all color that means we'd have an ink that would suck all the light out of the universe a black hole. Aah, black hole printer I think we have a new product. A single singularity crater would be all over with we call it event horizon yeah that's a code name? Yeah, no. So the point being is that out of the box I'm capable of manifesting detail if you're into the zone system into zone one and a half toe one I can pick detail out where I never could see detail before that's cool we have technology today that exceeds the capabilities of silver photography. That too is cool. We have a camera that can shoot color and black and white at the same time because we're shooting color. Therefore we can make a chromatic grayscale that's cool now, if you're into silver photography and your aesthetic is metallic paper in that entire process, I defend you to the death that that your right to choose but if what you're looking to do is to squeeze every ounce of data out of a file to produce these spectacular pictures, because the problem today is that the photograph that you fell in love with really can't be made because we don't put that much silver and paper anymore, we don't put cadmium, zinc ten and golden paper anymore. We don't do that so the things that you fell in love with the tone ality is a richness of silver gelatin vintage silver gelatin doesn't exist like it did, but you can approach those kind of tone al it ease and that kind of detail in control so how come we didn't see you guys in my glaser's walk, huh? It was it was sunday come back in time and tell us about it I could go back why not? No it's like my my favorite place to come with him up here is I do that sort of annual photo walk for glaser's every time I'm up here pleasures of course a local camera story here it's actually just kind of around the corner from you it's like it's kind of all works out I love the fact that the hotels right across the street from creative live and I love the fact that the cameras because you know the first rule one of the many rules of photography is that which it is that you don't bring is that which it is that you need most so whenever I show up it's like you know I forgot a hard drive so I bought one of the new fancy g drives if you could like, you know, accelerate into a wall or something like that um and so yeah it's like it's always good to know where the camera story is and the fact that the camera store is spitting distance from the hotel is like, yea uh this was really, really intense and I love it I'm an acquired taste I get that there's there is no easy button here people have their work and that's actually, I think a great question and none because there were people in the children who are asking, you know, can we do it in in light room? Can we do it using something like, like, silver effects or something like that? And I think I mean, correct me if I'm wrong, I think your answer is you can, but is that the right choice for your image? Um, I won't speak for you. You said almost no, you can't do this in light room, ok? Yes, you can do it with silver effects gratuitous plug for my book I'm really sorry, I don't mean it to be but it's like you just it's the last chapter of my book, the whole process of the book is to take you through a program learning approach I make a whopping two dollars and fifty cents profit off the book if you guys by the book and you really I'll be more than happy to give you your two dollars and fifty cents that I make off the book so that I don't profit for me telling you to buy my book, how's that all of a sudden, um, with proof of purchase? No, the point is that it's like I went through when I wrote my book, it was what was the evolution of my learning? How to do black and white? So I take you through all the steps, why it's almost every technique there's one technique that didn't make it in one technique didn't get in making and I got slammed for not putting in, and it was it's it's something that's best for infrared, and the reason why I didn't get put in was that the infrared chapter is one hundred seventeen pages long or a third of the page count I had for my book, so that will become another book, but the point of it is no, you can't not this way because light room simply doesn't allow you to do that now what is light room good for or third party raw processors? The you have to there's a thing you have to keep in mind. Camera manufactures make raul processors um light rooms you eyes inspired, beautiful you user interface does a wonderful job and where would I use it? I would use it when I have to just shot a friend of mine's wedding and I just anybody that does wangs it's like wow good on you. Because, um and I shot thirty two thousand captures so do you think that I'm going to do them one no it's going to go the light room it's going to get batch processed it's going to go out and anything that's going to be made into a big print is going to be done a different way. Leterme's incredible for contact sheets if you need a database it's good for that. Um it's good for a whole range of things and what it does I think is it takes people and it helps them equalize out there makes photographers that are learning at the beginning better than they would be if they had to go through the learning curve and it makes photographers that are, you know, in the weeds with images functional now for a fine art work flow. I think that photo shop is a far superior piece of technology, which is, you know, a lot of my work is fine art I do photojournalism stuff like that when I'm in that world trust me when I tell you it's handled in a different way, but when I'm doing something like this or something like bruce gray's head shot, which is this on the reason why this color this is the one I wanted to show you the reason why this color file looks the way it does because I used the black and white image in luminosity mode to give me the detail enhancement in the color boat, you can actually use black and white images to pull out detail and color images, which is why, if you get that it's a color world, you're best served. Um, so with regards to silver effects, that was perfect software. The reason why you never saw a three point oh, was there really wasn't anything to do to it? There are a couple of ideas that didn't make it into two point. Oh, and if they would have been, uh, finished, they sort of slow down once the company was sold. But if they would've been finished at best, it was a two point five. It was it's. Wonderful to see perfect software mean everything about that. I mean, it's got a couple of refinements, like there's, some edge issues that could be fixed in little things, but nothing that warrants making a three point. Oh.

Class Description

High quality black and white images require careful handling – learn the best way to work on yours in  Black and White Photography: Learning Grayscale Conversion with Vincent Versace

When you convert your digital image from color to black and white, you destroy ⅔ of the data in the file. In this class, Vincent will explore the complete conversion process and show you how to protect what remains. You’ll learn how to preserve your image’s contrast, control the individual color channels, manage the hue and saturation layers, and how to print. 

Black and White Photography: Learning Grayscale Conversion with Vincent Versace will help you ensure that every black and white image you work on looks its absolute best.

Software Used: Adobe Photoshop CC 2015