Black and White Photography: Learning Grayscale Conversion

Lesson 7 of 7

The Details of the Print

 

Black and White Photography: Learning Grayscale Conversion

Lesson 7 of 7

The Details of the Print

 

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 epson printer driver for this image. All right, so we'll look at some of the issues. This area here is a 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, cross over wait for the old subway because the glass is different. Get on the train. Put the cam...

eron film waster didn't get anything nuts. I said another word, but not sold. Get across the thing. Go back over for two and a half hours so that what I could do it. But I'm proud of is lying. This line's trade up cool and with a 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 to see. I got all this detail back, that's. All in there. I can go into photo shop and start playing with things, 00:02:03.67 --> 00:02:06. 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 printer in the absence 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. Let's, go to 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. See how 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 fine tune the image, the other thing that I can do. Watch what happens here. I can change that atonality of the image, which is pretty cool if you think about it, right? I like a warm tone print, so let's, go back to that. Okay, what? 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 could 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 can 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 mini rip. How many people are familiar with what rips are rips raster image processor for lack of a better way to describe it? It's basically the printer's 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 is 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? Yep. Standard papa. Everything here go to max quality advanced black and white mode. I have put in the numbers that I want I'm gonna hit. Print what's going to happen. Is that it's going to print? So when it comes to a black and white image chromatic grayscale take away that I want you to get is I want you to get that color matters at every step of the way. Color is the key. He or she who controls color off a chromatic grayscale image winds. That means that you can have just the slightest amount of information coming out and subtlety in the flour. You can have the background have just the right amount of detail in the black because you can pull detail from the red channels in the hair. You could have just the right amount of shine in the speculum 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 me show you. Oh helps if you turn the printer first rule of printing always turn the printer on just you know like I don't trust a surgeon who cuts himself shaving these are just things that I live by I don't trust a 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 other thing is that people assign a magic to the printer that it's not necessarily 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 prince and produces a black and white image a crowded grayscale image second to none but it's on leah's good is 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 and somebody's watching television what color is the 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 and I printed here the print will come out magenta and what do you blame the printer to call the versace inverse square root law of technological blame that which is your fault. You blame technology that which is technology's fault, you assume is yours. So always turn the printer on 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, come 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's 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 speculum 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? Only 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 in 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'm 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 did I dump 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 or 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 luminant 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 a black hole printer I think we have a new product a single a singularity printer would be all over with we'll 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 you're right to choose. But if what you're looking to do is to squeeze every ounce of data out of the 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, a vintage silver gelatin doesn't exist like it did, but you can approach those kind of tonalities and that kind of detail in control. So how come I didn't see you guys in my glaser's walk, huh? What it was it was sunday. Go back in time and tell us about it I could go back but why not no it's like my favorite place to come when I'm up here is I do sort of annual photo walk for glaser's every time I'm here pleasures of course a local camera story here it's actually just kind of around the corner from where you took it kind of all works out I love the fact that the hotel's right across the street from creative life 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 that 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 stories and the fact that the camera store is spitting distance from the hotel is like yeah uh this was really really intense I loved 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 non because there were people in the chairman 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. But I think your answer is you can, but is that the right choice for your image? I won't speak for you to say almost no, you can't do this in light room, jay. 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 the one technique that getting making and I got slammed for not putting in, and it was it's something that's best for infrared, and the reason why I didn't get put in was that the infrared chapter was 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 brought processors the you have to there's a a thing you have to keep him on camera manufactures make raul processors ah, 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. I just shot a friend of mine's wedding man, I just anybody that does weddings 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 toe 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 prints going to be done a different way light rooms 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 helps them equalize out there makes photographers that air 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 artwork 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 photo journalism 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 mode you can actually use black and white images to pull out detail in color images, which is why, if you get that it's a color world, your best served, um, so with regards to silver effects, that was perfect software. The reason why you never saw a three point oh, was if 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 finished, uh, they they sort of sort of slowed down once the company was sold. But if they would have been finished at best, it was a two point five. It was it's, wonderful to see perfect software. I mean, everything about that. I mean, it's got a couple of refinements, like there's, some edge issues that could be fixed and 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

Reviews

DMartini
 

This is exactly what I was looking for! I've not been totally happy with my B&W conversions and was looking for a way to improve. This class will send me down the right path. Love Vincent and think he's a fantastic teacher. I bought his book too...