Documentos de Académico
Documentos de Profesional
Documentos de Cultura
-Q
BEARDSWORTH
ADVANCED>>>
PHOTOGRAPHY
ADVANCED
CONTENTS
Advanced Digital Black & White Photography
Introduction
Camera Work:
1st ed.
p. em.
Includes index.
ISBN-13: 978-1-60059-210-2 (pb-with flaps' alk. paper)
ISBN-lO: 1-60059-210-4 (pb-with flaps
alk. paper)
12
Black-and-white modes
14
16
18
20
22
24
The shadows
26
28
30
32
34
photography. I
Title. II. Title: Advanced digital black and white photography.
TR267. B435 2007
778.3-dc22
2007015986
10 9 8 7 6 5 4 3 2 1
First Edition
Published by Lark Books, A DiviSion of
Sterling Publishing Co.. Inc
40
Destructive techniques
44
Calculations
46
48
50
52
Manufactured In China
54
56
Black-and-white presets
58
62
66
70
72
Tonal separation
www.web-linked.com/adbwus
------ ------
--
74
132
134
Simulating lith
76
138
78
140
80
142
82
144
84
Local contrast
150
Soft focus
86
Creative clipping
88
90
Contact strips
92
94
Adjustment layers
96
98
100
102
General sharpening
104
106
Selective Sharpening
108
Edge sharpening
I
I
Creative Effects:
Borders
158
Decorative borders
I 160
I
-
110
156
Film rebates
162
Edge burning
164
166
168
Printers
170
172
CMYK output
176
182
Toning
114
Split toning
116
Duotones
118
A measured tone
120
Classic tones
122
186
124
Hand coloring
188
Index
128
Infrared effects
192
Acknowledgments
--
-----
------ --
-- ----
---
INTRODUCTION
When my father heard I was about to begin a second book on black-and-white photography,
he thought back a few years to his surprise at seeing the first one. After all, he had asked,
doesn't everyone want color nowadays?
Just as the moving picture, even with the addition of sound, never succeeded in
killing off still photography, decades of color haven't proved fatal to black and white. If
anything, they made it seem more distinctive as an artform, crucially separated from the
world of color. Artforms are not necessarily swept away by technological progress, but
accumulate and happily coexist. In fact, the arrival of digital imaging seems to have given
yet another burst of life to black-and-white photography.
black-and-white rendition.
INTRODUCTION
The conversion step is all about
offbeat, however.
4.
Mode Options
JPEG
manV compacts
Black and White JPEG
RAW
JPEG
Saves both a processed JPEG for speed and a Raw file with
all the data described above.
Saves all the data of an ordinary Raw, including color, but displavs
a simple black and white conversion as a preview. It is still
allows all the fine tuning possible from a standard Raw.
13
black-and-white setting.
15
same scene.
16
- - - -----
tones in between.
.'
18 CAMERA WORK
Uncached Refresh
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19
---+
--
The second tool, the histogram, is found not just on the camera's
21
fundamental to the craft of black and white that the picture will be fully realized in the
darkroom and that your first straight prints are not expected to be the finished article. This
means the black-and-white photographer often exposes pictures not for how they appear
straight from the camera, but in anticipation of what can be done in the darkroom. This
principle now applies to digital color too, especially to RAW, so you set the exposure to
capture as much important image data as possible, thinking ahead to how you will be able
to use it later on the computer. In this sense, not much has changed since Ansel Adams
wrote of the negative being the composition, and the print being the performance.
of moving objects.
When the highlights alert flashes on
23
THE SHADOWS
------ ------------
-----------_ ._---- -
---
Ideally, an exposure should capture detail in the brightest highlights and in the deepest
shadows, and give the viewer a full range of tones. But digital sensors do not yet match
the dynamic range of film, let alone of black-and-white film, and scenes frequently exceed
the range of brightness that sensors can capture. When it's a choice between retaining
highlight detail and sacrificing the shadows, there's only one loser-you do what it takes to
keep the highlights from burning out.
Left: Until recently, war
photography was mainly
black and white, and harsh
and grainy, too. Here, a
purplish tone echoes 19th
century print colors.
24
DIGITAL NOISE
When preseNing highlight detail means
you have to underexpose, other problems
can creep in. The more you underexpose,
the worse the signal-to-noise ratio
becomes and the more likely it is that
random noise will become visible,
particularly in the shadows. Like grain
with faster film, noise is the price you
pay for taking the shot in poor light.
That's not to say there is nothing
you can do. Some cameras have an
optional noise reduction setting which
applies special processing before
writing the image to the flash card;
this can be most useful with long,
tripod-mounted exposures.
Once the picture is on your
computer, RAW converters like Adobe
Camera Raw have noise reduction
options-Luminosity sliders are most
likely to make the biggest difference
and there are specialist programs and
plug-ins like NoiseNinja and NoiseAware
that can target noise in the shadows
and ignore it in other tonal ranges.
Sometimes you may simply decide
to let the clip the blacks a little more
aggressively than usual in Photoshop.
In the end, shadows can obscure all
sorts of sins.
Profile: Automatic
100%
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60%
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40%
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Right: If you do a lot of low-light photography,
O% O-
Self-learning:
THE SHADOWS
25
26
highlights may
positioned close to
left side.
27
------- -------
REGROUPING
Another post processing
workaround is to make two
differing conversions of the RAW
file, and sandwich them together.
can be horrendous.
contrast. So instead of
sandwiching two conversions.
more can be achieved in the
RAW converter itself at a single
pass. But you are still working
with limited image data about
the shadows.
:
----
28
-- ----
BRACKETING
While black and white often lets you get
away with blocked shadows, a great
solution is to blend bracketed
I@
Sharpening
Darken
Shadow contrast
Below: Sandwiching
Overexposed
29
subject.
30
III
II!:I
II!:I
Edge burning
Black &
White
iii
Black &
White
Background
color channel.
---
-----
------- -
------
FILTERS: GRADUATED
moving objects.
32
CAMERA WORK
FILTERS: POLARIZING
There's little dispute that, for film or
thread size.
TIP
Always watch out for dark corners
when you shoot with a filter. This may
indicate that the filter is vignetting the
image and is unsuitable for the lens.
33
light photograph.
to fake it in Photoshop.
ft
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another's disappointment.
35
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A second
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and white.
62
63
[v) opaCi!V:
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65
subject in mono.
66
GRAYSCALE
If you merely want the black-and-white
image to represent the original's tone,
choose the Grayscale or Desaturation
methods. Both methods are quick, and
Grayscale produces smaller output files
and is the only way to prepare a picture
for a true Duotone. Grayscale's rendition
is realistic and is close to how the eye
captures color (that's the basis for
Photoshop's use of 59% green channel,
30% red, and 11 % blue).
LIGHTNESS
For inherently neutral results, try the
Lightness method. Again, you have
no control-you simply choose the
command Image> Mode> Lab and
then delete the " a" channel from the
Channels palette. What remains is the
image's brightness values alone, and
the black-and-white output is unaffected
by the colors present in the original; any
color information is discarded forever.
The Lightness version is usually the
most faithful to the original color picture.
Is accurate recording of brightness what
you really want to achieve?
These methods share a huge
shortfall. They're destructive. While you
are still working on the file, you can only
fine-tune or reverse them by undoing
subsequent work, up to the number of
History steps available. Once you save
and close the file, the conversion is fixed
forever. These methods were fine for an
earlier era of computing and in earlier
versions of Photos hop. Stick with them
if you never change your mind later, but
why rule out that possibility forever?
-------------- -----------
CREATIV C
Forget for a moment the color image on the previous page, as if you had never seen it,
and ask which of these pictures you believe fairly represents the subject. Below sits a
dark-skinned man wearing a very light shirt. In the next shot, the man remains heavily
tanned, though his shirt is darker, while in the third his face is lighter and less rugged and
the shirt darker still. Without the color original, you have no way of knowing which
IS
"true." Each is credible, each tells a different story about the subject.
BLUE
The pixels which record skin tones have
low values in the Blue channel and higher
ones in the Red. So if you want to make
skin look dark, you might use only the
Blue channel values. Add a Channel Mixer
adjustment layer, tick Monochrome, and
set the Blue slider at 100% and the others
at zero. Alternatively, add a Black and White
,
,
Preset:
Source Channels
a
Green:
a
Blue:
68
%
E]%
0---
I;:..
Red:
Output Channel
+140
Total:
Constant:
Monochrome
0%
GREEN
Because the human eye records green more
than red or blue, you can render the image
more naturally by choosing the Green Filter
presets in Channel Mixer or Black and White
dialog boxes. In Channel Mixer, this sets the
Green slider at 100% and the others at zero.
With portraits, Green tends to be somewhat
average and in this case it is the least
interesting or attractive version.
RED
Red channel values are higher in skin tones,
so to make them brighter grayscale tones,
pick the Red Filter presets in Channel Mixer
or Black and White dialog boxes.
The Red Filter style produces softer,
more attractive skin tones. Some men may
well appear insufficiently butch, too gentle,
but it can suit women and children better
than a blue-bias conversion.
As well as subject appearance, also
consider compositional impact. Here, the
blue shirt is now darkened and is hardly
noticeable. Again, contrast that to the Blue
Filter treatment. On the other hand, if the
shirt had in fact been bright red, it would
have continued to distract from the face.
CREATIVE CONVERSION
PEOPLE
69
70
Filter preset.
2, 3,
[CuslOm
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Yellows:
[iii]%
Greens:
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71
TONAL SEPARATION
We've seen two examples of the kind of creative choices you can introduce during the
conversion to black and white. In those cases we focused on interpretation, on why you
control the conversion, and how its grayscale output might tell the viewer something about
the subject. Each treatment also affected the basic composition-the brightness of the
man's shirt unbalancing the image, or the darkened sky drawing attention to the canyon
wall and the tree. So, for a third example, let's look at how you might add some
compositional creativity, and tonal separation, to the black-and-white conversion process.
72
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TONAL SEPARATION 73
76
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83
LOCAL CONTRAST
Contrast control usually applies to the whole image or to those areas deliberately chosen
by the creative photographer. But a more surprising application is local contrast adjustment
using a method borrowed from sharpening techniques, and which is sometimes known as
wide area sharpening.
The idea is that you apply the
Unsharp Mask filter but with
settings very different from
those needed for sharpening.
This provides a contrast boost
that is sensitive to the image's
contents, and the local contrast
increase is subtle enough
not to completely distort the
picture's overall appearance.
84
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Delete Layer
Delete Hidden Layers
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[lijJ r g n
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Eyes
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midtones
Eyes
II
levelsl
Ctrl+G
Link Layers
Select linked Layers
Merge Down
Black & White
Ctrl+E
Merge Visable
Shift+Ctrl+E
Flatten Image
Alt+Ctrl+E
Animation Options
Palete Options..
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Radius
- pixels
--------
Ihreshold: 0
Jt
evelS
LOCAL CONTRAST 85
-----
------
CREATIVE CLIPPING
Clipping the highlights or shadows is something you often avoid, but that doesn't
necessarily make it wrong. Completely clipped or burnt-out highlights might convey an
overwhelming sense of luminosity, while solid shadows can invoke emotions of gloom or
make the subject look threatening. You can also use clipping to hide distractions and
imperfections. For instance, high ISO images contain digital noise and the shadow areas
may be darkened without unduly affecting the subject.
86
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CREATIVE CLIPPING
87
88
II!:I
The Shadow/Highlights
Bl a c k &
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89
CONTACT STRIPS
Darkroom workers calculate the correct brightness and contrast by making contact strips.
You cover the photographic paper with a card and switch on the enlarger light for a second;
move the card, then switch on the light again, and so on. Eventually you have a picture
with a series of graduated strips, each a little darker than the previous one. By comparing
the results, you can pick the " right" exposure for the final print. You also gain a good idea
of how the picture will respond to alternative exposures, which makes any dodging and
burning a much more conscious and creative process.
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CONTACT STRIPS
91
92
Range:
Black White
Midtones
&
Shadows
i: t:s
Background
OVERLAY LAYERS
1
Name: Layer!
DusePreviouslayertoCreateClippingMask
:l ONen!!
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color
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Overlay
Overlay
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Overlay
Black White
&
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ADJUSTMENT LAYERS
Curves adjustment layers are the most powerful and flexible way to dodge and burn a
picture. They may not feel as familiar to darkroom workers as the Dodge and Burn tools,
but Curves can change every brightness level in a picture and control contrast in each tonal
range. Adjustment layers don't change pixel values forever, so you can always fine-tune
your work later. Dodging and burning is essentially local contrast and brightness control, so
you use the same techniques to manipulate the curve.
Photoshop's masks are ideal for
performing dodging and burning
work, given the ease of painting
different levels of gray, or even
disabling the mask altogether. Just
make sure you're working on the
mask layer when you start painting.
94
selection is immediately
TOOLS: GRADIENT
Radius
--=-
ADJUSTMENT LAYERS
95
96
Highlights must
Keep strong
not change
Lift shadows
THE INTERPRETATION
Darken alllones
de ::.:.:Ij)=a=rk=en Opacity
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Most of the work is done with the
darkest shadows.
and contrast.
98
Ear and
side of face
too light
Both eyes
too dark
Background
cluttered and
distracting
Shirt and
coat very
bright; they
need to be
toned down
THE INTERPRETATION
t-
99
ANYONE
100
subjective decision.
Left: Heavy
manipulation of this
image would detract
composition
Distracting
highlights
Hand needs to be
emphasized, so darken
the tones around it
THE SOLUTION
The Darken Highlights adjustment
layer is the most interesting and deals
with the problem buildings and other
distractions. Dragging down the curve's
white point, the top right corner, made
Photoshop darken the brightest tones
lit
Background
GENERAL SHARPENING
Digital images consist of a grid of usually square pixels and that makes them inherently
soft. When the camera stores the picture as a JPEG, it applies certain sharpening settings,
but RAW captures are just the raw and unsharp data and so they need sharpening at some
stage. This sharpening is an increase in contrast between neighboring tonal areas, the
edge's darker side being darkened and its lighter side being lightened, and it's an optical
trick that makes the picture appear sharper and more focussed.
Sharpening is a "destructive"
process, changing pixel brightness
values, so it generally needs to be
done late in the editing process
though Bruce Fraser convincingly
distinguished between three
sharpening phases. First, a little
"capture" sharpening may be
applied at the start of the editing
process-using default values from
Adobe Camera Raw, for example.
Then there is an optional "creative"
phase where you select features
like the eyes and sharpen them.
Finally, you always need to apply
"output" sharpening to the final
image that the viewer will examine.
Output sharpening is usually
the most important and you need
to relate its amount or strength to
the final image's physical dimensions
and to the resolution of the output
device. Whichever sharpening
technique you choose, different
settings apply to 300 ppi inkjet
prints and 1000 by 600 pixel web
site JPEGs. The goal is to apply as
much sharpening as you can
without it being identifiable in the
final output. To do this well, you
need to understand the basic
techniques, how to apply them
selectively, and how to make it
102
UNSHARP MASK
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GENERAL SHARPENING
103
SMART SHARPENING
Left: As well as sharpening the church
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SMART OBJECTS
Sharpening needs to be judged by
examining the final output, the print or
Darken Sky
II
105
SELECTIVE SHARPENING
Sharpening should never be seen as a standard recipe. You need to examine the inkjet
print web JPEG, or whatever the final output may be, and individual pictures require
different degrees of sharpening. A portrait may contain areas of gentle skin tone or a blue
sky may contain smooth gradations which require no sharpening. Other pictures may
require sharpening in some areas, but not in others, something only the artist can
determine. This is what is meant by "creative" sharpening.
106
D E K S A M
S H A R P E N I G
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s h a r p e n i g
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o
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using AIt/'C+CtrI/O+D.
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mode,
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r
e
o
p
e
n
s .
T h
i
s c a n
Smart
F i
l t e
r
i
n
c o
n
j
u n
c t i
o
n
,
l a y e r can h
o
l
d
the R A W
le
C a m
e
r
a
b e
v e
r
y u s e
f
u l
a n
d
a s i
n
g
l e
conversion,
r e n d i t i o n , selective
s o y o u can r e v e r s e o
r
fine
m
o
r
e
i
m
p
o
r
t a n
t l
y Ih
eld down
b u t t o
n
.
also
as a Layer Style.
filewa s
conversion
t h
e
S h
i
f
t key a t t h
e
s a m
e
t h
e
O p
e
n
layer b u t
t h e icon i
n
t h
e
via d
A o
b e
C a m
e
r
a
i
n
the f
u t u r
e
.
a border w a s
S o
by u s i
n
g
t h
e
Smart O b j
e
c t
of a l l , the
The o
r
i
g
i
n
a R l WA
a p p l i e d t h e grayscale
a n
d
then apply y o
u r
sharpening
t o t h
e
t a r g e t area.
palette.
O b j
e
c t n
- o
t i
c e
thumbnail.
paint a
added
a s a S m
a r
t
also b e edited o
r
more m
o
d
e
r
n
approach
t h o s e areas w h i c h n e e d i
t . S o the
edges,
layers. S e c o n d ,
I n s t e a d o f a p p l y i n g sharpening t o
t h
e
s e
l
e
c t i
o
n
t o
o
l
s
d o the
with o
n
e
o
r
more
t h
e
w h o l e merged l a y e
r
, y o u c a n
s h a r p e n i n g isn' t t o o obvious,
Or,
o
r
e
x a m
i
n
e
o
r
i
n
remove
s e
s s i
o
n
s .
as w i
t h
b l a c k
a- n
d
w- h
i
t e
c o
n
v e
r
s i
o
n
s ,
target
o
t h
e
r
p
a r
t s of t h
e
i
m
a g
e
, a n
d
f
i
n
e
t- u n
e
u s e
d i s t r a c o n .
M a s k
s h
a r
p
e
n
i
n
g
o n certain f
e
a t u r
e
s ,
o b vi o us
"',
U n s h a r p
v e
r
s a t i
l
e
c o
n
t r
o
l
.
s e
l
e
c t i
v e
y
e h t
e r o m
t ekor
" , m S
L a y e
r
s
, d e n p r a h s
--,
EJ
n e c s a r y.
b e c o m
a
g n i r e d
n o t
O b j e c t
Effects
..
l a m s
vlenif
i s
wo ul d
S m a r t
f o
b ut
t h e i r
m e r i t s .
b a c k g r o un d
c o n t a i s
d n a
o wn
cemtry's
, s e h c n a r b
f I
i s
c o n s i d e r g
Photos
h o p f i l e actually
o
r
i
g
i
n
a Rl AW
c o
u l d
c h
a n
g
e
image d a t a ,
t h
e
RA W
the
contains
the
s o a c o
l l
e
a g
u e
conversion.
W h i l e it' s n o t n e c e s s a r i l y a n approach
t h a t one w o u l d always
recommend,
it
i l l u s t r a t e s t h e p o w e r f u l possibilities of
a highlvye rsatile way
S E L C T I V
S H A R P EN I G
of w o r k i n g .
107
SOFT FOCUS
151
SOFT FOCUS
SELECTIVE SOFT FOCUS
Opacity:
Lock:
ill[ d + a
Fill:
1 70% [I]
1100% []
ft
I-'I
Blue filter
152
CREATIVE EFFECTS
II
Multiply
Opacity:
Normal
Fill:
Dissolve
1100% [8
1100% [. I
.
L;:--- --.--iDarken
..
____ . .
..,.,
Linear Burn
Less obvious is
Darker Color
Lighten
Screen
Color Dodge
Lighter Color
Overlay
Soft Light
Hard Light
Vivid Light
Linear light
Pin Light
more dreamy.
Hard Mix
Difference
Exclusion
Hue
Saturation
Color
Luminosity
Options
II
Cen.,.1 Blending
Blend Mode:
[vi
Multiply
a%
Opacity:
r Advanced Blending
Fill Opacity: ,
Channels:
Knockout:
R 0 C 0B
None
a lliO %
[vi
Gray
This Layer:
69 I 132
Underlying Layer;
[vJ
0
255
<!>
BORDERS
Particularly with a black-and-white print, the highlights can often be very close in tone to
the paper and those around the picture's edge easily bleed out and merge with the
surrounding white space. Examine the two images on the facing page-the bright clouds
at the top left make the borderless image look very ragged. If the picture is framed and
mounted, the matte can help hold the viewer's eye within its rectangular format. but not
always. Moreover few of us frame every picture.
156
ADDING A BORDER
Name:
@iJe
OUse Previous layer to Create Clipping
d o None
!
(olo
Mode: Multiply
ElFIiI
0F0
.....
lvl
IvI
OpaCilY
Mask
OLJ
"
c.... 1 '"
.....
,Qow
D_J.""lmbO"
0<__
"'-....
...
Oe dNnto.. f\>r
0 .... .... 0..,.... .
EJ
Image>
v Border 10 pixel s
v Make layer
Using: layer
Name: "Edge"
Mode: Multiply
With Fill Neutral
Scale:
Stroke: stroke
border afterward.
100%
With Enabled
Position: inside
Fill Method: Color
Mode: Normal
Opacity: 100%
Size: 10 pixels
Color: RCB color
Red: 0
Green:
Blue:
BORDERS
157
DECORATIVE BORDERS
Many photographers like simple borders, others none at all, while some prefer something
fancier-if not all the time then at least for one-off specials. In the darkroom this often
meant plenty of trial and error, and ruining perfectly good prints, but with Photoshop there
is so much freedom that one regularly sees gruesome border effects proudly displayed.
I won't altogether exempt those on these pages-after all, taste is individual-but what's
more important is the underlying method and knowing how to use the style of decorative
border that looks right with your images.
158
Brush TipShape
OShapeDynamicsg'
DScattering
DTexture
DDu18rush
iii
Ii
"
DCalor Dynamics i'
56
II
119
Expanded View
Clear BrushControls
ResetAll Locked Settings
Copy Texture 10Other Tools
Rename Brush...
Delete Brush
Test Only
ThumbnaU
Large Thumbnail
SmallUst
Large Ust
vSmall
Stroke Thumbnail
Preset Manager. ..
Reset Brushes.. .
load Brushes.. .
Save Brushes...
Replace Brushes...
ft
U
Assorted Brushes
Basic Brushes
Calligraphic Brushes
DropShadow Brushes
Dry Media Brushes .f\.
t
tiaux Inlsh B lJshes---..
John's Cursors
Natural Brushes 2
Natural Brushes
Special Effect Brushes
Square Brushes
Thick Heavy Brushes
Wet Media Brushes
Brush Presets
Brush TipShape
DShapeDynamics.
=:nq::::J ::
DDualBrush
DColorDynamics ii'
EJ
BothAxes
ol:loff
-
!vlr=J
DNoise
OWetEdges
Iii
OAirbrush
0Smoothing
Iii
....1=
1 .:. ==1
____________
i
.' _,"_ " '_ J_ n_ "
Scatter
I ""
=
=I
=
===::::;:
=:;
-;:::
d,
,' -____-'-'OJ
control:l",
'. ",
Iio'
Iio'
j'
II
,
J I cancel!
__________
...
iii
Here
DECORATIVE BORDERS
159
FILM REBATES
For a period in the 1990s it seemed in vogue to print images with the negative's rebate
showing. Rather like Madonna's famous bra, what had previously been hidden was now
displayed, and the film stock and sprocket holes were used as the border of the final print.
One method was to contact-print from large-format negatives, or you could file down or
customize the enlarger's negative carrier. The rougher the better.
160
Ii'
Ii'
ft
R
U
Darken Midtones
Darken Shadow
maintained.
FILM REBATES
161
EDGE BURNING
Edge burning is a gentle darkening around a picture's edge that is almost imperceptible yet
is still sufficient to contain and hold the image together. Its function is closer to a border
line than it is to the typically compositional or interpretative role of dodging and burning,
though the methods are similar. Employed on its own, edge burning may be all that is
needed, but marginally darker edge areas and a simple border can be an ideal combination.
stronger definition.
162
SELECTIVE CURVES
EJ
EDGE BURNING
163
FLIP HORIZONTALLY
Clearly you might not want to flip a
164
165
166
----
HOW SHARP?
Eyes
Dar. ..
Ii'
II!';II
Flipped
Background
G
Amount:
Radius:
100%
%
pixels
----Threshold:
levels
r------------------------
too obvious.
167
PRINTERS
The inkjet is by far the most common type of photographic printer and offers a great
balance between quality and affordability. Manufacturers are continually updating their
product ranges and it is difficult to keep up with the latest developments. Before buying,
check reviews in photographic magazines and take advantage of the vast number of
resources now available over the internet. Someone, somewhere will have already used
the printer you are interested in, and will have posted an online review.
168
PRINTERS: INKJET
Almost any inkjet printer can print a
photograph, but for decent quality
you need to look at the models that
manufacturers produce specifically
for photographic printing. These are
TIP
Archival longevity should also be a
major consideration. The better
photographic printers tend to have
inks based on pigments which tend
PRINTERS
169
-------
There's a certain irony in color being one of the biggest problems of black-and-white digital
printing, and it's important to maintain a healthy scepticism when reading about new
printers' black-and-white capabilities. The fresh print may look fine when it is viewed in
daylight or with a daylight-balanced light, but it's a different story once you see the print
under regular tungsten house lighting. What had previously seemed pure black and white
suddenly exhibits a magenta color cast. or is occasionally greenish. The unwanted tone is
different when the light source is fluorescent. and it also varies greatly depending on
which paper you use. You can change your printer, and a lot of other things too, but a lot of
photographers make the best of a bad job and discover a new enthusiasm for split toning.
170
S P L I T
T O N I G
There' s
h e r
e .
a n underlying t e c h n i c a l o b s t a c l e
For a colori nkjeptr inter, printing
a toned or sp l
i
t
t
- o
n
e d black-and-white
image
i sl ittl
diefferent from color
printing a s i tc an
b l
e n
d t
h e tone from
h a l
f a d o
z
e n
c o
l
o
r
c artridges, and
t
h e n
a d d b l
a c k
f r
o
m
o
n
e or more
g r
a y
s
c a l
e i
n
k
s
. But printing a neutral
b l
a c k
a n
d white presents a problem,
e v
e n
f o
r
a top-of-the-range
One
p r
i
n
t
e r
.
o
r
t w o grayscale i
n
k
s
a r e n
o
t
e n
o
u
g h
to pr
o
d u
c e
a smooth t
o
n
e .
To balance thist
he colored inksa re
alsou
s
e d , and the p r
i
n
t
e r
d river tries
tocombine
t
h e m
i
n
a balance that
resulti
s
n
a neutralized(gray)
The
o
u
t
p u
t
may
color.
l
o
o
k
right i n d a y l i g h t
b u
t
i
t
s
' i nevitablya compromise.
T h i
n
g s
a r e getting better. P r i n t e r
m
a n
u
f a c t
u
r
e r
s
a r e introducing t h i r d a n d
f o
u
r
t
h grayscale i
n
k
s
s
olessu se has t o
b e m a d e
of c o
l
o
r
e d i n k scartridges.
D r
i
v
e r
s
are alsoi
m
p r
o
v
i
n
g ,
though
those
E v
e n
m
a n
u
f a c t
u
r
e r
s
' c l a i m s n e e d to b e
p u
t
t o the t e s t . C h e c k
the printu
nder
photographers
a r e happy
w
i
t
h the mono o
u
t
p u
t
from t
h i
r
d p- a r
t
y
R I
P s
s
u
c h a s ImagePrint,
a n
d Qlmage.
T h e s
e
O u
a d T o
n
e
Rip,
a r e replacements
inkusage,
paper
A b o ve
also
ha ve
"+
a n d
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settings.
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B e l o w:
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atisfiebdy using dedicated
b l
a c k
a- n
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- h i
t
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i n k s e t s . T h e s e
available f r o m companies
Piezography,
are
such as
Lyson, a n d Permajet a n d
are r
e p l
a c e m
e n
t
cartridges o r
c o
n
t
i
n
u
o
u
s
f l o w systems. At t h e i r
s
i
m
p l
e s
t
, o n e s w a p s the b l
a c k
and
w h i t e cartridges in and out a s needed,
taping o
v
e r
theirnozzlesw
h e n
u s e . Because
compromise
not i n
t h e r e i s n o need to
and use colori nks,the
resultas
r e much
b l
a c k
a n d white.
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