Table Of ContentBlack and White
in Photoshop CS3
and Photoshop
Lightroom
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Black and White
in Photoshop CS3
and Photoshop
Lightroom
Create stunning monochromatic images in
Photoshop CS3, Photoshop Lightroom, and beyond
Leslie Alsheimer with Bryan O’Neil Hughes
AMSTERDAM (cid:129) BOSTON (cid:129) HEIDELBERG (cid:129) LONDON (cid:129) NEW YORK (cid:129) OXFORD
PARIS (cid:129) SAN DIEGO (cid:129) SAN FRANCISCO (cid:129) SINGAPORE (cid:129) SYDNEY (cid:129) TOKYO
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Focal Press is an imprint of Elsevier
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First published 2007
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British Library Cataloguing in Publication Data
Alsheimer, Leslie
Black and white in Photoshop CS3 and Photoshop Lightroom:
create stunning monochromatic images in Photoshop CS3,
Photoshop Lightroom, and beyond
1. Adobe Photoshop 2. Adobe Photoshop lightroom
3. Photography – Digital techniques 4. Black-and-white
photography
I. Title II. Hughes, Bryan O’Neil
006.6(cid:2)86
Library of Congress Control Number: 2007932105
ISBN: 978-0-240-52084-1
Typeset by Charon Tec Ltd (A Macmillan Company), Chennai, India
www.charontec.com
For information on all Focal Press publications
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Printed and bound in Canada
07 08 09 10 11 11 10 9 8 7 6 5 4 3 2 1
CONTENTS
Acknowledgements .....................................................................................xiii
How to Use This Text .....................................................................................xv
Salutations ..................................................................................................xvii
Seeing in Black and White ...........................................................................xix
Mistakes Can Be Magic ................................................................................xxi
Photoshop CS3 and Lightroom: An Integrated Color
Managed Workfl ow ...................................................................................xxiii
Chapter 1: Color Management for Black and White ....................................1
Pre-Workfl ow: Color Management Integration ................................1
Color Management for Black and White, Really? Sounds
like a serious yawn fest! ........................................................................1
What Does Color Management have to do with
Black and White anyway?....................................................................2
The Essential Overview .............................................................................2
Color Management defi ned ...............................................................2
Why Do We Need Color Management? ...............................................3
Why colors change .................................................................................3
If matching the print to the monitor is impossible … then
creating a good print seems fairly hopeless .................................5
Managing color with profi les .............................................................6
Outline: The Color Managed Workfl ow ...............................................6
The six basic components to managing color
throughout the workfl ow process ....................................................6
I. Set Up Color Working Spaces ..................................................................7
Camera Settings: Choose a Color Space ........................................7
What is a Color Space? ..........................................................................8
II. Workspace: Control Ambient Lighting Conditions and Working
Environment ...............................................................................................11
1. Control Ambient Lighting Conditions ....................................11
2. Set Desktop to Solid Gray Medium ..........................................12
3. Set monitor resolution and color preference .......................14
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Contents
III. Monitor .......................................................................................................14
Calibrate your monitor and change settings ...........................14
How do I calibrate? ............................................................................15
How often should I calibrate? ........................................................16
IV. Software .....................................................................................................16
Set photoshop color management policies and
color working spaces ........................................................................16
Photoshop Color Management Policies and the Editing Color
Working Space .........................................................................................18
Working Gray Policies ............................................................................18
CMYK Working Space ...........................................................................20
Spot Working Space ...............................................................................21
Color Management Policies ................................................................21
Profi le mismatches ............................................................................22
Missing profi le .....................................................................................23
How to set: Photoshop color management policies .............23
Save and Name ........................................................................................24
Comment ...................................................................................................25
V. Print Profi ling and Printer Settings ....................................................25
Set up the print driver with correct profi les for output........25
Output and Media Considerations ...................................................26
Softproof, Evaluate, Tweak and Repeat ...........................................26
Softproof ...............................................................................................26
Evaluate .................................................................................................27
Tweak – Making digital darkroom adjustments based on
output results ......................................................................................28
Chapter 2: Highest Quality Capture: Workfl ow Phase I ............................29
I. Capture in Color .......................................................................................29
II. Digital Capture File Formats ................................................................30
1. JPEG vs. Raw Capture ........................................................................30
2. Digital Negative (or DNG) Format ................................................31
File formats: Quick reference .........................................................33
III. Bit Depth: The Advantage of High Bit Capture .............................35
IV. Scanning Capture: An Overview ........................................................36
1. How to Set Up for Optimal Scanning ..........................................36
2. Resolution/Print Size Reference Chart ........................................37
File sizes refer to high-bit fi le size .................................................37
vi
Contents
V. Exposure Evaluation Tools: Utilizing Histograms in the Field
for Optimal Exposures with the Greatest Dynamic Range ....37
S o if the LCD stinks for exposure evaluation is there another
way to evaluate exposure in the fi eld? .........................................38
So what is a Histogram? ................................................................38
What is dynamic range? ................................................................39
Exposing for digital capture .........................................................40
Reading and Interpreting Histogram Data..................................41
Clipping ...............................................................................................41
Contrast ...............................................................................................43
Histograms and images .................................................................44
Summary of histograms and exposure evaluation ..................53
VI. Exposure Evaluation: Monitor Highlights Utilizing the
Blinking Highlight Indicator .............................................................54
VII. Histograms in the Digital Darkroom ..............................................55
Monitoring Image Detail with Image Adjustments for
Highest Quality Editing Practice .....................................................55
VIII. Digital Darkroom Editing Dangers .................................................56
Posterization a.k.a. Banding ..............................................................56
Cache Warning ......................................................................................57
IX. Noise and Interference in Digital Capture ...................................58
AKA grain in the fi lm world ...............................................................58
Chapter 3: Black and White in Lightroom: Workfl ow Phase II ..................63
Integrating Workfl ow Practices .......................................................63
Workfl ow is dynamic: Go with the fl ow! ..................................64
Lightroom Unleashed: The Editing Accelerator.........................65
History ......................................................................................................65
A Stepped Approach through Lightroom ...................................65
Module Overview .................................................................................66
Lightroom Library Module: Overview of View Modes........66
I. Import: Includes Download, Backup, Rename,
Keyword, and Copyright ....................................................................69
II. Lightroom Editing .................................................................................75
III. Global Image Adjustments: Lightroom Develop Module ......78
Histogram .............................................................................................80
IV. Export: Archive, Contact .....................................................................85
1. Export DNG and Burn another backup ...............................85
2. Print a Contact Sheet .................................................................86
vii
BColanctke natnsd White in Photoshop CS3 and Photoshop Lightroom
Special Note: Lightroom Color Management ............................87
3. Bridge to Photoshop ..................................................................88
Bridge Overview ...................................................................................89
Chapter 4: Black and White in Photoshop .................................................91
Photoshop ...............................................................................................92
Black and White Conversion Methods ..........................................92
The Methods ...............................................................................................95
Grayscale Mode Change ....................................................................95
Desaturate ...............................................................................................98
Lab Color Mode ..................................................................................101
Color Filters and Black and White Images ............................103
Background: Color Filters for Black and White Film ..........104
How Color Filters in Black and White Made Color Film ...106
Channels ..........................................................................................106
Digital RGB Capture is actually Grayscale First! ..................109
Channel Mixer .....................................................................................110
Color to Black and White with the Channel Mixer ............110
Digital Like Film .............................................................................113
Hue Saturation Technique ..............................................................114
Turn Up the Volume! This One Goes to 11! ...............................118
Black and White Standalone Feature ..........................................122
The new black and white feature in Photoshop CS3 .......122
Tinting ...............................................................................................126
Black and White in Adobe Camera Raw 4.0 .............................127
A very brief background .............................................................127
Why use Adobe Camera Raw? ...................................................128
Why a plug-in? ................................................................................128
Version 4.0, Adobe Camera Raw for everyone! 129
New Controls ...................................................................................129
A stepped approach through ACR ..........................................130
Opening Files in ACR ....................................................................130
Black and White Beyond ..................................................................136
A Selection of Photoshop Plug-ins ..........................................136
Chapter 5: Image Editing in Photoshop ...................................................141
1. Non-Destructive Editing: An Overview of Best Practices
and New Features in CS3 .................................................................141
2. U sing Adjustment Layers for a Non-Destructive
Workfl ow ...............................................................................................144
vviiiiii
Contents
Creating Adjustment Layers............................................................144
Benefi ts of Adjustment Layers .......................................................144
3. Monitoring Adjustments with the Histogram Palette ...........146
4. Levels and Curves Overview: Tone and Contrast
Corrections ............................................................................................147
4a. Levels ..............................................................................................147
Input Sliders .........................................................................................147
Output Levels .......................................................................................148
Preview ...................................................................................................148
4b. Curves ..............................................................................................149
5. Setting Black and White Points ......................................................151
5a. Changing the Dropper Default Settings ............................151
5b. Setting Black and White Points Using Levels .....................152
Method 1: This method is easier! ....................................................152
Create a Levels adjustment layer ...................................................152
Option Key Sliding .............................................................................152
Method 2: Threshold; a more advanced and more
accurate method .................................................................................154
6. Photoshop: Dodging and Burning with “Soft Light” ..............157
7. Dodging and Burning with Adjustment Layers .......................159
8. Creating a Neutral Density Filter ...................................................161
9. Vignetting ..............................................................................................163
Burn Edges w/ Geometric Selection Tools .................................163
10. Correcting Exposure Issues with Adjustment Layers ..............166
11. Creating Film Grain Eff ects ..............................................................168
Method 1 ................................................................................................168
Method 2 ................................................................................................168
12. Digital Infrared .....................................................................................169
13. Reducing Noise with Photoshop CS3 ..........................................172
Blurring the Lab “B” Channel ...........................................................172
The Method ..........................................................................................172
14. Hand Color Black and White ...........................................................174
The Method ..........................................................................................174
15. Sandwiching Negatives ....................................................................177
Creative compositing with blend modes ..................................177
16. Toning Techniques with Photoshop.............................................180
16a. Sepia Tone 1: Photo Filter ......................................................181
16b. Sepia Tone 2: Hue Saturation ...............................................182
16c. Albumen Print: A Method for Split Toning ......................183
16d. Toning with Curves ..................................................................185
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