Create Stunning Monochromatic Images in PhotoShop CS3, PhotoShop Lightroom and Beyond
Leslie Alsheimer with Bryan O’Neil Hughes
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Book Details
Price
|
2.00 USD |
|---|---|
Pages
| 266 p |
File Size
|
21,962 KB |
File Type
|
PDF format |
ISBN
| 978-0-240-52084-1 |
Copyright
| 2007, Elsevier Ltd |
I would like to express my greatest and most heartfelt gratitude to the
people in my life who went out of their way to give me the support and
encouragement to fi nish this project: the entire Alsheimer family, especially
my mom, my co-author Bryan and his fi ancée Alex, and dear friends Cece
Kurtzweg, Randall Gann, Amos Hockmeyer, Michael Clark, Jamie Baldonado,
all the folks at Focal Press, and Desert Elements Design; Molly McDow Duncan
and Cheryl Eisenhard.
Leslie Alsheimer
I’d like to thank everyone who appears in the credits of any Adobe application
discussed in this text, each and every person touches the applications in some
way. More specifi cally, I’d like to dedicate all of my own eff orts in this book
to Alex, my fi ancée – whose support and dependable good nature always
empowers me to fulfi ll my lofty goals and obligations.
Bryan O’Neil Hughes
SALUTATIONS
While the digital landscape has become less complex with the latest
software releases, we also recognize that we are standing on the
shoulders of giants. We salute the Photoshop gurus and divas who navigated
the complexities of the digital world before us, who were not only willing,
but enthusiastic and passionate enough to pass on their wisdom, knowledge
and expertise. Because of their perseverance and dedication, the technology
is where it is today. Hats off to all those folks for laying the foundation and
paving the way for the rest of us!
Special acknowledgement and appreciation must also go out personally
to all of my many mentors who challenged my vision and ignited the
passion for the digital world that carried me into my career as a professional
photographer and educator. To Julieanne Kost, Katrine Eisman, as the
pioneering women of the industry, and my high school photography teacher
Karen Jenks each of whom inspired me with great impetus and will forever be
my industry heroines and role models!
To Jonathan Singer, Norman Mauskoph, Thatcher Cook, Stephen Johnson,
Andrew Rodney, Mac Holbert, Jeff Schewe, George DeWolfe, Maggie Taylor,
John Paul Caponigro, Jack Davis, Jerry Courvosier, Michael “Nick” Nichols,
Dan Burkholder, David Alan Harvey, Sam Abell, Tom Gaukel, Josh Withers,
Genevieve Russell, David Lyman, Reid Callanan, Martha Callanan, the staff and
everyone at the Maine Photographic Workshops, and the Santa Fe Workshops.
Leslie Alsheimer
Table of 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
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
V. Exposure Evaluation Tools: Utilizing Histograms in the Field
for Optimal Exposures with the Greatest Dynamic Range ....37
So 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
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. Using Adjustment Layers for a Non-Destructive
Workfl ow ............................................................................................... 144
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
16e. Split Toning with Selections ................................................. 186
16f. Duotone, Tritones and Quadtones ...................................... 190
Chapter 6: Printing ................................................................................... 193
Silver Changing Form ................................................................................ 194
Ink .................................................................................................................... 197
Types of Ink .............................................................................................. 197
Grayscale .................................................................................................. 198
Issues with Ink ........................................................................................ 198
Alternatives to Black and White Inkjet Limitations ....................... 199
Black Only Printing ................................................................................ 199
RIP Software (Raster Image Processing) ........................................ 199
Latest Developments ................................................................................ 200
Papers and Profi les .......................................................................................... 200
Matte vs. Glossy...................................................................................... 200
Profi les ....................................................................................................... 201
Workfl ow Phase 5: Printing Workfl ow ................................................. 202
Monitor Tonal Detail from Monitor to Print: Creating a
Step Wedge .................................................................................................. 202
Printing Workfl ow Overview ........................................................................ 203
A. Printing From Photoshop ................................................................. 203
B. Print From Lightroom ......................................................................... 204
A. Photoshop Printing Workfl ow ............................................................... 204
I. Set Image Size and Resolution ......................................................... 204
Image size in Photoshop .....................................................................204
Image Size Dialog Box ......................................................................... 205
Image Size and Scanning ................................................................... 206
Calculating the File Size with Photoshop ..................................... 207
II. Softproofi ng ............................................................................................ 208
For full screen Softproofi ng in CS3 ................................................. 209
Simulate Paper Color ............................................................................ 209
Simulate Ink Black ................................................................................. 209
III. Sharpen .....................................................................................................209
Sharpening Overview ......................................................................... 209
Unsharp Mask Overview .................................................................... 210
The Basic Method ................................................................................. 210
Unsharp Mask Techniques (High Pass Filter Method) ............. 210
Smart Sharpen ........................................................................................211
IV. Set Your Print Driver for Color Managed Output ...................... 212
Color Management ............................................................................. 213
Adobe Defi nes Rendering Intents as Follows ........................... 214
Method 1 : Photoshop Managed Color ........................................215
Method 2: Printer Managed Color ..................................................218
Method 3: Forget Color Management! .........................................221
V. Tweaking................................................................................................. 223
B. Printing from Lightroom ..........................................................................224
Lightroom Print Module ....................................................................225
Overview of Features ..........................................................................225
Image Settings ..................................................................................... 226
Layout ...................................................................................................... 226
Overlays .................................................................................................. 227
Print Job .................................................................................................. 228
Lightroom: Set Your Print Driver for Color
Managed Output Color Management...................................................... 229
Method 1: Color Managed by Printer: Profi le ................................... 229
Lightroom Method 2: Color Managed by Printer
(Without profi le) ......................................................................................... 230
Afterword ................................................................................................... 231
About the Authors ......................................................................................233
Advertisement ............................................................................................235
Index ........................................................................................................... 237
Bookscreen
ABOUT THE AUTHORS
LESLIE ALSHEIMER
Leslie Alsheimer is a freelance photographer, creative imaging consultant
and digital photography workshop educator based in Santa Fe, New Mexico.
She has worked extensively with many of the foremost image makers in the
country, and integrates a hybrid of experience, teaching styles and technical
knowledge into her unique educational approach. As the director of the Santa
Fe Digital Darkroom Photography Workshops, Leslie organizes and hosts
volunteer vacation and photography workshops around the globe, designed
to inspire photographers with the creative possibilities of digital processes.
Leslie also travels to work with clients as a creative imaging consultant, private
instructor and trainer. She specializes in helping photographers and artists
transition into digital technology and processes with ease, using collaborative
image processing and printing techniques in a calibrated workfl ow. As a
professional freelance photographer, a member of the Adobe Photoshop Beta
Testing Team and an instructor with Nikon and American Photo Mentor Series,
Leslie’s knowledge and expertise of both traditional and digital photographic
darkroom techniques allows her to bring signifi cant passion, experience and
enthusiasm to all she does in this fi eld.
Leslie believes in using photography to help empower others to fi nd their
own creative voice and vision. She was the creative director of the published
book, Reality from the Barrio, a social documentary honored in the PDN
Photography Annual 2003 as The Best Photos of the Year. Inspired by a
traditional wet darkroom teen photography program that Leslie developed,
and directed for a nonprofi t organization’s gang diversion program, the book
became a thesis project for Leslie’s master’s degree in social work.
Combining her love for photography and background in social services,
Leslie developed Community Photography Outreach, a project based
nonprofi t collecting and disseminating donated cameras to organizations and
programs in need. Additionally, she directs Forward Focus: Workshops with
Creative Purpose, a pioneering series of nonprofi t educational journeys for
experienced and emerging photographers who want to cover developmental,
environmental and relief eff orts worldwide. Combining adventure with
philanthropy while learning digital photography techniques in the fi eld, the
Forward Focus Workshops utilize the power of visual imagery and the written
word to support and encourage grassroots nonprofi t and NGO initiatives
dedicated to fostering social and environmental change. The Workshops
provide a collaborative forum that combines education, adventure and
creative purpose to celebrate what people are doing to create a better
world, supporting and encouraging acts of connection, compassion and
contribution, that is creating works that matter.
Note: All images in this text from Uganda, Africa, Nicaragua, and Santa Fe,
New Mexico were created in partnership with grassroots NGO organizations
providing relief work and humanitarian aide in the regions. Organizations
included Soft Power Health, Empowerment International, Uganda Youth
Development Link, Connect Africa Foundation, Reach Out, Rotary Club of
Kampala, Action for Youth Development and the Santa Fe Boys & Girls Club.
All images were donated to these organizations in support of their eff orts.
Leslie’s web address is www.santafedigitaldarkroom.com
BRYAN O’NEIL HUGHES
Bryan O’Neil Hughes fell in love with photography when he was only seven
years old. He began collecting cameras and experimenting with the medium
anywhere he found himself; from his mother’s offi ce parties to the sprawling
Carmel Valley ranch he grew up on. Bryan was a teacher’s assistant in his
photography courses throughout high school, and could always be found
working in the darkroom.
After school, Bryan began a lifelong passion for world travel, and he would
venture overseas with little more than a camera, fi lm and backpack. Upon
returning to the states, he worked in the high-end photo retail environment:
From custom prints, to framing, to sorting, to sales and even repair, Bryan
has always had an insatiable appetite for anything related to photography.
Hoping to combine a passion for racing cars with his love for photography,
Bryan shot professionally for a brief time. When he began to notice that
both passions were waning, he looked to the future. In 1996, upon seeing
Photoshop 4.0 demonstrated at Seybold, Bryan knew what he wanted to do
with his life.
Bryan O’Neil Hughes has been with Adobe since 1999, helping to test,
develop, drive and demonstrate Adobe’s digital imaging applications. Bryan
is Product Manager for the Photoshop Team and Product Evangelist for the
Lightroom Team. Bryan’s name, energy and even photos can be found within
Photoshop 6.0 forward, PhotoDeluxe 4.0, Photoshop Elements 1.0, Photoshop
Lightroom 1.0 and beyond.
Beyond Adobe, Bryan is a published photographer, editor and author. He still
loves his time spent driving race-tracks, traveling the world over and taking
photos. Bryan lives in the Santa Cruz Mountains with his fi ancée, Alex, and
their two “boys”, Cassius and Irving.