Dodge and Burn. Dodging and burning is a means that comes from the traditional darkroom and is usually used to burn in or darken highlights and hold back (brighten) shadows. Photoshop’s Dodge and Burn tools allow a level of control that film photographers could only thought of taking a degree of because you could target the highlights, shadows or mid-tones with both. This means that you can use the Burn tool to darken highlights when they are too bright, or the Dodge tool to perk up them to increase local contrast. It’s a great avenue of sharing a sense of greater sharpness and enhancing texture. Plus, because you could set the opacity of the tools, you may build up their effect gradually so the impact is subtle and there are no hard edges.
Shoot RAW + JPEG. The most excellent monochrome conversions are blundered on by editing raw files which have the full colour information, but if you shoot raw and JPEG files simultaneously and set the camera to its monochrome picture Style/Picture Control/Film Simulation mode you get an indication of how the image will look in black and white. As many photographers struggle to visualise a scene in black and white, these monochrome modes are an invaluable tool that will help with composition and scene assessment. numerous cameras are also capable of producing decent in-camera monochrome images these days and it’s worth experimenting with image parameters (usually contrast, sharpness, filter effects and toning) to find a look that you like. Because compact practice cameras and compact cameras show the scene seen by the sensor with camera settings applied, users of these cameras are able to preview the monochrome image in the electronic viewfinder or on rear screen before taking the shot. DSLR users should also do this if they activate her camera’s live line of thinking pathway , but the usually slower responses mean that most will find it preferable or check the image on the screen post-capture.
Look for Contrast, Shape and Texture. The complimentary and opposing colours that bring a colour image to life are all reduced to black and white or shades of grey in a monochrome image and you have to look for tonal contrast to make a shot stand out. In colour photography, for example, your eye would instantaneously be drawn to a red object on a green background, but in monochrome photography these two areas are likely to have the same brightness, so the image looks flat and dull straight from the camera. happily , it’s possible to work adjust the brightness of these two colours discretely to introduce some contrast. However, a good starting point is to look for scenes with tonal contrast. There are always exceptions, but as a general rule look for scenes that contain some strong blacks and whites. This can be achieved by the light or by the brightness (or tone) of the objects in the scene as well as the exposure settings that you use. The brightness of the bark of a silver birch tree for example, could inject some contrast (and interest) in to a woodland scene. Setting the exposure for these brighter areas also makes the shadows darker, so the highlights stand out even more. Look for shapes, patterns and textures in a scene and move around to find the greatest composition.
Try Long Exposure. Long exposure shots could work really well in monochrome photography, especially where there’s moving water or clouds. During the exposure the highlights of the water, for example, are recorded across a wider place than they would with a short exposure and this may help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If necessary , use a neutral density filter such as Lee Filters’ Big Stopper or Little Stopper to reduce exposure and extend shutter speed (by 10 and 4 stops respectively). typically , when exposures extend farther than on the subject of in connection with 1/60 sec a tripod is wanted to keep the camera still and avoid blurring. It’s also advisable to use a remote release and mirror lock-up to minimise vibration and produce super-sharp images.
Take Control. Although coloured filters could still be used to manipulate contrast when shooting digital black and white images, it’s more common to save this work until the processing stage. Until a a couple years ago Photoshop’s Channel Mixer was the preferred means of turning colour images monochrome, but now Adobe Camera Raw has more strong tools (in the HSL/Grayscale tab) that allow you to adjust the brightness of eight individual colours that make up the image. It’s possible to adjust single of these colours to make it anything from white to black with the sliding control. However, it’s important to keep an eye on the whole image when adjusting a particular colour as subtle gradations could become unnatural looking. And adjusting the brightness of a red or pinkish shirt with the red sliding control, for instance , will have an impact on the model’s skin, especially the lips. The Levels and Curves controls may also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create segregation between objects of the same brightness but with varied colours.
Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are just as useful in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more useful . An ND grad is cooperative when you want to retain detail in a bright sky while a polarizing filter may be used to reduce reflections and boost contrast. Alternatively, evaluate taking two or more shots with diverse exposures to create a high dynamic range (HDR) composite. Don’t be afraid to use a ND grad with a standard neural density filter if the sky is brighter than the foreground in a long exposure shot. Coloured filters, which are an essential tool for monochrome film photographers, could also be useful for manipulating contrast in digital images. They work by darkening objects of her opposite colour while lightening objects of her own. An orange filter, for example, will darken the blue of the sky while a green single will lighten foliage.
Related Images of Black And White Prints Too Dark
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Do you have a proper color controlled workflow and have you printed accurate prints before on your setup? (apologies if the question offends, just clearing out some doubts)
Solved it with a profile a friend recommended. My monitor is, of course, calibrated. Thanks for all the help.
Author Topic: Problems with prints too dark with black and white (Read 3938 times)
Neil EnnsDane Creek Folio Covers. Limited edition Tuscan Sun and Citron covers are now in stock!
http://www.luminous-landscape.com/tutorials/why_are_my_prints_too_dark.shtmlSame principles for colour and B&W – unless you didn’t scan the work properly. But you’ve said nothing that would help any one diagnose what’s going on.
Mark’s right, it’s your monitor. Here’s my blog entries on the topic:http://www.danecreek.com/blog/2010/02/17/monitor-brightness-and-dark-prints.htmlhttp://www.danecreek.com/blog/2010/05/10/monitor-brightness-and-dark-prints-part-2.
htmlNeilHi Neil, If I’m the “Mark” you are referring to, I didn’t quite say it is his monitor, but by pointing him to Andrew’s article where monitor brightness is the one of THE MAJOR highlighted issues, indirectly I suppose I did.
But in point of fact the OP has told us so little about any of this that it’s impossible to provide useful advice. We have no idea what the original scan really looks like, whether indeed he does calibrate and profile his monitor and his printer, and if so at what settings, what the ambient viewing conditions are, what post-scan workflow was used apart from colour management, etc.
etc. etc. etc. This kind of thing happens so often on in forums that I can’t help but observing it’s fine to come here asking for guidance from other members, but there is a minimum amount of information we need in order to be useful.
I have no doubt in many cases people don’t know enough about the topic to understand what others need to be told. In all such cases, a certain amount of self-education is really the best course before coming onto forums posting such broad unanswerable questions.
One needs enough basic education in the subject to at least know how to ask the questions in a way that may elicit solutions to problems. And there are TONS of resources available right on this website, a lot free, some pay, to do exactly that.
I discovered for some reason grayscale images printed darker than the same file turned to RGB. This on my Z3100, so could be entirely unrelated. Otherwise they print true neutral B&W for me so no issue.
Mark D Segal (formerly MarkDS)Author: “Scanning Workflows with SilverFast 8…..”
I didn’t scan the art but I thought I would start there. Grayscale mode? A friend sent me a profile he said he uses. I am printing on Epson Enhanced Matte paper.
I thought printing out spmeones scanned black/white artwork would be a no brainer on my Epson 7900. NOT …too dark. Lost detail in the shadows. Any helpful hints. I tried even letting the printer driver do the managing rather than CS4. Same results.
Mark’s right, it’s your monitor. Here’s my blog entries on the topic:http://www.danecreek.com/blog/2010/02/17/monitor-brightness-and-dark-prints.htmlhttp://www.danecreek.com/blog/2010/05/10/monitor-brightness-and-dark-prints-part-2.htmlNeil