FR wIIH

Practical Practical
Pbotograpby
BIAtK BIAtK
ShooIing
R0N
I0

0sing the right lters

Lonverting RAw les

8ring out the mood

Make perfect prints

Photoshop techniques
R0N
I0
5ee the
world n
mono
on your 0-5IR
BIAtK
0-5IR
ENRIII
BIAtK BIAtK
55NIIAL
G0I0
treate grapbic black E wbite
images witb simple subjects

2 Sheeting bIack 8 white en yeur Slk 3

ConIenIs
WeIcome l|On ||Jc'|cJ| ||O'Oq|Jp|y cd|'O| And|cv Jncs
Camera seIIings 16
0Iical IlIers 18
ConverIing kAws Ior mono 22
6o black 6 whiIe in PhoIosho 24
6o black 6 whiIe in LlemenIs 26
Add conIrasI wiIh Levels 6 Curves 28
0odging 6 burning 30
N0IhlN6 qulIL grabs Ihe aIIenIion
like a black 6 whiIe image. lI can be
classic, Iimeless, and direcI. l love iI.
ln Ihis bookleI - Ihe sixIh in our
hugely oular racIical series abouI
using your 0SLk - we examine many
oI Ihe asecIs youll need Io masIer
in order Io become a successIul black
6 whiIe hoIograher. IhaI includes
boIh Ihe skills in recognising Ihe
oIenIial in a scene, as well as Ihe
imaging Iechniques required Io
develo IhaI oIenIial. where Ihe
Ilm hoIograher once relied on Ihe
almosI mysIical knowhow oI Ihe
darkroom, Ihese days Ihe 0SLk
owner uIs his IaiIh in soIIware like
PhoIosho Io bring his images Io liIe.
lIs imorIanI Io oinI ouI IhaI noI
every colour image you Iake wiIh
1hIS 6uIf IS
ku6h1 1 u ...

5eeng n black 6 whte
5hootng n black 6 whte
Lonverson 6 enhancement
IonaliIy - whaI Io look Ior 6
CreaIe grahic images 10
CaIure mood 6 aImoshere 12
your 0SLk will successIully converI
inIo a owerIul and engaging black 6
whiIe. ld suggesI IhaI iI you choose
Io exlore Ihe joys oI mono Ihen you
go ouI in search oI Ihem seciIcally,
raIher Ihan shooI in Ihe hoe IhaI
one or Iwo mighI, by chance, have
Ihe righI ingredienIs. Vy shoI oI a
canal (above) is a case in oinI. lI
was a drab, dull scene in colour buI in
Iones oI black 6 whiIe iIs a Iar more
grahic and moody hoIo.
|^^||| ||J:| c w|||e ^| y^o| ||| | ||ou| o ,ou |,
||J:||:J| ||^|^|J|y anc | u||||ec |, ||/| /c|ve
l|m|ec |o a| o || |oo||e can |e |e|ocucec w||ou
|e u||||e| e|m||on |o| mo|e a|ou ||, v||
www.practcaIphotography.co.uk
|ield guide ediIor: |en |aw||n
|ield guide arI ediIor C||| k||,
AddiIional words/hoIograhy:
C||| kue|, |en u|ne| c /nc|ew ame
AddiIional roducIion: S|ane Co|||n
AddiIional design: ko| |o|me
Prntng 6 gresentaton
PresenIaIion 36
Paer choice 38
6eI neuIral black 6 whiIe rinIs 40
1he rainspIattered
raiIings and canaI
tewpath were net
instantIy engaging.
ut cenverted te
bIack 8 white, then
dedged 8 burnt te
bring eut the tenes,
it cemes te Iife.
`` Sheeting bIack 8 white en yeur Slk
5eeng n black 6 whte
'
5eeng n
black 6 whte
1ranng Ihe bran Io vev Ihe vorId n shades o! grey s
easer sad Ihan done. BuI IeIs sIarI by Iookng aI hov Io
nIerpreI coIour scenes and vhaI can be acheved n mono...
5eeng n
5R00IIk6 BIAtK E NRIII 0k 0BR 0-5IR
6 Sheeting bIack 8 white en yeur Slk
5eeng n black 6 whte

I
he key to takng great bIack 8 whte pctures s
beng abIe to vsuaIse how the coIours n the
scene wII convert to the dfferent tones n the
hnaI mage. As youII hnd out further on n ths
bookIet, you can nhuence ths by the way that you
process or convert your dgtaI hIes, but there are stII
some smpIe prncpIes that wII heIp you produce the
most successfuI bIack 8 whte photographs. Mono
mages work because of the tonaIty and contrast that
they contan. UnfortunateIy, as we see n coIour, not
bIack 8 whte, t s often the coIour saturaton or coIour
contrasts that actuaIIy attracts us to partcuIar subjects.
whIe these quaItes can sometmes be transIated to
create a good bIack 8 whte mage, you wII need to
be abIe to recognse when ths wII work weII and
when t smpIy wont.
1onaliIy - vhaI Io look Ior
Subjects and quaItes
that dcn't convert weII
lmages IhaI rely on Ihe conIrasI
beIween Iwo or more colours oIIen
donI work well in black 6 whiIe.
AlIhough Ihey look very diIIerenI in
colour, Ihey can become a similar
Ione when converIed Io black 6
whiIe and merge inIo each oIher.
SA1ukA1f ClukS
|| |mae wo|| |n co|ou| |ecaue o |e
|on |ec o |e o, Co|ou| con|a
|a |ave |m||a| ona| va|ue con a|wa,
conve| we|| o mono
Clukf ACk6kuN
|e ||u||ec o|e |n |e |ac||ounc
ec|o |e |ec o |e ma|n howe|, anc a|o
acc |ne|e o |e |een co|ou| o |e
|ae |n |e |ac||ounc
CN1kAS1IN6 ClukS
|e |een o |e |ac||ounc c|eae a
|on con|a w|| |e |ec o |e howe|
|| |e| |e ma|n howe| o anc ou,
anc |ve |a o e,ecac||n |mac

flA1 1NfS
|e ca|ec |een anc
|ec o |e |ac||ounc a|e ha
anc oo un|o|m once conve|ec
o ||ac| c w||e

lSfS IMFAC1
|e o, |a |o a|| |
|mac |n ||ac| c w||e, a |e
|ec |a |ecome a m|c|e,

N CN1kAS1
Cve|a|| |e |mae |a |ecome
oo ha o |e ucceu| |e|e oo
|||e con|a anc |e ma|n u|ec
|a me|ec |no |e |ac||ounc
8 Sheeting bIack 8 white en yeur Slk
5eeng n black 6 whte
9
Subjects and quaItes that dc convert weII
lmages IhaI converI successIully inIo black 6 whiIe oIIen conIain simle grahic
shaes or comlex IexIures, boIh oI which creaIe inIeresI and imacI in Ihe
monoIone image. Look Ior subjecIs IhaI conIain a range oI Iones, raIher Ihan
jusI colour, Io give lenIy oI conIrasI in your Inal image.
1onaliIy - vhaI Io look Ior
fCAl FIN1
||ac|n |e ca|| |ee
aa|n |e |||e|
|ae anc |, wo||
we|| |n co|ou|, |u |e
|ee coe me|e w||
|e neu|a| one o |e
a| c|ance
1fk1ukf
|e wa|m one o |e
|a |n |e o|e|ounc
enc o ove|owe| |e
|mae |e |on
co|ou| a|o mean |a
ome o |e ne cea||
anc e:u|e |n |e |a
| |o
Sk f1AIl
|e |, |a a |ane o
one |a w||| conve|
we|| o ||ac| c w||e,
anc a|o |ea|n |en,
o cea|| o acc |ne|e
o |e |,

1NAl kAN6f
/ | cona|n a |ane
o c|e|en one, |e cea||
|n |e |, | |ea|nec w|en
|e |mae | conve|ec

S1kN6 CN1kAS1
|| ca|| |ee c|eae a
|m|e, |a||c como||on |a
wo|| e|ec|, |n ||ac| c w||e

fNhANCf f1AIl
|e e:u|e anc |ae
c|eaec |, |e |a |n |e
o|e|ounc |ecome even mo|e
aa|en w|en |e |mae |
conve|ec o ||ac| c w||e
!0 Sheeting bIack 8 white en yeur Slk
5eeng n black 6 whte

w
thout the mpact or emoton of coIour to grab
your attenton, bIack 8 whte mages need to
contan more graphc quaItes to work
successfuIIy. Jhe man eIements to Iook out for are
shape and form, or texture that can be used to heIp
the mpact and composton of your bIack 8 whte
shots. As weII as the subject tseIf, strong drectonaI
Ightng, found most readIy earIy and Iate n the day,
can heIp to enhance both shape and texture to create
ncredbIy graphc mages.
Use lighI and composiIion
Io creaIe graphic images
Shape and form
SIrong, grahic shaes hel Io add
imacI Io your mono images - look
ouI Ior boIh manmade and naIural
subjecIs IhaI have simle, grahic
shaes, or subIle curves. SimliciIy is
oIIen Ihe key Io using shae and
Iorm in your black 6 whiIe images,
so Iry Io ensure IhaI Ihe subjecI Ills
Ihe Irame Ior maximum imacI, or
Iry Io cro ouI any disIracIing
elemenIs Io make Ihe shae or
aIIern sIand ouI. Ihis is also a greaI
way oI creaIing absIracI images,
where shae and Iorm becomes Ihe
mosI imorIanI subjecI, raIher Ihan
Ihe objecI IhaI you are shooIing.
SdeIghtng
SIrong, direcIional lighIing hels
Io creaIe shadows and highlighIs
IhaI bring ouI boIh shae and
IexIure oI Ihe scene. |or ouIdoor
images Iry Io shooI when Ihe sun
is low in Ihe sky, raIher Ihan
overhead, and choose your
osiIion so IhaI Ihe lighI is
coming Irom one side oI Ihe
subjecI raIher Ihan Irom behind
or in IronI oI Ihe camera. lI you
are using a conIrollable lighI
source, such as a Iashgun or
lam, osiIion iI away Irom Ihe
camera. 0ncamera Iash, Ior
insIance, creaIes very IaI resulIs
and so is very oor aI revealing
Ihe shae or IexIure oI a subjecI.
Jexture
As weII as shape and form, bIack 8 whte s aIso
exceIIent for hghIghtng a subjects texture. Jght
framng, so that the texture of the subject hIIs the
whoIe frame, can create an abstract mage.
AIternatveIy, you can use the texture of a subject as
part of the overaII composton, when other objects
are ncIuded n the scene.
!2 Sheeting bIack 8 white en yeur Slk
5eeng n black 6 whte
!3
I
he abstract
nature of bIack 8
whte aIso
makes t exceIIent for
creatng moody and
atmospherc mages.
Jhe smpIcty of
coIourIess mages,
and the fact that they
are so far removed
from the way we see
the worId around us,
means they are often
better at conveyng
these moods than
coIour mages. In
generaI, mages contanng Iots of darker tones
often appear mooder than more tonaIIy baIanced
mages, whIe Ighter tones gve shots a fresher,
happer mood. So Iook for subjects that Iend
themseIves to ether of these treatments, and then
sIghtIy underexpose your shot for a darker mage,
or sIghtIy overexpose for a Ighter mage.
BIAtK E NRIII IIP
1he strenger the N grad hIter yeu
use, the darker the sky wiII be. Se
use a 1step er 0.3 N grad if yeu
enIy want te add subtIe detaiI, use
a 2step er 0.6 N grad if yeu want
te step up the drama and use a
3step er 0.9 N grad fer maximum
impact. 1he cheice is yeurs!
Mood
Ihe range oI Iones in Ihe image
largely deIermines Ihe overall
mood oI your black 6 whiIe shoIs.
An image Iull oI dark Iones
orIrays a much heavier, more
dramaIic mood Ihan one
conIaining mainly lighIer Iones.
Ihis range oI Iones can be
achieved when you are shooIing
your mono images by
overexosing by a 1/2 Io 1 sIo Ior
lighIer images, and underexosing
by a similar amounI Ior darker
ones. As wiIh IradiIional black 6
whiIe hoIograhy, you can also
adjusI your images Io suiI Ihe
eIIecI IhaI you are aIIer. using Ihe
Curves and Levels adjusImenIs
available in PhoIosho you can
make your image lighIer or darker
Io suiI Ihe mood oI your image -
Iurn Io age 28 Ior more inIo.
Atmosphere
NaIurally aImosheric condiIions
such as dramaIic skies and misI are
erIecI subjecIs Ior black 6 whiIe.
Ihe ure Iones oI mono allow you
Io concenIraIe all your aIIenIion on
making Ihe mosI oI Ihese
condiIions. You can maximise Ihe
eIIecI by using an N0 grad IlIer Io
darken Ihe sky when you Iake Ihe
shoI, buI donI IorgeI IhaI you can
also use Ihe dodging and burning
Iechniques Iound on age 3.
urban pertraits fuII
ef darker tenes, net
te mentien cencrete
and grafhti, are
perfect bIack 8
white fedder.
A 0.9 N grad hIter
was used te increase
the drama in this
stunning view ef
kannech Meer.
6aIIeping zebras {a ready
made bIack 8 white subject if
ever there was eneJ kicking up
dirt makes bags ef atmesphere.
CapIure mood
and aImosphere
`` Sheeting bIack 8 white en yeur Slk
5eeng n black 6 whte
'
5hootng n
black 6 whte
Changng a !ev n-camera seIIngs and usng opIcaI hIIers
such as grads and poIarsers can greaIIy heIp you mprove
your mono masIerpeces be!ore Ihey even reach your PC.
5hootng n
5R00IIk6 BIAtK E NRIII 0k 0BR 0-5IR
!6 Sheeting bIack 8 white en yeur Slk !
5hootng n black 6 whte
0
ne of the greatest advantages of shootng
dgtaI over hIm s that you can shoot both
coIour and bIack 8 whte mages wthout the
hassIe of changng cameras or hIms. You can even
shoot everythng n coIour and decde whch to convert
to bIack 8 whte Iater on and, f you shoot n kAw
format, you can use exactIy the same camera settngs
for both. Jo get the best bIack 8 whte resuIts from
[Pfs, however, you may need to change a coupIe of
settngs from those that you wouId normaIIy use.
Camera seIIings
BIAtK E NRIII IIP
|e ma|n e|n o con|ce| | |e |ncame|a |a|en|n |o|
co|ou| |mae |a ,ou w||| ue |a|| |om |e came|a || |
oen e o |e no|ma| o| ||| e|n, |u |o| o |ee can
caue |o||em w|| ||ne anc |a|o a|ounc ome cea|| w|en
,ou come o conve| |ee co|ou| |mae o ||ac| c w||e So
o| ||| (ua||, ||ac| c w||e |o ,ou ma, wan o u|n |e
|ncame|a |a|en|n o anc |en ue ,ou| owa|e o |a|en
|e |mae ae| ,ouve com|eec ,ou| conve||on anc an,
|mae en|ancemen ||nc ou |ow o co || on |e ou|a|
Canon |CS 00| anc |||on |80 |Slk |e|ow
1
pen the secend screen ef the Camera Settings
menu by pressing the Menu butten and
using the feurway navigatien buttens. 1hen screII
dewn te the Ficture StyIe eptien and press the Set butten
te epen the avaiIabIe settings.
2
frem the Iist ef settings screII dewn te the NeutraI
eptien using the up and dewn buttens. Make sure
that the number fer the sharpening setting en the
Ieft ef the Iist is 0, then press the Set butten te cenhrm
these settings.
fanon f0S 4000
1
Fress the Menu butten and use the up and dewn
buttens en the pad te cheese the green camera
icen en the Ieft te epen the Sheeting Menu. 1hen
use the right butten ef the pad te epen the ptimize
image eptien.
2
use the up and dewn buttens ef the pad te cheese
the Custem setting, then press the right butten te
epen the avaiIabIe settings. SeIect Image
sharpening and cheese Nene by using the up and dewn
buttens en the pad, then press k.
Nkon 080
INCAMfkA ShAkFfNIN6
wiIh Ihe incamera sharening seI Io normal you can
Ind IhaI you geI lines around deIails, arIicularly on
areas adjoining blue sky. 0n Ihis examle you can see
an obvious line above Ihe hills where Ihe sharening
has been alied.
N INCAMfkA ShAkFfNIN6
Iurning Ihe incamera sharening oII allows you Io geI
a beIIer black 6 whiIe conversion Irom your colour
images. kemember Io aly some sharening once
youve Inished adjusIing your image and beIore you
rinI iI ouI, Ihough.
Ione compensation
1e cepe with high centrast subjects yeu
can aIse adjust the centrast er tenaI
range settings en yeur digitaI Slk. 1his
is set threugh the same ptimize
image er Ficture StyIe menus as the
sharpening. fer high centrast subjects
yeu need te use a setting that aIIews
the camera te capture a wider range
ef tenes in the image, se use a Iewer
centrast setting.
NkMAl
lwfk CN1kAS1
Sharpenng
!8 Sheeting bIack 8 white en yeur Slk !9
5hootng n black 6 whte
w
hen shootng bIack 8
whte hIm you use
coIoured hIters to change
the way that coIours are recorded
as tones n the hnaI mage. As ths
tonaI adjustment can now be done
when you convert your dgtaI
mage from coIour to bIack 8
whte, usng hIters on your 0-SLk s
more about ensurng that your
mage contans a fuII range of
tones than aIterng how these
tones wII be recorded. 0ne of the
cIassc uses of hIters n bIack 8
whte photography s to ncrease
the contrast between bIue sky and
whte cIoud. A key technque for
successfuI dgtaI bIack 8 whte s
makng sure the sky contans a fuII
range of tones so that there s
pIenty of scope
to adjust these
when you
convert your
mage. Its
aImost
mpossbIe to
keep detaI n
the sky whIe at
the same tme
correctIy exposng the foreground
wthout usng any hIters on the
camera. when converted nto bIack
8 whte youII smpIy end up wth
a hat, bIand sky. So rather than use
the tradtonaI red, yeIIow and
green hIters, there are two types of
hIters that are partcuIarIy usefuI
for shootng dgtaI bIack 8 whte -
N0 grads and poIarsers.
OpIical lIers
BIAtK E NRIII IIP
N0 grad
wheIher youre shooIing in
colour or black 6 whiIe, an N0
grad IlIer allows you Io darken
Ihe sky while leaving Ihe
Ioreground unaIIecIed. Ihis will
hel you Io geI more conIrasI in
Ihe sky and creaIe a unchier
image when you reach Ihe
conversion sIage. N0 grads
come in a range oI sIrengIhs,
mosI commonly giving a 1, 2 or
3sIo (also known as .3, .6
and .9 N0 resecIively)
diIIerence beIween Ihe clearesI
and darkesI arI oI Ihe IlIer. |or
shoIs oI blue skies youll Ind a
1 or 2sIo IlIer suIIcienI Io
reIain deIail, while shooIing
Iowards Ihe sun youll need aI
leasI a 3sIo grad Io reIain
deIail in Ihe brighIesI areas oI
Ihe sky. |or Ihis shoI, we used a
.6 N0 grad Io darken Ihe sky by
2 sIos.
PoIarser
Polarisers sIo cerIain Iyes oI lighI reaching Ihe sensor and are used Io
darken blue skies and increase conIrasI beIween sky and clouds. You need Io
roIaIe Ihe IlIer Ior maximum eIIecI, which you can see Ihrough your
viewInder. Slowly roIaIe Ihe IlIer and sIo when Ihe sky is aI iIs darkesI.
fer even greater impact yeu can aIse cembine the effect ef a peIariser and
N grad hIters. 1his can preduce dramatic dark skies and heIp te add te the
meed ef yeur bIack 8 white Iandscape shets.
N fIl1fkS
whiIe the scene has bags ef bIack 8
white petentiaI, the eriginaI phete,
taken with ne peIariser er N grads,
suffers frem a Iack ef impact. 1he mest
ebvieus prebIem is the Iack ef tenaI
variatien in the sky, meaning theres
a reduced centrast threugheut.
FlAkISfk
0.6 N 6kA
0.6 N 6kA wI1h FlAkISfk
N fIl1fkS
`` Sheeting bIack 8 white en yeur Slk
5eeng n black 6 whte
'
Lonverson 6
enhancement
1ake !uII advanIage
o! PhoIoshop and
lIemenIs Io creaIe
sIunnng bIack o
vhIe mages, !rom
RAW converson and
hIIers Io Curves,
leveIs, dodgng and
burnng. leIs Iake a
more deIaIed Iook...
Lonverson 6
5R00IIk6 BIAtK E NRIII 0k 0BR 0-5IR
22 Sheeting bIack 8 white en yeur Slk
Lonverson 6 enhancement
23
S
hootng kAws rather than
[Pfs s undoubtedIy the best
way to get quaIty bIack 8
whte mages. however, you need
to ensure that you are processng
your kAw hIes correctIy to get the
most from them, and are takng
advantage of the extra quaIty that
kAw hIes offer.
ConverIing PAWs Ior mono
what kAw settngs
shouId I use!
VosI kAw converIers oIIer Iew
oIions Ior creaIing black 6 whiIe
images aarI Irom dragging Ihe
saIuraIion slider down Io so all Ihe
colour is sucked ouI oI your image.
ln mosI siIuaIions Ihis wonI give us
Ihe besI resulIs, arIicularly iI you
have PhoIosho or LlemenIs 5. whaI
you acIually need Io do is rocess a
sIandard colour image in Ihe kAw
converIer Ihen converI iI Io black 6
whiIe in your imaging soIIware
aIIerwards. well Ialk more abouI
PhoIosho and LlemenIs laIer, buI
here were going Io look aI whaI
kAw seIIings you should be worried
abouI when working wiIh a mono
image in mind. were using Ihe
LlemenIs 5 kAw converIer in Ihis
examle, buI similar seIIings can be
Iound in oIher leading kAw
converIers Ioo.
8I1 AN 16I1
Se|ec|n !6|| w||| |ve ,ou moo|e| one ac|o
,ou| |mae, w||c| | |mo|an | ,ou|e |||e|, o ma|e
eve|e con|a acumen |n ||oo|o |e |eaon
o| || | |a ,ou| o|||na| k/\ | |||e|, o |e !2|| o|
!||, anc a uc| can c|e|en|ae |eween a |ea
096 c|e|en |ace o |e, Sanca|c |mae a|e 8||
anc can on|, cec|||e 2'6 |ace o |e, || |o o
caa can |ecome o|v|ou w|en ,ou a| coc|n anc
|u|n|n anc u|n leve| o| Cu|ve \|| !6||,
|oweve|, ,ou ma, nc |a man, ||oo|o eau|e
a|e c|a||ec, |nc|uc|n |e ue o la,e| |n ||emen
BIAtK E NRIII IIP
1he ceIeur images with the mest
petentiaI are these with pIenty ef
centrast in beth brightness and
ceIeur. 1he trees in the image abeve
are partiaIIy siIheuetted, which wiII
transfer weII te bIack 8 white. AIse,
the green grass centrasts with the
bIue sky - this difference can be
enhanced in the ChanneI Mixer.
whI1f AlANCf
l ene|a||, |e o e|ec
|e co||ec w||e |a|ance
|ee, o| ue |e
e,ec|oe|, o |ve ,ou|
|mae accu|ae anc neu|a|
co|ou| || w||| |e|
ea|ae |e co|ou| anc
ma|e ||e ea|e| |n
||oo|o
ShAwS AN
hI6hlI6h1S
ClIFFIN6
\|| |ee o|on |c|ec
,ou|| |e a||e o ee | ,ou|e
ove|co|n ,ou| acumen
anc a|e |||e|, o |oe |cu|e
|no|ma|on, uc| a |acow
cea|| l |e|e a |o||em,
|e a|ea |n (ue|on w||| u|n
a con|a|n wa|n|n co|ou|,
a w||c| o|n ,ou|| |now
o eae |ac| on |e
acumen ,ou a|e ma||n
|oweve|, ,ou |ou|c ue
,ou| own ucemen oo
SM1hIN6/
NISf kfuC1IN
/vo|c u|n an, no|e
|ecuc|on un|e ,ou |ea||,
|ave o Co|ou| no|e
|ecuc|on ma, |oo| ne
w|| co|ou| |mae |u
can |e a || |o||em w||
||ac| c w||e, |v|n ,ou|
|mae a o aea|ance
ShAkFNfSS
S|a|en|n w|||
|m|ove |e c|a||, o
ne cea|| |u | can
caue |o||em w|en
,ou o mono
|a|en|n |a|o can
|ecome muc| mo|e
v||||e a|ounc |on
ece Ue |a|en|n
a||n|, | ,ou mu,
o| c|a||e | a|oe|e|
SA1ukA1IN
Su||||n|,, co|ou| au|a|on
can ma|ve|, aec |ow |e
|mae w||| |oo| w|en
conve|ec o ||ac| c w||e,
a||cu|a||, | ,ou|e u|n |e
C|anne| ||:e| Ue || ||ce|
o c|eae a we||au|aec, |u
||| nau|a||oo||n, |mae
ShAwS,
CN1kAS1 AN
kI6h1NfSS
You can ue |ee ||ce|
o acc unc| o ,ou|
|mae anc c|ane |e
||||ne o |e m|cone
|oweve|, || can a|wa,
|e cone |n ||oo|o
ae|wa|c anc ,ou|| |ave
mo|e con|o| |e|e, o ue
|ee ||ce| a||n|,
2 Sheeting bIack 8 white en yeur Slk
Lonverson 6 enhancement
2'
lA CNfkSIN
1his technique deesnt effer any centreI
ever the Ieek ef the hnaI bIack 8 white
cenversien, but it dees preduce incredibIy
smeeth and detaiIed mene images. 1e try
this technique yeurseIf, hrst ge te Image>
Made>Iab talar. New bring up the ChanneIs
paIette {windaw>thannelsJ and cIick en
the lightness channeI - this wiII turn yeur
image bIack 8 white, which is the exact
resuIt we want, but were net dene yet. 1e
hnish, discard the ether twe ChanneIs by
geing straight te Image>Made>6raysrale
and cIick k when prempted.
I
here snt a standard way to remove the coIours from your mage to
gve a cIassc punchy mono mage - there are Ioads of dfferent ways
and aII of them create subtIy dfferent effects. here were gong to Iook
at our two favourte technques usng the fuII verson of Photoshop and,
frankIy, they are probabIy the onIy two technques youII ever need.
Go black c vhiIe
n Photoshog
Jhe fhanneI Mxer
Ihe Channel Vixer oIIers Ihe mosI
Iexible and inIeracIive way Io
remove Ihe colours Irom your shoIs,
as iI allows you Io recisely adjusI
Ihe Ione and conIrasI oI Ihe Inal
black 6 whiIe image. Ihe reason iIs
so secial is because iI works by
converIing Ihe searaIe red, green
and blue (k68) channels inIo
grayscale images. Lach channel
dislays lighIer ixels where Ihere is
lenIy oI IhaI channels colour
resenI, and darker ixels where
Ihere is very liIIle oI IhaI colour. |or
examle, a brighI red osIbox
conIains loIs oI red so will aear
almosI whiIe in Ihe red channel, buI
Ihe same osIbox will look almosI
black Io Ihe oIher channels as iI
doesnI conIain any green or blue.
Ihis rincile is similar Io IhaI oI
using diIIerenI coloured conIrasI
conIrol IlIers wiIh black 6 whiIe
Ilm Io make Ihe sky darker or
Ioliage brighIer. Ihe Channel Vixer
allows us Io mix and blend Ihe
diIIerenI channels IogeIher Io creaIe
a huge range oI diIIerenI mono
eIIecIs very quickly.
Usng the fhanneI Mxer
lI may sound very comlicaIed, buI
iIs acIually really easy Io use. |irsI,
bring u Ihe Channel Vixer by going
Io lmce-AJju:tment:-C/cnnel
/ixei. Now Iick Ihe Vonochrome
box Io Iurn your image black 6
whiIe. You have Ihree main sliders
IhaI reresenI Ihe brighIness oI Ihe
Ihree colour channels. All youve goI
Io do now is mix Ihem u Io adjusI
Ihe look oI Ihe diIIerenI coloured
areas and roduce a owerIul mono
image. 8eIore we do Ihis, sIarI by
looking aI each channel in isolaIion
Io geI a Ieel Ior whaI youre doing.
Io do Ihis simly enIer -1% Ior
each channel in Iurn, ensuring IhaI
Ihe oIher Iwo channels are seI Io
%. Also, remember IhaI Ihe more
oI a single channel you add in, Ihe
brighIer Ihe relevanI colours will be.
kf ChANNfl 6kffN ChANNfl luf ChANNfl
Abeve: 1he hnaI image
was created by mixing
the three channeIs
tegether {see insetJ.
Adding Iets ef green
has made the grass
nice and bright, and
subtracting bIue has
darkened the sky.
MIkf ChANNflS
26 Sheeting bIack 8 white en yeur Slk
Lonverson 6 enhancement
2
6 lACk 8 whI1f IN 1hf kAw CNfk1fk
If yeu dent have fIements 5 then yeu
may aIse want te try making bIack 8
white images directIy in fIements
kAw cenverter. here were geing te
reveaI a few simpIe tricks that wiII
aIIew yeu te adjust the bIack and
white tenes in yeur image te give
seme centreI ever the Ieek ef the hnaI
resuIt. kemember, this enIy werks with
cempatibIe kAw images, net jFf6s.
first ef aII, drag the Saturatien sIider
dewn te 0 te remeve aII ceIeur. 1hen
experiment with the fxpesure, Centrast
and rightness sIiders te give yeur
image seme punch. New, the secret ef
this technique actuaIIy reIies en the
white aIance settings - by adjusting
the white baIance sIiders we can
change the Ieek ef the image. 1ry
meving the 1emperature and 1int
sIiders te hnd an effect yeu Iike.
L
Iements users are a bt Imted when t comes to the number of ways
you can convert your coIour mages to bIack 8 whte. havng sad
that, great resuIts can stII be had, partcuIarIy f you have the Iatest
verson, fIements 5. here are our favourte ways to turn your shots nto
bIack 8 whte masterpeces n Photoshop fIements.
Go black c vhiIe
n lements
Ihis IlIer is new Io LlemenIs 5 so
you wonI Ind iI in Ihe revious
versions, buI iI is a really owerIul
IeaIure and is easily our IavouriIe
way Io converI your images Io black
6 whiIe in LlemenIs. lI works in a
very similar way Io PhoIoshos
Channel Vixer buI is much more
visual and oIIers some handy
reseIs Ioo. Io run Ihis IlIer, go Io
lmce ln/cnce-Ccnveit tc 3lccl cnJ
w/ite or use Ihe AlI-CIrl-8 shorIcuI.
uSIN6 CNfk1 1 lACk AN whI1f fIl1fk
fonvert to 8Iack and whte hIter
rayscaIe
lI your image is already very
conIrasIy, or doesnI conIain much
colour, Ihen you may Ind IhaI
smooIher resulIs can be had iI you
make a sIraighI 6rayscale
conversion. Ihis Iechnique also
allows you Io work on a Iull 16biI
image raIher Ihan having Io converI
Io 8biIs/Channel IrsI (deending
on your version oI LlemenIs). Ihis
will lead Io smooIher resulIs laIer on
iI youre going Io make severe
conIrasI adjusImenIs such as
dodging, burning and Levels.
ConverIing Io black 6 whiIe wiIh
6rayscale is really quick and easy. All
you have Io do is go Io
lmce-/cJe-0icy:ccle and click
0K when asked iI you wanI Io
discard Ihe colour inIormaIion.
ffkf/Af1fk
|e|e ,ou can ee a |um|na|| ve||on o
,ou| a| anc n|| |mae o ,ou can
(u|c||, |cen|, |e c|e|en co|ou| a|ea
|n ,ou| o|||na| anc c||ec|, coma|e |
w|| |e na| |eu|
S1lf
|e|e ,ou|| nc a |ane o |ee |a
c|eae c|e|en |oo| o e ,ou a|ec
l ,ou|e no |a, w|| an, o |ee
|en ,ou can ea||, moc|, |em u|n
|e acumen |uon
AjuS1MfN1 u11NS
|| | w|e|e |e ma|c |aen S|m|, c||c| |e |o|e kec, |o|e C|een anc |o|e ||ue
|um|na|| o |||en |e |e|evan co|ou| a|ea |n ,ou| |mae C||c||n |o|e ||ue |e|e
w||| |||en |e ||ue |, Conve|e|,, |e le |uon w||| ca||en |e |e|evan co|ou|
a|ea |e wo |um|na|| on |e a| ||| con|o| |e ove|a|| con|a, anc ,ou||
|o|a||, neec o ue |ee |n conunc|on w|| a |ow /cumen lnen|,
AjuS1MfN1 IN1fNSI1
|| ||ce| c|ane |e eve||, o |e
acumen l ,ou c|a | o |e |||,
,ou|| no|ce |a |e c|e|ence |eween
|e |um|na|| (o |e |||) |ecome
mo|e |onouncec |ov|n |e ||ce| o
|e |e w||| a||ow o| ne| acumen
kfSf1
S|ou|c ,ou ma|e a me o
,ou| |mae |m|, c||c| |e|e
o |ee a|| o |e va|ue o
|e|| ceau| o||on o ,ou
can a| |om c|ac|
CNfk1 1 lACk
AN whI1f fkFlAINf...
28 Sheeting bIack 8 white en yeur Slk 29
Lonverson 6 enhancement
Abeve: A basic
's curve can be
made te beest
the centrast ef
any image.
kight: eu may need te custemise the
curve te suit yeur image. here weve
reaIIy beested the highIights te
bIeach eut the backgreund.
leveIs was used te set the
bIack and white peints fer
better cIarity. 1hen Curves
was appIied te brighten the
highIights and midtenes te
add styIe and impact.
C
ontrast s probabIy the sngIe most mportant
consderaton when workng on your pctures n
your mage edtor. Not enough contrast and your
pctures wII Iook hat and unnsprng. Joo much contrast
and youII Iose vaIuabIe mage detaI as dfferent tones
start to bIend nto one another. what you need s
precse controI over the contrast, and there are just two
tooIs you need for ths job - LeveIs and furves.
Add conIrasI viIh
Levels and Curves
LeveIs
Ihe Levels command can be Iound in
boIh LlemenIs and PhoIosho, and even
some kAw converIers. lIs main urose
is Io ensure IhaI Ihere is a Iull range oI
Iones in Ihe image, ranging Irom ure
black Ihrough Io ure whiIe. VosI black
6 whiIe images only include very dark
greys and lighI greys aI Iheir exIremes.
Io use Levels IrsI hiI CIrl-L Io bring u Ihe dialogue box. Look Ior gas on boIh
sides beIween Ihe edge oI Ihe hisIograms mounIain range and Ihe
surrounding box. lI Ihere are any, simly move Ihe sliders Iound aI Ihe boIIom
corners oI Ihe hisIogram box so Ihey line u wiIh Ihe grah edges as shown.
You can also adjusI Ihe brighIness oI Ihe midIones using Ihe middle slider iI you
wish - drag iI Io Ihe leII Io brighIen Ihe midIones or Io Ihe righI Io darken Ihem.
furves
Curves can only be Iound in Ihe Iull
version oI PhoIosho and some
kAw converIers. LlemenIs 5 does
oIIer Ihe Color Curves command,
which can be used Io achieve a
similar eIIecI, buI iI does handle
very diIIerenIly. Curves gives more
conIrol Ihan Levels as iI allows you
Io indeendenIly adjusI Ihe
brighIness oI Ihe diIIerenI Iones in
your image. lI neednI relace
Levels alIogeIher Ihough. Youll
robably Ind Ihe besI resulIs can be
had using Levels IrsI Ihen Curves Ior
a really sIrong eIIecI. here were
jusI going Io look aI a key Curves
Iechnique - boosIing Ihe midIone
conIrasI wiIh an s curve. Io achieve
Ihis, IrsI bring u Curves by going Io
lmce-AJju:tment-Cuive: by
hiIIing CIrl-V. Io creaIe a sIandard
s curve, IrsI click on Ihe boIIom
quarIer oI Ihe diagonal line Io creaIe
a box handle. Now drag Ihis box
down Io creaIe a simle downward
Iacing curve - Ihis will darken Ihe
enIire image. NexI, click on Ihe Io
quarIer oI Ihe line and drag iI u an
equal amounI. Ihis sIe will lighIen
Ihe highlighIs buI Ihe shadows will
sIay dark because Ihe IrsI handle
is inning Ihe curve in lace. You
can now Iweak Ihe seIIings Io
creaIe a look IhaI you like. use Ihe
lower leIIhand box Io adjusI Ihe
dark Iones, and move Ihe uer
box Io adjusI Ihe highlighIs. Adding
more handles will allow you Io
creaIe more comlex curves buI
youll seldom need more Ihan
Ihree or Iour oinIs Io achieve Ihe
besI resulIs.
Af1fk lfflS 8 CukfS
ffkf AjuS1MfN1
Af1fk lfflS
30 Sheeting bIack 8 white en yeur Slk
Lonverson 6 enhancement
3!
6
IobaI contrast adjustments, made across the
whoIe of your mage, wont aIways be the
answer to gettng the best-Iookng mono
masterpece. Jo gve an mage reaI punch, and to
enhance the textures and draw the vewers
attenton to your focaI ponts, youII need to make
contrast adjustments to smaIIer areas of the mage
too. Jhs dea s even more crucaI when workng
on photos that contan both very brght and dark
areas, as n our mage here. IobaI contrast
adjustments wII just exacerbate the dfference.
Lets take a cIoser Iook at ths exampIe mage, and
dentfy what needs to be done to mprove the
overaII aesthetc of the shot.
Dodging and burning
Irst we need to spIt the proposed correctons nto
two dstnct groups - Iarge area adjustments and
smaII area adjustments. Its best to start wth the bg
adjustments hrst, to create a good foundaton for the
hner adjustments Iater, so Iets Iook at these hrst. In
the Iarge area category, we have just two correctons
- darkenng the entre sky and addng contrast to the
bottom haIf of the mage. Ior these two correctons
weII be usng a separate technque that gves a
smoother hnsh. what were gong to do s make a
rough seIecton over the offendng area and then
smooth out our seIecton so no jons are vsbIe. Jhen
were gong to use LeveIs or furves on the seIecton
to brghten t, darken t or add more contrast.
5IP 1: USlNG SLLLC1lONS
1
lasse
the area:
|irsI
selecI Ihe Lasso
Iool and drag a
loose selecIion
around Ihe area
you wish Io
adjusI. lIs
imorIanI IhaI your selecIion goes righI u Io Ihe edges
oI Ihe image where relevanI - dragging a selecIion IhaI
acIually runs ouIside Ihe edges oI Ihe image can do
Ihis. when you release Ihe mouse buIIon, Ihe oversited
selecIion will shrink Io II Ihe image erIecIly.
2
feather
and
cerrect:
NexI you need
Io soIIen Ihe
edges oI Ihe
selecIion. Io do
Ihis go Io
5elect-lect/ei
and enIer beIween 15 and 2 ixels Ior Ihe kadius,
Ihen click 0K. Youre now ready Io bring u Levels or
Curves Io correcI Ihe selecIed area. here we darkened
Ihe sky using Ihe midIone slider in Levels and alied
an s curve Io Ihe boIIom oI Ihe image.
S1Ak1 IMA6f
fINIShf IMA6f

1urn te see what a differenre dedging and burning ran make te yeur images...
S1fF 1 kfSul1
Add conIrasI and
drama Io your images...
CluS
|e ca|| anc |||
a|ea o |e c|ouc
cou|c |e e:ae|aec
o ma|e | mo|e
o|m, anc c|ama|c
fkf6kuN
|e |oom |a| o
|e |mae | |ac||n
con|a anc cou|c
co w|| a ||
hu1
|e |on o || |u |
a || cu|| anc neec o
|e ||||enec /cc|n
a |||e con|a |e|e
w||| a|o ma|e | a
|one| oca| o|n
f1AIl
|e|e a|e |o o ma||
cea|| on |e |ounc,
w||c| cou|c |e
||ou| ou o acc
mo|e e:u|e anc
|ne|e o |e |mae
Sk
|e w|o|e |, | oo
|||| anc neec o
|e ca||enec o
|||n ou |e c|ouc
cea|| anc |a|ance
|e |mae
Lets take a cIoser Iook at ths exampIe mage, and
32 Sheeting bIack 8 white en yeur Slk
Lonverson 6 enhancement
33
Dodging and burning
5IP 2: DODGL c BUPN 1OOLS
wth the mage roughIy baIanced out usng Iarge seIectons, ts tme to
turn your attenton to the hner detaIs. Jo tackIe the remanng correctons
were gong to use the 0odge and 8urn tooIs. Jhese tooIs aIIow us to
darken the shadow areas and Ighten the hghIghts respectveIy, to add
extra contrast to our mage. Jhese tooIs offer precse controI so are better
suted for work on smaIIer detaIs. heres how to use them...
fINIShf IMA6f
0odging is Ihe rocess oI
lighIening an area oI a
hoIo. IradiIionally, Ihis
would be done by hysically shading
an area oI Ihe rinI during exosure,
buI in PhoIosho we have Ihe
handy 0odge Iool, which is much
more conIrollable. lIs usually Iound
groued IogeIher wiIh Ihe 8urn and
Songe Iools in Ihe Ioolbox, so click
and hold on eiIher oI Ihese Iools Io
bring iI u iI you canI see iI. here
were going Io seI u Ihe Iool Ior
brighIening Ihe highlighIs in our
image, as Ihis is Ihe mosI useIul
arrangemenI. however, iI can also
be used Io brighIen midIones and
shadows Ioo iI needed. ln Ihe
0Iions bar aI Ihe Io oI Ihe screen,
selecI highlighIs Irom Ihe kange
menu and dro Ihe Lxosure down
Io around 5%. Now, choose a large
soIIedged brush Irom Ihe 8rush
menu - around 3x Ior Ihe
0iameIer is abouI righI. Now all you
need Io do is ainI over Ihe areas
oI Ihe image you wanI Io lighIen -
remember IhaI iIll aIIecI Ihe
highlighIs more Ihan Ihe shadows
and midIones, so concenIraIe on
Ihese lighIer objecIs. Ihe eIIecI will
Iake a while Io build u, buI Ihis is
ideal as iIs Iar more conIrollable Io
use. here we dodged Ihe IronI Iace
oI Ihe huI, Ihe lighI areas oI cloud
and Ihe rocks on Ihe grass.
Jhe 8urn tooI
Ihis Iool does Ihe exacI
oosiIe oI Ihe 0odge
Iool and darkens areas
oI your image. lI can be used Io
darken Ihe shadows, midIones or
highlighIs indeendenIly, buI
normally iIs besI when used Ior
darkening selecI shadow areas
- Ihis will make Ihem even more
inIense and cris. Io reare Ihis
Iool Ior acIion, IrsI selecI iI Irom
Ihe Ioolbox, Ihen choose
Shadows Ior Ihe kange and 5%
Ior Lxosure. A large 3x
soIIedged brush is also
recommended, as iIll give a less
aIchy Inish and ixelerIecI
accuracy is noI required. Youre now
ready Io ainI over Ihe shadows on
your image IhaI you wanI Io
inIensiIy. Youll have Io kee going
over Ihe areas Io build u Ihe
desired eIIecI over Iime, buI jusI
kee Ihe brush moving and youll
geI Ihere in Ihe end. we burned in
Ihe grass, Ihe dark areas oI cloud
and Ihe IorighI oI Ihe sky Io Inish
oII Ihe original correcIions we
idenIiIed. however, we also did
some work on Ihe Irees, Ihe rooI
and Ihe huIs shadow Ioo, jusI Io
give Ihe image a biI more clouI.
Jhe 0odge tooI
`` Sheeting bIack 8 white en yeur Slk
5eeng n black 6 whte
'
Prntng 6
gresentaton
Whch paper shouId I use? Hov
can I besI presenI my vork? Hov
do I creaIe neuIraI bIack o vhIe
prnIs? 1urn Ihe page Io hnd aII
your quesIons ansvered...
Prntng 6
5R00IIk6 BIAtK E NRIII 0k 0BR 0-5IR
3
Prntng 6 gresentaton
l
ts aII very weII beng abIe to shoot stunnng bIack 8
whte photos, but f youre not gong to show them
off n ther best Ight then youre mssng a trck.
wth home prntng beng so affordabIe, and wth so
many new and exctng presentaton deas at our
dsposaI (just Iook at the pIethora of cIasshed ads n
the back pages of Ptocticol Phctcgtohy), ts never
been easer to create professonaI Iookng prnts for
maxmum mpact. Now that youve shot your mage,
converted your kAw hIe and crafted the perfect mono
mage, just a few cIcks n Photoshop wII gve your
pctures that hnshng touch. heres how...
PresenIaIion
Add a stroke
A sIroke, or hairline border, is simly
a Ihin line IhaI wras around your
image and is designed Io conIain
and deIne. A sIroke can be added Io
any image buI is arIicularly
eIIecIive when Ihere are eiIher very
lighI Iones or very dark Iones
Iowards Ihe edges oI Ihe Irame,
which would oIherwise be losI.
0nce youve added a sIroke, you can
also add a Ihin border, creaIing an
image IhaI wouldnI look amiss in a
Ine arI gallery.
1
Cen ,ou| |mae |n ||oo|o o|
||emen, c||c| C||/ o e|ec a|| anc
o o |o||||^|e |ne| a |:e| va|ue
|n |e \|c| |o: |e |||e| |e num|e|
|e ||c|e| |e |o|e anc e|ec a |o|e
co|ou| |om |e Co|o| ||c|e| a|ee ln |e
loca|on |o: c||c| ln|ce anc |eave |e
||enc|n o|on on |e|| ceau| e|n
2
o acc a |o|ce|, o o ||JeJ|vJ:
|.e (o| ||Je|e:|.eJ|vJ: |.e |n
||emen) anc |c| |e ke|a|ve |o:
Ue |e Canva e:en|on c|ocown menu
a |e |oom o |e c|a|oue |o: o e|ec
a u|a||e co|ou| w||e anc ||ac| a|e
o|v|ou c|o|ce anc |n |e \|c| anc
|e|| |o:e ene| ,ou| |o|ce| |e
fanvas prnts
when someIhing hiIs Ihe
lkea showrooms you know
iIs going Io oular!
Canvas rinIs are a
relaIively chea and easy
way Io show oII your
work - rices sIarI aI
around 45 Ior a
4x4cm canvas - and
can even be made Io
measure iI youve a
enchanI Ior
anoramics. PicIures
are rinIed onIo
canvas (look ouI Ior
comanies IhaI use
woven arIisIs canvas
as Ihis is a more durable maIerial) and
sIreIched over a wooden Irame, ready Io hang.
Pcture frames
SubIleIy is Ihe key Io successIully Iraming and
hanging black 6 whiIe rinIs. Iheres liIIle
oinI in sending hours Inely craIIing a
Ionally erIecI mono rinI only Io sla a
neon ink Irame around iI. Consider your
decor (black, whiIe or neuIral coloured
Irames and mounIs are reIerable when
dealing wiIh mono icIures), dislay aI
eyelevel Ior maximum imacI iI aI all
ossible, avoid hanging icIures
oosiIe large windows and above
radiaIors Io avoid damage, and hang
in humid condiIions Io kee dry. |ind
inIo on aer choice over Ihe age.
Photo books
Io creaIe an album all you have Io do is uload
your icIures, choose an album and Ihrow in a Iew
caIions, and waiI Ior Ihe osIman Io deliver your
album. And Iheyre noI as exensive as you mighI
Ihink - |essos PicIure house (visiI www.jessos.
com) oIIers hardcover, aerback and ockeIsited
Vemory8ooks, wiIh rices sIarIing aI jusI 7.99.
39
Prntng 6 gresentaton
L
pson bofhns predct that by 2009 over 53 bIIon
mages wII be taken and stored each year n
western furope aIone. If even 1% of these
mages are prnted, thats a heII of a Iot of prnts! Jhe
ncreasngIy popuIar 0IY route necesstates three key
ngredents - a prnter, nk and, of course, paper. So
how do you go about choosng from the massve array
of photo paper avaIabIe! weII, there are four key
factors to consder - hnsh, weght, sze and Ife span.
were gong to concentrate on the hrst and arguabIy
Paper choice
Portrats
lI your orIraiI icIures are going Io be handled -
wedding hoIos, Ior examle - a semigloss hoIo
aer (also known as saIin or earl) is Ihe ideal
choice as iIs less likely Io show IngerrinIs! Iry
jesseps Fhete Satin and fpsen Fremium Semi
gIess. |or unchy orIraiIs wiIh bags oI conIrasI, a
glossy hoIo Inish is Ihe obvious choice. 6iving a
smooIh and suer shiny aearance IhaI could
easily be misIaken Ior IradiIional
hoIo lab rinIs, glossy hoIo
aers look exensive and give
maximum imacI. Consider
jesseps Fhete 6Iess and fpsen
Fremium 6Iessy.
Landscapes
lI your landscaes are laden wiIh asIel sunseIs and
genIle conIours, Ihe smooIh and velveIy Inish oI a maII
hoIo aer such as jesseps Fhete Matt heavyweight
will lend your scenics a roIessional Iouch. AI iIs besI
maII hoIo aer can give your hoIos an arIisIic look
and Ieel. AI iIs worse iI can look a liIIle dull, resembling
jusI anoIher sheeI oI whiIe card or Ihick aer. Perhas
iIs greaIesI asseI is IhaI iIs
erIecI Ior Iraming, as iIs non
reIecIive surIace means IhaI
soIlighIs wonI cause unsighIly
glares. |or a more modern Ieel,
wiIh slighIly more conIrasI, use
a semigIess Inish.
raphc
6rahic images are all abouI conIrasIs and
exIremes - lenIy oI blacks, lenIy oI whiIes and
noI a loI in beIween. SubjecIs such as archiIecIural
sIudies, minimalisI landscaes and even highkey
orIraiIs require a hoIo aer IhaI can coe wiIh
such demands. 6lossy is Ihe answer. 6lossy hoIo
aer such as jesseps Fhete 6Iess and fpsen
Fremium 6Iessy gives exIra conIrasI, wiIh deeer
blacks, cris shadow deIail and
whiIer whiIes. Also consider
IIferd 6aIerie Smeeth fine Art
Faper Ior a classier Iouch.
Ine art
SubjecIs such as delicaIe sIill liIe and arIisIic nudes
oIIen require aer above and beyond Ihe oIher Ihree
oIions here. lI youre reared Io ay a Iew quid exIra,
Iheres a whole world oI IexIured aers IhaI oIIer a
more arIisIic Inish. llIord, PermajeI and harman each
oIIer a comrehensive range oI Ine arI aers, Irom
lighIly IexIured maII surIaces Io archmenI, linen and
waIercolour surIaces. Iry a Ibrebased aer such as
harman Inkjet heavyweight Matt Ior sIarIers. !i:
Some Ine arI aers are
only coaIed on one side,
which Iends Io be sIickier.
Io Ind ouI which is Ihe
coaIed side, lick your Ingers
and see which side sIicks!
1hINkIN6 f SfllIN6 uk wkk?
If yeur phetegraphy is mere than a hebby and yeud
Iike te seII yeur werk, the 6icIe hne art print is the
way ferward. A 6icIe is a digitaI print made with
exceptienaIIy highreseIutien printers and speciaI
pigmentbased inks that can be used en virtuaIIy any
artists materiaIs. Its net semething yeu can de at
heme witheut expensive equipment and yeu went
hnd it en the high street either. 1ake a Ieek in FFs
cIassihed advertising sectien fer speciaIist printers.
the most mportant factor, hnsh. Jo unIeash your
photos true potentaI, you need to choose a paper
hnsh that best compIements ts content, whether a
portrat, Iandscape or hne art study. here are a few
suggestons to get you started.
38 Sheeting bIack 8 white en yeur Slk
0 Sheeting bIack 8 white en yeur Slk !
Prntng 6 gresentaton
l
nkjet prnters have made t smpIe to produce prnts
from dgtaI bIack 8 whte mages. weve covered
the bascs of whch papers to use, but t can stII
take a IttIe tme and effort to get the best quaIty
resuIts from your choce of paper. Jhe man hurdIe s
to avod coIour casts and get neutraI prnts. If youre
reaIIy Iucky you mght get neutraI resuIts wthout
havng to change any of the settngs, but ts IkeIy
that youII need to hne-tune the settngs for each
type of paper you use, especaIIy f you want to use
dfferent papers for dfferent effects.
Hov Io geI
neuIral black
c vhiIe prinIs
whats a test prnt!
A IesI rinI is a way oI saving boIh
Iime and recious ink and aer. 8y
using a suiIable image along wiIh a
simle grayscale, you can geI Ihe
seIIings righI Ior Ihe IesI rinI, Ihen
use Ihe same seIIings when you
make your acIual rinIs. Ihis is a
simle way oI calibraIing your
rinIer, inks and aer buI you will
need Io make a new IesI rinI when
you change eiIher aer or ink.
whch mage to use!
when iI comes Io choosing images
Io use as IesI rinIs you can use
shoIs oI almosI any subjecI, buI
make sure IhaI Ihey are ure black
6 whiIe - donI use ones IhaI you
have Ioned or added any colour Io.
Ihey also work besI iI Ihe image has
a Iull range oI Iones, Irom solid
black Io solid whiIe, wiIh lenIy oI
midIones Io hel you assess any
colour casIs in diIIerenI shades in
Ihe rinI.
As well as Ihe image iIselI, iIs
also handy Io include a grayscale Io
make iI even easier Io soI any
oIenIial roblems. Ihis is a
graduaIed block IhaI includes a
range oI Iones Irom black Io whiIe.
kemember Io leave some sace Io
wriIe noIes, such as Ihe daIe, aer
Iye and inks used Io make iI easier
Io reIer back Io when you change
any oI Ihe seIIings.
haIf the battIe te getting neutraI
prints is recegnising when there is a
ceIeur cast en yeur images. 1hen yeu
need te adjust yeur printer settings
te cempensate fer it. when it cemes
te assessing yeur prints, its best te
Iet yeur test prints dry fuIIy {ideaIIy
fer 24 heursJ, then view them under
nermaI dayIight rather than artihciaI
Iights te make sure that yeu can
accurateIy spet any ceIeur casts.
As printers are based en the principIe
ef cembining cyan, magenta and
yeIIew ceIeured inks, it can be
difhcuIt te knew which settings yeu
need te adjust te cempensate fer
ceIeur casts en yeur prints. 1his tabIe
sheuId heIp yeu.
NAKL A 1LS1 PPlN1
BIAtK E NRIII IIP
Mest inkjet printers effer an eptien
te enIy use the bIack ink. 1his can
make it easier te get neutraI
resuIts, but eur advice is te stick
with using the ceIeur inks as yeuII
get smeether, higher reseIutien
resuIts frem mest medeIs. 1he
exceptien te this is the dedicated
bIack 8 white mede effered by
seme highend inkjet printers.
Cluk CAS1S
CC||||S/lC|
||||||
Cluk CAS1 1Alf
tAk
IktRIA5I
tAk
RI0BtI
MA6IkIA
IktRIA5I
MA6IkIA
RI0BtI
III0N
IktRIA5I
III0N
CClCUk C/S
C| || |kl|
RI0BtI
tAk
RI0 MA6IkIA 6RIIk III0N BIBI
leave ome ace o w||e
noe on |e ||n, uc| a |e
cae, ae| ,e anc |n| uec
Producng
your test prnt
0nce youve decided on your IesI
image, rinI iI ouI using your normal
seIIings, allow iI Io dry Iully and Ihen
view iI under normal daylighI Io
check Ior any colour casIs. using Ihe
reIerence charI (righI) adjusI Ihe
seIIings in your rinIer driver Io
correcI Ihe colours, Ihen reeaI Ihe
rocedure unIil you are hay wiIh
Ihe resulI. Kee a noIe oI Ihese
seIIings wiIh Ihe aer you have
used jusI in case. You can also save
Ihe seIIings in Ihe rinIer driver, wiIh
Ihe aer Iye as Ihe Ile name. Ihis
means you can use Ihese seIIings
again simly and easily by selecIing
Ihis Ile when you roduce anoIher
rinI on Ihis aer.

1urn te nd eut abeut rentart sheets and yeur printer's releur rentrels...
FCs and printers have
repIaced wet darkreems in
many peepIes hemes and effer mere
centreI and versatiIity than ever befere.

2 Sheeting bIack 8 white en yeur Slk

Prntng 6 gresentaton
whA1 IS A CN1AC1 Shff1?
Hov Io geI neuIral
black c vhiIe prinIs
Prnter drver
Io adjusI Ihe colours
oI your black 6 whiIe
rinIs youll need Io
access Ihe colour
conIrols in Ihe rinIer
driver oI mosI inkjeI
rinIers. Youll Ind Ihis
in Ihe advanced oIion
oI mosI rinIers, and iI
will allow you Io Ine
Iune Ihe colours you
geI Irom Ihe rinIer.
6kffN CAS1
Fu11IN6 I1 IN1 FkAC1ICf
After preducing the hrst print with ne
adjustments we feund that it had a green cast. Se
we added +5 en the magenta sIider in the printer
driver {see beIewJ
befere we preduced the
next print. 1his cerrected
the ceIeur cast and gave
us a neutraI print. nce
wed achieved a neutraI
print we went te the
Save eptien ef the
printer driver {rightJ and
saved these settings fer
future use.
In the traditienaI darkreem it is
cemmen practice te print a
number ef negatives at actuaI
size by pIacing them en a sheet
ef phetegraphic paper. Its
knewn as a centact sheet
because the hIm is actuaIIy in
centact with the paper when
yeu print it. nce it is precessed
this centact sheet aIIews yeu te
quickIy view and assess yeur
images, saving the hassIe ef
having te print each individuaI
frame er reIying en yeur abiIity
te recegnise a great shet frem
Ieeking at the reversed image
en the hIm itseIf.
eu can preduce a simiIar
print with digitaI images by
cembining severaI thumbnaiI
images en a singIe image, then
printing them en yeur inkjet
printer. In fIements 5 ge te
Iile>Print Multile Phatas te
hnd the centact print eptien. In
the printing windew yeu can
cheese the Centact Sheet
eptien frem the drepdewn
menu under the SeIect 1ype ef
Frint heading, then cIick the
Add butten te incIude the
images yeu want te print.
1he precedure fer creating
centact prints in Fheteshep CS is
sIightIy different. 6e te
Iile>Autamate>tantart 5heet II
and cheese the images yeu
want te incIude. In Fheteshep
yeuII hnd it easier te Iecate the
shets yeu are after if they are in
a specihc feIder, but in fIements
yeu can use the rganizer te
greup yeur images tegether.
After cerrecting the green
ceIeur cast we were abIe
te preduce this neutraI
print ef the erkshire aIes.