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In this movie, I'll introduce you to the Black and White function which gives you more control than channel mixer over the conversion to black and white. However it doesn't allow you to create some of those over-the-top effects such as infra-red. Now we're looking at a panorama that I stitched together from a bunch of photos that I captured with a waterproof point and shoot camera. And let's say now that I want to convert the image to black and white. Well, there's a couple of different ways to work. Of course you could go up to the image menu, choose adjustments, and then choose black and white.
But that's going to apply a static adjustment, just as if we applied channel mixer from this menu. Better way to work is to drop down to the black white icon at the bottom of the layers panel and choose the black and white command. But I do want to mention for those of you who customize your keyboard shortcuts back in chapter 12 when we were discussing levels. I suggest that you create a shortcut for this command, and you'll find it by going to the Layer menu and choosing New Adjustment Layer. And there it is, Black and White, Ctrl+Shift+B, or Cmd+Shift+B on the Mac.
So if you got that shortcut, you might as well use it. I'll press Ctrl+Shift or Cmd+Shift+B. And that'll bring up the new layer dialog box, so I"ll just go ahead and call this layer BNW and click OK. And I'll see a list of six sliders here inside the properties panel. And they represent the same key colors along the big color wheel that we discussed back in chapter 8 of the fundamentals course. So we've got the primaries, red, greens, and blues. As well as their compliments, yellows, cyans and magentas.
Notice this time the values don't have to add up to 100 and by default in fact they add up to 300. And you can change any one value so it's as high as 300 or as low as negative 200. So this time around we're not really subtracting channels. Because there's no such thing as a yellow, cyan, or magenta channel inside of an RGB image. Instead we're subjectively modifying parameters. And further more black and white can not clip colors. So you don't really need to have the histogram panel up as you work with this feature.
Now, notice we have an auto button. And if you click on it, Photoshop's going to automatically evaluate the image and determine what settings it think you should apply. And you can see it's customized each and every one of these values. You can also select from a preset up here at the top of the panel. So for example if I select blue filter, then I'm going to get an effect as if I was using a blue filter when I shot the original images then as a result I'm ending up with a very bright sky. However, I'm looking for a darker sky so I might switch to something along the lines of red filter in order to darken up that sky dramatically.
You'll notice we also have a preset called infrared, but if I choose it, watch what happens to the trees in the foreground here. They actually darken up, which is the opposite effect you'd get, with real infrared photography. So where this image is concerned, I'm going to go ahead and switch back to the default settings, which are those settings we saw when we first brought up the panel And then I'm going to customize each one of those settings by hand as I'll show you in the next movie.
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