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In this Foundations of Photography, Ben Long shows photographers how to develop a black and white vocabulary and explains the considerations to take into account when shooting for this medium. The course follows Ben as he goes on location and explains what makes good black and white subject matter and how to visualize the scene in terms of tonal values and contrast rather than color. Along the way, he demonstrates some exposure strategies for getting the best images. Back at the computer, Ben demonstrates techniques for converting the resulting photos into black and white using Photoshop and other imaging tools, and offers tips on printing and output.
In a wet darkroom, after you've made a black-and-white print, you can soak it in different toning agents to give it an overall tone, or colorcast. By tone, I don't mean shade of gray, but an actual color tone. So a sepia tone, for example, to make an image look more antique. We can do a digital version of that very easily using the Black and White adjustment layer by simply going into the Black and White adjustment layer controls and checking this Tint box. And boom! As soon as I do, my image is tinted.
I can select the color that I would like to tint by clicking on that color swatch and just picking a color. And in almost every case, remember, this is just a tint of color, so it doesn't need to be a dark, deeply saturated color. That's looking a little yellow to me. I'm going to slide more towards orange. And obviously, the type of tint you want depends on the type of mood you're going for and the subject matter and so on and so forth. Typically, sepia, orangish colors are what you might use, although cool tints are very appropriate for certain types of subject matter.
Not so much this one though, so I'm going to head back to here. If you're going to print, you're going to need to do some test prints to see if you've got it. But this is a very, very easy way to apply a simple color toning to any black-and-white image.
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