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Foundations of Photography: Black and White
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The nature of grayscale images


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Foundations of Photography: Black and White

with Ben Long

Video: The nature of grayscale images

Now we're ready to get to what is, in my opinion, the good stuff, which is converting a color image to black and white. Shooting is fun, and you get to go places, and you get to go outside and all that, and that's great. But as far as making a black-and-white photo, this is where it happens, in the process of converting color to black and white. With what we're going to learn here, you're going to be able to take a blah color image and possibly turn it into a really interesting black and white, or you're going to be able to finally see the possibility that you saw when you were shooting realized into an actual black-and-white picture.
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  1. 8m 25s
    1. Welcome
      1m 24s
    2. Why black and white?
      5m 12s
    3. Suggested prerequisites
      53s
    4. Using the exercise files
      56s
  2. 19m 43s
    1. Is it really black and white?
      1m 9s
    2. How gray corresponds to color
      4m 38s
    3. The medium of black and white
      3m 5s
    4. The vocabulary of black and white
      4m 46s
    5. The physiology of black and white
      2m 22s
    6. How a camera's image sensor captures an image
      3m 43s
  3. 32m 46s
    1. Preparing the camera
      3m 34s
    2. Light revisited
      6m 3s
    3. Seeing in black and white
      2m 21s
    4. Taking a black-and-white expedition
      1m 17s
    5. Finding and shooting a black-and-white image
      11m 14s
    6. Shooting a tone-based subject
      2m 0s
    7. Exposing for black and white
      6m 17s
  4. 1h 38m
    1. The nature of grayscale images
      3m 33s
    2. Converting to black and white using Photoshop CS4 or CS5
      6m 17s
    3. More about the Black & White dialog box
      3m 19s
    4. Converting to black and white using Black & White adjustment layers
      3m 55s
    5. Converting to black and white in Camera Raw
      4m 5s
    6. Making an advanced tonal correction
      17m 33s
    7. Doing more tonal corrections
      14m 6s
    8. Calming down highlights
      10m 4s
    9. Vignetting
      8m 58s
    10. The trestle images
      2m 39s
    11. Handling tricky skies
      2m 43s
    12. Doing a selective black-and-white conversion
      2m 23s
    13. Toning
      1m 19s
    14. Split-toning
      2m 19s
    15. High-key and low-key images
      2m 32s
    16. Diffusion
      4m 40s
    17. Using Nik Software's Silver Efex Pro 2 plug-in
      7m 46s
  5. 24m 14s
    1. Selecting a printer
      5m 17s
    2. Preparing the image for print
      8m 30s
    3. Configuring the Print dialog
      5m 9s
    4. Evaluating a print
      5m 18s
  6. 43s
    1. Goodbye
      43s

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Foundations of Photography: Black and White
3h 4m Intermediate Jun 29, 2011

Viewers: in countries Watching now:

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.

Topics include:
  • Why shoot in black and white
  • How to recognize good black-and-white subject matter
  • Preparing the camera
  • Shooting a tone-based subject
  • Exposing for black and white
  • Understanding grayscale
  • Converting from color to black and white using Photoshop CS4 or CS5
  • Converting to black and white in Camera Raw
  • Vignetting
  • Toning and split-toning
  • Comparing high key versus low key images
  • Preparing a black and white image for print
Subjects:
Photography Photography Foundations Black and White
Software:
Photoshop
Author:
Ben Long

The nature of grayscale images

Now we're ready to get to what is, in my opinion, the good stuff, which is converting a color image to black and white. Shooting is fun, and you get to go places, and you get to go outside and all that, and that's great. But as far as making a black-and-white photo, this is where it happens, in the process of converting color to black and white. With what we're going to learn here, you're going to be able to take a blah color image and possibly turn it into a really interesting black and white, or you're going to be able to finally see the possibility that you saw when you were shooting realized into an actual black-and-white picture.

We can do so much manipulation in black and white, in terms of tonality, that there is just a tremendous amount of creativity that can happen in this process. Before we get to converting to black and white though, which we're going to start in the next movie, I want to talk about color. I know that sounds a little weird, but let's just look really closely at what's going on in this image in terms of color, because we're going to spending a lot of time thinking about how to turn color into a shade of gray. So I've zoomed in on this image a long way--I'm at 3200% here--so each one of these squares is an individual pixel.

I am looking at that side of that brick tower, which is why I'm seeing this repeating pattern, a wall of bricks as a repeating pattern, and we can see that each individual pixel has its own color. So this is a light shade of tan, and this is a darker shade, and so on and so forth. And the computer can represent millions and millions of colors, and any pixel can be a completely discrete, individual color. That's an important point to remember, because when we print color, we can't do that. An individual dot on a printed page can only be one of maybe eight colors, depending on how many colors you have in your printer.

Instead, your color printer works by combining little patterns of different colored dots to create the illusion of every other color. The fact that that works is actually is just kind of amazing. So anyway, I'm looking at individual pixels here, and they are each an individual color, and as we've learned, individual colors are made by mixing red and green and blue. I'm going to go over here to the Channels palette, and I see I've got RGB, and then I have Red, Green, and Blue. In Photoshop, I can look at individual color channels. So if I click on the Red channel, what I see is a map of the red information in the image.

This pixel, because it's a lighter shade, has more red in it than this pixel, which is a darker shade. In other words, lighter pixels have more of a particular color that we're looking at. So I've got a whole lot of red through here, not a lot of red through here. Similarly, I have some green in here, really not a lot of green in here, and then same for blue. The image is getting darker as I shift to these other channels, because I'm looking at that reddish brick. So that brick was a reddish, tan tone, so there is going to be a lot of red there, not a lot of blue.

Let's zoom back out to look at the whole image. I'm looking at the blue channel right now, and the sky was blue, so I'm seeing a whole a lot of white here, because there's a lot of blue information in that blue sky. Let's look at the Red channel. And it's gotten a little bit darker, because there's not a lot of red information in the sky. So, right away, you can see, well, just by clicking on a channel I've got a grayscale conversion, and that's true. This is one of the ways that you could convert to grayscale. There are lots of ways. This is not the best way. The reason I'm just showing you all this is to drive home that what our goal here is is to take this combination of red, green, and blue and mix it together to produce a shade of gray of the type that we like.

We can derive any shade of gray that we want from these three bits of color information. And there are lots of ways of doing that, and how we choose to do that is really the bulk of the creative process of black-and-white photography, and that's what we're going to start in the next movie.

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