Converting a digital color photo to black & white

The goal is to emulate the sort of black & white print that comes out
of silver darkroom processes. The first step is to convert the color
photo produced by a digital camera and convert it to the kind of black
and white image that was produced by using something like the zone
system in black & white photography. Within Photoshop there are two
quick ways to convert the color image to black and white: desaturate or
grayscale conversion. But these are too simple to allow the final print
to achieve the most desireable tonal values. This problem is discussed
in some recent books (e.g., Mastering Black and White Digital
Photography, by Michael Freeman}. Freeman outlines the long tedious
steps in Photoshop that will result in the best possible black and
white print. He also notes the availability of 3 software packages that
can speed up the process: 1) Nik Color Efex Pro 2.0, 3 levels from $100
to $300; 2) Black & White Studio plug in for Photoshp, from
PowerRetouche, $75; 3) Mystical Tint Tone and Color, from Auto FX
Software, $179 (includes 37 other special effects for color images).

Can anybody comment of the relative merits of the 4 methods of
converting the color image to black and white (the three commercial
programs or the long series of steps through Photoshop). My first
impression is that using Photoshp alone offers the most control, but it
also is the most tedious. The others may offer reasonable control while
cutting down on the amount of tedium.

Thanks.

On 24 Mar 2006 07:38:12 -0800, "
wrote:

Within Photoshop there are two
quick ways to convert the color image to black and white: desaturate or
grayscale conversion. But these are too simple to allow the final print
to achieve the most desireable tonal values.

Then use something else. Photoshop provides *lots* of ways
to convert colour to B&W, the "Channel Mixer" being the tool
of choice for many users.


Freeman outlines the long tedious
steps in Photoshop that will result in the best possible black and
white print.

Not my experience, it's neither a long nor a tedious
process. I haven't read his work so I have no idea how he's
suggesting you should do it.

--
John Bean

Try a freebie from www.photo-plugins.com.

The conversion from color to BW in Photoshop is not the only, and may not be
the main issue. Printing in BW on many ink jet printers is not straight
forward and often there is undesired coloration to the print-it can be
difficult to achieve full black. The paper finish also is major factor.
Laser printers are useless regardless of what you might have read. ON the
other hand inkjet printers are wonderful for producing "toned" BW prints,
like sepia.

Like everything: you have to experiment to see what works for you.

In article .com,
" wrote:

The goal is to emulate the sort of black & white print that comes out
of silver darkroom processes. The first step is to convert the color
photo produced by a digital camera and convert it to the kind of black
and white image that was produced by using something like the zone
system in black & white photography. Within Photoshop there are two
quick ways to convert the color image to black and white: desaturate or
grayscale conversion. But these are too simple to allow the final print
to achieve the most desireable tonal values. This problem is discussed
in some recent books (e.g., Mastering Black and White Digital
Photography, by Michael Freeman}. Freeman outlines the long tedious
steps in Photoshop that will result in the best possible black and
white print. He also notes the availability of 3 software packages that
can speed up the process: 1) Nik Color Efex Pro 2.0, 3 levels from $100
to $300; 2) Black & White Studio plug in for Photoshp, from
PowerRetouche, $75; 3) Mystical Tint Tone and Color, from Auto FX
Software, $179 (includes 37 other special effects for color images).

Can anybody comment of the relative merits of the 4 methods of
converting the color image to black and white (the three commercial
programs or the long series of steps through Photoshop). My first
impression is that using Photoshp alone offers the most control, but it
also is the most tedious. The others may offer reasonable control while
cutting down on the amount of tedium.

For all that work, I'd just break out the Tri-X.

or, in photoshop you could just set your foreground colour to black.
Then just select Gradient Map from the 'New adjustment layer icon'

SS

wrote in message
oups.com...
The goal is to emulate the sort of black & white print that comes out
of silver darkroom processes. The first step is to convert the color
photo produced by a digital camera and convert it to the kind of black
and white image that was produced by using something like the zone
system in black & white photography. Within Photoshop there are two
quick ways to convert the color image to black and white: desaturate or
grayscale conversion. But these are too simple to allow the final print
to achieve the most desireable tonal values. This problem is discussed
in some recent books (e.g., Mastering Black and White Digital
Photography, by Michael Freeman}. Freeman outlines the long tedious
steps in Photoshop that will result in the best possible black and
white print. He also notes the availability of 3 software packages that
can speed up the process: 1) Nik Color Efex Pro 2.0, 3 levels from $100
to $300; 2) Black & White Studio plug in for Photoshp, from
PowerRetouche, $75; 3) Mystical Tint Tone and Color, from Auto FX
Software, $179 (includes 37 other special effects for color images).


Channel mixer is your friend. Then print using black only setting.

John

"Dennis Pogson" writes:

simon wrote:
or, in photoshop you could just set your foreground colour to black.
Then just select Gradient Map from the 'New adjustment layer icon'

I must be missing something here, my camera takes monochrome
pictures, don't they all?

Are you talking about the b&w mode found on most cameras, or are you
somehow (as seems to be common) referring to the bayer filter?

--
Måns Rullgård

On Fri, 24 Mar 2006 19:09:41 -0000, "Eatmorepies"
wrote:


Channel mixer is your friend. Then print using black only setting.


Channel mixer is one of several ways to get the job done.

Most posts on this thread have only touched on the easy
part -- the Photoshop manipulations for turning RGB into
monochrome. Suffice to say -- that part can be as easy
or as hard as you want to make it.

But I take exception with your 2nd statement.

Most inkjet printers suck when printing with just the
black nozzles. The notable exceptions are printers
like the Epson 2400 with multiple black inks.

The very best BW printing with inkjets happens with
Quadtone and Hextone inks -- which really means a
printer dedicated to just BW printing. Get yourself
an Epson 1280 and some MIS inks -- and go to town.

Another possibility is to have an excellent profile
for your printer/paper/ink -- in which case, printing
an RGB image (where the R/G/B channels are identical)
should produce a good neutral result.


rafe b
www.terrapinphoto.com

"rafe b" rafebATspeakeasy.net wrote in message
...
On Fri, 24 Mar 2006 19:09:41 -0000, "Eatmorepies"
wrote:


Channel mixer is your friend. Then print using black only setting.

snip

But I take exception with your 2nd statement.

Most inkjet printers suck when printing with just the
black nozzles. The notable exceptions are printers
like the Epson 2400 with multiple black inks.

The very best BW printing with inkjets happens with
Quadtone and Hextone inks -- which really means a
printer dedicated to just BW printing. Get yourself
an Epson 1280 and some MIS inks -- and go to town.

Another possibility is to have an excellent profile
for your printer/paper/ink -- in which case, printing
an RGB image (where the R/G/B channels are identical)
should produce a good neutral result.


I think exception is a bit strong. I use an Epson 1290s and non-Epson ink. I
find the blacks are blacker than with Epson black ink. I set the printer to
heavy matte paper (whatever paper I am using) and 1440 dpi.

I get very pleasing results. They are not as good as the prints I see in the
best exhibitons but they are as good as or better than many I see hung on
walls in galleries.

As far as the MIS inks are concerned, this system interested me greatly,
until a met a photographer who had tried it and was disappointed. As I live
out in the sticks I don't meet many other photographers and would welcome
the opportunity to see some prints by someone who has sorted out one of the
multi-black systems. Multi-black does seem to be a logical step forward from
single black systems.

However - I like my monochromes.

John