Digital BW, The Print

In a message dated 8/31/04 1:38:53 PM, 
DigitalBlackandWhiteThePrint@yahoogroups.com writes:


> 
> This is the procedure I use for conversion to BW:
> 
> 1. Open it and convert it to Adobe RGB 1998 and at that point
> create a duplicate image to show on the screen at the same time.
> Move them around so you can see both images at the same time. Do all
> of your final work on the copy image and rename it according to your
> whim at the time. Convert the copy now to grayscale.
> 
> 2. Using the original image, on the palette bar at the top right
> select channels which will show 4 channels---Red Green Blue and the
> composite RGB. If you left-click on the right panel of each color an
> eye will appear on the left of the panel for that color and will
> show how the image would look if only that color was used. This will
> show up on the actual image as BW on the original image.
> 
> 3. You may find that only one channel will give you the effect that
> you desire or you may have to combine two channels or even all three
> in different opacities and fills.
> 
> 4. On the original image as you choose a channel to use, place the
> pointer on the original image and Shift-A which will give a dotted
> line around the entire image. Then Shift-C which will copy that
> image channel into the clipboard. Left click on the copy image and
> Shift-V, which will transfer the channel from the clipboard to the
> copy image. Do this with the other channels as needed.
> 
> 5. When the channels you want have been copied, close the original
> image without saving any changes to it. That image is still a virgin
> image in case you goof up on this and other attempts to work it up
> in BW.
> 
> 6. Now all work is done on the copy image and it is the one that
> will be saved with a different name than the original. Left-click on
> the layers tab on the palette bar and you will have layers for each
> channel you copied plus one called background. At this point I
> usually rename them with the name of the channel I copied (Red or
> Green or Blue). In the case of the Rust In Peace truck, I used the
> Green and Blue channels. I copy channels from the top down so my
> Layer 1 is renamed Green and Layer 2 is renamed Blue. To rename them
> Double-Left-click on the words Layer 1 for the first layer and type
> in the name of the channel copied from the original image. In my
> case it was Green and the other one was Blue. Now you have three
> layers ---Green Blue Background. Eyes should be on the left side of
> all the channels.
> 
> 7. Now comes the magic!!!!! You notice the channels are stacked on
> top of each other Blue over Green over Background. and up on the
> upper portion of the channel window you have two sections
> called "Opacity" and Fill" in percentages starting with 100%. Left-
> click and hold on the layer that is the lightest (Green) and slide
> it up to the same level as the darkest (Blue) and release. You now
> have layers names of Green Blue and Background. I do this so the
> lightest layer is on top so the darker portions can start showing
> through as I lower the opacity of the top layer a little at a time.
> 
> 8. It suited my aye at 61% for the Green opacity. You can do the
> same for the Blue layer, but if you do; left click on the eye on the
> Green layer so you can see the effect of Blue on Background; then
> click on Green eye again to see the combined effect on all three
> layers. Experiment till it suits your eye and desired effect.
> 
> 9. Then click on Layer>Flatten image and now you have used channels
> mixed to your liking.
> 
> 10. Now set up your Proof. View>Proof Setup>whatever your choice for
> proofing is that gets equality between the monitor and printed
> image. A good way to determine your proof is to take an image you
> have already worked up and make a straight print from it without any
> further manipulation and compare it to the monitor. If the print is
> darker or lighter than the monitor image the same process applies
> for correction and proof profiling. With dried image in hand and
> well lit compare it carefully to the monitor image.
> 
> 11. This is the process to determine the correct proof setup for you
> final printing of any image you work up. This will change if you
> change inks or paper.
> 
> 12. View>Proof Setup>Single left click on whatever is showing in the
> Profile selection. This will bring up a menu of all proof profiles
> on your computer that Photoshop uses. Start at the top and carefully
> compare each one with the printed image making sure the
> box "Preserve Color Numbers is Checked" if it is available.
> Sometimes it won't be. When you select one from the list the list
> goes away but the selection is highlighted in the profile selection.
> Simply arrow-down on the keyboard till one of the examples does
> match the finished and dried print you made for this image. Take
> your time and preferably do this in a darkened room so ambient light
> won't sway your decision. That way when you print in a lighted room
> you won't be swayed by the brighter light and think something is
> wrong. Save your choice with any name you can easily associate with
> the paper choice and inks used so you can simply use it for all
> images you print on that paper and with that inkset.
> 
> 13. Print and enjoy the fruits of your labor, or discard and start
> all over again. That's part of the learning process. It isn't cut
> and dry--it's creative---it's fun---it's disheartening--it's
> whatever it is--but it's photography at it's most challenging and
> rewarding when it all comes together with the photographer.
> 
> 

Or you could just shoot Tri-X.   Isn't this an awful lot of work to make 
one's way back to what film has been doing for generations?   I don't mean to 
reignite the old film/digital debate; there's no sense in arguing which is better; 
they each have their strengths; they are different tools.   But it does seem 
perverse that people embrace a new technology to mimic the appearance of an 
old one.   

Sanders McNew


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