Black and White in Photoshop CS4 and Photoshop Lightroom

A Complete Integrated Workflow Solution for Creating Stunning Monochromatic Images in Photoshop CS4, Photoshop Lightroom, and Beyond

Leslie Alsheimer and Bryan O’Neil Hughes


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Book Details
 Price
 2.00 USD
 Pages
 337 p
 File Size
 37,008 KB
 File Type
 PDF format
 ISBN
 978-0-240-52159-6
 Copyright   
 2009, Leslie Alsheimer and Bryan O’Neil Hughes
 Published by Elsevier Ltd 

About the Author
Leslie Alsheimer is an internationally published and award winning
photographer, author, and photo-educator based in Santa Fe, New Mexico.
She was recently honored at Photoshop World 2008 as a NAPP Photoshop
GURU Award recipient, with the Vincent Versace Award for Photographic
Excellence. Leslie is most known for her documentary projects with nonprofi
ts & NGOs addressing the human condition worldwide. Her work –
spanning editorial, fi ne art and documentary genres – has appeared in the
Corcoran Gallery of Art as well as numerous books and publications including
PDN, Nikon World, Focus Santa Fe Arts, and Outside magazines.

Through a forward and positive focus, Leslie’s fi ne art vision incorporates light, technique, and technology into a unique style rooted in a passion for creating images that parallel and interconnect her work as a social worker and her vision of the human spirit. Leslie’s deeper perspective documentary essays were recently awarded and published in National Geographic Traveler and PDN magazine’s “World in Focus” competition, and received two Honorable Mention LUCIE Awards at the 2008 International Photography Awards.
As the Founder and Director of the Santa Fe Digital Darkroom Photographic Workshops & Tours, and an instructor with the Nikon Mentor Series, American Photo, and Eddie Adams Workshops, Leslie works as a photo-educator, mentor, organizer, and host for personalized photography workshops, and photographic journeys around the globe. Leslie’s knowledge and expertise of both traditional and digital photography allows her to design programs that inspire photographers and artists to develop new ways of seeing, create a signature style, market and brand their work, and realize creative projects and goals. Leslie believes in using photography to help empower others to fi nd their own creative voice and vision. Inspired by a traditional wet darkroom teen photography program that she developed, and directed for a non-profi t organization’s gang diversion program, Leslie served as the creative director of the published social documentary book, Reality from the Barrio. The book was honored in the PDN Photography Annual 2003 Best Photos of the Year and became a thesis project for Leslie’s master’s degree in social work. Combining her love for photography and background in social services, Leslie also developed Community Photography Outreach, a project-based, non-profi t organization, collecting and disseminating donated cameras to organizations and programs in need, and Forward Focus: Photography and Workshops with Creative Purpose, a pioneering organization for experienced and emerging photographers who want to use imagery to help promote developmental, environmental and relief eff orts worldwide. Leslie can be found on the web at: www.lesliealsheimer.com and www.santafedigitaldarkroom.com.

Bryan O’Neil Hughes fell in love with photography when he was only
seven years old. He began collecting cameras and experimenting with the
medium anywhere he found himself; from his mother’s offi ce parties to
the sprawling Carmel Valley ranch he grew up on. Bryan was a teacher’s
assistant in his photography courses throughout high school, and could
always be found working in the darkroom.

After school, Bryan began a lifelong passion for world travel, and he
would venture overseas with little more than a camera, fi lm and backpack.
Upon returning to the States, he worked in the high-end photo retail
environment: from custom prints, to framing, to sorting, to sales and even
repair, Bryan has always had an insatiable appetite for anything related to
photography. Hoping to combine a passion for racing cars with his love for
photography, Bryan shot professionally for a brief time. When he began to
notice that both passions were waning, he looked to the future. In 1996,
upon seeing Photoshop 4.0 demonstrated at Seybold, Bryan knew what
he wanted to do with his life.

Bryan O’Neil Hughes has been with Adobe since 1999, helping to test,
develop, drive and demonstrate Adobe’s digital imaging applications.
Bryan is a Product Manager for the Photoshop Team and Product
Evangelist for the Lightroom Team. Bryan’s name, energy and even photos
can be found within Photoshop 6.0 forward, PhotoDeluxe 4.0, Photoshop
Elements 1.0, Photoshop Lightroom 1.0 and beyond. Bryan speaks
worldwide on behalf of Adobe and can often be found leading seminars
and workshops.

Beyond Adobe, Bryan is a published photographer, editor and author. He
still loves his time spent driving race-tracks, traveling the world over and
taking photos. Bryan lives in the Santa Cruz Mountains with his wife, Alex, and son, Miles.


Acknowledgments
The first honor, tribute and, my humble gratitude must go to the most signifi cant teachers of my life: the many extraordinary people I have met and photographed around the world – whose faces adorn the pages of this book, my image collections and beyond. Your gracious gifts in shared life moments, friendship, and profound trust for communicating your stories have touched my heart and soul with the most sacred honor of my life. To the NGOs and grassroots humanitarian projects with whom many of the images in this book were made: Soft Power Health, Dr. Jessie Stone, ReachOut,
Connect Africa Foundation, Dr. Lynn S. Auerbach, Kalule Charles, Uganda
Youth Development Link, Action for Youth Development, Rotary International of Kampala, and Empowerment International, your profound dedication to making a diff erence in the world will forever be my greatest inspiration! To all of our readers and workshop friends, thank you for your continued support. It is your interests and passion as fellow photography afi cionados that has made this book what it is today. I am grateful for all I have learned from those that I have been fortunate enough to know. I would also like to thank the special people in my life who gave me the support and encouragement to make this book: the entire Alsheimer family – especially my mom, Nancy Alsheimer, Kelly, Colin, Quinn, Connor, Sam and Gracen for being my supermodels, Bryan and Alex Hughes for your initiation eff orts, extraordinary expertise and magnanimous dedication, and to Jamie
Baldonado who is, and will forever be, my superhero! Lastly, in loving memory of my father, Col. Robert Alsheimer, a master translator of anything complex. It is some of your gifted ability to simplify and infi nite curiosity that led me to become an author and educator. And to my dog Chucho, who graced my life with 15 years by my side down rivers, through snow,
up mountains, and at my feet for almost every page of
this book. I will miss and love you both always!
Leslie Alsheimer

Together, we would both like to thank all of our
friends at Focal Press, especially to Lisa Jones,
Ben Denne, Valerie Geary, and our copy-editor Emily
Crawford – without whom this book would not have
been possible. Above and beyond the call of duty, you
have each been extraordinarily helpful, patient and
made the process so much more fun!
Leslie & Bryan

First and foremost, I’d like to thank my lovely
wife Alex, I couldn’t do half of what I do
without her support and understanding. Again,
I’d like to salute everyone found in the credits
of the Adobe applications discussed within this
text, I’m privileged to work with all of you. On a
sad note, I’d like to remember and acknowledge
Marcus Riess – a friend, colleague, loving father
and husband – we all miss you. To Leslie, my
co-author, thank you for keeping the bar so high
and giving this your all – you continue to impress
me with your unique eye and teaching style.
Lastly, to my unborn son, I hope you fi nd this
world as full of beauty as I do.
Bryan O’Neil Hughes

Table of Contents
Copyright Notice ............................................................................................ix
Acknowledgements ........................................................................................x
Salutations ....................................................................................................xii
Focus on Imagery ........................................................................................xiv
Craft, Vision, Artistry ...................................................................................xvi
Film’s Place in a Digital World ....................................................................xxii
Seeing in Black and White .........................................................................xxiii
Breaking the Rules....................................................................................xxvii
Assignment: Project Refresh .....................................................................xxx
Mistakes can be Magic .............................................................................xxxii
Photoshop CS4 and Lightroom: An Integrated Color Managed
Workfl ow Solution ...................................................................................xxxiv
Chapter 1: Color Management for Black and White..................................1
Pre-Workfl ow: Color Management Integration ........................... 1
The Essential Overview......................................................................... 2
Why Do We Need Color Management? .......................................... 3
Outline: The Color Managed Workfl ow........................................... 6
I. Capture ....................................................................................................... 7
Set Up Color Working Spaces ............................................................. 7
II. Workspace: Control Ambient Lighting Conditions and
Working Environment.........................................................................11
III. Monitor Control .....................................................................................14
IV. Software Policies ...................................................................................16
Photoshop Color Management Policies and the
Editing Color Working Space ............................................................18
Working Gray Policies .........................................................................18
CMYK Working Space ..........................................................................20
Spot Working Space ............................................................................20
Color Management Policies ..............................................................21
Save and Name ......................................................................................24
Comment .................................................................................................25
V. Print Profi ling and Printer Settings...............................................25
Output and Media Considerations ..............................................26
Softproof, Evaluate, Tweak and Repeat ......................................26
Chapter 2: Highest Quality Capture: Workfl ow Phase I ..........................29
I. Capture in Color ..................................................................................29
II. Digital Capture File Formats ...........................................................30
JPEG vs. Raw Capture ........................................................................30
Digital Negative (or DNG) Format ................................................31
File Formats: Quick Reference .......................................................33
III. Bit Depth: The Advantage of High Bit Capture ........................34
IV. Exposure ................................................................................................35
V. Exposure Essentials: the Zone System Applied .......................36
VI. The Zone System Applied: Exposure Evaluation with
Histograms ...........................................................................................41
Utilizing Histograms in the Field for Optimal
Exposures with the Greatest Dynamic Range..........................41
So if the LCD Stinks for Exposure Evaluation is There
Another Way to Evaluate Exposure in the Field? ....................41
Reading and Interpreting Histogram Data ...............................45
Histograms and Images ...................................................................48
Summary of Histograms and Exposure Evaluation ...............59
VII. Exposure Evaluation: Monitor Highlights Utilizing
the Blinking Highlight Indicator ....................................................... 60
VIII. Histograms in the Digital Darkroom ...........................................61
Monitoring Image Detail with Image Adjustments
for Highest Quality Editing Practice ............................................61
IX. Digital Darkroom Editing Dangers ..............................................62
Posterization aka Banding ..............................................................62
Cache Warning ....................................................................................63
X. Scanning Capture: an Overview ...................................................64
How to Set Up for Optimal Scanning ..........................................64
Resolution/Print Size Reference Chart ........................................68
XI. Noise and Interference in Digital Capture .................................69
AKA Grain in the Film World ...........................................................69
Types of Noise .....................................................................................71
Noise Controlling Factors ................................................................72
Chapter 3: Lightroom Integrated: Workfl ow Phase II .............................75
Integrating Workfl ow Practices .....................................................75
Workfl ow is Dynamic: Go with the Flow! ...................................76
Lightroom Unleashed: The Editing Accelerator ......................77
History ....................................................................................................77
A Stepped Approach through Lightroom .................................77
Lightroom Module Overview ........................................................78
I. Import: Includes Download, Backup, Rename,
Keyword, and Copyright ..................................................................84
II. Lightroom Basic Editing ...................................................................90
III. Basic Image Processing: an Overview of the
Lightroom Develop Module .............................................................93
IV. Export: Archive, Contact ................................................................. 100
Special Note: Lightroom Color Management ......................... 102
Integration: Lightroom to Photoshop ........................................ 103
Lightroom to Photoshop: More Features.................................. 104
Adobe Bridge: Overiew ................................................................... 106
Chapter 4: Black and White in Photoshop I ...........................................113
Black and White Conversion Techniques in Photoshop ........... 113
I. Simple Methods ................................................................................. 117
Grayscale Mode Change ................................................................. 117
Desaturate ............................................................................................ 120
Lab Color Mode .................................................................................. 123
II. Advanced Black and White Conversion: Foundation
and Theory Overview ....................................................................... 125
Foundation & Theory: Color Filters and Black and
White Film ............................................................................................ 127
III. Advanced Conversion Techniques .............................................. 132
Channel Mixer ..................................................................................... 132
Hue/Saturation Technique ............................................................. 136
Turn Up the Volume! This One Goes to 11 ................................ 140
Chapter 5: Black and White in Photoshop II ..........................................145
Black and White from Black and White ...................................... 145
Black and White Stand-alone Feature ........................................ 147
Blend Modes........................................................................................ 154
Black and White in Adobe Camera Raw 5.0 ............................. 156
Black and White Beyond ................................................................. 166
Bringing scans into Photoshop .................................................... 170
Chapter 6: Black and White & Creative Image Editing in Lightroom .....173
Black and White Conversion Options: The Methods .................... 174
Simple Grayscale ................................................................................ 174
HSL Conversion Method ................................................................. 176
Creating a Graduated Neutral Density Filter in Lightroom ....... 178
Dodging and Burning with the Adjustment Brush ............... 180
Auto Masking ...................................................................................... 184
Hand Coloring with the Adjustment Brush and Masking....... 187
Selective Black and White ............................................................... 189
Post-Crop Vignettes .......................................................................... 192
Develop Module Lightroom Presets ........................................... 194
Develop Module User Presets ....................................................... 196
Chapter 7: Creative Image Editing in Photoshop ..................................197
The Digital Darkroom .............................................................................. 197
Non-Destructive Editing: an Overview of
Best Practices and New Features in CS4 .................................... 198
Using Adjustment Layers for a Non-Destructive Workfl ow ...... 200
Monitoring Adjustments with the Histogram Palette ........... 202
Levels and Curves Overview: Tone and Contrast
Corrections ............................................................................................ 204
Setting Black and White Points ...................................................... 208
Photoshop: Dodging and Burning with “Soft Light” .............. 214
Dodging and Burning with Adjustment Layers ....................... 216
Creating a Neutral Density Filter.................................................... 218
Vignetting ................................................................................................... 220
Burn Edges w/ Geometric Selection Tools ................................. 220
Correcting Exposure Issues with Adjustment Layers ............. 222
Grain Eff ects .......................................................................................... 224
Digital Infrared ..................................................................................... 225
Reducing Noise with Photoshop ................................................... 228
Hand Color Black and White ............................................................ 230
Sandwiching Negatives .................................................................... 233
Toning Techniques with Photoshop ............................................. 236
Chapter 8: Printing ..................................................................................249
Silver Changing Form ........................................................................ 250
Ink ............................................................................................................. 253
Alternatives to Black and White Inkjet Limitations ................. 255
Latest Developments ......................................................................... 256
Papers and Profi les ............................................................................. 256
Workfl ow Phase 5: Printing Workfl ow .......................................... 258
Monitor Tonal Detail from Monitor to Print:
Creating a Step Wedge ...................................................................... 258
Printing Workfl ow Overview ................................................................ 259
A. Photoshop Printing Workfl ow ......................................................... 260
I. Set Image Size and Resolution .................................................. 260
II. Softproofi ng .................................................................................... 264
III. Sharpening ..................................................................................... 266
IV. Set Your Print Driver for Color Managed Output .............. 270
V. Tweaking .......................................................................................... 282
B. Printing from Lightroom .................................................................. 282
Lightroom Print Module ................................................................... 282
Overview of Features ......................................................................... 283
Set Your Print Driver for Color Managed Output
Color Management ............................................................................ 288
Print Settings for Macintosh ............................................................ 290
Print Settings for Windows .............................................................. 291
Lightroom Printing Templates Mac and PC ............................... 291
Afterword ...................................................................................................293
About the Authors ......................................................................................295
Index ............................................................................................................297

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SALUTATIONS
While the digital landscape has become less complex with the latest software releases,
I also recognize that I am standing on the shoulders of giants. I salute the Photoshop
gurus and divas who navigated the complexities of the digital world before me, who
were not only willing, but enthusiastic and passionate enough to pass on their wisdom,
knowledge and expertise. Because of their perseverance and dedication, the technology is
where it is today. Hats off to all those folks for laying the foundation and paving the way for
the rest of us!

Special acknowledgement and appreciation must also go out personally to all of my many
mentors who challenged my vision and ignited the passion for the digital world that
carried me into my career as a professional photographer and educator. To Katrine Eisman,
Julieanne Kost, and Maggie Taylor as the pioneering women of the industry, and my high
school photography teacher Karen Jenks, each of whom inspired me with great impetus and
will forever be my industry heroines and role models!

Thanks also to Jonathan Singer, Norman Mauskoph, Thatcher Cook, Stephen Johnson,
Andrew Rodney, Ed Ranney, Mac Holbert, Jeff Schewe, George DeWolfe, John Paul
Caponigro, Jack Davis, Jerry Courvosier, Michael “Nick” Nichols, Dan Burkholder, David Alan
Harvey, Sam Abell, Vincent Versace, Reid Callanan, David Lyman, David Julian, Miguel Gandert,
and Jay Maisel. Also thanks to my colleagues and friends, Staff ord Squire, Genevieve Russell,
Randall Gann, Tom Gaukel, Josh Withers, Elizabeth Hightower and Cece Kurtzweg.


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