Last edited by photobum; 28th October 2007 at 12:42 AM.
WOW! S$38 for a 16x20 plus FedEx sound cheap! Or was it US$38? If it's SGD, I'm going to explore that option.
Anyway, Infinite Editions uses Hahnemuhle 316g Photo Rag Duo or 310g German Etching papers and Jon Cone Piezograph (Neutral, Platinum, Selenium or Sepia) K7 & K6 inksets.
Keep in mind that their so-called platinum, sepia or selenium inksets are still not the same as real platinum, sepia or selenium-toned fiber-based prints.
Last edited by photobum; 28th October 2007 at 01:07 AM.
Once again, thanks Photobum!
This is great news for those wanting very high-quality B&W prints!
For someone like me who have lived in the US for 12 years, I know where to source for the best printers. By the way, I am a true-blue Singaporean.
For Photoshop B&W conversion, I go by feeling and mood. I don't specifically stick to one or two techniques. I will try a few methods and decide later what looks best for me. I treat each image differently.
Last edited by photobum; 28th October 2007 at 01:36 AM.
Sorry for OTing. For those of you who missed the old Portriga Rapid paper, you can try Bergger warm tone Prestige from www.bergger.com.
there are actually a few commonly used procedures to generate a monochrome image, but its very hard to get the b/w quality of real b/w film/prints
there's a popular method that works with using the lab-color method but this results in a picture being too faded (layer has to be duplicated and multiplied)
another way is to select monochrome under the channel mixer. adjust the RGB bars individually with preview till desired.
there is a gradient map method and a calculation method but i'm not familiar with them
chezburgr i can haz?
Somehow this thread wandered off towards B&W printing...
Well there are several methods to do B&W conversion that I know using Photoshop.
I'll share it here FREE for the benefit of all.
1) Method 1: Grayscale
One of the simplest ways to achieve a B&W image. Little control and usually needs to be tweaked with other tools for better contrast but noise levels isn't too bad. Much better than desaturating by Image>Adjustments>Hue/Saturation or Image>Adjustments>Desaturate
2) Method 2: Channel Mixer
Image>Adjustments>Channel Mixer or
New Adjustment Layer>Channel Mixer
Probably the most common and popular hands-on method. With the dialogue box open select the monochrome box on bottom left. Adjust the red, green and blue sliders. Move the sliders right to brighten the particular channel and left to darken them. This method can mimic the effect of traditional B&W filters on film very well.
3) Method 3: Lab Colour or Lightness Channel
Then bring up the Channels window visible on the right. Window>Channels. Click on the Lightness Channel to make it active. Then go to Image>Greyscale. Photoshop will prompt to ask if you want to discard the other channels. Click OK and you are left with a grey channel. At this stage you usually find an image that has very smooth tonality but flat. The next step will fix that.
Duplicate the layer (Command-J on Mac/Ctrl-J on PC). In the Layers window, click on the new layer and change the Blend mode to Screen (to lighten it) or Multiply (to darken it). Next adjust the opacity of the layer using the slider to your preference. Flatten and save.
4) Method 4: Calculations Method
In essence this method combines 2 channels to produce a new greyscale image. In the default setting, the dialogue box lists out the Red channel in Source 1 and the Red channel in Source 2. You will need to change one of the channels from either Source 1 or Source 2 to anything other than Red, usually Green or Blue.
Your next step is to select the Blend mode. The default is Multiply (which darkens) or you can switch to Overlay. Adjust the Opacity setting to your preference. Once you're satisfied, you can then click on the Result pull down menu at the bottom. Select New Document. Click OK, then go to Mode>Greyscale.
5) Method 5: Gradient Map
Press D on the keyboard to make the default colour Black/White
Image>Adjustments>Gradient Map or better
New Adjustment Layer>Gradient Map
In this method as the name suggests, you're mapping a black and white gradient over a coloured image. Very quick and simple but control can be limited. If you use an adjustment layer you can also desaturate the coloured background layer.
Please go and experiment the above methods and find your preferred one. Cheers.
Last edited by creampuff; 28th October 2007 at 10:17 AM. Reason: typo
Hey Guys!!! This is great! its a good stepping stone for those especially newbies who wishes do B&W images. Thanks all for your contributions, appreciate it lots!!!
I suggest the mods make this thread sticky for the benefit of others! what say you ??
wow! thanks for the info!
Trust me, I'm not so bad! | TangShooters
Google for Greg Gorman Actions and Daniel Diaz actions, both give lovely results. For customization, you might want to record the actions yourself. =)
Photography -- a new language of mind.
I know this is a little OT, but one important thing about digital B&W is you usually can't shoot the same way you shoot color... You have to have basic knowledge of zoning, otherwise, your seemingly OK colored photo will look bland if converted.
Here's one more for your reference, hope you like it.
Actually, I think B&W printing has a lot to do with B&W conversions because it's one of those areas that have to be carefully considered even before the image is created, be it in film based photography or even digital based.
All the more so because we digitallers do not have the benefit of traditional B&W printing options, so we have to shoot and create files that will work to give at least acceptable results with digital-viable printing options only.
Photobum, begger papers like toe warm-tone ones are silver-halide fiber-based papers. I don't think they can be used for digital printing right? Man, imagine if somehow they come out with a digital printer that can handle traditional silver-halide fiber-based paper!
What's with the "haha" thing?
Some people have very little posting courtesy here.
My suggestion wasn't invalid, yes it's true that that's not the only thing you need to know, but not everybody is "as good" as your knowledge of zoning and other technical knowledge. People here are just offering tips for the TS for reference, what's the beef? Did I say "you can't get a good B&W photo even in PP if you don't know zoning etc.?"
zone system is useful for capture as a good basis for what you can then work on in photoshop... the ol' turn of phrase springs to mind: "rubbish in, rubbish out"
giclee is just a pretentious name for high end ink jet print that is going out of fashion... the name is going out of fashion that is, not the printing...
and of course, my method of conversion:
try using 2 Hue/Saturation layers one on top of the other... top layer just desat, bottom layer adjust the lightness of the various colours... can bring out more contrast in the image, especially for such colourful images... adjust contrast with curves to taste...
again (as I have suggested in previous threads on b/w conversion), such a thread should be made sticky so the wheel doesn't have to be re-invented everytime someone asks this question...
With a digital workflow, B&W images today are for the most part derived from color images where the fine tuning is done through software (digital darkroom). One doesn't need to know the Zone System to be able to produce a decent B&W image, merely an understanding of what the software for post processing is capable of. I don't dispute the merits of the Zone System and it's application. Good to know but certainly not a pre-requisite to produce a decent B&W image.
I don't profess to know it all photographically and am willing to share what I know freely. However it is important to express with clarity, and I was merely pointing out that your statement isn't valid. Simple as that. If you feel aggrieved at my comments, let me apologise here.
Last edited by creampuff; 28th October 2007 at 06:20 PM.