The advantage shooting B&W film had over color and digital was the ability to either alter negative development to match the EV range of scene to range of a #2 grade print paper (The Ansel Adams Zone System approach) or match the contrast of the paper (Grades 1 - 4) to the EV range of the scene, with developing the film to fit a CROSS-LIT sunny outdoor subject to #2 grade paper being the “Normal” baseline for both methods. The problem digital sensors is that with many camera the DR of the sensor can’t handle the contrast of cross-lit or back lit scene and when exposing to retail the 3D shape defining separation between Zone 10 specular reflections from the sun on Zone 9 smooth white objects in sunlight detail will be lost in the Zone 1-2 shadow detail and be filled with noise the darker mid-tones will be recorded darker that perceived by eye. The example in the video fits the range of the sensor with an ideal histogram because it was photographed with sun behind the camera. The same scene with light at a 45° angle from the side would I suspect exceed the range of the sensor and to really duplicate the look of an analogue B&W photo require starting by blending two separate exposures; one for exposed for the highlights and another with about 3 stops more exposure via slower shutter speed to record the darkest Zone 1 detail above the noise threshold. My preferred method for creating full dynamic range B&W is to start by manually by copying and pasting the +3 stop shadow exposure over the highlight exposure, adding a black mask, then selectively opening in degrees based on how much I want detail in the shadow to tempt the eye of the viewer: more around the focal points, less around the edge of the frame. After the mask is opened selectively the opacity slider on masked shadow layer can be varied from 0 to 100% for before and after comparison, adjusting by eye to taste and the mask can be edited also. Tonal and detail vignettes in a photo create a similar sensation if done subtly enough for it to be subliminal not something the viewer of the print consciously notices which is were adjusting the shadow detail layer via the opacity slider comes into play in my HDR workflow, The result is more organic looking than AI generated HDR because it which mimics how the brain “tunnels” in on focal points tuning out the periphery. Tunnel vision when viewing anything by eye is the result of green sensitive rod cells which cover the periphery of the retina being 3000x more sensitive to light than the RGB cone cells which are concentrated in the center 2° of the field of vision, about twice the width of thumb held at arm’s length 👍 When something contrasting in movement or tone enters the edges of our field of vision the hyper-sensitive rods detect it, the brain sends eyes to dwell on that spot and then the brain “tunes out” the signal from the rods creating the sensation of looking through a tunnel.
Thanks Richard. You don’t like Adobe RAW for converting to B&W. How do you rate Lightroom for it? I don’t use Photoshop. Perhaps you have a suggestion.
You would have much better results if you created hard masks of the sky, castle, and foreground. Edit each one separately. Yes, it's a lot of work but the results are so much better. Also think about using Artisan Pro X and Quick Mask Pro.
So, I have RAW 17.1. Following your instructions: at 0.51seconds... you make a change at Profile Adobe Color. This is where I can't follow you with my version of RAW. My Profile Doesn't have Adobe Color and the rest of the choices that you have shown here. I have Color Monochrome, Artistic, Modern, B&W and Vintage. Each one of these has a drop down, but nothing that leads me to Adobe Landscape. So, I'm not sure where to go from that point forward regarding changing my color images to B&W. Suggestions?
Just leave it how it was. Changing to landscape just boost a touch of saturation. From there do the necessary adjustments and then change to black and white. Hope this helps until you figure it out ☺️
The advantage shooting B&W film had over color and digital was the ability to either alter negative development to match the EV range of scene to range of a #2 grade print paper (The Ansel Adams Zone System approach) or match the contrast of the paper (Grades 1 - 4) to the EV range of the scene, with developing the film to fit a CROSS-LIT sunny outdoor subject to #2 grade paper being the “Normal” baseline for both methods.
The problem digital sensors is that with many camera the DR of the sensor can’t handle the contrast of cross-lit or back lit scene and when exposing to retail the 3D shape defining separation between Zone 10 specular reflections from the sun on Zone 9 smooth white objects in sunlight detail will be lost in the Zone 1-2 shadow detail and be filled with noise the darker mid-tones will be recorded darker that perceived by eye.
The example in the video fits the range of the sensor with an ideal histogram because it was photographed with sun behind the camera. The same scene with light at a 45° angle from the side would I suspect exceed the range of the sensor and to really duplicate the look of an analogue B&W photo require starting by blending two separate exposures; one for exposed for the highlights and another with about 3 stops more exposure via slower shutter speed to record the darkest Zone 1 detail above the noise threshold.
My preferred method for creating full dynamic range B&W is to start by manually by copying and pasting the +3 stop shadow exposure over the highlight exposure, adding a black mask, then selectively opening in degrees based on how much I want detail in the shadow to tempt the eye of the viewer: more around the focal points, less around the edge of the frame. After the mask is opened selectively the opacity slider on masked shadow layer can be varied from 0 to 100% for before and after comparison, adjusting by eye to taste and the mask can be edited also. Tonal and detail vignettes in a photo create a similar sensation if done subtly enough for it to be subliminal not something the viewer of the print consciously notices which is were adjusting the shadow detail layer via the opacity slider comes into play in my HDR workflow,
The result is more organic looking than AI generated HDR because it which mimics how the brain “tunnels” in on focal points tuning out the periphery.
Tunnel vision when viewing anything by eye is the result of green sensitive rod cells which cover the periphery of the retina being 3000x more sensitive to light than the RGB cone cells which are concentrated in the center 2° of the field of vision, about twice the width of thumb held at arm’s length 👍 When something contrasting in movement or tone enters the edges of our field of vision the hyper-sensitive rods detect it, the brain sends eyes to dwell on that spot and then the brain “tunes out” the signal from the rods creating the sensation of looking through a tunnel.
Thank you so much for sharing all that knowledge with us. I appreciate the work you done to get great results. Thanks for the comment 😊
Thanks Richard. You don’t like Adobe RAW for converting to B&W. How do you rate Lightroom for it? I don’t use Photoshop. Perhaps you have a suggestion.
I also have Silver Efex pro to convert to Black and white ☺️
@ Thanks Richard!
yeah nice work.
Thanks Steve 😊
You would have much better results if you created hard masks of the sky, castle, and foreground. Edit each one separately. Yes, it's a lot of work but the results are so much better. Also think about using Artisan Pro X and Quick Mask Pro.
Thanks for the comment. i have other videos on much more editing with masks. Feel free to check them out and leave a comment. Thanks for watching 😊
So, I have RAW 17.1. Following your instructions: at 0.51seconds... you make a change at Profile Adobe Color. This is where I can't follow you with my version of RAW. My Profile Doesn't have Adobe Color and the rest of the choices that you have shown here. I have Color Monochrome, Artistic, Modern, B&W and Vintage. Each one of these has a drop down, but nothing that leads me to Adobe Landscape. So, I'm not sure where to go from that point forward regarding changing my color images to B&W. Suggestions?
Hi, do you have a paid subscription? Maybe you need to update 😊.
@@RichardBrockwell-hr1so Yes... I do have the paid subscription. It's updated as far as I know.
Just leave it how it was. Changing to landscape just boost a touch of saturation. From there do the necessary adjustments and then change to black and white. Hope this helps until you figure it out ☺️
@@RichardBrockwell-hr1so I'll give it a try. Thanks. Have a Merry Christmas and a Happy New Year!
Best wishes to everyone ☺️
Great shot. But I don’t understand why you swapped the Bland and White controls in the gradient map.
Hi there, I swapped the controls because they were in the wrong position. The Blacks should be on the left side. Thanks for the comment 😊
@ , oh ok, didn’t notice that.