articles/Monochrome/digitalmonochrome-page4

Digital Monochrome - part 4 of 1 2 3 4 5 6 7 8 9

by Paul Gallagher Published 01/02/2012

Fig 6/7 With the overall exposure and cropping completed for Adobe Camera RAW, I turned my attention to what I needed for a black and white image to work and consider the colour information I can work with. The natural lighting in the image is a little flat and this was deliberate as more sunlight (I waited for the sun to go behind a cloud) would have caused havoc with the highlights in the water even more than we have seen and the contrast ratio between shadow and highlight would have been unworkable. The main colours to be used here are the greens and yellows. I then opened the HSL/Grayscale tab in Adobe Camera RAW and began with the saturation sliders for both yellow and green. I enhanced both of these colours almost excessively and then clicked on the 'Luminance' slider and increased the luminance of both colours. It is important to remember at this stage that we are not aiming for a wonderful colour print so I was not alarmed with the image looking over saturated because I am beginning to separate the values that will eventually be a series of greys in the final image.

Fig 8 With most of the Adobe Camera RAW work completed I then opened the detail tab and applied some camera RAW pre-sharpening using the pre-set devised by the Pixel Genius group for landscape work. After this I opened up a copy of what I had completed in Adobe Camera RAW into Photoshop CS5, ready for the next stage of the monochrome journey.

• Digital Monochrome page 1
  
• Digital Monochrome page 2
  
• Digital Monochrome page 3
  
• Digital Monochrome page 4
  
• Digital Monochrome page 5
  
• Digital Monochrome page 6
  
• Digital Monochrome page 7
  
• Digital Monochrome page 8
  
• Digital Monochrome page 9
  

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