useful.
Finished image 1. The high contrast, coupled with the strong interplay of light and dark, help to make this a successful black-and-white image.
TIP
If you randomly select and desaturate an image you might be disappointed; what works well in colour will not necessarily work as a monochrome. Use the camera’s monochrome option, and if you like what you see, retake the image in RGB, but convert the image in Photoshop. If you are shooting Raw, setting the camera to Black and White allows you to see the image in mono but still retain it in RGB.
Method 3: Use the Channel Mixer. If your version of Photoshop does not include the Black and White command, a good alternative is to use the Channel Mixer. This also retains the image in RGB.
Step 1. Go to Image > Adjustments > Channel Mixer. If your version has Channel Mixer as an Adjustment Layer, it is preferable to use that instead as the changes can be made non-destructively. Select the Monochrome box and the image will immediately default to black and white. By moving the three colour sliders, you are able to adjust the tonal values of each of the colour channels. Rather than move the sliders randomly, think carefully how each of the channels can alter the tonal values of the image. The blue slider, for example, will greatly alter the tonal values in a sky picture.
Step 2. It is important that the total percentage of all three channels adds up to 100%. Less than that and you compromise shadow detail; more than that and highlights can appear burnt out.
Step 3. To fine-tune this technique, try using Color Mixer in conjunction with Hue/Saturation. With your Background Layer active, make a second Adjustment Layer by selecting Hue/Saturation, so that the Hue/Saturation layer is below the Channel Mixer layer. By scrolling Master, the six colour channels will appear. Select each of the channels you wish to alter and use the Hue slider to tweak the respective tonal values. Do not expect to see huge differences, as this is an exercise in fine-tuning. Occasionally it also helps to use the Saturation slider as well, although excessive use of either of the sliders can cause parts of the image to posterize.
Start image 2. While this image clearly exhibits strong tones, the colour makes only a limited impact, and therefore should make an excellent image to be converted to black and white.
Method 4: Using the Raw Converter. If you shoot Raw (and the reasons for doing so are numerous), then you do have the option of converting your image in the Raw Converter. Once again the great advantage of using this method is that it is entirely non-destructive. Each Raw Converter is slightly different dependent on the make of camera, but look for the option that offers HSL/Grayscale. With this option open, you will be presented with eight colour sliders that allow you to fine-tune the tonal values with considerable precision. Make sure that the Convert to Grayscale box is ticked.
Method 5: using external software. Finally, an increasing number of monochrome enthusiasts are using software other than Photoshop to make their conversions, particularly Nik Software Silver Efex Pro (www.niksoftware.com). This software boasts unique algorithms offering an impressive tonal range. In addition to a very effective conversion facility, it has a number of interesting presets that allow you to mimic specific black-and-white films, although I sense you need to have been a darkroom enthusiast to truly appreciate the value of this.
Finished image 2. The contrast between the model’s flesh tones with her dark clothing and the dark background becomes much more apparent when this is presented as a black and white.
TIP
Another solution is to go to the Saturation sliders and set all to zero, then move the Luminance slider until you achieve the effect you are after.
Sepia Toning
Having spent time desaturating an image, some might consider it rather perverse to want to re-introduce colour again, but that is to miss the point. A monochrome image concentrates the mind on the tonal values, while colour often has an emotional impact. Being able to harness both is certainly a skill worth pursuing. Moreover, in the digital age it is worth reconnecting with increasingly forgotten darkroom techniques.
Sepia options to miss
Sepia is the classic of all toning techniques, and it is possible to achieve sepia effects without ever having to use Photoshop. Most DSLR cameras now offer a sepia option, as indeed do most Raw Converters, although I would give both these options a miss. Sepia is not a specific hue and can range from copper to ochre. Moreover, the strength of the toning needs to vary according to the image you are working with, while split toning is another option available to you; none of these subtleties can be achieved when using a default option. There are countless methods for achieving a sepia effect, but the following two are my favourite.
Start image. It certainly pays to think carefully about which images are likely to work best with this technique. Sepia introduces a suggestion of nostalgia so something aggressive or harsh would not be suitable. This informal shot of a bride has been desaturated in Photoshop using the Black and White command.
Method 1: Using Color Fill. Open the file, make an Adjustment Layer and select Solid Color. Scroll the colour bar and select a hue between yellow and orange and then use the Color Picker tool to fine-tune your selection; a good starting point is Red 210, Green 165 and Blue 90. The Solid Color layer will have at this stage completely obliterated the Background Layer, but by selecting Soft Light from the Blending Mode, the image re-emerges. Another alternative is to use Overlay. The strength of the sepia toning can often appear rather overwhelming, but by using the Opacity slider, the effects can be incrementally reduced.
Finished image. The naturally warm hue lends itself to this informal portrait.
Method 2: Using Curves.
Start image. While this image lacks the romantic feel of the previous portrait, it is still a suitable subject for sepia toning, although a slightly more ‘gritty’ approach is required. By split toning the image so that the toning is restricted to the darker tones, a greater sense of depth can be added.
Step 1. Start with your desaturated image in RGB mode. Make an Adjustment Layer, select Curves and by scrolling the RGB box, select the Red channel. To create a ‘split-toned’ effect (i.e. restrict the toning effect only to the darker tones), peg the lighter part of the curve, but then pull the remaining part of it upwards.
Step 2. In order to counter the red, scroll the RGB box