Daily Image - Dec 2014 Archive - sonofjohan
09 Dec 14. This is the fourth in the series of 5 versions of the Tumwater Canyon image. Next week will be the last of this series. If you aren't interested in the different approaches of creating B&W images, you can just delete this one and the one for next Tuesday as well. So far we've looked at a simple color de-saturation in RAW conversion software, a straight B&W conversion, and now a combination of a B&W gradient map coupled with a hue/saturation adjustment layer. This option allows you to actually adjust not only the saturation of a color, but to also change its hue. While this approach would render the underlying color image potentially unimaginably ugly, it can make for a beautiful B&W. The differences of these three approaches will be subtle in this particular image, but you will still be able to make out the differences if you set them up side by side. While there are still another couple approaches to creating a B&W image along these lines, we will forgo them and next week look at the image after being adjust using one of the many B&W plug-ins currently available. At that point you should really be able to see the difference. As before, Nikon D300s; 18 - 200; Aperture Priority; ISO 320; 1/500 sec @ f / 8.

09 Dec 14. This is the fourth in the series of 5 versions of the Tumwater Canyon image. Next week will be the last of this series. If you aren't interested in the different approaches of creating B&W images, you can just delete this one and the one for next Tuesday as well. So far we've looked at a simple color de-saturation in RAW conversion software, a straight B&W conversion, and now a combination of a B&W gradient map coupled with a hue/saturation adjustment layer. This option allows you to actually adjust not only the saturation of a color, but to also change its hue. While this approach would render the underlying color image potentially unimaginably ugly, it can make for a beautiful B&W. The differences of these three approaches will be subtle in this particular image, but you will still be able to make out the differences if you set them up side by side. While there are still another couple approaches to creating a B&W image along these lines, we will forgo them and next week look at the image after being adjust using one of the many B&W plug-ins currently available. At that point you should really be able to see the difference. As before, Nikon D300s; 18 - 200; Aperture Priority; ISO 320; 1/500 sec @ f / 8.

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