This course will cover some of the more effective ways black and white conversions can take place. The student will then be able to determine which method is best suited for their photography. Working with the notion that one size does not fit all, we will look at more than a few ways to make these conversions, giving the student food for thought.
Knowing "what" you want is as important as "how" you get there and this course will give the student valuable insights to how different conversions work and the effect they have on the end image. This information will be crucial when the student is faced with "how" to make it happen. The course will supply the student with various ways to make these conversions, simplifying the long list of possible conversion methods and filtering it down the ones that yield the best results and are simple to understand.
Through screencast videos we will walk through each process and discover what each means to the individual and how to get the best results from them. If you are interested in making the best possible black and white conversion and want to discover that individual "voice" in making it, then this course is for you.
What the assorted conversion methods will yield as well as some need to know information on what happens during the conversion process.
How an image is comprised and how the assorted methods for conversions may effect them.
The color modes of an image and the role they play in the conversion process.
A system to communicate the various degrees of brightness levels that comprise a given image.
A method for marking up an image giving a road map as to what bro do during the conversion process.
An exercise to walk through what has been covered thus far and a workflow review.
Channels contain all the brightness information of an image to make good conversions and mixing them to get the best results possible is covered here.
The same lesson as previous without the pixel loading , showing a better way to get to most of the same information.
The best way to make the conversion where introduction of artifact will be minimized and realizing production benefits will be enhanced.
Whether split toning in lightroom or harnessing more control through photoshop students will see the benefit and drawbacks from each.
This adjustment layer has gone through a few changes that have improved how it functions as well as how the user interfaces with it.
Often time 2 is better than 1 and in this case you will realize the potential power one can get by using 2 adjustment layers.
Probably one of the more difficult ways we can make the conversion but has many hidden powers that can serve the student well.
Looking to 3rd party solutions has never been easier and Silver Effect Pro has proven itself to be an industry standard. An entire course can be found on this software alone.
The ability to pre-visualize how the conversion may take place and giving yourself a road map can be realized though the use of this file.
The Advanced Black and White portion of the Epson print drive twill be covered here.
Leveraging the power and precision of photoshop along with the use of blend modes can generate stunning results.
Using the Black and White palette to overcome some color issue that HDR can produce with keeping all of the detail wanted, will be covered.
Restating the 4 essentials when working on an image and a brief review of everything we covered in this course.
Chris Alvanas is a digital artist and an accomplished post-production
retoucher for high-end beauty and fashion. As a photographer, Chris is known commercially for his quirky kids images, while his fine art delves into the worlds of jazz music and dance by illustrating the musician’s relationship with the instrument, and the motion of the dancer. His recent Washington DC exhibit featured a body of work shot with an iPhone. Additionally, Chris is a popular speaker on post-production beauty retouching, HDR and fine art printing.
As a new filmmaker, Chris uses a multi-genre approach: the photographer’s eye and the musician’s ear. Chris believes the addition of video and music offer exciting opportunities in cinematic storytelling for the contemporary photographer.Chris’s work has been featured in such magazines as Shutterbug, Nikon World, Popular Photography, and the Nikon Pro website. His articles have appeared in After Capture magazine. He is a regular speaker at Photo Plus Expo, New York and PMA in Las Vegas. Chris has instructed for the Nikon Mentor Series, and is the former Director of Photography at Boston University’s Center for Digital Imaging Arts in Washington DC