Nikon soft­ware

Ge­orge Cairns cre­ates ef­fec­tive mono conversions us­ing Fil­ter Ef­fects

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Cre­ate more ef­fec­tive mono­chrome conversions us­ing Cap­ture NX-D’s Fil­ter Ef­fects

The in­ter­net bom­bards us daily with images vy­ing for at­ten­tion. Many shots have been post-pro­cessed to fea­ture gar­ish colours in the hope that they’ll catch our eye. One way to make your images stand out from the hy­per­colour crowd is to cre­ate a strik­ing mono con­ver­sion. To do so you could sim­ply drag Cap­ture NX-D’s Sat­u­ra­tion slider to the left to throw out all of the colour in­for­ma­tion in a photo. But, as high­lighted in this issue’s Teach You­self Lightroom on page 42, this ap­proach can leave you with a wash of drab greyscale tones where one ob­ject blends into an­other. An ef­fec­tive mono con­ver­sion uses con­trast­ing tones to make a sub­ject (such as our swan) stand out from its back­ground, and one way to cre­ate con­trast is to lighten or darken tones based on their orig­i­nal colours.

Cap­ture NX-D’s Mono­chrome Pic­ture Con­trol has drop­down coloured fil­ter pre­sets (such as Red, Green and Orange) that change the lu­mi­nance of var­i­ous greyscale tones us­ing the photo’s orig­i­nal colour in­for­ma­tion. This mim­ics the tech­nique of plac­ing coloured fil­ters over an ana­logue Nikon’s lens to al­ter the tones of pho­to­graphs cap­tured on black-and-white film.

Com­pared to apps such as Lightroom, Cap­ture NX-D’s colour Fil­ter Ef­fects pro­duce sub­tle vari­a­tions in the mono­chrome con­ver­sion. It lacks Lightroom’s more pow­er­ful slider-based ap­proach that en­ables you to fine-tune the in­ten­sity of the ad­justed greyscale tones us­ing their orig­i­nal colour in­for­ma­tion.

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