PAINT­ING FOR THE BEST BLACK & WHITE IM­AGERY

HWM (Malaysia) - - APERTURE -

Tris­ton says it was an over­cast day when he went to pho­to­graph this pond next to the Pu­nakha Dzong in Bhutan, and the col­ors were muted all around. How­ever, he no­ticed there were sev­eral lay­ers of de­tails in the scene that would make for a per­fect black and white artis­tic shot.

Thus, he con­verted the im­age to a Black and White one in Light­room and ad­justed the dif­fer­ent color chan­nels to bring out the best de­tails in each of the zones. Next, he ap­plied the Ra­dial Fil­ter to var­i­ous parts of the im­age to bring out the shadow de­tails in each of the ar­eas, us­ing the brush erase tool to fine tune his changes by eras­ing some of the Ra­dial Fil­ter out.

Af­ter that, Tris­ton brought the edited im­age into Pho­to­shop and ap­plied the Con­tent Aware Fill to re­move the peo­ple on the right hand side of the photo, keep­ing the view­ers’ at­ten­tion on the sub­jects in the mid­dle of the photo.

Tris­ton’s fi­nal step is what tra­di­tional Black and White pho­tog­ra­phers used to do in the dark­room – he man­u­ally dodges and burns var­i­ous por­tions of the im­age to en­hance the high­lights or darken shad­owed ar­eas se­lec­tively.

So there you have it, five hacks for dif­fer­ent types of light­ing sce­nar­ios that you may en­counter.

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