Upload & Sell: On
leighton w wrote:
I like this one Peter, I used to work in facilities like this in my life before farming. I love your processing style of late too.
Thanks Leighton - processing on this one was quite simple once out of camera raw - adjustments - Black and White - Red Filter. It works well for high contrast images, but I'm still learning how to properly process black and white images that aren't as punchy as this one. Learned a few tricks from our buddy Gavin Hoey (who colors his images in Raw with adjustment brushes to create the color contrast the conversion to black and white is based on. And then there's that thing about using 16-bit color when going from RAW to Photoshop, which allows for much cleaner conversions. I've noticed on some of my images I get a halo effect around edges when choosing black and white settings, which may be related to the lack of tonal range. And to top it off, Serge Ramelli uses a totally different process, where he creates a pretty flat image and then more or less paints the contrast tones onto the image where he feels it needs it, So far, I haven't taken a photo that would give me the desire to spend that much time on the processing. So, compared to that, this black and white image was really a matter 10 extra seconds and a quick scroll down the preset lists.
the biggest thing I changed in my color processing workflow is to use anything but the Adobe standard color profile. In most recent cases I have used Camera Landscape, and it made a huge difference in colors, especially the sky is now blue when I want it blue. I bought the D600 profiles from Huelight, too, and use them on lower contrast subjects, since they aren't quite as punchy as Camera Landscape or Vivid. Once you use these profiles, you need to be very careful with the whitepoint in Camera Raw, because the saturation levels are much higher than normal and you'll easily blow out detail in the brighter colors. I usually back off behind the first clipping showing on screen, since adding clarity will push things beyond the limit again.
The most significant workflow change remains using Serge Ramelli's adjustment of highlights/shadows and white/black points, which has had me go back and re-edit hundreds of old images over the last few weeks. Amazing how much you can pull out of some vintage 2008 D40 RAW files using CS6 and his approach.
Below some concrete and glass done the Ramelli way 1/400s f/4, ISO 100 using the 135mm f/2-8 Nikkor-Q and a polarizer, here to reduce glare on the glass. Almost converted this to black and white, but it is already more or less a duo-tone. The file out of camera was rather flat and boring with no detail in the windows. I have to say, pulling an image like this out of a bland flat shot that in JPEG would have gone into the trash is half the fun of using my camera these days
In other news - my TC-16A teleconverter replacement finally has shipped...