Many photographers still love the rich tradition and unique graphic qualities of black and white, and sense that there must be more to digital monochrome than simply draining the colour in Photoshop. While many books cater for both ambitious newcomers and advanced darkroom enthusiasts, black and white is too often treated as an afterthought. Since the first edition of this book, the software tools for black and white have moved on, with many photographers preferring to use advanced tools on the frontiers of digital imaging, like Adobe Lightroom 3, which can manipulate entire batches of images at once. This new edition more than keeps pace, while covering updates in Adobe Photoshop CS5.5 too. You will discover the most creative ways to convert your picture to black and white, how to fine-tune the monochrome image and how to emphasise your subjects qualities. With quick solutions to common problems and flexible, non-destructive methods for finer control, this book will enable you to produce the finest, most expressive black-andwhite interpretations of your pictures.
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Most Helpful Customer Reviews
Format:Paperback|Amazon Verified Purchase
Since i've bought this book, ( a great price on Amazon) i have picked up some realy good info,it starts off like most books to do withe mono, how to shoot for black & white, shooting in Raw, and Converting from colour into mono,using the greyscale method in photoshop, also, black & white adjustment layers, channel mixer, using Lightroom to process your b&w; and the silver efex plug in, a specialist b&w plug in is coverd very well,like the title says though, it is for advanced b&w so its sumising you know your way around photoshop, you will definitely learn quite a bit from this publication, recommended.
8 of 12 people found the following review helpful
Format:Paperback
I have the immediately previous edition. There are some changes that mostly relate to current printer models and their features.
I bought a small selection of books that cover the same topic over time. In the pre-digital days, I used to shoot B&W on film about 50% of the time and colour transparency for most of my colour work. I would also shoot on colour negative film and print in colour and B&W. It isn't that difficult with the right equipment and facilities.
To work in B&W with digital equipment is a little more complex. The camera shoots and records in colour whether of not you choose a colour, sepia or B&W mode where they are offered. You may own a colour printer or a mono one. If you assume that the digital image, with its metadata, provides the most perfect B&W image possible (it probably won't be in reality) and you print it on your mono laser, you will definitely not be happy with the result. It will look similar to one seen in cheap newspaper! If you use your colour inkjet, you may be equally disappointed. The definition will be better and it won't have the dots and small blocks of tone that the laser print may have, but it may have an overall purple tone, a blue or green one. In fact anything is possible but it won't resemble the deep, rich and completely neutral mono print that you would expect. Why?
Colour inkjet printers are precisely that. They are intended to print colour and many do so very well, but they will probably not be suited to B&W printing. Although they contain a black ink, some of the dye-based inks use a mix of different dyes to simulate a black. Dilute it and absorb it on a coffee filter and you will see the colours spread out; there may be yellow, blue, red or brown! You will probably require either a printer specifically made for that purpose or use specialised inks in your existing printer. Those inks are very neutral and there may be three, five or seven in a set starting from a very pale grey and increasing evenly until the deep black.
If you use a specialised printer, they can be rather expensive and use 10, 12 or perhaps more different ink cartridges. However, you can use the same printer for anything within its native format - A3 is probably the best choice. If you choose the ink route, you may need a completely new printer or be able to clean out the old one very thoroughly to remove all traces of the previous colours. A set of specialist black inks for one high-end printer are listed at several hundreds of £s, although for 30ml cartridges.
The purpose of this book is not only to explain the options but to detail the procedures needed to obtain the best possible results. I did say from the outset that the camera image may not be the best possible and it may need some adjustment before you think about printing it. The book will help with that, too. As the book title includes the word 'Advanced' it presupposes that you have at least some previous experience in making B&W prints. It may still be of help in the event that you have not, but it may omit some of the basics.
If you are interested in digital B&W as a medium, this is probably the best available choice of book to assist with your efforts.
I bought a small selection of books that cover the same topic over time. In the pre-digital days, I used to shoot B&W on film about 50% of the time and colour transparency for most of my colour work. I would also shoot on colour negative film and print in colour and B&W. It isn't that difficult with the right equipment and facilities.
To work in B&W with digital equipment is a little more complex. The camera shoots and records in colour whether of not you choose a colour, sepia or B&W mode where they are offered. You may own a colour printer or a mono one. If you assume that the digital image, with its metadata, provides the most perfect B&W image possible (it probably won't be in reality) and you print it on your mono laser, you will definitely not be happy with the result. It will look similar to one seen in cheap newspaper! If you use your colour inkjet, you may be equally disappointed. The definition will be better and it won't have the dots and small blocks of tone that the laser print may have, but it may have an overall purple tone, a blue or green one. In fact anything is possible but it won't resemble the deep, rich and completely neutral mono print that you would expect. Why?
Colour inkjet printers are precisely that. They are intended to print colour and many do so very well, but they will probably not be suited to B&W printing. Although they contain a black ink, some of the dye-based inks use a mix of different dyes to simulate a black. Dilute it and absorb it on a coffee filter and you will see the colours spread out; there may be yellow, blue, red or brown! You will probably require either a printer specifically made for that purpose or use specialised inks in your existing printer. Those inks are very neutral and there may be three, five or seven in a set starting from a very pale grey and increasing evenly until the deep black.
If you use a specialised printer, they can be rather expensive and use 10, 12 or perhaps more different ink cartridges. However, you can use the same printer for anything within its native format - A3 is probably the best choice. If you choose the ink route, you may need a completely new printer or be able to clean out the old one very thoroughly to remove all traces of the previous colours. A set of specialist black inks for one high-end printer are listed at several hundreds of £s, although for 30ml cartridges.
The purpose of this book is not only to explain the options but to detail the procedures needed to obtain the best possible results. I did say from the outset that the camera image may not be the best possible and it may need some adjustment before you think about printing it. The book will help with that, too. As the book title includes the word 'Advanced' it presupposes that you have at least some previous experience in making B&W prints. It may still be of help in the event that you have not, but it may omit some of the basics.
If you are interested in digital B&W as a medium, this is probably the best available choice of book to assist with your efforts.
0 of 1 people found the following review helpful
By Tim the Grey
Format:Paperback
Some great techniques to try, in here. When I have more time, I shall be exploring the outer limits of CS5!
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