When I recently asked on Twitter about what you guys wanted to know about Black and White editing, color and tone were the two standout requests. However, the Color Tool in Darkroom 2 is applied before the Saturation tool, which means you can use it to adjust the Luminance of individual color in a black and white photo. For example, if the Color tool was applied after Saturation, then the Color tool won’t be able to differentiate between the various colors. The order in which a photo editor applies the edits is very important in really taking advantage of the tool. The Color tool includes one of my favorite hidden power-user features in Darkroom 2: The ability to edit the luminance of color channels in Black and White Photos. This section carries on the chat about contrast, but it’s pretty fun to play around with and it’s new in Darkroom 2, so it felt like it needed its own section. Here’s an example of how the Brightness tool crushes the shadows, while the selective RGB Curve adjustment maintained the information. Namely: The Contrast slider is a global predefined adjustment, whereas the RGB Curve allows you to selectively apply contrast to different parts of the image by forming your own S-curve with its own steepness and it’s own steepest-point. In the aforementioned two part series on Using Curves, we discussed the difference between using the Contrast slider and the RGB Curve. Feel free to experiment here, you have more lattitude to make adjustments. The image being Black and White, you don’t have to worry about impact on saturation when editing the curve. In our two- part Using Curves posts, we discussed how the RGB curve can be used to selectively add and remove contrast the various tonal ranges of the photo. Ok, let’s get into it: Drag that Saturation slider all the way to the left and make that photo black and white. This article will focus on the technicalities of working with Black and White photos in Darkroom. We may get into it in a future post, or multiple posts, by profiling individual photographers and their personal styles. The latter is a much broader topic that hinges on personal style and tastes. There are two large topics that can be discussed when it comes to Black and White Photography: The technicalities of working in Black and White, and the artistic choices to make and how they influence the photo. This is one of the reasons why B&W movies from the pre-Technicolor days look so romantic to us. When the photograph loses color, it becomes a representation of what the photographer was seeing, and not a documentation of the scene. This “photographer’s eye” - An ability to imagine what the photograph will look like - is a fundamental skill.įrom a more artistic sense, when you remove color from a photo, you divorce it from reality, and allow the user to project into the photo. From a technical perspective, by reducing one of the variables in the photo (color), you eliminate an entire category of potential pitfalls and mistakes, and can focus on the value (used here in the artistic sense of “Amount of lightness and darkness”) and learn how to see and judge the value of a scene before you even take a photo. Mastering it puts yet another tool in your photography tool belt.īlack and White photography is particularly powerful for a couple of reasons. With Tone and Color, Black and White editing is now supercharged in Darkroom.īlack and White photos are a category of photos all on their own and can evoke very powerful emotional responses and elevate a photograph when done well. I’ve been excited about this one for a couple of months, ever since we finalized work on the Color Tool which recently launched with Darkroom 2. This is the eighth installment in our weekly series exploring mobile photography through the lens of Darkroom. Link Copied Copy Link Share by e-mail Share by e-mail Share to x.com (Twitter) Share to x.com (Twitter) Share to Reddit Share to Reddit Share to Facebook Share to Facebook Black and White Editing
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