Which Resolution for Fine Art Prints Black and White
Regardless of the output blazon, the more than epitome information you have to start with, the more you can apply for press. This ways shooting with the highest available resolution and quality, using raw format where it's available and shooting in colour, fifty-fifty though you want to cease up with a B&W impress. Still, when composing shots you should use the same strategies as y'all used when shooting with B&W moving picture: think in black and white and pre-visualise the subject as a series of tones.
The latest inkjet printers and ink sets requite digital photographers unprecedented capabilities for black and white (B&Due west) printing and it is at present possible to produce 'fine art' prints with better quality than was formerly achieved through chemical means. But, as with traditional photography, good results can only be obtained with effort and understanding. You need the right shot, effective editing, the correct printer and the right media for printing your photograph.
Recall B&West; Shoot Color
Regardless of the output type, the more prototype data you have to start with, the more than y'all can apply for printing. This means shooting with the highest bachelor resolution and quality, using raw format where it'due south bachelor and shooting in colour, even though you desire to stop up with a B&W print. Still, when composing shots you should use the aforementioned strategies every bit you used when shooting with B&W motion picture: think in black and white and pre-visualise the subject as a serial of tones.
Why shoot in colour?
The monochrome shooting modes (B&Westward and/or sepia) in most cameras discard the colour information when the file is saved. Non only does this reduce the amount of paradigm data you have to piece of work with, it also prevents y'all from accessing separate colour channels in epitome files. This prevents you from using the Aqueduct Mixer strategy outlined below, which produces much more than dynamic prints than a unproblematic greyscale conversion. Some DSLRs salvage extractable colour channel data in RAW images when shots are taken in B&W style – simply not in JPEGs. Monochrome modes are all-time avoided unless you lot demand a 'quick and muddy' conversion for an application where quality doesn't count.
If yous're not sure where to position your exposure, underexpose – especially if you're shooting JPEGs. Set the exposure compensation at -0.3 stops as a starting bespeak but exist prepared to go past one terminate if conditions demand. This will reduce the take chances of clipping highlights and should allow you to 'pull in' highlight detail without losing information in the midtones and shadow areas.
B&Westward Conversion
At that place are many ways to convert color images to B&W. Photographers with raw files should get-go by selecting a low-contrast conversion setting (if available) to ensure the maximum tonal range is maintained. This will provide more flexibility for subsequent editing and printing. It may as well be useful to adapt exposure compensation to bring up highlight detail at this stage also.
Convert raw files to ensure as much highlight and shadow detail as you can and save them as 16-bit TIFF files before proceeding to B&W conversions.
Note the difference in depth between a straight greyscale conversion (middle) and a B&W conversion made with a more sophisticated method (above).
We recommend working with 16-bit TIFF images if your editing software supports this format (about of the more powerful editors will) because they contain the maximum amount of prototype data you can extract from a raw file. Otherwise apply the highest JPEG quality setting and be conscientious with the adjustments yous make. (JPEG files are, by default, 8-chip files.) Aim to recover as much highlight and shadow detail as you can before proceeding to B&W conversion.
The easiest B&W conversion strategy is to select Image>Mode>Grayscale from the menu bar in Photoshop (or the equivalent in the awarding you're using). This will discard all colour information only tends to produce rather flat images that require subsequent adjustment.
If yous're using Photoshop Elements, using the Layer carte du jour and Hue/Saturation adjustment gives yous more control. Select Layers>New Aligning Layer> Hue/Saturation. This layer is automatically named Layer #ane. When the dialog box opens, make sure the Preview box is checked and click OK. Repeat the procedure to create a second Hue/Saturation adjustment layer, named Layer#2.
Double-click on the Layer #1 dialog box icon in the Layers panel and move the saturation slider back to -100 to remove all color from the image.
And so double-click on the Layer #2 dialog box icon, click on the Edit dropdown carte du jour and select one of the colour channels, adjusting the Hue, Saturation and Lightness sliders. Moving the hue slider to -160 replicates the effect of a low-cal red filter, darkening the bluish tones of the sky. Shifting information technology to +20 replicates the issue of a bluish filter.
When you're satisfied with the issue, click OK and select Layer>Flatten Epitome to save the picture as a B&Due west prototype.
In Photoshop, the Aqueduct Mixer method will provide more flexibility and better end results. In the Channels palette, select the composite (RGB) colour channel so click on Choose Layer>New Adjustment Layer>Aqueduct Mixer. Click OK in the New Layer dialog box.
Check the Monochrome box to gear up Grayness equally the output aqueduct. This creates a colour image that contains merely grayness values. Use the Source Channels sliders to control the amount of detail and contrast in the images y'all plan to convert to greyscale.
To run into the result the sliders take on the monochrome image before adjusting the percentages of the source channels, view how each source aqueduct affects, view the image with the Blood-red channel set to +100% and the Green and Blue source channels set to 0%. Then, view the image with the Green source channel ready to +100% and the other two channels ready to 0%. Finally, view the prototype with Blue source channel set to +100% and the other channels set to 0%. (Note: when adjusting the percentages of the source channels, you lot often get the best results when the combined values of the source channels add upward to 100%.)
The Constant slider adjusts the greyscale value of the output channel. Negative values add more blackness, and positive values add more white. A -200% value makes the output channel completely blackness, while a +200% value makes the output aqueduct completely white.
Some other pop Photoshop method is the Lab Colour method. Select Image>Manner>Lab Color then click on the Channels palette and select the Lightness channel. This displays a monochrome version of the image.
Catechumen the prototype to greyscale by selecting Image>Mode>Grayscale. Control-click the thumbnail in the new 'Gray' aqueduct to make the new channel the selection. Capsize the choice (Select>Inverse) and leave this choice active for the next few steps. Fill the selection with black by clicking on Layer>New Fill Layer>Solid Colour and selecting black (color No. 000000). This darkens the selected area. Adjust the opacity of this fill layer by moving the Opacity slider in the layers palette.
Create a new aligning layer by selecting Layer>New Adjustment Layer>Levels (or Curves if you prefer) and fine-melody the epitome tonality with the standard Levels or Curves adjustments.
Printers for B&W Press
Some inkjet printers are easier to use for B&Westward printing than others. For example, printers that use 3 dedicated blackness inks (often designated 'black' 'calorie-free black' and 'light light blackness') tin span the entire monochrome tonal range. Until these new printers arrived, photographers who made B&Westward prints with six-ink printers ofttimes found they were unable to remove a colour cast (which could be green, crimson or blue) from their pictures.
The diagram beneath shows why this cast occurs. The meridian bands bear witness how the yellow, magenta, cyan and black inks are used to print different densities in the image, ranging from deep blacks on the left to the lightest tones on the right. Notation how the lightest tones rely entirely on the coloured inks for creating the pale greys in the image.
Changing to a 7-ink printer improves this situation by calculation a light blackness ink to have the identify of the black ink in the mid grey tones. However, the lightest greys are nevertheless reliant on the coloured inks.
In the latest printers that use eight inks, an additional light, lite black ink is added to embrace all tones of grey from slightly below mid grey to almost white. Note how this reduces the reliance on the coloured inks (which are nonetheless used to add depth and intensity to the tones). This ink prepare effectively eliminates colour casts due to the ink set, allowing photographers to produce B&W prints with true colour neutrality.
Specially-designed printer drivers are required for fine-tuning the epitome and printers with several 'light black' (or grey) inks brand it easier to obtain meridian-quality monochrome prints. They too allow photographers to introduce Colour Toning effects.
The Avant-garde B&W driver that works with all Epson printers that utilize the new UltraChrome K3 ink set gives users iv Colour Toning options: neutral, cool, warm and sepia and allows them to adjust the tone across 5 levels from light (the hardest) to darkest (the softest). Slide bars provide farther adjustments for brightness, contrast, shadow and highlight tonality and optical density (sharp or soft focus) and users can check the Highlight Point Shift box to add a little more ink to white areas to give information technology a glossy await. But the nearly subtle adjustment can be made by moving the red cross well-nigh in the colour circle. In all cases, the adjustments volition exist reflected in the sample print shown in the height right corner of the commuter GUI.
The illustration shows how changing the settings in the Epson Advanced B&W driver subtly changes the colour toning of the resulting B&W print.
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Source: https://www.photoreview.com.au/tips/outputting/printing-black-and-white-photographs/
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