Converting a Color Image to Black and White

“The magic in this technique is the use of two separate black and white conversions, one for the sky, and one for the trees.”

his dramatic black and white image was created from a color slide.

This image is from our first trip to Yosemite. We had planned it for months. We chose the first week in May hoping the waterfalls to be in full force. Our first disappointment came when Tioga Pass, which we planned on using to enter the park from the northeast, was closed due to a spring snowstorm. The extra driving to get around the Sierra Nevada’s cost us a day we could have used taking pictures. The second disappointment was the thick cloud cover and resulting flat lighting, which remained in the park for the three days we were there. Notwithstanding the weather, we were determined to bring back some good images.

Technique

The original color image is one of the slides taken on that trip several years ago. The color to black and white conversion was done in Adobe Photoshop. The magic in this technique is the use of two separate black and white conversions, one for the sky, and one for the trees. The techniques involved follow:

• Scan and apply initial color and density corrections

• Prepare image for nik Black & White Conversion filter

• Convert image twice on two separate layers, one optimized for red color

spectrum and one for green color spectrum

• Apply a layer mask on top layer

• Merge layers and apply final dodging and burning

First, the background information: The camera was a Nikon N90S with a 35mm Nikkor lens, set in aperture priority at f 11. Fuji Velvia slide film was used to increase contrast and saturation.

The slide was scanned paying special attention to maintaining details in the shadows and highlights. The tonality of the image was corrected using a levels adjustment layer. At this point the image looked like the original slide.

Original Image

After Levels and Hue Saturation

Black and white optimized for trees

Preparing for B/W conversion

The next step was to prepare the image for the nik Black and White Conversion filter. We have found that to achieve the black and white look we want, the image almost has to be oversaturated a bit, before the nik filter is applied. The hue saturation filter was used to selectively pop the greens so the trees on the valley floor would have detail.

Next, we made a duplicate copy on a new layer and opened up the nik B&W Conversion filter. We adjusted the color spectrum and density sliders until the rocks and sky had the look we wanted. We applied it to the duplicate layer. The result was mostly good, the rocks and the clouds looked great but the trees in the bottom of the image were too dark and lacking detail.

The solution was to duplicate the original layer again and apply the nik B&W Conversion filter optimizing for the green trees. Now there are three layers, the bottom layer the original image, the second layer optimized for the trees, and the third or top layer optimized for the rocks and sky. We clicked on the top layer to make it active and then clicked on the layer mask icon on the layers pallet. We then used the eraser tool to erase away the trees on the top layer that were too dark, revealing the optimized trees on the layer beneath.

At this point the layers were flattened or combined into one layer.

Image Dodging and Burning

Dodging and burning are terms from wet darkroom processing that refer to darkening and lightening parts of an image. Photoshop offers similar results with much more precision and control. First click on the new layer icon at the bottom of the layers palette. Next use the lasso selection tool to circle the area in the image you want to affect. Note, the selection does not have to be precise. Next click on the adjustment layer icon on the bottom of the layers pallet. By creating an adjustment layer with an active selection a layer mask is automatically created. Choose levels for the adjustment layer. Adjust the sliders in the levels dialogue box until the desired look is achieved. Finally use the eraser and paintbrush to fine-tune the layer mask. Use a soft edge brush on the mask edges and you will find that the mask does not have to be precise. We repeated this procedure for each area we wanted to change.

Black and White optimized for rocks and sky

Clean-up

The tonal range of this image was pushed considerably which resulted in an increase in the noise in the image. Noise and artifacts are a by-product of digital processing, the more an image is altered the more apparent the artifacts. We used Visual Infinity’s Grain Surgery plug in to reduce the grain and digital artifacts. We were careful not to smooth the image too much which results in what we call the plastic look. We wanted the image to maintain its film appearance.

All in all I think the final image is a success. That’s a good thing because we waited six hours that day for the light to lend a little drama to the scene. Our patience was rewarded.

Enjoy,

Mike and Tammy Rice