Hi David...I'm going through the new tute and attempting to work on an old image as I go. I have never used Image>Adjustment>Threshold before...pretty cool. I've always just slid the curves over to opposite sides and worked them back gradually. Anyway.....after setting the points, etc. in curves when I choose "ok" and leave curves my image is still in the black and white screen. I have attempted it 3 times and I can't figure out what I'm doing. I use CS by the way.
Ah! Thanks David! Glad I asked before driving myself nuts!
After following tute, what do you think?
I think you've got to be more careful about where you set your black and white points.
Feedback - working through this and it could use a tiny bit of clarification I have higlighted in Bold below from your text, It says "In the curves dialog" which one? I have two already one for black and one for white!
You need to add "Open another new curves layer you will see that there is a line running at 45... etc"
Ok can you clarify a little, where would you set them?
Well, personally, I think this shot already has a black point. That is, I think that the area that IS black is significant to the shot, so you don't need to go shopping for another, lighter point to set to black.
And for the smoke, you need to find a brighter target in it, because wherever it was that you set the white point in there, it lost detail in the highlights.
Ultimately, with this shot, i think that you can skip to step 3, which is adding contrast with the "S" curve. Your black and white points are already pretty good.
Just one question, whats the advantage to setting the white and black point via multiple layers as opposed to copying a new layer and using levels? Otherwise nice tutorial, thanks for writing it up.
You're always better off using adjustment layers instead of copying the whole layer.
Duffy Pratt wrote:
There is an exception to that rule. If you make a move in RGB, and you want to limit it with "Blend if..." in LAB, you will have to make the change on a duplicate layer because the adjustment layer won't survive the color space change.
Also, I think he was asking why you used different adjustment layers for both the white and the black point. And for that, I think the only answer is for clarity in the demonstration. You can just as easily set the white point and the black point in a single layer. If you want, you can set white point, black point, and write the curves all within the same adjustment layer with no difficulty at all.
Duffy Pratt wrote:
Your right about the opacity, of course. It's just that with a black or white point I tend to think that there is a right and a wrong. So, if I didn't get it right the first time, I would go back and do it again, and not just back off the opacity. Unlike other moves, I never deliberately overdo the endpoints and then ease off with opacity. But, like other things I've never done, it might work for a whole lot of pictures, and better on some.
This is pretty good. I read this a while back. I kinda started getting away from this method after reading Dan M's Professional Photoshop book.
My only comment on the 'after' picture in this turorial is that the backfround now seems to have to much 'pop' - is that just me?
OK, the questions:
In the last pane of page 1 and the first of page 2, you set the black value to #070707 and the white to #f7f7f7 (247, 247, 247). Why did you choose these values?
And, why is the black point not, for example, 248, 248, 248 (which would be 7 off of white - 255, 255, 255)?
Is there something magical about the number 7 (as in offsetting from full black by 7)?
Thanks again for the tute and TIA for the answers to the above questions.
Those are numbers I picked up from Welcome to Oz (in our book review section, if you're interested). Most books will suggest numbers that are similar. In Oz he says that those numbers are tied into the Zone System, and basically they are the numbers that are the limit of being able to see texture.
Duffy Pratt wrote:
Margulis recommends using 15,15,15 for the black point, unless your output device can handle detail with lower numbers. And he suggests 245, 245, 245 for the white point.
The white point number is close to Versace's, but the black point difference is very large. There probably is considerable room for disagreement on this. Versace also recommends that you use the first catchlight, whatever it is, as the white point. I think that advice is off base.