![]() Note: Those not familiar with the effect of blending modes when working with Layers should just toggle through and see the effects, but do check it out as this is a powerful and useful aspect of the controls here. This set of tools alone makes for infinite image possibilities, and is one of the real assets of this program. There are also numerous tool modifiers, not shown, in the workspace. These can be used for local controls within the image, such as contrast, brightness, and masking down from the black and white to the original color selectively. Note the tools on the upper right of the panel. Click on one and the preview in the workspace is instantaneous. Right: Here’s a glimpse of just some of the presets available. I suggest trying out a few Sharpening scenarios (I liked High Pass as the most subtle) and working this set of controls with some restraint. Left: The last section of the right side panels includes Toning options, Vignetting, Border selections, and Sharpening, which has numerous variations. Right below that panel you have a full raft of controls, beginning with Tone (Contrast, Brightness, Shadows, and Highlights) and continuing with Color Response (where you convert hues to grayscale tones with sliders or choose filter presets) Tone Curve (a fairly rudimentary curve control) Glow (mostly for portraits or ethereal mood but I used this more than I first thought I might) Film Grain (with sliders and presets based on film types that will not make sense to those who have not shot film, but toggle through and try them to see the effect) Toner (for emulating chemical tone looks again, toggle through) Vignette and Border, which are fairly self-evident Sharpening, with numerous selective options such as “protect skin tone” and Blending, which is in essence a menu of blending modes which will mix the layer you are creating with the original (or background) image in numerous ways. I switch the upper right to a Histogram view from the default view to help with clipping avoidance. ![]() The workspace offers a series of familiar controls on the right-hand side (to those who have worked with ACR, B&W Adjustment Layers, Aperture et al.) that allow you to manipulate the base image. The initial conversion is on the whole quite good, but of course availing yourself of the many controls is what this program is all about. Once an image is open you then select B&W from the modules, where the image conversion is immediately made. You can also use Bridge or similar browsers by selecting then dragging the image into the workspace. To begin work, double-click on the image in that browser. Perfect Layers within the Suite comes with an image/file browser that allows you to navigate to any folder that contains images by clicking on the File/Browse option. When you open the Suite you have a workspace that lists the other programs within. Right: Moving down the right side panels you get a fairly rudimentary Tone Curve, Glow (a very helpful tool for adding “sparkle” to some images), and film emulation and grain size and amount selections. This part of the panel shows Tone and Color Response sliders, where you can do a good deal of the color to black-and-white conversion work. Starting at the top, note that I switched the Navigator view to Histogram, which I find quite useful to check for clipping as I work. Left: The right side panel has many options.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |