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Mastering Digital Black and White: A Photographer’s Guide to High Quality Black-and-White Imaging and Printing

Book Description

The very nature of black and white photography places a premium on creative interpretation of the image. Advances in digital technology have expanded both the precision of imaging techniques and the interpretive possibilities for black and white imagery. Never before has such a wide array of tools been available to photographers who have a passion for black and white. Mastering Digital Black and White is written for these photographers. It serves not only as a comprehensive guide for creating black and white images and prints, but also examines the role of artistic craft in the imaging process. Learn how to employ your digital tools as extensions of your photographic vision. Read in-depth interviews with, and view images from, five accomplished photographers as they discuss their process and inspirations. Prepare to indulge your passion for gallery-quality black-and-white images in the digital darkroom. Additional supporting content for this book and a discussion forum for photographers and printmakers with a passion for black and white can be accessed at: www.masteringdigitalbwbook.com

Table of Contents

  1. Copyright
    1. Dedication
  2. Foreword
  3. Acknowledgments
  4. About the Author
  5. About the Series Editor
  6. Introduction
    1. Who Should Buy This Book?
    2. How This Book Is Organized
    3. Companion Web Site
  7. 1. Image Gallery
  8. 2. Building the Digital Darkroom
    1. Surviving the Technology Treadmill
    2. Monitors
      1. Are LCDs Ready for Prime Time?
      2. Screen Real Estate
      3. Judging Screen Quality
      4. Alphabet Soup: DVI, DDC, and LUTs
    3. Computers
      1. Platform
      2. Hardware
        1. Processor
        2. Memory
        3. Storage
        4. PCI Expansion
        5. Video Card
        6. Input Devices
      3. Photoshop Speed Boosts
        1. Scratch Disk
        2. RAID 0 Scratch Disk
        3. Segregate Working Files
        4. External SATA
    4. Scanners
      1. Film Format
      2. Wet Mounting
      3. Bit Depth
      4. Resolution
      5. Dynamic Range
      6. Capturing Pixels: CCD Versus PMT
    5. Printers
      1. Why Inkjets?
        1. Dither
        2. Dot Size
        3. Ink Dilutions
        4. From Dyes to Pigments
      2. The Printer Purchase
        1. The Big Three: Epson, Canon, and HP
        2. Output Size
        3. Print Longevity
        4. Cost per Print
    6. Color Management Concepts
      1. Ambient Environment
        1. Imaging Area
        2. Print Evaluation Area
        3. Viewing Booths
      2. Measurement Devices
        1. Colorimeter
        2. Spectrophotometer
      3. Test Charts and Images
  9. 3. Color Management for the Black-and-White Photographer
    1. Color Management: What is it?
    2. Color Management: Why Bother?
    3. The Problems with Digital Color
      1. Spectrum, Dynamic Range, and Gamut
      2. Device-Dependent Color
      3. Device-Independent Color
      4. RGB into CMYK
      5. Out-of-Gamut Colors and Rendering Intents
    4. Solutions for Digital Color
      1. The ICC Standard
      2. Calibration and Profiling: Kissing Cousins
        1. Monitor
        2. Scanner
        3. Printer
          1. Ink Limit and Linearization
          2. Profiling
          3. Profiling for Monochrome Output
      3. Working with Color Spaces
        1. Grayscale Color Spaces
        2. Configuring Photoshop’s Color Settings
        3. Handling a Mismatch
      4. Soft Proofing: The Magic Bullet?
    5. Digital Black and White: Then and Now
      1. Piezography and the Quad Black Revolution
      2. MIS Tones It Up
      3. RIPs Tuned for Black and White
      4. StudioPrint: A Precision Tool for Printmakers
      5. QuadTone RIP: Big Control, Small Price
      6. OEMs: The Empire Strikes Back
    6. Grayscale Management
      1. Closed-Loop Calibration
      2. Grayscale ICC
      3. Color-Controlled Black and White
    7. Digital Black-and-White Pioneers
  10. 4. Digital Capture
    1. Image Evaluation
      1. Reading the Negative
      2. Analyzing Digital Capture
    2. Master and Derivative Files
    3. Matching Resolution to Output
      1. Size Does Matter
      2. Resampling Pixels
    4. Capture Sharpening
    5. Digital Camera Capture
      1. Raw Versus JPEG
      2. Collecting Photons
        1. The Bayer Color Filter Array
        2. Bayer Pattern Alternatives
        3. Linear Capture
        4. Raw Exposure
      3. Raw Converter: You’re the Boss
        1. Demosaicing Algorithms
        2. Setting White Balance
        3. Color Space Conversion
        4. Highlight Recovery
        5. Tone Curves
        6. Digital Artifacts
          1. Causes
          2. Solutions
        7. Color to Monochrome Conversion
    6. Film Scans
      1. Film Format and Resolution
      2. Scanner Resolution
      3. Shadow Noise
      4. Grain Reduction
      5. Third-Party Scanning Software
      6. Edit Now or Later?
        1. Optimized Scans
        2. Scanning Flat
        3. Hardware Versus Software Corrections
      7. Scanning Black-and-White Negatives
        1. SilverFast
        2. VueScan
        3. FlexColor
        4. Digital PhotoLab
  11. 5. Photoshop in Black and White
    1. A Study in Contrast
    2. The Benefits of 16 Bits
    3. Toolbox
      1. Tools Palette
      2. Palette Essentials
        1. Info Palette
        2. Histogram Palette
        3. History Palette
        4. Channels Palette
        5. Layers Palette
        6. Navigator Palette
      3. Levels
      4. Curves
    4. Blending Modes
      1. Darkening Group
      2. Lightening Group
      3. Contrast Group
    5. Selections
      1. Layer Masks
      2. History Brush
      3. Localized Edits in Action
    6. Color to Black and White
      1. Black and White
      2. Channel Mixer
      3. Calculations
    7. Sharpening
    8. Soft Proofing
  12. 6. Black-and-White Inkjet Printing
    1. Matching Features to Needs
      1. Color Versus Monochrome Inks
        1. Ink Channels
        2. Tints and Split Tones
          1. Tinting with Monochrome Inks
          2. Tinting with OEM Inks
          3. Tinting with PrintFIX PRO
        3. Older Printers and Third-Party Inks
      2. Print Volume
      3. Length of Ownership
      4. Roll Versus Sheet Media
      5. Service and Support
      6. Printing for Hire
        1. Connectivity
        2. Calibration and Custom Profiling
          1. Profiling through the RGB Driver
          2. Profiling as a CMYK Device
          3. Profiling a Monochrome Printer
        3. Self-Monitoring and Reporting
    2. A Black-and-White Renaissance
      1. Multiple Black Dilutions
      2. Pigment Ink Formulations
      3. Enhanced Printer Drivers
    3. Papers
      1. Surface Texture
      2. Ink Compatibility
      3. Storage and Handling
      4. Less is More
    4. Printing Gotchas
      1. Ambient Environment
      2. Pigment Settling
      3. Nozzle Checks
      4. Paper Dust
    5. Final Steps
      1. Output Sharpening
      2. Photoshop’s Print Dialog
      3. Printer Driver Settings
        1. Canon
        2. Epson
        3. HP
      4. RIP Layout
    6. Pixels to Dots: The Printmaker’s Craft
  13. 7. The Imaging Workflow
    1. Raw File: An ACR/Photoshop Split Workflow
      1. Capture Notes
      2. Imaging Goals
      3. Image Adjustments
      4. Epson Inkjet Output with a RIP
    2. Black-and-White Negative: An Adjustment Layer Workflow
      1. Capture Notes
      2. Imaging Goals
      3. Image Adjustments
      4. HP Inkjet Output
    3. 3D Scan: A Composite Image
      1. Capture Notes
      2. Imaging Goals
      3. Image Adjustments
      4. Web Output
  14. 8. The Limited Edition
    1. What is an Edition?
      1. The Benefits
      2. The Responsibilities
    2. Look before You Leap
      1. Understand Your Market
      2. Communication is the Key
    3. History of the Edition
      1. Lithography
        1. The Process
        2. Matrix Degradation
      2. Analog Photography
      3. The Digital Era
    4. Standard Editioning Practices
      1. Edition Size and Incremental Pricing
      2. Multiple Editions of a Single Image
      3. Work Prints and Artist Proofs
    5. Legal Requirements
      1. State Law
        1. Print Documentation
        2. Certificate of Authenticity
    6. Image Permanence
      1. Materials: What to Look for, and Why
        1. Ink
        2. Paper
          1. Base Material
          2. Inkjet-Receptive Coatings
          3. Optical Brighteners
        3. Framing
      2. Putting It All Together
        1. Print Permanence Data
          1. Test Criteria and Methodology
          2. Display Conditions
        2. Storage and Handling
      3. Image Permanence: A Shared Responsibility
  15. 9. The Portfolio
    1. Research
    2. Who’s Your Audience?
      1. Setting Goals
      2. Finding Inspiration
    3. Planning
      1. Making the Cut
      2. Telling a Story
      3. The Artist Statement
    4. Presentation
      1. Opportunities
      2. Slide Portfolio
      3. Print Portfolio
      4. Online Portfolio
    5. Final Thought
  16. A. Resource Guide
    1. Hardware and Software Vendors
    2. Supplies and Consumables
    3. Photographers
    4. Galleries and Portfolio Review Opportunities
    5. Professional Services
    6. Online Forums and Resources
    7. Suggested Readings
  17. B. New York State Law