Silver Shadows 2 is finally here and it won’t disappoint. It represents years of refinement since v1 was released. It’s been expanded and revamped from the ground up and I think it will blow you away when you see the efficient high quality silver conversions you can do without leaving LR.
As always, I’ve made up a free sampler pack. This one include 6 great effects from SS2, including the one above that give a small sampling of just how powerful it is. You can download below, no strings attached. When you realize how much you like it, check the full collection. It has over a hundred effects, refined and organized into the ultimate black and white toolkit. Either way head over to the product page for the video of these presets in action.
Awhile back I made a video on installing and managing presets in Lightroom. But I’ve been itching to make a better one because it was outdated, dry and low quality. This new HD video looks at installing and managing all kinds of presets in Lightroom, how to find them, back up and more. Enjoy… Gav
I’m amazed how often the control of light and dark is ignored in today’s photography. Our tools are more powerful than ever, but most images lack the subtle tonal control that made photographers like Ansel so famous. Such control is essential to making an image look as good as it can.
“Tone” may be the least understood and least utilized factor in composing and finishing images.” That’s a quote from master photographer, Ken Whitmire. He’s eighty-two and one of the world’s most renowned pioneers of wall portraiture.
I wrote an article called 5 Essential Keys to Photographic Perfection on Pro Photo Show. One of these keys is arguably the most important, and that is tonal control. Lights and shadows and how they look in the final image are critical. To best achieve them, you should have a “visualization” for your final image and be a master of essential tone control elements.
Morgan's Song, 2011 - This is an environmental scene so we have a lot of "supporting cast" to deal with. By placing the subject at Zones 6-8 in the final process and the supporting cast mostly in Zones 2-4, I was able to keep the subject dominant and show the scene I had envisioned.
An image can look good with just a quick global correction process, but not nearly as good as it could be with proper tonal control. It starts in camera as you see the scene in your mind’s eye . The way you expose and set up your image can control those values. The best way I have found to see this in my mind is by using the Zone Scale (see Fig. 1).
For example, a perfect light is splitting through the clouds and shining on your subject. You expose for the subject’s skin, visualizing it for Zone 6. Perhaps that bumps the foliage and other elements (the supporting cast) of your scene down to Zone 4. That could be perfect because it makes your subject dominant. Perhaps the light is more even, however, and to achieve that visualization, you need to do tonal corrections later to bring that foliage down to Zone 4. It could be done in many other ways, but you get the initial idea. For an in depth look at Zones check out, Why You Need the Zone System for Digital.
Following are three things to watch for when visualizing and mastering an image to control tonal values. If you understand and apply these principles at every step, your images will improve by giant leaps. Follow through on tonal values and your images will sing.
Figure 1: The Zone scale from 1-10. Middle grey is Zone V (5). This shows the darkest dark to the lightest light and is invaluable for simple visualizing and exposing a scene. Each step represents a stop, making it easy to move your exposure up or down and place an element in a given zone.
I’ve been hinting at this for awhile, but today Silver Shadows II is getting official. This is a collection of LR presets for black and white that is like no other and I think it’s going to set a standard.
Black & White was my second ever presets collection and after some refinements and updates it became Silver Shadows. A collection of effects for black and white that kept getting better with free updates over the past few years. But I felt we needed something more.
Note, that anyone who buys Silver Shadows v1 after Sept 20th 2011 will get a free upgrade to V2. So even if you get v1 today, you’ll get an email with that free upgrade when v2 launches.
I’m passionate about black and white. I mean I’m really fanatical about it. I want to take digital images and make silver art from that that sings. There’s some great tools our there for B&W, but they can slow a workflow and usually require that you leave your RAW file behind, that throws away information and dynamic range that can be really valuable in making a great silver image.
This is just a little teaser I had made up. But the full collection is releasing soon along with all the details. SSII been remade from the ground up and will be the only toolkit you need for black and white.
Updated 12/11. Never has raising the bar on quality been so relevant to photography than in today’s crowded market. But never have the tools at our disposal been so powerful either. So today I want to share a few quick ideas on inching that bar up, each time we release the shutter. And few tips to help us shoot better and make our images as perfect as they can be.
1. Visualization. Really seeing.
It’s often said it starts in the camera. Well in truth it starts before that. I’m certainly no pioneer in visualizing, but I’ve learned how valuable it is. Sometimes our digital generation brushes aside with a chuckle the tried and true techniques, as if they were insignificant. As if because we have cameras with screens, it’s no longer necessary understand such things. But if there’s one thing I’ve learned in nearly 15 years of pursuing photography. It’s don’t ignore the techniques of the old masters. My generation sometimes thinks they have a better way. They usually don’t.
I recently recorded a short podcast on how I use visualization right here. But the bottom line is you have to do more than just look and click. Visualizing takes practice. It’s NOT about not just seeing something that’s in front of you, or even just seeing an object or composition. It’s about seeing what you want in your final image. Everything you want. The objects, the lines, the tone light and dark of various elements, the colors, the composition. Even down to seeing in your mind the edits you plan to do in the real, or the digital darkroom.
I find using the Zone System to help visualize your scene and place the tonal ranges helps a great deal. Not to mention helping you expose better. But even if you don’t use the Zone System at every step, the zone scale can be invaluable in visualizing. And with practice will become second nature and will effect your work at every stage. You can learn about the Zone system in my article about Zones. Also here’s a classic video with Ansel himself talking about it.
Sunsets Hidden Falls, 2010. Having a pre-visualization of the scene I wanted helped me plan the exposures and edit this properly. More on this image at.. http://bit.ly/bVa0hm
2. The Camera.
This is step 2. These first two could go together. But visualization deserved that first category. Do it before you raise that camera, because it’s easy to get caught in the moment and forget about truly visualizing. But after that visualization, the camera is where a great image is captured. Not the computer. You have a visual for what you want to capture, now you need to use your tools to make it happen.
Consider what you’re trying to do and how you need to leverage your equipment. Shutter speeds, supports, aperture, focus, timing, light. Read the Six Keys To Photographic Image Quality for more thoughts on the technical side of this. And of course, don’t forget your visualization and composition to help make it all happen. This is something to think about in a digital age where we tend to spray and pray. I’m a firm believer that as a whole, our industry needs to slow down. More images does not make better quality and I find taking your time with your camera and image setup makes a great deal if difference in your final result.
