Open FilmPack 6 (or if using Photoshop go to Filter > DxO > FilmPack 6) then begin by choosing a film stock from the list on the right. Time Machine lets you filter the different film stocks by the decade in which they were first released, so you can, for example, look at films from the 1950s such as Ilford HPS 800, or the 1970s like Polaroid 672.Įach decade also brings up a set of classic photos – of public figures, street scenes, famous portraits and landscapes – and offers insights into how the image was created, its place in history and the film used to capture it. FilmPack 6 gives us an intriguing look into this heritage with its unusual Time Machine feature. Why do we make that choice? Perhaps because it connects the image to a rich photographic heritage. In days gone by black & white was the only option, but these days we make a conscious choice to remove the colour. Among the 65 black & white settings there are toned effects and the films on offer are classics such as Agfa APX 100, Kodak Tri-X 400, Fujifilm Neopan 4, and Ilford FP4 Plus. This is exactly what happens in DxO FilmPack 6.įilmPack 6 is a film emulator that gives you 221 looks to play with. These characteristics can be analysed, quantified and recreated in digital images. The ‘feel’ of black & white film can be broken down into distinct characteristics, including contrast, tone, grain, and dynamic range. While it might be impossible to recreate the feeling of being in a darkroom, the actual look of black & white film isn’t unattainable, and there isn’t some sort of inherent flaw in the digital image that prevents you from making great black & white photos. It’s sometimes said that digital photography struggles to capture the ‘feel’ of black & white film. Recreate a classic black & white film look: DxO FilmPack 6 Now we can paint with white over the image to reveal local contrast changes in the areas that need it. Here we add a Curves layer and plot an S-shaped curve to boost contrast just as in step 3, but then we hit Cmd/Ctrl+I to invert the mask on the curves layer and hide the effect. Once done, we can check our dodging and burning by toggling the layer on and off, or lower layer opacity to tone it down if we need to.Īdjustment Layers are ideal for making local adjustments. The Dodge tool works best when the range is set to Midtones or Highlights. Next we can switch to the Dodge tool (or hold Alt to temporarily switch) and paint to lighten areas. First we set the Range to Shadows or Midtones and strength to 20%, then paint to darken areas of the image. The Dodge and Burn tools let you lighten or darken tones. Open the image into Photoshop for dodging and burning, then duplicate your layer with Cmd/Ctrl+J. The more pronounced the S-shape, the greater the contrast. The top point controls the highlights, the bottom point sets the depth of the shadows, and the midpoint controls the midtone brightness. Go to the Tone Curve panel and plot three points along the diagonal curve line then drag them to make a shallow S-shape. Go to the Profile Browser in Camera Raw/Lightroom and try out the range of black & white profiles. These one-click effects can transform your image in seconds, and also make for useful starting points for further edits. If you want quick and easy black & white treatments then try using Profiles. Open the image into Camera Raw then click the B&W button in the Basic Panel to begin the conversion process. These are the best tools for converting to mono in Photoshop. Photoshop’s Camera Raw and Lightroom both offer identical black & white tools. Not only is this more intuitive, it also allows you to affect several sliders at once, which leads to more-natural-looking shifts in brightness. You can use the sliders, but it’s easier to grab the target tool and then drag left/right over parts of the image. We can use these to, for example, darken down the blues to make a sky more dramatic, or lift reds and oranges to make skin tones brighter. The Black and White Mixer panel has eight sliders that let you control the brightness of different colour ranges. Even though we’re removing the colour, it can still play a vital role in the look of our monochrome image.
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