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So you are a photoshop whizz. I am a photographer.

Great tutorial. Thanks.

Your step by step are so good, I have to subcribe :))

very well explained. Thanks. :))

thnak you amazing! much appreciated!

You would have much better results if you created hard masks of the sky, castle, and foreground. Edit each one separately. Yes, it's a lot of work but the results are so much better. Also think about using Artisan Pro X and Quick Mask Pro.

Great shot. But I don’t understand why you swapped the Bland and White controls in the gradient map.

The advantage shooting B&W film had over color and digital was the ability to either alter negative development to match the EV range of scene to range of a #2 grade print paper (The Ansel Adams Zone System approach) or match the contrast of the paper (Grades 1 - 4) to the EV range of the scene, with developing the film to fit a CROSS-LIT sunny outdoor subject to #2 grade paper being the “Normal” baseline for both methods. The problem digital sensors is that with many camera the DR of the sensor can’t handle the contrast of cross-lit or back lit scene and when exposing to retail the 3D shape defining separation between Zone 10 specular reflections from the sun on Zone 9 smooth white objects in sunlight detail will be lost in the Zone 1-2 shadow detail and be filled with noise the darker mid-tones will be recorded darker that perceived by eye. The example in the video fits the range of the sensor with an ideal histogram because it was photographed with sun behind the camera. The same scene with light at a 45° angle from the side would I suspect exceed the range of the sensor and to really duplicate the look of an analogue B&W photo require starting by blending two separate exposures; one for exposed for the highlights and another with about 3 stops more exposure via slower shutter speed to record the darkest Zone 1 detail above the noise threshold. My preferred method for creating full dynamic range B&W is to start by manually by copying and pasting the +3 stop shadow exposure over the highlight exposure, adding a black mask, then selectively opening in degrees based on how much I want detail in the shadow to tempt the eye of the viewer: more around the focal points, less around the edge of the frame. After the mask is opened selectively the opacity slider on masked shadow layer can be varied from 0 to 100% for before and after comparison, adjusting by eye to taste and the mask can be edited also. Tonal and detail vignettes in a photo create a similar sensation if done subtly enough for it to be subliminal not something the viewer of the print consciously notices which is were adjusting the shadow detail layer via the opacity slider comes into play in my HDR workflow, The result is more organic looking than AI generated HDR because it which mimics how the brain “tunnels” in on focal points tuning out the periphery. Tunnel vision when viewing anything by eye is the result of green sensitive rod cells which cover the periphery of the retina being 3000x more sensitive to light than the RGB cone cells which are concentrated in the center 2° of the field of vision, about twice the width of thumb held at arm’s length 👍 When something contrasting in movement or tone enters the edges of our field of vision the hyper-sensitive rods detect it, the brain sends eyes to dwell on that spot and then the brain “tunes out” the signal from the rods creating the sensation of looking through a tunnel.

yeah nice work.

Magnificent tutorial, Master, you probably already know it but in case you don't, I'll give you a little help, to adjust the whites and blacks, simply press the Shift key and double click on the triangle on the slider. All the best. Sorry, my English is not very good.

Great simple vid, many thanks

Hi Richard - enjoy your videos. In this one, just not sure why you hopped back over to Photoshop to do the overall curve when that could be done straight in LR too. Thanks for the very thoughtful presentation and great advices!

wow thats great

That is brilliant! Thank you.

The only technique is to take a picture in a good light in the first place, i cannot unsee those unnatural burns. It will help if the landscape is interesting as well

This is specific picture for myself

Very easy to to make bravo Richard ❤❤❤

❤❤❤ lovely video great Richard!!!

You used a 10 stop and a six stop and your exposure was only 13 seconds ? That sounds pretty short. Great shot though!

Cool workflow! Nice result!

Excellent video with clear explanations.

I liked the faster pace of this video instruction. Great info as always.

Love your videos. Very easy to follow. Can you do a video on blending horizon in a seascape.

I have to try reprocessing some old photos and check if I can improve them. Thanks for sharing!

So amazing

Why not using a luminance mask instead of so many radial gradients?

Gracias por compartir sus experiencias, me están ayudando mucho con el proceso en blanco y negro de mis fotografías infrarrojas. Un saludo.

This is some great learning!

I loved

Thank you very much for sharing your valuable information and talents!

Damn!! that’s an amazing capture

Nice video and information Richard! Thanks! For my part, I use Silver Efex 3.0 in the NIK Collection, which gives many opportunities to mix the "boring" photo with. Using the blend mode "Luminosity" also reproduces the colors from the photo. There is an incredible amount to be able to experiment with. I really agree that a boring photo can be transformed into something extra ordinary :-)

Thanks for this great content, love it.

I have no doubt that it is good to know these techniques, the question is knowing where and in how much dose to apply them. For my taste, it would be much more subtle in its application since the final result for me is overloaded with "dramatism", in black and white it usually seems more "artistic" due to its artificiality but if that were in color, we would immediately see this tendency to exaggerate tones and textures in the skies and generally "overact" to impress. I'm not saying it's wrong, I'm saying it's a choice. Others may prefer to retain what they saw with their eyes and make an edition more faithful to that moment, more natural, less impressive perhaps, but surely more credible too.

I'm a keen black & white landscape photographer and started watching this video with some scepticism as the image seemed to be shot in quite strong sunlight which lends itself to good contrast and makes editing black & white easier than in very flat lighting. However, I have to confess I was very impressed with the final result. I often use masks with different blend modes where an image lacks contrast and detail (e.g. an overcast sky) which often gives an effective, pleasing and quick result but you have convinced my to try going further with more selective masking. By the way, I use darktable as I abandoned adobe software when they adopted the subscription model. Darktable has some amazing mask producing facilities. Thank you, I have subscribed.

Excellent presentation. ❤❤❤

This is very fine work. I am glad I found you. Now I need to figure out how to do this in DXO Photolab, and Affinity photo.

So glad I found you...

Brilliant as usual! Thank you so much. I have photos of the same location, and I will try to edit in the same way that you showed us. Please keep the videos coming.

Excellent video! However, you keep ending many of your sentences with an upwards vocal inflection which is somewhat annoying. I live in Australia (originally from the UK) and they do the same vocal rise here too.

Another one of your informative videos. Thanks.

Thank you for this amazing video 😊

Excellent explanation Richard. When the sky mask appeared in Lightroom I stopped using the linear mask for the sky. You have convinced me that a linear mask and then intersecting the new mask with the sky is a much better way. I also right-click and copy radial masks when dodging (lightening areas) to speed things up. Possibly more tan one radial depending on what I am lightening and how much i need.

Brilliant stuff richard fine art 🎨 spot on 😊

Amazing ! Can you make B&W fine art on Street photo / Urban landscape. Thanks

Hi thanks for your super informative video. I followed your workflow (including reducing blacks in LrC to eliminate all clipping in the color image) and noticed that in a couple of photos I used it on when bringing the image back into LrC I got a lot of new black clipping introduced into the image. Even taking the blacks all the way back up in LrC did not eliminate all of the clipping. Any idea what I might be doing wrong or how to bring the blacks down a bit to compensate? Overall the effect using your approach is far superior....

🎉🎉🎉

I did Zone System photography on film / print from 1971 to 1990 and started shooting digitally with an Apple Quicktake100 and editing Photoshop in 1994 self-publishing the photos on a web site I managed. The way we darkened skies with Panchromatic film in the Zone System was via yellow, orange or red filters on the lens at capture which would also lighten any red content in the scene. Similarly the use of green filter would make green foliage lighter and contrast more against a darker background. In the Fall the use of an orange filter would make orange leaves brighter and also darken the skies. This can be done digitally when making the B&W conversion via the selective color sliders. A problem with early digital cameras was that the range of the scene on a clear sunny day would exceed the range of the sensor so the first step at capture would be to capture one exposure with non-specular highlights 1/3 stop below clipping warning then one with +3 stops exposure, combining them by copy/pasting the +3 stop shadow exposure over the one for the highlight detail and then adding a black filled mask on the +3 stop shadow exposure and selectively opening it around the focal points of the image I wanted the viewer to gravitate towards and dwell on. Psychologically we are subconsciously attracted to faces and contrast when viewing photos because those are evolutionary survival instincts for identifying threats. That’s the underlying cause and effect that makes selective dodging and burning-in within a frame work and why thought should be given when taking a photo about what objects in the scene CONTRAST the most with the overall tone of the background and whether or they are the intended focal point we want the viewer to be pulled towards subconscious and then held on. I’ve done experiments with different toned dots on different toned backgrounds and the eye will move from area of greatest contrast, to next greatest contrast in landscapes. In portraits or photo with immediately recognizable content, like a photo of a car in a landscape, the viewer’s eye will first be drawn to the face or content it recognizes regardless of whether or not contrasts strongly with the background THEN once tired of looking at it the eye will pulled off of it if there is any other contrasting content in the frame. When shooting photos and deciding on a focal point to lead the viewer to I look for ways to make it contrast with the background THEN slowly expand the frame around it until some contrasting object entering the expanding frame distracts my attention from the focal point. That’s when I decide either to limit the crop to keep it out of the photo when captured or make a mental note of how to deal with it during editing by changing it’s contrast relative to desired focal point or cloning it out. For example when shooting portraits of people and animals I will always make the front of the faces contrast more with the background than other parts of the body by subtlety burning-in, blurring, desaturating, etc. What I started doing to selectively edit contrast back when Photoshop added adjust layers was create a macro action which duplicated the background layer three times adding a black mask to each of them and changing their modes to screen (to dodge), multiply (to burn-in) and soft light (to increase contrast). The advantage of that approach vs. the dodge and burn tools was the ability to use the opacity sliders on each of the layers, moving them from 0-100% to visually adjust the corrections and being able to paint back in the masks and start over if necessary. I created a similar duplicate layer action for applying high-pass sharpening and gaussian blurring selectively which I used on every portrait to selectively sharpen the details around the eyes and mouth and blur and reduce blemishes on the skin. I’d also use it on non-people photos to slightly blur the edges of the frame and selectively sharpen around the focal point(s) in the image. There are many means to the same end in Photoshop and other editing programs. I stopped upgrading Photoshop back when it first switched to the subscription mode, first switching Lumifusion and then to Afffinity Photo 2.

Thank you very much for the great video as usual. I understand from the location that you are in Malta. Am I correct?

WOW! Just what I needed...thanks so much for sharing your techniques...Beautiful.