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BNSF coal is running south on the northbound track at Palmer Lake, Colo. in these two photos. At left we have the original color image converted
to b&w in
Photoshop with a simple Grayscale function. Note the light sky and muddy look of the orange locomotive. Below we have the same image but converted using Hue/ Saturation functions in Photoshop to give better tonal values. The orange of the locomotive was lightened using the Red channel, and the blue sky darkened using the Cyan channel.
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108 Phil Hardin Rd., Newton NJ 07860 RAILFAN & RAILROAD MORNING SUN BOOKS
These all-color 128-page hardcover books will be available July 1, 2013
A CONRAIL TLANTIC REGION
VOLUME 1: 1976 - 1978
By Arthur J. Erdman
The short-lived Atlantic Region was the crucible of Conrail that digested the busiest ends of its predecessors. Item# 1478
MILWAUKEE ROAD
PASSENGERSERVICE THROUGH
VOLUME 1: 1941-1965 By Greg Stout
A colorful study of the transition years from orange and maroon to Armour yellow and red. Item# 1479
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cameras like the Pentax 6×7 and Mamiya RB and RZ 67s produce 10 or 20 images. Other MF cam- eras produce a 6×8cm (2¼×3 inches, 9 or 18 pho- tos) or 6×9cm image (2¼×3¼ inches, 8 or 16 photos).
Filters For B&W
Since b&w records colors as different shades of gray, different colors that are of the same tonal value can “blend together” in b&w. An example is a red loco- motive beside a green box car or foliage, with both colors reproducing a simi- lar shade of gray. Another
trait of most b&w films is they tend to light- en blue skies to almost white. Colored filters can correct this. A #12 yellow, #21 orange or #25 red filter will lighten red spectrum colors, and darken blues and greens (and also reduce haze and fog), with the effect ranging from slight to more distinct as you move from yellow to red. Our red locomotive becomes a lighter shade of gray to contrast nicely against the darker gray of the green, and a darker blue sky makes those nice puffy white clouds more visible. Red filters will require three stops more exposure; orange filters two ad- ditional stops; and yellow filters one extra stop of exposure.
Digital B&W
But the same digital technology that is re- placing film cameras is providing an even better way to work in b&w. Digital cameras of 10 MP or greater easily match the quality of a medium format negative in prints up to 16x20 inches. And digital eliminates the need to juggle two cameras to capture b&w and color at the same time, as you can easily convert color images to b&w in the computer. Another benefit of starting with a color digital image is the ability to utilize the color controls in an image processing program to get the same effects as using filters with film. For example, with the Hue/Saturation function in an image editor like Photoshop, Elements or similar programs, select a spe- cific color (red, yellow, green, cyan, blue, ma- genta) in the drop down menu, then adjust the Lightness and Saturation sliders. green background foliage is a little too dark
If
PHOTOGRAPHY: GREG MONROE
to contrast with a red or orange locomotive in b&w, adjust the Red color sliders until the locomotive is lightened. Adjusting the Blue and Cyan colors can make the sky more dra- matic without affecting the rest of the im- age. Then select “Master” in the drop down menu of colors and desaturate the whole image to b&w. Finally, switch the image to Grayscale mode to reduce unnecessary file size.
Digital Printing If you have been printing in a darkroom, a b&w print “developed” instead in the com- puter and printed on an inkjet photo printer will astound you with the ease with which a quality print is accomplished. Making tonal changes is very easy in the computer when compared to the process of using different contrast filters, dodging and burning, and such with several trial prints in a darkroom. Want to add a nice sepia tone to your steam images? Most editing programs have easy to use sepia functions. And eliminating all dust spots and scratches on a negative re- quires the first and also each additional darkroom print be hand spotted with special inks to hide these blemishes. But a scanned film image is easily spotted just once using the Clone tool in an image editor, then in the future you can make quick (and exact) reprints at any size without having to re- spot each new print or make tonal correc- tions all over again. Of course, with film you will need a scan- ner that accepts the format of film you are using such as the Epson flatbed photo scan- ners that come with negative carriers to ac- cept 35mm, medium format, and also 4×5 film.
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