cookielawinfo-checkbox-functional 11 months The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". Cookie Duration Description cookielawinfo-checkbox-analytics 11 months This cookie is set by GDPR Cookie Consent plugin. These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. Above all, don’t paralyze yourself trying to achieve the mythical goal of a “perfect” black and white conversion. You may surprise yourself by trying unusual mixer values. But don’t let that stop you from experimenting. After a while, you’ll begin to get an intuitive feel for which values you prefer for different kinds of subjects and colors in any given photo. My recommendation is to simply play around with it until you find values you like. The channel mixer can be mysterious because it’s difficult to visualize the result. In this version I used the mixer to darken the foliage (green = -30) and brighten the path and fence (red = 130). Last example and the version I like the best: RGB: 130, -30, 0 In Gimp, there’s a checkbox called “Preserve luminosity” which does the math for you automatically as you move the sliders. On the other hand, you can let the values go higher or lower than 100 to change the overall brightness. If you want to keep the overall brightness constant you need to make your levels always add to 100. In this case, by moving the red to -100, it strongly darkens anything in the photo with a red component. This allows you to increase or decrease the brightness of a channel. The mixer allows values from -200 to +200. In this example, I continued moving the red channel into the negative, to enhance the reduction of the red channel. Here’s another example with the same starting photo: RGB: -100, 200, 0 The sky is white in all of these conversions because it was blown out-all of the channels were maxed out in the sky. The redish posts and path are a little darker. The greener something is, the whiter it is in the conversion. In the example above, the grey level is determined solely by the green channel (0/100/0). If you set the values to 50/50/0 then the gray level will depend half on the red and half on the green. So, for example, if you set the red channel to 100%, the blue channel to 0, and the green channel to 0 (100/0/0), you will get a black and white photo where the gray level for any pixel is equal to whatever the red level was. By checking the “monochrome” box, you are asking the mixer to “flatten” those color channels into a single channel which is represented as a level of gray from 0-255: black and white. The mixer allows you to change the overall impact of each channel on the photo as a whole.
The channel mixer works by manipulating the red, green, and blue in a photo. In JPG images, these colors combine in varying levels from 0-255 for each pixel, resulting in approximately 16 million different color combinations. It’s a success if you’re happy with the results.īefore we go on, a tiny bit of channel mixer theory:Įvery digital color photo is made up of red, green, and blue data. It’s arguably the most straightforward way to do a black and white conversion. I think the simplicity of just desaturating a photo and boosting the contrast has a lot of appeal. If you’re going to convert this way, you’ll be doing yourself a favor if you also boost the contrast after the fact: Many people, myself included, feel that this method often results in lifeless photos. In Photoshop it’s Image | Adjustments | Desaturate. This is a simple conversion, it’s fast, and it’s very easy to do. To compare with the channel mixer conversions below, first I’ll show the results from a simple average color desaturation. Here’s a photo I took on a hike recently with my kids:
Change channel image mixer how to#
Lightroom - How To Convert to Black & White
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