Corey Brown Photography

What do you do when you have a photo that is just OK. You know that photo that just really lacks the drama and punch you were going for. You go EXTREME.




The photo above was not processed in Photoshop or any layered graphics program. It was achieved in Capture One 4. Most of us have seen presets for other raw converters and how they work for them but when the normal person tries to copy it something goes wrong and you can not achieve the same kind of punch. I will give you the setting to the above photo first and then we will discuss how and why this is working.
EV: 0, Contrast: +14, Brightness: +1, Saturation: -29, Shadow: 0, Highlight: 16, and Levels: Black: 4, Mid: +0.16, and White: 253. Curve: from left to right, input first then output. A: 6, 6 B: 35, 44 C: 86, 106 D: 155, 159 E: 208, 69 F: 242, 224.
WB: Kelvin: 11100, Tint: +16
A friend of mine (Ken Norton) and I were discussing conversions the other day and how it is difficult to get a repetitive conversion VS film. So I started to play. Below is the same image as above that has been converted using Capture One 4.2 and you can see it is not terrible but just lacks anything that grabs your attention. It has been sharpened, curves applied and so on.


This last image is just straight in and straight out only applying the Capture One camera profile.


So how do you go from this image to the first one. well it is not that hard. First you apply a funky curve. A curve set to hold the shadow detail and highlights. If you look closely at the screen shot below it relieves some secrets. Age old I am supposed to kill you if I tell you secrets.



First I place a mark at ma shadow to hold it where I want it then one just to the right of it we will call them A and B just for lack of better creativity. Now the point of mark A far left is to keep my black point stable. B will work for my shadow detail. Now lets go all the way to the other end of the spectrum to the highlights Z will be the mark far right and Y is the one to the left. Now Z will control the white point the highlights and some cool back lighting effects on certain extreme conversions. Y will control the cool darks and colors you see in the sky. Now every point in between is just as important to keeping your photo together so to speak. By now you should have the basics of how with one mark it will cause the curve on the opposite side of any mark on either side to move in the opposite direction. So play with these even after the WB stage.
Then you saturate or desaturate as needed I usually end up desaturating a photo more often then saturating one for this kind of conversion. With the photo above and any that you want to give a look like you used a type of ND or split filter with desaturation is key. It works with the curve and WB because on the scene at hand I wanted to increase the sky's drama and that is mainly in the upper mid tones so that is where the curve is set for and will cause the most abstract when you shift the WB
Now the Biggest trick is WB (White Balance) yes that is correct. WB will play a vital role in the look you are going for more then just color. It will give different tones, contrasts and gradations to an image that can not be had any other way. That is why (My Theory) is that digital is so inconsistent when trying to make a B&W or other conversion for that matter. Your WB is always changing. With Film you got the WB for that whole role. You did not go back and forth and constantly changing for the environment you were in. Now just adjust highlight and shadows to taste.
Keep in mind you should not be trying to copy a style or a cookie cutter preset, Play with your image and make it how you think it should look.
That is it. I hope this is helpful and feel free to ask any questions and leave your comments & feedback.
If you would like to see the images larger and some others you can go to the gallery Here
Thanks and God Bless
Corey Brown (Glory 2 Jesus 4 Photography)