AN ACCIDENTAL RESULT

In Mexico I used a polarizer on the Mamiya AF 80mm f2.8 D. The light seemed perfect for a polarizer, but back home on the computer screen I the polarizer shifted the colors. After numerous attempts to rebalance the colors, it became clear that the images needed to be processed as B&W instead. With Canon 1Ds Mark II and Canon 1Ds Mark III files I have shied away from B&W because Canon files tend to look all black, all white and not much in between.

For the last couple years I have been using Photoshop’s Black & White tool (under Image --> Adjustments in CS3). I would move around the sliders until the image began to look somewhat okay. From there I would dodge and burn areas, perform localized levels edits, rebalance color to tone the image and sometimes add a very subtle photo filter color. Usually this was a long process with mixed results. About a month ago I noticed the “Effects” menu option under the camera ICC profile field in the Phase One C1 software. In the effects sub menu there are several universal color profile options for B&W conversions. After playing around with these options for a couple weeks, I have come to like the B&W Panchromatic effect for the Mamiya ZD MEF files. For a stock toning profile it generates a pleasing result. Within C1 I still adjust levels including Highlight and Shadow Recovery as needed. The raw file is exported as a 16-bit TIFF in the 1998RGB color space. The resulting TIFF is then opened in Photoshop for further editing. The B&W Panchromatic profile results in a good, neutral file that responds well to some simple editing Photoshop. I have been using this preset for the Mamiya ZD and Leica M8.

SUBSEQUENT PHOTOSHOP EDITING

The Photoshop editing consists of dodging and burning using a combination of the Dodge & Burn tool, localized levels edits and localized brightness edits. These edits are mostly to tone down less important areas and to amplify the more important areas. The last edit is usually a color balance layer with the Shadows set to +4 (towards blue) on the blue/yellow channel, and on the highlights, the blue/yellow channel again, this time set to -6. The +4, -6 values are not set in stone, they are just starting points. For a warmer image, add more yellow. For a colder, bolder image, add more blue in the shadows. The C1 B&W Panchromatic preset results in a bluish file, so this color balance adjustment is either pushing the blues further, or pulling them back and softening the effect.

C1 AND ITS HIDDEN HIGH PASS FILTER

Phase One’s C1 software has a well deserved reputation for generating sharp conversions. Part of their sharpening process involves a high pass filter effect; if you are unfamiliar with this technique, the Luminous-Landscape has a short article about it. Michael’s write up is a good starting place followed with some Google searches. If you are familiar with this technique and have ever taken the a high pass filter too far, then you will recognize the artifact patterns in the screen shot below.

In the screen shot C1 is on the left, RAW Developer is on the right. Note how C1 rendered the fine wrinkles under the eyes, the speckled pixels throughout and underlying cross hatch pattern in cheeks. Then look at the RAW Developer image - it is very smooth. To be fair, C1 can be tamed to a point by backing off the sharpening; however, the artifacts remain to a degree and they tend to come alive again in Photoshop as the file undergoes levels edits and such.

I like using C1 for landscapes, cityscapes, product and other non-people oriented images. In effect C1 is creating false detail which can be viewed as an artifact or enhancement depending on your views. For me C1 creates a tremendous amount of post processing work in Photoshop when processing portraits because it essentially destroys skin textures. So for portraits, candids and other people shots, RAW Developer is my preferred raw editor. Fortunately the Mamiya MEF files come out of RAW Developer looking pretty darn good as B&W’s too, so Mac users have two great editors at their disposal.

CONCLUSION

This article proves what we already know - raw editors can make or break a camera. As is, the ZD delivers good B&W images. WIth some careful thought as to which raw editor to use for an image, the Mamiya ZD can go from good to great. The B&W Panchromatic preset meshes nicely with the Mamiya ZD’s inherent tone curve and the end results are very believable as B&W images. If processing portraits, reducing C1’s sharpening is critical. Or better yet, the give the RAW Developer demo a try.