a blog about my? photography, loudspeaker design and other stuff I bump into

Tag Archives: Photoshop

The Last 32b Print…

Rügen 2008, Kap Arkona

Last print through the 32b print plugin as Canon released a 64b version today. Kudo’s Canon.

For The Love Lith, A Digital Recipe…

We all love lith prints, even U2 (or Anton Corbijn) does or did, we all bought the bible from lith evangelist Tim Rudman and spend countless hours in the darkroom filling the bin with failed attempts.

In those times I used Forte Polywarmtone and Fortezza for lith prints and for chemicals I turned to Wolfgang Moersch products. But Forte went belly-up and I closed the darkroom to switch over to the evil empire of digital….

During the last 3 years I tried a few times to create some faux-lith prints via Photoshop, but none were a success. I recently found a recipe that is quiet okay to emulate a lith print. And as always, afterwards, it’s easy.

1: Select a photo.

2: Add a B&W conversion layer

Often IR images stood at the base of a lith print, but I found you can also archieve good results when you do not emulate a IR with the B&W conversion.

3: Do a selection by color range and select shadow parts either by the preset ‘shadow’ or using the color range slider.

4: Feather that selection (my favorite method: quickmask mode on, gaussian blur with a very big radius, quickmask off)

5: Add grain or noise to the shadow parts. The feather of the selection takes care of a smooth transition from full to no grain.

Step 4&5 need some experimentation for the best selection (how much of the shadow) and how much grain is needed for a good emulation of the typical grainy shadows of a lith print. You can either undo/retry via the history or you can make use of the smartfilter function to have no destructive filters that you can adjust anytime. Make sure that the selection is converted to a mask.

6: Add a curve to increase shadow contrast and lower highlight contrast, as typical for a lith print.

In the image below I choose to remove a lot of detail in the deepest black by clipping them, by this the curve could also be made steeper (more contrast) in the shadow. In the hightlights I tapered the curve of  so highlight contrast was reduced. Some clipping and higher contrast in the shadows also increases the grain.

7: Tone the print.

Steps 7 can be single tone or a split tone. A split tone can be done as follows: selection by color range, select a certain range of tones. Feather the selection. Create an adjustment layer to tone the image. Now from the layer mask just created, create a new selection and invert that selection, create a second adjustment layer with a slightly different tone.

8: general adjustments of brightness/contrast via some local dodge/burn.