I found this beautiful lady in Venice Beach. She didn’t say much, but I think she was into me. Don’t let her distant stare fool you, she had quite the personality. Underneath of her “I’m sexy and I know it” facade, she’s screaming for attention. Because she is, after all… abused and ignored.
There you have it, straight out of the camera.
Minimal processing for white balance and exposure (using the “Auto” setting in ACR).
I used the technique from my “Redscale Process” described some weeks ago. After adjusting the curves, the blend mode was set to “color”.
Again, from the mentioned Photoshop technique. Opacity set to 20% and blend mode to “color”.
Added some contrast to make it a little more punchy. Blend mode was set to “luminosity” to preserve previous color adjustments.
Now if I could figure out how to create the same effect in ACR I’d be pretty clever.
This shot was taken during the La Jolla photowalk in early February. At the time, I found the scene to be very interesting — the hut, the birds, the people, and the ocean in the background really seemed to work together in this candid shot. I kept things fairly well centered because of the strong symmetry already present in the hut. The Birds and the people served to break up that symmetry in isolated areas, so I didn’t feel I needed to break it up even more. Lucky for me, I also left some extra room at the top of the frame, which served as a nice backdrop for some heavy vignette.
All of the following post-processing steps were done with Adobe Camera Raw — no Photoshop was used on this photo.
Untouched RAW Image
This is what the image looked like straight out of the camera. It could probably work as a color image too, but I wanted to go colorless.
Black & White Conversion
Before doing anything, I switched to grayscale. I pushed the red, orange, yellow, green, and aqua to negative compensation while the blues, purples and magentas were pushed in the positive direction.
I left the white balance set at a temperature of 5800 and a tint of +3. I left the exposure, recovery, and clarity set to zero, while I boosted the fill light to 46, bumped the blacks up to 36, dropped the brightness to 16, and pushed up the contrast to 52.
Tone Curve Adjustment
Using the parametric tone curve, I set the highlights to +41, lights to +39, darks to -44, and shadows to -76. This gave me the strong contrast I was after, and I actually pushed a bunch of the highlights and shadows off the histogram.
Vignette and Sharpen
In the lens correction menu, I set the vignette to an amount of -76 with a midpoint of 19 — and this gave me the strong frame around the hut while filling in some of that sky. As a last step, I set the sharpening under the detail menu to an amount of 50 with a radius of 1.5 pixels.