Putting It All Together – A Complex Transformation
The final monochrome example shows what can
be done with a combination of the techniques mentioned above. Methodology was,
after a careful examination of the tonal ranges, to adjust each tonal zone,
adding anchors as needed. About all that needs doing to this before printing is
to clone out the black vapour trail in the sky and crop tighter.
Control arrows and the tonal changes:
- 1 is inserted and required by PWP. In
this image it remains untouched.
- 2 Is an anchor and was added after 3 made
the deeper shadows too light. It anchors the shadow under the bike and
parts of the saddle bags. Location for 2 was determined by the tone range
between the shadow under the bike and the desire to lighten the saddle and
backrest leather, then fine tuned to get the desired result.
- 3 & 5 These control arrows were added
to lighten and invert the darker parts of the bike – the seat and saddle
bags. Probe was used to determine their positions, then they were fine
tuning. Note that 3 moves the dark regions into the mid grey tones and is
located in the tonal range of the seat/saddlebags/backrest.
- 4 & 7 are anchors to contain the
effects of 5&6 and also cause inversions in the grass tones.
- 5 & 6 these stretch the tonal range
of the grass , giving it a grey floaty look. As 6 is located within the
tonal range for the grass, partial inversion has taken place due to the
effect f 7 and 8. Similarly 5 is also within the tonal range for the
grass, so inversion’s taken place at that end of the scale as well due to
4. Output tonal range for the grass was also picked to maintain the
definition of the front wheel and prevent it disappearing into the grass
as has happened on some of the other exmple images.
- 8 & 9 The primary purpose of these
control arrows is to invert the sky’s tonal ranges, creating the halo and
dark sky which together frame the bike and allow the white outlines to
better delineate the bike.
- 8 has also caused the rightmost trees to
be almost white, and has lifted the leftmost trees, giving them white
- 9 Has the effect of pulling the highlight
areas of the bike down into the dark greys, adding to the complexities of
the highlight areas. This large stretching ahs caused posterisation which
has caused an interesting ringing effect around the highlight line at the
front of the saddlebag and in other areas.
- 10 and 11 invert the remaining
highlights. As 9 has pulled part of the highlights into the very dark
greys, 11 was only moved as dark as the mid tones, giving more tonal
ranges in the forks.
As the bike falls into many tonal ranges,
the effects of adjusting the other areas of the image have inverted various
areas of the bike as well as the highlights. 6 & 7 lie in the tonal range
of the front mudguard/fender. Tones in the fuel tank range over almost the
whole tonal range of the image.