Monochrome Conversions – Nik Software's Silver Efex Pro

There are many ways of skinning the monochrome cat, indeed we wrote 16 pages on the topic in May 2006 and have periodically covered the topic in bits and pieces since that time. Much of what we wrote in 2006 is equally applicable today. A key step forward in 2006 was the introduction of Epson UltraChrome K3 inks which dramatically reduced metamerism. This is the disturbing effect that causes two colours which match in one type of light not to do so in another type of light. In monochrome this manifests itself as the print typically looking magenta in tungsten light, turning to a green bias in daylight. The improvement of the K3 ink set over its predecessor was almost 100% and it did significant damage to the 'all-black' multiink systems (which are still popular though, especially amongst the enthusiasts). HP joined the party with an ink set that performed well in monochrome shortly afterwards.

Along with improvements in ink technologies, Adobe have also beefed up their monochrome conversion facilities in both Photoshop and Lightroom. Using either the RAW file converter set to greyscale mode or using the specialist Black and White filter from the dropdown menu, most of the sophisticated controls that people developed actions and routines for have now been built in to the interface. In old money they are glorified 'channel mixers'. However, the old Channel Mixer allows for blending in only the primary RGB colours, the new versions allows you to blend the secondary colour (CMY) along with the tertiary orange, aqua and purple. This facility is as much as many users will ever need, and, significantly, can be utilised in Photoshop actions to automate your workflow.

Above: This is the default conversion in CS3 which is accessed by clicking the 'Convert to grayscale' check box in the RAW file converter.

It is against this backdrop that Nik Filters introduce Silver Efex pro. In a nutshell they have taken all the techniques that are around, added a few more and then wrapped the package in an interface that includes their fabulous U-Point technology.

ABOVE: Adobe CS3 RAW file handler. Note the influence on the grass, rendered dark in the top example and light in the lower example. The red line highlights the slider that has been changed.

The key features, highlighted in the press release, are quoted as:

Above: An example of selective manipulation in Photoshop at the top and a Silver Efex default 'antique plate' setting at the bottom.

U Point® technology – U Point powered Control Points enable you to selectively control the tonality and contrast of an image without the need for any complicated selections or layer masks.

State-of-the-Art Grain Engine – a revolutionary new grain engine that truly mimics the silver halide process and creates the highest quality black-and-white images possible from scanned or digital colour photographs.

Film Emulation – a comprehensive collection of 18 emulated blackand-white film types, including the grain, colour sensitivity, and tone curve for each.

Advanced Stylising – one-click adjustments can be made from a choice of over 20 pre-set styles from nostalgic processes like the Ambrotype and tintype to classic artistic renderings, trendy high contrast, soft focus or grainy images that emulate the most popular film types and shooting styles.

Above: The standard interface. The pre-sets are shown down the left-hand side of the screen. The top controls on the right are for brightness, contrast and structure. These may be applied via the unique UPoint Technology to control where they take effect.

Above: It is possible to control the grain of the image to mimic a wide range of silver film (Pan X, T-Max, FP4, etc).

The infrared conversion pre-set is one of the better ones we have seen and very easy to apply for non-experts in Photoshop.

It is interesting that Nik make very little of the features that are duplicates of what Photoshop already does.

The filters work in both 8-bit and 16-bit in both RGB and CMYK. They do not work with greyscale digital images. This is not as daft as it sounds for you might be tempted to try material scanned from a monochrome negative. What actually happens is you are shown an error message. However, if you convert to an RGB file (still a black and white image of course) then Silver Efex becomes available again. The monochrome complementary filters (orange, red, yellow, etc) do not work for there are no colours to leverage the luminances with but, other than that, most other things work quite well, including the 'traditional' coloured toning techniques.

The Zone System

For those who are only just shifting onto digital the Ansel Adams' Zone System is provided at the base of the righthand pane. Here you can click on any, or several, of the zones and those areas of the image which reside in that zone are cross-hatched in the image view. By double clicking you can hatch-in more than one zone. As a teaching or learning tool this could be very useful but for image control it is probably of little use.

The Styles

Pre-set styles are available in the left-hand pane. You may also create your own styles. They may be tagged as favourites to reduce the length of the list (20 styles by default). The presets include:

Neutral; EV -1; EV +1; High Structure; Push and Pull ( four, +- 2 stops); red, orange, yellow and green filters; sepias; Ambrotype; Cyanotype; Tin Type; Infrareds (2); Skin Soften; Wet Rocks; Antique Plates; Solarisation; Holga and finally, pinhole.

While a style is applied you may also adjust the other parameters from the right-hand pane (tone adjustments, etc) and then combine this into a new style if you choose. You can also mix in different effects for limitless permutations.

Workflow

Multiple images may be processed in Apple's Aperture. No automation seems possible in the Windows' platform. We attempted to create an action that utilised Silver Efex but it was ignored by the action script of CS3.

Learning

If you visit the Nik Software website you will find a dozen tutorial movies showing aspects of using Silver Efex. These are well worth a visit before you buy or try the software as they are quite short but well made.

Output

Silver Efex runs from within Photoshop and delivers to Photoshop when you hit the 'apply' button. You at least have the luxury therefore of working with your (hopefully) calibrated screen. From there you can use your normal printer drivers to get the ink onto the paper. The first question to arise with an Epson is whether or not to use the Advanced Black and White driver. It will usually be a safer bet unless your file has been toned for colour, you must then use fullcolour printing and hope that your neutrals are well under control.

Above: The Zone System shading in action.

Above: The filters should be applied with a little caution as they can induce damage to the structure of the image. Note the grass in the lower right of the left-side image and how it is smeared compared with the true structure shown in the rightside image.

The lakes of Kilarney in this summer's weather.
Manipulated in SIlver EFex.