Electronic toning in photography

"Photography is a visual language." Language, by all means, is for people communication and photography is no exception. Photographic language can sometimes communicate a photographer's thoughts more successfully than the spoken or written word. Photographic images made of silver gelatin with toning will have some different merits. Toning, itself, may evoke viewers' responses and help photographers to express their feelings more successfully.

Ansel Adams mentioned that the film is the score and the print is the performance. It took me awhile to understand the real meaning. For example, in landscape photography, making prints is not reflecting the reality of the scene. It reflects the photographer's perception, or interpretation of the nature of the scene. That is why prints made by several photographers shooting the same scene at the same time are different. In black and white photography, making common silver gelatin prints with some toning processes may enhance and subtly convey the photographer's insight.

Both photographic tonality and toning are very subjective issues. The use of photographic toning is the photographer's decision. However, special toning sometimes adds significant cost and time, which in reality, places limitations on the photographer. Also, it may create problems related to the storage of chemicals and "toxic" hazards.

Due to the current digital techniques, we now can do "something close to darkroom work" without chemicals. Time is no longer an issue. If the time is limited, we can do part of the work one day, save it for several days, and finish it later. In the darkroom, as we know, we cannot quit working in the middle of the processing. The most important matter is that the results accomplished with the computer and inkjet printer are quite impressive. However, they are not exactly the same as those made by craftsmen in the darkroom.

The digital information of the images exhibited here is acquired by scanning the film. To date, the best digital image information can be received through scanning films or using high-end digital cameras or backs.

To get black and white digital images from the black and white films and pictures is straightforward. In order to get black and white digital information from color films and pictures, you will need to scan the images in color; Photoshop[R] software does a very nice job. Based on your preferences and experience, there are several ways to convert the color digital image to the black and white one. One simple method is: Load (open) the color scanned image and go to Image>Mode>Grayscale>OK, followed by Image>Mode>RGB Color. Another method is: After loading the color image, go to Image>Adjust>Desaturate. These methods will allow the converted black and white image to be processed as a color image. As a result, the color balance and the Hue/Saturation functions are still available for image manipulation.

After the converted black and white image has been adjusted with the levels and curves in Photoshop and satisfies you visually, the electronic toning process can start. Go to Image>Adjust>Color Balance and move the three slide bars to change the image color. The proper color can be achieved by previewing. The image can be toned to a blue, greenish, sepia, or gold color--or even close to a platinum or palladium color if you prefer.

If the screen and printer have not been calibrated, the final step is to make a test print to be sure the toning color of the final print is what you are expecting.

Toning plays an important role in delivering the photographer's message, in visually inspiring the viewer, and in sharing joy with the viewer.

COPYRIGHT 2003 Photographic Society of America, Inc.
COPYRIGHT 2003 Gale Group