Mannequin. Ridiculously underexposed with a Nikon D200. Brightened greatly in Lightroom 3 (beta). I thought it looked interesting.
January 2010 Archives
Sometimes I find it necessary to copy a Photoshop color channel into the layers palette.
The standard workflow for this is to select the channel which interests you, ctl-A, ctl-C (on a PC) to select all and copy, then return to the layeres palette, make a new layer, and ctl-V paste.
If you do that, however, your channel will not be color managed. That matters if you plan to reconstruct those channels later as done here in RGB or here in CMY and hope to form an image that matches the original.
The way to use the Black & White Adjustment Layer to derive, say, a green channel, is to set all sliders containing green to 100. (That means the green, cyan, and yellow sliders) Then set all other sliders to 0.
You can save that set of sliders as a preset for convenience later.
The fifth image in my Nothing is Real but the Girl series.
Hokusai's Great Wave off Kanagawa is so iconic that I think it works well magnified and made somewhat more abstract - somewhat similar to the way Landor Associates handled the corporate ID program and signage for General Electric. Large and cropped.
Selective desaturation has a bad name but I am liking the effect of applying desaturation through a luminosity mask.
I think this could be a great effect for an austere, painterly look, or maybe even as a basis on which to build a pale pinup look.
To get the luminosity mask I go to the channels palette and control-click on the RGB composite channel.
To desaturate I use the Black and White Adjustment Layer. Never Hue/Saturation.
Hue/Saturation-based desaturation turns all additive and subtractive primaries to the identical 50% middle gray. Yuck.
