Create Stunning Black and White Images with Nik Silver Efex Pro 2 | Gary Detonnancourt | Skillshare

Create Stunning Black and White Images with Nik Silver Efex Pro 2

Gary Detonnancourt, More Than A Snapshot

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16 Lessons (1h 20m)
    • 1. Silver Effects Pro 2 Promotional Video

      1:47
    • 2. Welcome to the course

      1:20
    • 3. How to Install the Nik Collection for Free

      8:43
    • 4. Three Ways to Launch the Nik Collection

      6:50
    • 5. User Interface for the Nik Collection

      9:06
    • 6. Accessing the Selective Tool in Photoshop

      1:07
    • 7. How To Undo Settings

      3:18
    • 8. Settings

      2:55
    • 9. How to Use Nik Silver Effects Pro 2

      6:15
    • 10. Complete Manual B&W Conversion

      20:24
    • 11. How Selectively Apply Effects with the Brush Tool

      2:29
    • 12. How to Create and Use Presets

      5:04
    • 13. Importing Presets for Silver Effects Pro 2

      3:35
    • 14. How to Export and Share Your Presets

      1:16
    • 15. Combining Plugins with Silver Effects

      4:05
    • 16. Final Project for Silver Effects Pro 2

      1:39

About This Class

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This course will teach you how to convert your color images to black and white and make them look fantastic.  

You will learn to:

  • Make exposure adjustments
  • Contrast adjustments
  • Use presets
  • Save presets
  • Import/Export presets
  • How to create your own B&W recipe from scratch
  • How to emulate the look of different types of film
  • How to add film grain
  • How to add borders
  • Basically to create a stunning B&W image.

Transcripts

1. Silver Effects Pro 2 Promotional Video: Hello, everyone. This is Gary Teton in court for more than a snapshot dot com. And today I want to tell you about a new cross I'm offering on Nick plug ins, which are now free, which is a fantastic deal because they've always been great plug ins. And most specifically, this course is gonna be about silver effects pro to. And it's always been the go to program for pros when they want to make great black and white images. So in this course, I'm gonna take you through it, step by step, show you how to use it, how you can take a color, preferably raw image, and convert it into a stunning black and white image with a full range of contrast and detail. So check out this little clip and see how it works. - I can't wait to see what kind of stunning black and white images you can create after you've gone through this course. So be sure to enroll in the class, go through all the lessons and then post a project. This is the way we'll all learn together, and I can't wait to see what you produce again. This has been Garrity Tonic Court for more than a snapshot dot com 2. Welcome to the course: Hi, everyone. This is Garrity Tonic work for more than a snapshot dot com today. I want to tell you about my new course about Nick Silver Effects Pro, too. It's a great way to convert your color images into black and white, and you can't beat it because it's free. So I'll teach you at first in this course a little bit about how all the plug ins work. And then we'll dive deep into how to use silver effects pro to to make some great black and white images. I'll show you things like How do you create presets, how to use the presets that they already have built into the software and how you can even download presets that other people have made? Plus, we're going to go even deeper than that. I'm going to show you how you can start from scratch, go through all of the custom settings and create your own black and white image. So if you're interested in making digital black and white images, this is the course for you, and you can't beat this great free software to do it with. So go through the lessons one by one. Give everyone a try before moving on to the next one. And then at the end, there'll be a little bit of a project for you to do when you get to convert some of your images to black and white and post them for all of us to see. So I can't wait to see in the class again. This has been Garrity Tonic chord from wallet. A snapshot dot com. 3. How to Install the Nik Collection for Free: Hello, everyone. This is Garrity Tonic quote for more than a snapshot dot com today. I wanted to talk about Google's Nick collection, and I think that when Google first purchased the Nick Collection, they really weren't that interested in using it for themselves in the desktop version. I think they really ah, we're more interested in, um, what they could get out of it for mobile devices. And so I think since they really, you know, going forward with mobile, not so much desktop and all the new things that are out there, even though it's a great collection, it's probably just not, you know, that popular for them anymore. And they probably won't update it very much anymore, if at all. But they've giving it away for free, so it's a great tool to use and you should try it. And the reason I'm making this video is I have it installed on Photo Shop CC. But I'm noticing that I can't find the standalone plug in in my computer, and I can't I don't have it installed in light room. So when I had bought the collection years ago, I I guess I never totally installed it in all the places that it could be installed. So I'm gonna take you through the download and installation, and so at least you'll get to see those. Ah, some of those steps. Hopefully nothing goes wrong because I'm doing this life and I don't know what's gonna happen. So let's just jump in there and and see what happens and see if I can get some more versions of this installed. All right, so I'm going to come to, um google dot com for it slash nic collection. And that brings up this page. They don't even ask for an email address or anything like that. You just click download now, and ah, it'll download it right away. So I'm just gonna open it and, um, go through the install. I'm doing it on a PC. So if you have a Mac, things may look a little bit different, but there is ah, Mac download version. Okay. English. Yes. Okay. Just go through the wizard. Um, terms of service. All right. No need that will agree to the terms of service. It's going to go into the nick collection. It's making a 2nd 1 I guess that's fine. Alright, what programs though I wanted to install on. I already have it installed on photo shop. So I think I'm going to and avoid that. Ah. Happened to have elements 10 in here, so I might as well choose that, um, and light room is the one that I'm most interested in. Okay, it's finished. So finish that. And then I'll go to, ah, light room and see if it's there. Okay. After installing this, when you go into light room, if you go to a photo and then edit in, you should see the plug ins that were added here in this case, I didn't see them. And so I had to figure out how they had had to be added. So all you have to do to add them is go to edit if you're on a PC to preferences. If you're on a Mac, it's under light room preferences, I believe. And then if you come over to external editing right here, where it says additional external editor, I'm going to go and find my collection. And I've already done silver effects and by baser. So I'll go to ah sharpener pro here, and I'll choose one of these, I'll do the top one. I'll choose it. And then I have to save it as a preset save current settings as a new preset ah, sharpener pro and I should have looked. Which one? This waas sharpener pro output. That must be the output settings. So I'll just put output and I'll hit, Create. And then I'll say, OK, now if I come and look here under edit in I have sharpener pro out quick, so I'll go and do the other one just so that I know both of them are There s o that was preferences Had it preferences again. Go to external editing. I have to choose this time the raw sharpener. Ah, And this time, when I saved the settings, I'll call this the raw sharpener and create that one. And if I go and look at it in now, I have the raw sharpener and the output sharpener. So I just have to finish adding all of those hdr FX pro is already in there cause that's one of the ones that it does separately. It does hdr FX pro in a different way, and I'll show you that I'll do define two. Okay, so I gotta give that a name. Also, my other settings here putting as a tiff file, um, using a larger color space. Adobe RGB 1998 16 bit 240 compressing as a zip file and stacking with the original. So I mean, your settings could very here a little bit, but those settings seemed to work really well. So I'm going to continue adding those. Okay, now I've added all of them to light room. The way I'm gonna access most of these is by going to photo and then to edit in. And here you can see all of them listed. The other way I could get to it is by just right clicking on any photo and going to edit in and again here they are listed and, ah, for example, let's try va vase at this time. If I click on that, it should open up. It's gonna ask me to edit a copy with light room adjustments. Say OK is going to create the to file that we told it to create and send it over to there to whatever program I selected in this case is by Visa says the file format it for that is not supported. Cancel that one thing I've noticed. To get a visa to work properly, I had to use the J Peg format and I'll update those settings and, ah, let's see if I can open it now. It would not open the, um to file all the Photoshopped pile for some reason, but it worked when I tried. The J peg has slowed in the J peg just fine now. Involve Visa. Okay, so I fully installed all the programs into light room, and I did have a few issues with preferences for a few of the programs the sharpener, the two Sharpener programs, the Define and the vie Visa. I had to change the file format to J. Peg for it to open, but all the other ones opened with the tiff file format without a problem. So the only other thing was that there was one all of the HDR effects program, and that is not opened from the photo edit in. You could find that under file and because it handles the file differently, it's under export with preset, and if you come down to Google, you should see HDR FX pro, too, so that one is handled a little bit differently. So that's how you can install your software into, um, into light room. Ah, I also have it installed in photo shop, and you can also get to it from just a standalone plug in. So I'll show all of those in a separate video, so I hope this is helpful. Let's let me know in the comments if you were able to install it in light room and photo shop and, UM, which plug ins you like again, Thanks. This has been Garrity Tani Court for more than a snapshot dot com. 4. Three Ways to Launch the Nik Collection: Hello. This is Garrity Tonic Court for more than a snapshot dot com today. I want to talk about the Nick collection and how you can use it as a standalone program. Or you can use it as a plug in for light room or Photoshopped, and we'll talk about some of the advantages or disadvantages to each. So here I've opened my image, and I can try out different effects until I find one that I like. And then, of course, you always have options over here on the right to make adjustments to those effects. Now, once you find something you like, you can hit save. But if you do that here, you're gonna copy over your original image. So if you want to be a little bit nondestructive or savior original one, at least you have to go to file Save as, and you can pick a new file name in that way, you'll get to keep your original image and this new image. All right, so that's how you can use this as a standalone program if you don't have another program like light room or photo shop, so I'll cancel out of that now We'll go over the light room and I'll just pick an image. And this time I'm going to right click on it and then go to edit in. And then here you'll see all of my plug ins. So that's one way to get to it in light room. Another way, I would just be to go to photo and then come down to edit in and then here all my plug ins . So if I go to color effects for this time, it's actually going to ask me if I want to use the copy with light room adjustments. So this time I don't need to worry about saving as or anything. It's already gonna have a copy. It's preparing a file I haven't set to prepare a tiff file, and it should work. Although I found some of the programs didn't always work with the tiff file, sometimes you have to output it as a peg. And, uh, if you watch my video about how to install it in light room, you'll see sort of which programs on Lee worked with the J. Paige and which ones did work with the tiff file. All right, so here is preparing it and sending it over to, um color fix. Okay, so it has applied in effect, actually Looks pretty good on this photo again. You can make adjustments to this and tweak this with ease controls over here. And then, of course, now you would just hit save to save this effect. I've already saved this effect, so I'm not going to, um, you'll see in the next step. When we use photo shop, there will be an advantage to using Photoshopped over light room. So this time I, Congar Oh, right from photo shop. Or I can use light room and send it to photo shop. So the third method will be looking at here is Photoshopped. So I'm gonna go to right click on the image I'm gonna go to edit in and then to photo shop . It will still ask me if I want to make a copy with light room adjustments, and I do So now it's making that tiff file and sending it over the photo shop. I have installed Nick into photo shop so I can come down and find color effects. Here it is. And click on it Now you'll see, it'll add a new layer and a mask. So this is one of the big advantages of using it with Photoshopped because now we can be really selective about how we use this effect. All right, so here it's applied the same effect. But maybe I don't wanna have the effect on all of the image. So what you can do, because it has the layers in photo shop, is you can brush it on to just where you want it. So if I click brush, it's going to save the file and send it back to photo shop. And it allowed me to use a brush tool which will alter my mask and Onley put the effect where I want it to go So you can see here. It's saving. It's added my layer in my layer mask and now it gives me the option to fill. If I hit fill, it will put it everywhere, which is like what I was doing before, or if I hit paint, I can just put the effect where I want it. All right, So I'm gonna make that brush a bit bigger and just quickly brushed that in, and I'm gonna get that all in there. Nice and quick. Okay. Now, the other advantage to this is if I over spray, you can see here. I got some pink on the lighthouse. There isn't a race tool because we are using a mask. This is easy to do. I could make my brush smaller, and I can take that pink part off of the lighthouse, and I can see I I didn't miss over here. Put that back in. So my mask is totally customizable, and that's a big advantage. All right. Once I have something I like, I can just hit, apply, and it'll apply that to this layer. So the other events to this is, since it's on a layer is that I can adjust the opacity. If I think the overall effect is too strong, I can use the capacity slider and back it off some and just get a small effect out of it. All right, then, instead of having to save it cause I sent it from light room, all have to do is click this little X. It will send it back to light room, all processed up. It will save it. I'll go back to light room, and here we'll see the effects that we have made. So here you can see the effect from when I did it in light room and it's, Ah, stronger effect that was applied everywhere. And here. You can see the effect when I did it in photo shop, where I was able to paint it in just where I wanted it, and I was ableto lighten the effect. So it's not so strong in the sky. So again, there's three ways you can use it, and it's a great plug it no matter what, so give it a try again. 5. User Interface for the Nik Collection: in this lesson. I want to talk about the user interface for the Knick collection. I'm gonna use silver effects. Pro two is our example. But the point of this is the really that the user interface among all of the various nick collection applications is fairly similar, and so you can get a general idea of how they work by looking at this one. And while others may be different Ah, there will be a lot of similarities, so we'll start right up here in the upper left hand corner. First of all, there is, ah, menu. So we have some basic options in the menu, just like opening images, saving and images and quitting. Not a whole lot there, but fewer in useful options. Then we have presets. A lot of these collections work initially off of presets, and it's nice because you can kind of look at your image and see a preview of how it would look with these various presets without even having to apply anything to your image to get started with. And they separate these groups into different categories, the process that they give you. So we have first of all, the all category is about 38 of them in there. And then they break him down here. The modern ones. Ah, some that I've recently used classic vintage. And then you can save your own favorites. And I'll show you that in a later lesson. Um, as we come down, you can see there are some other tabs for presets like ah, custom tab, where you can create your own preset again something I'll show in a later lesson. You could also import presets that you find maybe online that other people have made. You can do that in this section, and there is a history for going back to previous states of your image. All right, so I'll return to the preset library, get us started down below. We have help. And if I were to click on that, it just brings you to the website where you can search for help on any of these applications. We also have settings. So there are all kinds of settings in here that we could tweak like what language? Um, default preview mood right now, minus using the last preset that I have used on the image that pops up. What background color do you want? And so on is also presets. For what? Gpu Ah, if you want to use the GPU for processing or not, um, facts about how you're going to set the quality of your file, whether it's gonna be a tip file or it's gonna be a J peg and what kind of quality And, ah, there's a help section, so you probably don't need to play with these settings, but just know that they're here. And of course, we have the main image area and they give you some information, like the file name. What size? The file is even a little bit about how you shot it, like the i s. So and what camera, Um, up on the top, these little icons is one here on the left, and there's one on the right and they allow you to get rid of the side panels. And so that's nice to clear up some room for seeing the image in a much larger way and to bring them back. You just click him again. They look like kind of like a little door with an arrow in there and a short cut for doing this is to hit the tab key. If I hit the tab key, both sides go away. And if I hit the tab key again, they both come back. All right, so let's take a look. Now at these little icons. This is the views that we're seeing our image. So here we have a single view. Here we have a split screen where I can move this back and forth. And if I applied some sort of been effect, I would see the before and after on one image. So let me just click something. So here we can definitely see an obvious before and after to see if we like the effect that we've chosen. And then here we have a side by side before and after effect. We also have on this side zoom control. So here we can move around to different parts of the picture. And, um, we can even choose what percent we want to zoom. So if I wanted 100% I must be already at 100%. Let's try 200%. All right, that's kind of close. Let's go to 50%. And so it's a nice way to move around and see the details of your image. All right, So to get out of the zoom mode and to go back to the 100% the way we could see the display , the full image is click on the gray Ah, zoom button itself and it returns you back to displaying the image on the full screen, Over on the right. We have different panels that have controls on every panel you can see has this little arrow. If we click the little arrow, we can shrink them up, save a little space down here or if you like, to have them all open, that can be all open. Um, you can toggle the effect of this section on or off with this little check mark. So if I made a change, let's say to the brightness and then I wanted to see the before and after of that effect, I can just check that, uncheck that little box and then check it back. And, um, I can see just the effect from this section. Set this back to zero. I can just click on the number and type in a zero, and it will bring it back to where it was before. Also, there's other little arrows here, So under brightness, if I click that down arrow, there is more stuff in here. You can adjust like highlights, made tones, shadows. So it does go deeper than just sometimes just the main slider across every section Be a little different. But if you see that there is a ah little arrow there any time you see a little arrow, click on that to see what extra stuff might be underneath. All right, um, we'll just go through these controls and then come down to the loop and hissed a gram view . Right now this is the loop view. So anywhere that I put my mouse, you can see that it changes the preview like zooming into 100%. Also, when this little scale comes up, it shows the zone area. So zone area zero is being lit up in yellow on my screen, those of the rial dark blacks in the picture. And then if I goto one, 23 and so on. So this can be helpful to try to see if the picture you are creating has some, um, tones from the whole 10 zone system. So we would like our picture in general to have a little bit of tones from all of the sections showing that we have a wide contrast range in our image. So that can be Hubble for that. Also, if I hover my mouse over this loop view section and come down a little bit, I also have something here called Hissed Agrium. And here's my hissed a gram, and that can be helpful to check the exposure when I'm making these manual adjustments also for this zone system. If you don't want these lines to show up, you can uncheck this little check box and they will not show up on your image anymore. I think that's kind of interesting. So I'll turn it back on and then at the bottom, we have cancel or save the effect that you created. And that's just, you know, the basic set up of the program. Oh, there was one thing I missed up here a the top. We haven't option for changing the background color, whichever kind whichever color you like to work with. I tend to like the ah gray or sometimes black. I so and, um remember you could set that as a default in the settings down here on the bottom left. So as I was saying, That's basically the general outline of most of the programs in the nick collection. Some work a little different, but if you learn that basic set up, they all pretty much work that way. So give it a try and let me know what you think. 6. Accessing the Selective Tool in Photoshop: in this lesson. I want to talk about the selective tool for using, um, the Nick Collection in photo shop. This is the panel that we can use toe find and to access the different APS. If this is not showing up, I'll close it for a second, and I'll show you where you could find it. So in photo shop you would goto file and then down to automate and then over to Nick Collection. Selective Tool. When you click on that, it'll make this panel come up. It could be a different size than what I have here. And if you want to resize it, you could just click in the bottom corner, and you can pretty much make it any size you want. Also, you can click on the top and move it around and put it anywhere that you want, and there's a little minus sign to minimize it. If you want to hide it somewhere down in the bottom or you have, of course, the X to get rid it, get rid of it completely, so that selective tool is a great way to access thes plug ins right through photo shop 7. How To Undo Settings: There are a variety of ways of undoing things in these programs. I'm going to show you some in silver effects, and they probably are very similar and all the other applications. So first of all, you could simply just click, cancel. And of course, that would wipe out everything that you've done. But there are much more precise ways of undoing things. First of all, when we're working with the sliders on the right side, any time we move a slider and we wanted to go back to where it waas, you could find the little button here and then double click on it and it will return to where it was before. If we happen to make a bunch of changes and we just want to see like a before and after right up here, there's little check box next to the panel that you're working in, and you could just uncheck that and it shows you the before or check it. It shows you the after that doesn't really ah, take it away is just showing you the preview of the before and the after. Now there's also over here a little backwards arrow that was should be the undue for just this panel, not for the entire settings that you may have done now would supply a preset and then look at another way you could work with before it after. And that is with the history you can see here. It's recorded everything that I've done since I opened the original image, and when you have single view turned on, you could just click on an earlier state, and it will bring you back to what you had done and you can even go forward. I can come back to what I had done before, so that's a nice way to move around and try out what you like between all the different things that you've tried. Now, if you happen to be in one of these views over here one of these comparison views The interesting thing that it will do is you have this little yellow box and you you have this Lee it little will know it's orange. I guess this little orange box points to the state that they will show you as the before state. So in this case, it's what I first opened it up in this program to this state now if I wanted my before state to be something else, I can click this in, drag it down, and any one of these states could be my before state for comparing it to the after. And it works the same way with the side by side comparison, I can still move this around and change my before state, so that's a nice way of seeing him before and after. So that's, um, the main ways of doing undo. Of course, you still have a keyboard shortcut. You could do control or command Z, and that would also undo Lucy Appear if I do control Z and that just undo it just fine. So there is yet one more way that you can undo things in the nick applications, so I hope that helps give it a try and let me know how it worked for you. 8. Settings: in this lesson. I want to talk about this settings tab and some options that you may want to choose. All right, So if I click settings, we have some options here. The 1st 1 is the interface language. I am speaking English, so I'm going to choose Ah, the United States English. But there are other choices, of course. Different languages, even English for the United Kingdom. Um, default preview mode. Ah, I have last setting chosen. Um, and I tend to leave it on the single view, so that works for me. But if I were to pick one, I would pick single image view because I like to see the image come up right away. But since I don't usually change that, I'm not going to change that. This back here is the single image view. That would be the one that I would want to see. Ah, the default background color. You have a choice of white, gray, black and of course, you could always change it at any time using this little light bulb button. But you can set it to come up with a certain color. You know, any time you wanted to every time this by choosing it here. I'm fine with the gray, so I'm going to leave it at that, setting the fault Zoom state again. You could choose a zoom state or the last setting again. I don't usually leave the program without it being displaying the image. The whole, you know, the full display size. So I'm not going to change that one either. But in your case you may under GPU, there's only one option. It's to turn it on or to turn it off. And I would recommend that you turn it on because it will help give you improved performance when rendering the images. If you have problems with it turned on that you may need to update the drivers for your video card. And if you still have problems with it, then you that would be the only reason to turn it off. Image output settings. Um, you can choose whether tohave compression on a tiff file or you could have ah zip file or an L Z W. I just choose no compression. Ah, tiff, save types, stripes or tiles. I'm not even sure what that is. I don't mess with that option. If it was a J peg. You'd want to have it at a higher quality. But I'm using a tiff. No, with no compression. So that is not an issue. Ah, improve the Nick collection. If you want to send them information about how this operates, you can check that box. But since they're probably not going to do much about it anymore, since they're giving it away for free, that option is probably not very useful. So once you have all that done, you could just say okay and those settings will be saved and you'll be ready to work with the program. 9. How to Use Nik Silver Effects Pro 2: in this lesson. I want to show you how to use silver affects pro to to make this image into a black and white. So I'm going to right click on the image and send it over the photo shop. I'm going to edit in and then two Photoshopped. I find that this is the best way to work with Nick plug ins because you can work with the ah raw file and it could be the 16 bit full color. And when it creates a new layer, it'll create a mask. So you don't have to accept everything that it does. It gives you more flexibility. So in my little tool down here, I'm gonna come down and find silver effects pro, too. And click on that. You can see here it makes a layer and a mask, which is handy for making a adjustments later on. Okay, so when you come into, ah, silver effects, first of all, you get all their presets there in categories. But if you just want to see them all, you just click on the all tab and then you can go through and see if there are any that you like that applied to your image. So I'll show you that again in a minute as you go through them. Also, you have different views. So right now I'm just looking at the single image. And if I wanted to, I could click here. Ah, where I could see the split screen and I could move. This would screen around to see the before and after, or I can see the two photos at once to see the before and after. So if I were to click on a preset, I can see the difference. So, um, for right now, I think I'll leave this so I could show you a few different presets. You can see which affect you like best. It shows you the preview here, so you get some idea of what it looks like. And if you need to see the details, there is a loop view down here. When you move your mouse around, it shows you what's going on. Zoomed in close and Chuy's brighter ones, some with more contrast, kind of like that. That's pushed process plus 1.5. Then it can go really heavy. That's not bad either. I didn't think I would like that. But one of the ones I liked was the push process plus 1.5. And I also kind of like the one that really went minus two. Let's see it minus one minus one is interesting. Let's go back to Plus, I think I'm liking, but the darker one. Now I think I'm gonna go with the minus two. All right, So the way I like to start is picking a preset that I like here, you can see a different view. I couldn't move the effect around. I noted the single view. And then here you can tweak how it's gonna look so you can adjust all kinds of things. Just play around with that for a second on, uh, contrast. I think we got plenty of contrast to this about structure. We don't want too much. True. We don't want to take away structure. Maybe just had a little bit try. Different filters is red, orange, yellow. Not much color in these photos. So not having a big effect. I think I like the red filter. You try film type as I go over. Each one is showing me the little preview. Kind of like that Kodak Classics. Let's see. Ilford is nice. I think I liked Ah. Is it this one war? Was it this one? No, I think it was ill for Delta. All right, we'll go with that and then we can add grain if we want or take it away. It's very fine grains. I'm not seeing much happen, so I probably leave it about it the way it waas. I don't think I need any finishing, All right, so I could choose here to brush this effect in, But since it's a black and white for the whole image, that's where I want it to be. So I'm not gonna brush it, and I'm just gonna accept all of it by saying OK and process it and send it back to photo shop. Here we can see the layer here is the before, and here is the after. All right, So I like that and all I have to do now to send it back to light room is just click the little X. It last me to save it, and it will send it back to light room. So come back to light room. And here it is. Here you can see the black and white version in here. You can see the color version. I just want to make sure that I'm not clipping anything too important. My instagram looks pretty good. We are definitely clipping in the blacks because it's a black background. But I think that in this case, having true black back there is looks good. So that's the way I'm gonna leave it. And that is the finished image. I would suggest that you try silver effects. Pro two is really great for creating these black and white images. It's one of my favorite black and white plug ins, and I think you can beat especially for free, so give it a try. 10. Complete Manual B&W Conversion: in this video. I want to take this photo over to silver, affects pro, too, and do a total manual conversion to black and white. And ah, see what all the options are that you can use. So I'll go over to Silver Effects Pro, too. All right? I'm just gonna choose the neutral preset to get started. So everything is very playing, so we can do everything manually, so we'll start with on this side. This is where all of your controls are. Course you have all of these little, um, arrows here which give you access to all the different panels. And if I open up the first panel, it's all about the global adjustments. These are things that you can adjust that will apply to the entire image, and so you might want to do some things globally, but a lot of times you might want to do things a little bit more selectively to certain parts of the image. And there are ways to do that. So, for example, you can see here if I increase the brightness, Of course, that one's obvious what it does. It just increases the brightness who are reduces the brightness Also, I want you to notice that if you make an adjustment that you don't like, if you just double click on the little bar, it'll reset it back to zero. So that's a quick way to get one individual bar back to where it waas. Also, if you make a bunch of changes and you don't like what you did, you also have this little undo button right here, and it will return all of those sliders back to zero. And one other thing I want you to realize is that little check mark. So if I again make a big difference, this is the before and after. Check Mark again just for this section of adjustments, so I'll put that back on again. I'll reset that. So you'll notice here that there is a brightness slider. And if yours looks like this, you have to remember that every time that you see a little arrow, it's possible to click on it and open up more options. And you should probably do that because you'll have more control over your editing. So in this case, under the brightness section, we could just go with the general brightness adjustment. But I don't find that that's the best option. They have this thing down here called dynamic brightness, and somehow I find that it does a much better job of in either increasing or decreasing the brightness. So let's see, with this photo, I could take up the brightness a little bit or kind of what's cool if I take it down a little bit. So I'm gonna take the brightness down a little bit. I think it really helps to bring out that lighthouse. And you can also have control over course the highlights, the mid tones in the shadows. This is similar to what you could do in, you know, light room or photo shop. But you do have some ability to do that. Here, here, here, I'm reducing. The highlights of that White House are here. I'm bringing it up, so I'm just gonna take it down. Just a small amount. And I wanted to look like it's over exposed again. If I put my pointer here, you can see down in the loop you in the bottom. Ah, right hand corner. What's the result of this change? And so I think the highlights are looking a little bit better. Maybe I'll take it down. Just a touch. And I want them to look like they're over exposed. All right, so next we have the mid tones in the photo, so if I bring them up, you could see it takes away contrast, but it brightens up areas. Ah, in the front here, like the water and the rock. I like that affect up front and kind of like that effect in the middle. But I'm not sure that I really like it in the middle parts of vote. That's why I mean, sometimes you want to do things more selectively, so maybe I'll bring it up. Just a touch, and then the shadows is gonna work in the dark parts of the pictures. So, for example, if I brought it down, you could see I could make the rock really black. Um, again, I think I'd rather do that a little more selectively. I'll bring it down just a little bit. All right, so that's everything under the brightness panel. If I wanted to, I could close that up and then work on the contrast panel. So with contrast, of course, I could just make a broad sweeping adjustment of less so more contrast. But I probably be better off to use these sliders like to amplify the white or amplify the black. All right, so, of these, I like the effect of the soft contrast. Just a small amount. Okay? And then we have a structure is our next panel. And again, I could increase the structure, but it since it applies it everywhere you can see Well, we might want structure in certain places, but not in may be in the middle of the water, so I'm not going to apply it that way we could apply structure to just the highlights. So let's see if we increase that I'm not okay. I'm noticing a small difference here. Probably cause I'm not zoomed in very much. Let's see, Forget zoom in more on the lighthouse so we can see if I use that highlight slider. Okay, so there's no structure slowly adding structure. All right? It is having some effect. I'm just gonna increase it here. I'm gonna zoom back out to 100% so we can see now what's going on. The mid tones that's gonna affect the rocks, but also the water a lot. So I'm going to take the structure on that down a little bit, and then the shadows. Let's see if that's gonna affect the ocean. Yeah, that's gonna have a big effect on the ocean, too. So I'm not gonna put much of that in there and then fine structure. All right, that again is going into the ocean and into the sky. So I don't want to do that one, um, adjustment globally either. And again, you can protect shadows and highlights. So again, if I thought that this was over exposed by a lot, I could use the protect highlight slider, and you can see it will, ah, bring down the brightness of this over here. And same thing for the shadows. If I was clipping shadows, if it was two black, my moving this you see, it takes away that contrast. But in this case, I'm not clipping shadows, so I don't need to make that adjustment. So that is the last adjustment in our global adjustments. So close that, and I'll zoom back out. Um, so you so does zoom back out. You just click on the word zoom and it'll bring it back so you could see it on the pole size. So now we'll go to our selective adjustments here. These programs in the neck collection used this control point technology, and it's okay, but, um, it's to me. It's not quite as good as doing it in, even in light room, but especially a photo shop. You have much more control if you use layer masks, but this is a quick and easy way to do it. You click on the control points, so let's say I want to affect the white of the lighthouse. I click it on here and then I can increase this circle now. Supposedly, it's supposed to be just selecting the pixels of this color, but it seems to do a whole lot more than that. You can tell because you can turn on with this little button. Over here, you can turn on the mask and see what is being affected. So it's It is not totally the size of the circle because it is looking at the color of the pixels. But it also goes a little bit by the size because you could see there must be some of this color in in this area out here because it's bleeding off of the lighthouse. It's just not constrained to the light house in this particular case, so you have to be careful of that. So you have to be aware in this case, it's not only the size and the color, so I'm gonna make it a little smaller so that it mainly is affecting that now. To see the adjustment that you're making, you don't want to leave the mass turned on, then you won't see what you're doing. But once you pick the point, you can see that there are brightness sliders. I could make it brighter or darker contrast, um, structure. And so I won't increase the structure a little bit. And if you click that little down arrow, there's other things like Ah ah, amplify whites. Or you could take down the white. So just bring up the white. They're a little bit ah, amplify the black. Since I haven't really selected black, I'm not going to do that fine structure now. This would be a time to add some structure because now I'm doing it just to this area and then selected colorization. I'm not colorizing. It's so I'm not going to just that one. Now, once you have a control point, if you click somewhere else in the screen, you could see all that stuff goes away and it will make a list of control points here. So if I could click on control point again and this time I'll select these rocks, so I'll check the size again. I want to make it smaller and and more confined to these rocks. And so the main thing that I want to do with rocks is add structure. So I'll pop up the fine structure and probably gonna pump up the contrast. Okay, Now, if I want that effect to be applied to all of the rocks, all I have to do is hold down Altana pc, um, and then click and drag this over to the other spot. So it's duplicating this point, and I can keep doing that and keep placing these in different spots. I can keep duplicating these points so that effect is brought all over the place. All right, now I'm going to ah, make another control point for this rock down here. Can I want to see this mask? And here it's showing me what I'm controlling. So again, I mostly want to be on the rock. And again, in this case, I want to bring up the structure. And I might want Oh, um bring up the mid tones, bring up the brightness a little bit and bring up the contrast a little bit and, uh, may be amplified the blacks. It looks interesting if I bring it up, actually, so I'm gonna bring it up a little bit. Um, then I'm just going to duplicate this whole down all and drag it over. Drag it over. See? So this is one reason I'm not a huge fan of the control points. It is bleeding over into the water, and it may not be completely, totally even, even if I make this a little smaller. So this type of thing could be done in light room as well as Photoshopped doesn't have to be done here with the control points, but it can be Yeah, I'd also like to brighten up this water over here, so I'll make a new control point. I'm gonna put it on the highlights of this water and I'm gonna increase. Ah, not the size. I'm gonna make this smaller, but I'm gonna increase the brightness and maybe the contrast and the structure, all right. And I need to probably make it a little brighter. And then I'll just duplicate this control point along. Some of these white areas has to give some highlights to the to that water. And then if I click on the screen here, it just shows me all of those control points. I want to see the before and the after Aiken decided by, like that effect and generally it's okay, may not be perfect, but that's fine. All right, So for the next part, we go to the color filters here. It offers you color filters like if you were going to be shooting film black and white film . You used to be able to put on filters to create different effects so you could just kind of click on the different ones. Gray is not doing much. Ah, read, for example, filters out red light in changes. The appearance of the photo orange, yellow, green and blue blue had the biggest effect. Most of the photo was probably blue, so I have to decide if I like it a little lighter like that, or do I like it darker? It's a totally different effect. I think I like it a little bit darker now. Of course, there are sliders where you could tweak in between different hues. It doesn't have to be these exact Hughes and the strength of of this effect. So I think I'm good with this adjustment. And then we'll go down here where you really get to the final polishing of the image, and it offers you film types. And I think this is probably one of the biggest strengths of this program, and you can scroll over it and it shows you the effect that this film would give and so I can check out a few different ones, see what I like. I'll do it quickly. Since we're watching the video, some add more grains, some at less drain. But no matter what you do, so let's say I like top one. You can also make changes to you don't just have to accept what they have done. If you want it to look like that film, you do have to accept that. But if you wanted to make adjustments, you could change them. So, for example, if I wanted to be a little more grainy, I could pump up the grain a little higher and even bring up the coarseness of the grain. And so I'll do that. And again, you have things like sensitivity. You could adjust that everything about this black and white. But since you've chosen this film in this case, I'm gonna leave it that way. That's what I've chosen. And you also have levels and curves again. You could further adjust that. So if I wanted a little bit of filmic look a little more of a adult sheen, I could bring the blacks up a bit, something like that and make it look a little bit more like an older film photo. All right, so I'll close this section. I have chosen my film type. Then we have our finishing adjustments. So one of the things you can do is tone and image. So when you click this down arrow, you have all these different options so you can see here different tones in applied. Some tones will work with the image, and some tones won't I think I liked it as a straight black and white, but we'll see if any of these look interesting. Maybe like some sort of a C p. A. Might be interesting, kind of like that one is sort of subtle as a little bit of toning to the image again, if I want to see the before and after, that's the before and this is the after, so it kind of warms it up just a little bit. And again I could make adjustments, the strength and all of these options for adjusting that tone. In this case, I'll just accept those, and I'll close that and will go on to the vignette. Not every image needs to have a vignette. You could, you know, create your own vignette manually, either black or a white vignette. Or you could choose one that they have pre made. I think I like that one and after you've chosen and you can still make adjustments to it if you wanted to, um, you could also burn the edges selectively. Here you can choose Just let's say I just wanted to burn just the left side so you can see here. It's a little darker on the left side. Maybe it makes it look like there's a little bit of mistake in the with the film processing . Maybe I won't go quite that strong. It's a little darker on that side and on that side, and you could also apply image borders. So under image borders here we can look at some presets and again they're totally customizable. I'll just pick one that I think is interesting for this for Oh, yeah, I just kind of like that white, plain white border. Well, maybe that pulls away too much attention from the image. Let's try something different. Maybe playing black. Yeah, let's just go with a plain black Lycra. All right, so that is the last adjustment. Now we've completed our image, and we can take a look at the before and after. This is where we started with just the neutral. And here we have the finished, whether it's better or worse, Hopefully, it's better. It's up to, you know, each individual artists what you think, but definitely go through all of those manual adjustments and see how you can tweak your image to make it more interesting. So I hope this has been helpful. This has been Garrity Town. A quote for more than a snapshot dot com 11. How Selectively Apply Effects with the Brush Tool: in this lesson, I'm gonna show you how you can use silver. It affects pro too twice. 11 Time for the background, one time for the foreground. All right, here I am in silver Pecs. And but I noticed when I'm looking at the presets is if I pick a docker under exposed preset, it brings out a lot more detail in the sky and makes the sky more interesting. But I don't necessarily want tohave the lighthouse tower thing. Ah, to be that dark. So I'm going to choose to brush in the effect instead of just accepting it. So when I click click on Rush, you can see here. It gives me the option to paint it in, and you'll see that it made a mask. So if I click paint wherever I paint this in, that's where the effect is going to go. And so I'm just going to quickly pink this in on the background on. You'd have to take your time. Make sure you don't miss any spots, but I want all the sky to be dark. And of course I'll probably overlap a little bit onto the tower. Little edge burning, Probably a little bit all the way around. Just a little bit around the edges. Okay, so I have the background in the sky looking kind of the way I want, so apply that effect. Here's my mask showing where that was applied. Now, this time, I'm gonna go back to silver effects, and I'm gonna pick a a profile for the tower itself. Okay, so now I'm gonna pick one where I think the tower looks good. And I think one of these high structure ones, some of the older ones look kind of cool, but I think for this one, I'm going to go with hi, structure. All right, So if I say OK, you could see now it completes the image. Um, I have the doctor background in the lighter core ground just by using two different presets . So give that a try. Remember that you can use the brush tool in the mask to do these kinds of effects. 12. How to Create and Use Presets: in this lesson. I want to talk about using presets in the Nick Collection specifically here in Silver Effects Pro, too. Of course, Up at the top, we have different categories, and we can see all of them. So one of the categories is favorites, and I said I would show you how to make a favorite presets. So if I come over to all the presets, let's pick one that I tend to use frequently. And one of the ones that I like is the push process n Plus 1.5. So if I click on that preset, um, it shows what it would create. It may not be the best for this image, but it's one that I like for a lot of other images. And then right near the name there's a little star. If I click that little star, it will add that preset to my favorites. And it's just that simple. Um, and I can click on as many as those as I want, and they will add the malt that favorites category here. I can see all of the other categories, and these, of course, are all the ones that came with Ah silver effects. Now, also with presets, you could create your own preset. And so for this, I'm going to start with, um, one of these presets that already made. Ah. Where did it go? Let's see. All right, this one, it's under exposed. I like the general effect of this. It gives this old building sort of a gloomy look, But I like to see maybe a little more, um, in the highlights. So I'm gonna come up to brightness and in the highlights, I'm gonna boost the highlights up a bit and maybe boost the mid tones up a bit. It takes the shadows down, going to create more of a high contrast image. Maybe I'll take the highlights down just a little bit. We still want a little bit of that gloomy feeling, so we don't want the highlights of too much. Okay, so that's one thing I could do, and I could come over to the grain and different films. Let's make it really grungy looking, So I'll try one of these films. 3200. We'll try that one, and we'll mess around with the grading structure. I'm just gonna pump it up and make it really obvious that we've added some grain. Maybe now I need to take the highlights down a bit because that preset has added some. All right, so I made the image much different than the original preset. So if I like what I have done, all I have to do to create my own preset is to come over to custom and click the little plus and give this preset a name. So, uh, call it, um, I don't know, high key grunge. So try to pick a name that will describe what's going on with the preset say okay, and that it adds it here, right here. So now that it will be available any time, I wanna use it on another image. Now, any time you're working with the presets Ah, that are either custom or imported. You have these little boxes that are on the edges. Okay, so the first little box has an X, and you can click on that to delete the preset. If you're not going to ever use it again, this little previous Ah, this little corner arrow allows you to export this preset to share it with somebody else, and then this little, um, icon down at the bottom allows you to update the presets. So if I came over here and I made some sort of a change to this preset, maybe if I add like, ah, an image border, I could, um, let me find the right one. If I click this little icon, it will replace the original recipe with the new recipe, which includes a border. But I say yes. Now it will add this border every time this preset is used so you can continue to make changes to process that you've already made. I don't like what I've done to this image. I can come back to neutral. Um, and this is the way that it first imported into the program. And then I could come back to my presets and begin working on it all over again. So that's the basics of working with presets. I hope you try it and see what works for you. 13. Importing Presets for Silver Effects Pro 2: all right. In this little tutorial, I want to show you how you can download presets for Ah, the Nick Collection in this case, Silver Pecs Pro, too, and then install them. All right, So the first thing I did is I just did a Google search for free presets for Nick Silver Effects Pro, too. And I came across this site is giving away 10 free presets. And then you could read the article, and you can see the previews of kinds of images that the presets will make and then down at the bottom. Ah, he asks that you give him credit if you happen to use these press presets when making photos. So all you do is click here to download it, and I'll put this link in the ah notes. And in my case, it asked me to send it to Google drive. When I click free presets, it downloaded into Google drive. And then I was able to download it directly from Google drive onto my computer, which I've already done, and you could see down here. Free presets is now a zip pile in my, um, downloads folder. So if I go over to my folder. This is my downloads folder where I downloaded these free presets. It's a census zip pile. I have to extract it. So I'll right. Click on it and extract all. And it'll ask me, where do you want to put this extracted folders? So I'm gonna click, browse, and I'm gonna go to probably pictures. And, uh, choose my pictures folder, my pictures folder, and I'll create a sub folder in there, and I'll call it, um, silver effects presets. Let's call them custom presets, since they're not the original ones that were in the program. All right, so we have a folder and I'll say, OK, now it will send those files to that folder. Well extracted. And there they are. Okay, so now I don't need this up anymore. Now I can come into silver effects and go down to this bottom tab. This is imported and then click the little plus icon. Now I have to go and find Were that folder is so I know I put it in my pictures, and then I called it silver effects Custom presets. So here it is. All right. So now I should just be able to click on it and do control Ada toe. Highlight all of the presets that are in there. There should be about 10 of them and say open. And here they are coming in. And then I could take a quick look and see how they look. Course not. All of them will apply to the image that I have up, but some may look good. Just go through them quickly. Looks like a nice little set of presets. So again, I'll put a link in the notes section so you can go download these for yourself and give them a try, and we'll think she leave photo for putting that up. So give that a try and see if you can import someone else's presets into silver effects pro , too, or any of the other Knick programs. 14. How to Export and Share Your Presets: here. I've made some changes to my custom preset, high key grunge. And now I'll show you how you can export it, and I'll put it so that it's available for you to download for free so you can try it. And so I'll go right to this little arrow for exporting. When I click on it, it shows, uh, my file system. I already have a folder that I had created for presets that I've downloaded before, and I called this preset high key grunge and I'm going to add Ah, my little, uh M T A s s for more than a snapshot. High key grunge. And then I'll just click Save Now that is saved in my folders. So if I come here to my pictures folder and I go to right here to silver effects custom presets, I looked through this list. I should see my m test custom preset. Ah, which is right here. And I can I can copy this file and make it available for download through my course. So try it out and see if you're able to import presets and use them and see what you think 15. Combining Plugins with Silver Effects: all right. In this video, I want to talk about some Nick plug ins like, ah, color effects pro and, um, Silver Effects Pro, too. So I'm going to take this photo from light room and send it over the photo shop because it's, ah, a little better to work with Nick Huggins through photo shop. So it's gonna take a second to go over. Okay, so here I have my nick plug ins, and in this case, I want to use first, um, going to try some color effects, pro four. You can see here it makes a layer, and it puts on a mask, which is the advantage of using it in photo shop over using it in light room or just using the program. The plug in by itself. Also, it's working on a two file, not a J. Peg here. So here you can see that we have our different views in C. Just one photo. I can see a split, and I can move the effect of the split, or I can see the top versus bottom. So right now, I just want to see the one photo that I'm working on, and I want to use first, the detail extractor. All right, so that was the detail extractor. Then I want to try some pro contrast. All right. Now I want to convert this to Black and White, so I'm going to use Silver effects pro, too. Okay, so right away, I kind of like the effect that it is providing the Let's see what other preset choices we have. Try dark. No light, no. All right. I like the way it was right from the beginning. Let's try a little more contrast and let's see. Structure. No, not not more structure. Maybe just a tiny bit. I think I like the red filter film types. I usually like. Kodak. Tri X might be a bit too gritty, though. Let's see. All right, Team X, because you could see as I roll over them, I can see a preview of what it's gonna look like, which is very handy. Well, that was kind of nice. Fuji New Pan Arcos Macros AG, for Helen's close, then. So the neutral and I think I like the Fuji. So I'm gonna try that one for this image. I don't think I'm gonna add any green toning. Been getting burning. I don't think I need any of that. I think I like it just like that. So I'm going to say OK, you can see here is bringing in the layer some. This is what it looked like in color and then in black and white. I kind of like that effect. So I will just close this and it will save it all the way back to light room. And so if I go back to light room, you could see it will come in, and here it is. So that's the black and white version, and that's the color version. 16. Final Project for Silver Effects Pro 2: Hello, everyone. I want to welcome you to the final lesson in the final project for this class. And since we've been working on processing black and white photos, I really want you to go out and take some photos. Of course, you should shoot them in color, especially if you can shoot a raw file with the purpose of bringing them back and color, correcting them into a black and white photo with silver effects pro, too. So go out and capture some interesting images. Remember that almost any image can look good in black and white. But look for things that maybe have a lot of texture or that have some old or nostalgic feeling. Or maybe just have a scene that has a lot of contrast. All of those types of things seem to work really well for black and white photography. Or maybe something really, you know, artsy looking. See what you can come up with, then come back to your computer, process them and then post them in the project section. We'd love to see what you've done. Also in the show notes. I'll post a coupon code to one of my other photography classes you can see here I have one at more than a snapshot dot com about basic photography about light room and about how to print your photos. So check out that coupon code down in the description and we'll see you in the next class again. Thank you. This has been Garrity Thanakorn for more than a snapshot dot com.