. . .Black/White or Monochrome Images and. . .
. . .Picture Window Pro. . .


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Some thoughts:

I am more interested/knowledgeable regarding color image post processing....

....but here are some points I usually will follow.   I have not used the 'gray balancer' as generally I prefer to tint my monochrome images if I print them with a very low saturated sepia toning...   a warmer tone than true BW and I avoid having to counter the color cast that my printer may have...   for the most part I do not print true BWs...   they are for web display if done at all...

A PWP BW conversion approach:
  1. Convert from the 'best' enhanced [brightness, contrast, saturation, sharpened] image color version, perhaps even enhancing S & V or a particular R or B or G channel to an extreme.   [BobC discusses the use the PWP's ColorCorrect transform and the HSV color space model to adjust a color image's tone/color for preference conversion gray tone brightness/contrast here.]
  2. Use the Monochrome transform with amount setting = 99.7% [shift-mouse click 3 times on the left side of the default amount slider of 100%].   This will result in an essentially BW image in either 48-bit or 24-bit color depending on the input image rather than either a 16-bit or 8-bit truly BW image, preserving the original image bit depth.   This is a nuance that probably has no discernible improvement in print/image quality if not done.
  3. Make a first conversion of the 'best' color image by Apply-ing the Monochrome's default 'luminosity' green filter [RGB = 21.6; 100; 2.7].   Make a second conversion using a 'selected colored filter' usually 'red' or 'yellow' or something in between. Selectively Composite-Blend image areas of these two conversion images for best detail. Use the Brightness Curve transform in combination with image area and tone range masks on the blended conversion image to achieve preference brightness and contrast.   OPTIONAL: apply a tint [*.cln] of choice with the Tint transform and again adjust to preferences brightness, contrast, and saturation.   ['Robert' suggests using Composite-SoftLight or Composite-HardLight blending of the 'luminosity' image and the 'selected colored filter' image versions here.]
  4. If the resulting image from Step3 is not already a 24-bit or 48-bit color image, convert it to at least 24-bit color with the Convert transform.   Again, 48-bit color at this point may be a non-discernible nuance.
  5. Sharpen specific image areas to preference and globally sharpen for monitor display and/or printing.   [For true BW, GregGorman will use High Pass blur, amount = 20% or preference, radius = 50, and limited to mid-tones with a Mask Tool - Brightness Curve = [0,0], [20,0], [28,100], [73,100], [80,0], [100,0].]
  6. If the resulting Step5 image is un-tinted [intended to be a true BW], then apply a 'Gray Balancer' *.cln file specific for the printer/paper combination with the Tint transform.
  7. Make a print with the color inkjet printer in color mode.
Note: Step3-OPTIONAL thru Step7 are modified as needed/instructed when making a print using a non-PWP/color inkjet BW printing system [paper, software and hardware with multiple tank black ink sets, QuadTone for example].

Gray Balancer reference: 'gray balancing' or try GrahamT's 'tip'.

Example PWP BW conversion images using the above steps are 'Fall is Coming!' and 'Mt. Rainier'.

Monochrome tints can be interesting.   For expample, a 1915 vintage 'DavidW' thiocarbamide tint was applied to a BW version of the Portlock Point Navigation Light image.   And, a derived AgfaPortriga tint was applied to a color enhanced deserted house image after its transformation using the Monochrome transform.

Tints or *.cln files may be downloaded from DL-C's download page.   Tints can also be generated from scanned prints or downloaded web images as described here.

Grain [noise] can also be added to monochrome images to provide vintage realism.   Use the Noise transform [HSV,V] with amounts around 3% or preference.   A good film grain texture, 'grain-tm400.png' [warning: 3119x4679 pixels, 11.8MB], can be downloaded or a 200x300 pixel, BW, 'full range', png tile of this grain is here [50KB].   The large file is centered around 50% gray, so expand to 'full range' in the Levels and Color transform.   To use it as a texture, convert it to an 8-bit BW tiff.   This allows it to be used as its own mask as the Overlay image in the Composite-Blend transform so that you can easily adjust amounts with the mask black/white sliders.

Update 120609 regarding a 'favored' Grain technique:
...(1) Reference: Scroll down the web page to 'Grain' at... http://www.prime-junta.net/pont/How_to/n_Digital_BW/a_Digital_Black_and_White.html?page=5
...(2) a PWP Composite-Hard Light transform equivalent to duplicate the article's "grain.jpg" with no mask:
......(a) download the "nograin.jpg" and "t400small.jpg" from the article's web page and open them in PWP;
......(b) click on "t400small.jpg" and open the Composite-Hard Light transform and set the Overlay = "nograin.jpg" leaving everything else at default and click OK; and
......(c) the aggressive "grained" image of (2)(b) can be preferentially Composite-Blended with the "nograin.jpg"

Update 120609 regarding 'favored' initial settings for the Monochrome-Channel Mixer transform: R=60; G=30; B=20; and Exp=92->94 [lower exposure until highlight clipping is no longer indicated].



. . .Angel - Silva Bay, Gabriola Island, BC   Canada. . .             . . .(c) IMAGEs by DEN   2006. . .


Grain added close-up:


A Favored Recent Conversion  
June 19, 2008

. . .'Vigilant!'. . .    Canon 350D RAW composite images converted to Black/White using Picture Window Pro software.
. . .Bald Eagle. . .           . . .Birch Bay, WA   USA. . .           . . .(c) IMAGEs by DEN   2008. . .


Illustrated Tutorials

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Last Update: 120609 rev 5 verified links and added 120609 Updates.