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Register Your Copyright


One of the things I do at the beginning of each year is register my copyright for my images.
Registering your copyright is easy.
You can even do it online now.
Find out all you need to know here.
You don’t have to pay a registration fee for each image. You can register them in groups. I register my work in groups annually – i.e. new work 2008. If you’ve never registered before, you can register all your images for one fee – work to date.
If your work is published (or made public) consider registering more frequently. How frequently depends on you and the kind of work you do. Some photographers register their copyright when they deliver a job – every job.
You don’t have to register copyright to have ownership of your rights, they’re yours automatically. Registering your copyright is useful if your rights are infringed – in negotiations before going to court offenders are much more likely to settle out of court and if you go to court you’ll be able to recover your legal expenses as part of a suit.
Seth Resnik offers fantastic resources online to help you cut to the chase with this process and get it done exceptionally well in minimal time. Get them here.

Scanning Black & White Originals


Here’s a simple formula for scanning black and white originals (film or prints). Scan in Grayscale (there’s no benefit to scanning in RGB), in 16 bit, and at the native resolution of a scanner (upsample in Photoshop only if needed, not during scanning). Make sure sharpening is turned off. Test a scanner’s lookup tables for negatives; if they clip shadow or highlight detail scan negatives as transparencies and invert in Photoshop.
Get my free download here.
Find out more about black and white in my DVD Black & White Mastery.
Find out more about black and white in my Workshop Black & White Mastery.
Special discounts are available until January.

Leaves of Grass – Simulating Infrared


Looking for an infrared effect? Two options; capture in infrared or post-process to simulate infrared. Either way, the results can be compelling.
Here’s an excerpt from a statement I wrote on infrared techniques sometime ago.
“It looks like another world, yet it’s not. By opening a window into a spectrum we can’t see with the naked eye, infrared photography shows us our world in an extraordinary light … The effects are often unpredictable and almost always surprising. Perhaps, that is why this effect is so compelling.”
Read the rest of my artist’s statement here.
Read other artist’s statements here.
Find out more about black and white in my DVD Black & White Mastery.
Find out more about black and white in my Workshop Black & White Mastery.
Special discounts are available until January.

Dangerous Passage – Distilled in Black & White




Some images are better in black and white. This is one.
“Dangerous Passage was a compelling image. But something wasn’t working. The thorns were red. The stalks were green. The water was blue. They were not subtle. The color was garish. In many ways, the color was too literal. The drama of the composition was competing with the drama of color. The two were at odds. Their moods were incompatible. One was harsh and edgy. The other was bright and cheery. Color was the problem. So I removed it … The message was clarified. The image carried a much greater weight. Less became more. The image was somber in black and white. That much suited the mood. But it was ashen, cold, and remote. I missed the emotional power of color. So I put it back. I converted the image back to a color mode and introduced new color into the image.”
Read the rest of my artist’s statement here.
Read other artist’s statements here.
Find out more about black and white in my DVD Black & White Mastery.
Find out more about black and white in my Workshop Black & White Mastery.
Special discounts are available until January.

Achieving the Blackest Black


The blackest black in print is achieved with today’s inkjet materials. Epson Exhibition Fiber printed on Ultrachrome K3 or UltraChrome HDR produces a 2.65 dmax; silver gelatin selenium toned produces a 2.35 dmax. You get this extraordinary black when printing through the printer driver’s Advanced Black & White mode; print the same image through a standard color color management route and you’ll only get a 2.4 dmax. Also, matte papers yield weaker blacks, roughly 1.85 dmax.
Get my free download on Epson’s Advanced Black & White mode here.
Find out more about black and white in my DVD Black & White Mastery.
Find out more about black and white in my Workshop Black & White Mastery.
Special discounts are available until January.

Give Your Friends Over 100 Downloads Free


New member? Old member and skipped over a few issues? You’re missing free content! As a member of Insights enews you get over 100 free downloads. Actually, the number far exceeds 100. I stopped counting after 100. More resources are added every month.
Tell your friends! Give them these same resources free!

Many Ways to Convert Color to Black & White


There are over 14 ways to convert color to black and white.
1    Raw Conversion
2    Convert to Grayscale
3    Convert to Lab then convert to Grayscale keeping the L channel
4    Desaturate
5    Channel Mixer
6    Black & White Adjustment Layer
7    Dual Adjustment Layers - Dual Hue / Saturation
8    Dual Adjustment Layers - Hue / Saturation with Selective Color
9    Dual Adjustment Layers - Hue / Saturation with Channel Mixer
10    Triple Adjustment Layers - 3 Channel Mixers
11    Gradient Map
12    Calculations
13    Apply Image
14    Channels as Layers
Some of these methods aren't optimal. Some are equal. Some are superior.
Which should you use?
It depends on the image.
Sometimes a simple solution will do just as well as a complex one.
Sometimes you need the power of a more complex solution.
Here are my four favorites, ascending from simple to complex.


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