J O H N PAU L C A P O N I G R O
TECHNIQUE
Budh, 1996
SIMPLE BLACK AND WHITE CONVERSIONS
Dual Adjustment Layers
The dual adjustment layers method is a tried and true
technique that is almost as easy as the Black and White
adjustment layer. It requires two adjustment layers to
accomplish the same thing but gives you the ability to
customize transitions between hues and create more
sophisticated and possibly selective toning solutions.
1. Create a Channel Mixer adjustment layer, checking
Monochrome, and specifying a high percentage of one
channel ( the one that is closest to your desired light-
ness and contrast ). Favoring one channel will allow
you to make more substantial selective adjustments.
Bring other channels into the mix if the favored chan-
nels contains clipping. Monitor the Histogram palette
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Dual adjustment layer stack
at all times during conversions to make sure you don’t
clip shadow or highlight detail.
2. Create a second Hue /Saturation adjustment layer,
below the Channel Mixer adjustment layer. ( The order
of the layer stack matters. If this second adjustment
layer is placed above the Channel Mixer adjustment
layer no change will be produced.) Use the Hue and
Saturation sliders to lighten or darken image areas
selectively based on hue ( Red, Yellow, Green, Cyan,
Blue, Magenta ). When making dramatic shifts in
Saturation guard against clipping; don’t exceed the
limit. When making dramatic shifts in Hue guard
against posterization and noise; customize the range
of hues selected with the sliders in the rainbow at
the bottom of the Hue / Saturation dialog box – the
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Hue/Saturation adjustment

Channel mixer adjustment

straight lines define a range of hues affected 100%,

while the triangles define a range of hues over which
the effect fades out to 0%. It’s the ability to customize
the extent of hues and how they blend into related
hues that gives this method superior control over Edit: Submenu
other simple methods.

3. Optionally, create a third adjustment layer to further
localize adjustments using masks. This way you can
enhance specific hues in selected areas of an image.
Mask either the Hue/Saturation adjustment layer to
return values closer to their original state or mask an
additional Hue/Saturation adjustment layer used to
modify values more substantially.
4. Optionally, tint an image with an additional adjust-
ment layer above these dual adjustments.
Before conversion, set black and white points and
clear color casts.
Avoid trying to build midtone contrast at this stage.
After conversion, fine tune midtone contrast with
Curves.
You can create an action to quickly set up this layer
stack. Record it. Run it. Then simply double click on
the Hue / Saturation adjustment layer and modify Hue
and Saturation to establish a desired tonal structure.
Remember, adjustment layers can be dragged easily
between different files to apply the same settings to
multiple images. Grouping them makes this even easier.

During conversion, watch for clipping, posterization,

and noise as guidelines for just how far you can go
before reducing the photorealistic quality of an image.