on.raw.photography

Hello, everyone! My name is Ian, and I’m based in the UK.

I’ve been using ColorPerfect daily for many years, and it has become an essential part of my workflow.

I specialize in teaching others how to harness the power of ColorPerfect to enhance black and white photography, whether it’s for digital or analog film workflows.

Over the years, I’ve had the privilege of helping many students improve their work, and I’m proud to say that my promotion of ColorPerfect has led many of them to make the purchase and take their photography to the next level.

I’m excited to be here and share insights with fellow photography enthusiasts!

Ian

Ian, great to have you here, I just wrote an item on a new feature of CP3 with B&W, have fun

Hi Ian, welcome!

Personally, I can't wait to see some black and whites I've created with Color Perfect. Especially from digital files and color negatives.
I'm working so hard, without even being able to do it perfectly , on processing the color, that I've neglected, at least for now, the entire black and white part, although I'm aware of the great results that can be achieved.

Welcome Ian!

I was enthusiastic when I read you teach Black & White Photography using Color Perfect! You must know quite some techniques from using it for that long! I hope you stick around the forum and teach us a thing or two about extracting the best output from ColorPerfect!

I took a quick look into your website, and I really related to your type of photography! I am just a beginner compared to a photographer of many decades like yourself, and I very easily would reference your work in artistic and technical terms as someone who is trying to improve on this beautiful art.

Cheers!

Some secrets for black and white with Color Perfect would be interesting and useful.

Ian,

while replying to Xander’s introduction from Chicago, I remembered a small Ansel Adams show I once saw at the Knoxville Museum of Art. The prints showed the full tonal scale, deep black to paper white, perfectly smooth. Right next to them some Smoky Mountains negatives were projected digitally, processed with histogram flips and auto-contrast, and it was a disaster.

That contrast made clear to me that this isn’t just about Ansel — the same merit applies to every black and white workflow, from day-to-day use up to preserving the heritage of the greats. In the darkroom there were master printers for that, but as that craft is disappearing it becomes all the more important to handle tonal scale properly in digital.