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make a b&w and selective lighting


Tom Mann

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If you are asking for a method obtain this look from an ordinary photo, you're going to be really disappointed with the answer: It's essentially impossible to do so. This look could be very roughly approximated in PS, but the end result will be very, very poor compared to doing it the correct way, which is using and good lighting and camera technique. For example, do you really intend to paint in all the little microscopic shadows around each tiny irregularity in the rhino's skin? If you don't like spending dozens of hours doing work like this, you can't possibly replicate the texture and sharpness of his skin this well using PS on a "normally" lit photo.

OTOH, if you are asking how to do it using traditional decades-old lighting skills, here's how.

First, for your safety, I would suggest honing your lighting skills on an animal of roughly the same size, at roughly the same distance, but inside an enclosure, e.g., at night at a zoo or similar facility.

Second, you need lighting and camera equipment as described below.

The main technique used to take this photo (that is unfamiliar to most people) is that the photographer used two large flashes, both radio controlled from the camera (eg, http://www.pocketwizard.com/products/images/TT5-CA_lbox.jpg - I recommend this model very highly. I have 5 of them. Other, less expensive units will work as well for a shot like this.). Both are mounted up high, on sturdy light stands, held by people using light poles, or mounted permanently in a tree or building.

Both flashes must be able to be zoomed out to *at least* 200 mm (35 mm equivalent), or, if you are more risk adverse, and would like even more stand-off distance, use a Fresnel flash extender (eg, http://www.digitalbirdphotography.com/Accessories/beamer.jpg ).

The 1st flash is the "key" (ie, main) light is to the left, high, and well past 90 degrees in back of the animal. Its output level determines the brightness of the highlights in the photo.

The 2nd flash is the "fill" light. It's either mounted on top of the camera, or slightly to the right of the camera. It's set to about -1.7 or -2 stops down from the key. It prevents the very sharp shadows cast by the key light from going dead black.

Obviously, for safety, you also need a decent telephoto lens, certainly 300 or more mm. It doesn't have to be a fast lens because you'll have plenty of light from your flashes, and you want large depth of field, but Ii does need to be very sharp and free from lens flare because the key light is aimed almost back at the camera.

If the above steps are done correctly, then post processing is almost trivial. First, convert the image to grayscale (aka, "black and white"). You may also want to do other tweaks such as shape the light fall-off with the burn tool, and you will probably need to lower the contrast, but these are optional.

That's it.

HTH,

Tom M
 
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