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From this conversion, it’s clear that the green colour channel will carry far
more influence than either the red or blue channels in the final image.
In practical terms, a 100% fully saturated blue or red will appear much
darker than a 100% fully saturated green.
If you take an image which contains strong primary colours (red, green, or
blue) such as the photo of my son on the right, the channel mixer will give
you a large amount of control over how the B&W conversion will render.
Controlling exactly how much of the red, green and blue channel
information contributes to the conversion is a good way of controlling the
overall tonal balance of your final image.
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GIMP Tutorial – Simulating a Genuine Silver-Gelatin Image
Step 2A
Choose Colors>Components>Channel Mixer… from the Image window
menu to open the Channel Mixer dialog.
Tick the Preview check box, and also the one marked Monochrome.
With the default settings of Red=100.0, Green=0.0 and Blue=0.0, the preview
window shows what the resultant image would look like.
Note how the red scarf shows up as tonally very light, and the blue shirt renders
as very dark. Skin tones are also very washed out.
The preview is showing us how the red channel in our camera recorded the
scene (the camera sensor only sees in B&W, and record the levels of light
through the different coloured filters).
Output to Greyscale-RGB
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GIMP Tutorial – Simulating a Genuine Silver-Gelatin Image
Step 2B
On the right you can see the tonal range recorded by the green channel.
This is perhaps the closest single colour representation to our visual perception
in terms of tonal contrast. But it’s usually far from ideal for a final print.
Page 3 of 11
GIMP Tutorial – Simulating a Genuine Silver-Gelatin Image
Step 2C
Finally, we see the tonal range of the blue channel. Note how skin tones are
rendered much darker in the blue channel.
The Channel Mixer allows us to have wide control over the levels of red, green
and blue that composite to form our final image. In fact, we can independently
adjust each channel through the range of +/- 200%.
Page 4 of 11
GIMP Tutorial – Simulating a Genuine Silver-Gelatin Image
Step 3
For this particular image, I settled for the channel mix shown on the right. Click
the OK button to apply the settings.
The settings I used here emulate the response of Kodak’s Tri-X Pan film. I love
the characteristics of this film and have been using it for nearly 30 years.
Below are some channel mixer settings which emulate popular B&W films:
Page 5 of 11
GIMP Tutorial – Simulating a Genuine Silver-Gelatin Image
Step 4
A digital capture generally has a very smooth texture compared with the grittiness of a silver-gelatin
image. In fact, it’s the ‘grain’ in B&W film that largely determines the characteristic charm of this
type of image.
So, to create a true sense of a genuine silver-gelatin print, we'll now add some film grain to the
image.
Click the Foreground Color swatch in The GIMP toolbox to open the Change Foreground Color
dialog.
Value to 50%
Page 6 of 11
GIMP Tutorial – Simulating a Genuine Silver-Gelatin Image
Step 5
Choose Layer>New Layer from the Image menu to open the New
Layer dialog.
Adjust the layer settings as shown below, changing the Layer Name
to something more meaningful, such as Film Grain.
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GIMP Tutorial – Simulating a Genuine Silver-Gelatin Image
Step 6
Open the Layers dialog (Ctrl-L) and set the blend Mode of the “Film Grain” layer to
Overlay, as shown on the right.
NOTE
A 50% Grey tone will not alter the representation of the underlying layer when set to any of
the contrast blend modes (overlay, soft light, etc).
Page 8 of 11
GIMP Tutorial – Simulating a Genuine Silver-Gelatin Image
Step 7
Choose Filters>Noise>HSV Noise from the image menu to open the HSV (Hue,
Saturation, Value) Noise dialog.
Adjust the filter settings as shown on the right: In this example, I have set the
Holdness to 2, Hue and Saturation to 0, and Value to 40.
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GIMP Tutorial – Simulating a Genuine Silver-Gelatin Image
Step 8
As real film grain is not generally as sharp or well defined as the effect we
created in the last step, we will apply a small Gaussian blur to Film Grain layer to
soften the texture for a more realistic appearance.
Set the Blur Radius to about 0.5 pixels and the Blur Method to RLE (Run
Length Encoding).
The two Gaussian blur methods shown on the dialog achieve the same result,
but IIR (Infinite Impulse Response) works best for large radius values on non-
computer generated images (ie. Photographs); whereas RLE works best for
computer generated images.
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GIMP Tutorial – Simulating a Genuine Silver-Gelatin Image
Step 9
The last step is to flatten the image before saving, as the JPEG
format cannot handle multiple layers.
Page 11 of 11