Text and Photography by Chuck Place
I had just gotten back from a fun photo shoot with my class at La Purisima Mission State Historic Park near Lompoc, California. It was a Living History Day with docents dressed in period costumes demonstrating how people during the Mission Period made most of the things they needed fore their daily lives, from nails and blankets to saddles and candles.
I was able to create a lot of great images, but all that color seemed jarring in that historic setting. My students and I post our favorite six images after each location class on a private Facebook Group Page and I decided to sepia tone all of mine. Luckily, I can now do this without a darkroom.
Sure, sure, I know. Some of you miss the old days of wet labs. Standing in a darkroom with stinky chemicals was never my idea of a great time and creating sepia images without stained fingertips has great appeal. Blasphemy? Not if you get the results you envision.
The first step is to pick out images with a bit of contrast or subjects that will not suffer from an increase of contrast. I have always found black & white or sepia prints with flat contrast to be rather boring. Just my opinion, but I like a little zip in my images. My favorite black & white photographer, Christopher Broughton, creates images with a great feel of life and texture, even in flat lighting.
Next I import my images into Lightroom, create a virtual copy of my favorites and convert the color images to Sepia Tone using the Lightroom B&W Toned Presets. Don’t bail on me yet! Certainly this is a shortcut, but it works fairly well.
Now for the fun. If you liked burning and dodging under an enlarger in the days of paper prints, you have the same tools in Lightroom, but with much greater precision. I do a little subtle vignetting, as well as burning and dodging in order to guide the viewer’s eye and when everything looks right, I push the Clarity slider to 100 to add some texture to the final image. It gives me that zip that I want in my “old” images.
Admittedly, the portraits don’t have that stiff look produced by long exposures and neck braces, but I can live with that. With the right subjects this approach works wonders. And best of all, you get unique historic photographs and no stained fingers. Try it.