Extra Large Black And White Photography

By | 18/10/2022

High-quality black and white photography involves more than just converting any old photo to monochrome in Photoshop. Only certain subjects work well in black and white.
A black and white image of a mural

The art of blackness and white photography is surprisingly difficult to master. You can’t just slap a “noir” filter on your images and call information technology a day!

In this article, I will introduce black and white photography, also known as monochromatic photography, and explicate how to take meliorate black and white photos – including how to convert B&W images properly in software like Lightroom and Photoshop.

Tabular array of Contents

one. What Is Black and White Photography?

Black and white photography is the art of using different tones of grayness, ranging from white to night, to create compelling images. This genre has a very long history – as long equally photography itself. By the fourth dimension photographers captured the first permanent colour image in 1861, monochrome photos had been around for 35 years.

Even so, although color is the new child on the block, it hasn’t replaced the art of black and white. Colour can be a distraction; it can exist dull and lifeless. One of the tasks of photographers is to simplify an epitome, distilling a scene downwardly to its essence. Sometimes, that essence is colorless.

Ansel Adams, discussing the differences between the two types of photography, said, “I can get a far greater sense of ‘color’ through a well-planned and executed blackness and white prototype than I take always achieved with color photography.”

Wow. Ever thought of it that way before?

Of course, in today’s earth, the vast majority of photographs are taken in colour. Perhaps this means we have lost some of the beauty and imagination that Ansel Adams wanted photography to convey. Hopefully, the techniques in this article will assistance you proceeds information technology dorsum.

Amiens Cathedral
NIKON D7000 + 24mm f/1.iv @ 24mm, ISO 200, 1/80, f/2.v

2. The Proper Mode to Exercise Black and White Photography

A practiced blackness and white photo is besides but a proficient photo, period. Yous won’t be able to rescue a disastrous image by slapping a “Noir” filter on it, although that’s a popular thing to endeavor.

There are
seven essential elements
of top-notch blackness and white photographs, which you lot’ll see shortly. First, though, is the about of import thing to retrieve: You lot need to have a reason for shooting in black and white.

Not every subject works well in black and white. And so, always ask yourself: Why are you eliminating color from a item photo? What makes it so important to shoot your subject that way?

Black and white photos can look smashing, but they don’t always. You need to know ahead of time why you are taking a picture in black and white rather than color. If you can’t pinpoint a proficient reason, possibly your photo is not meant to exist monochromatic.

Slot Canyon Monochrome
NIKON D800E + fourteen-24mm f/2.eight @ 14mm, ISO 100, 1/8, f/16.0

3. Black and White vs Monochrome

Peradventure yous have noticed that there are two common terms which refer to the “same” affair: black and white (B&West) and monochrome. Even so, even though you may run into these words used interchangeably, they are not identical!

The word monochrome means “of a unmarried color.” So, monochrome photos tin can have a color tint, assuming it is only ane color. Take a look at the photo beneath. It has a brown hue to enhance the grapheme, but all the other colors take been removed. Although this counts equally
monochrome, it is not
black and white. True black and white photos have no colour at all. They are entirely black, grey, and white.

This Is Not a Black and White Photo
NIKON D800E + lxx-200mm f/4 @ 135mm, ISO 100, 1/125, f/8.0

The good news is that you generally can use either term without causing confusion. But if you desire to exist perfectly accurate, it is better to employ the phrase “black and white” for photos without a tint.

four. Camera Equipment

In full general, when you take pictures in black and white, yous should only keep using the camera you already have; it volition work every bit as well for monochromatic images as in color. But at that place are still a few camera equipment considerations that thing for blackness and white photography, which nosotros will cover below.

4.ane. Cameras

First, information technology is important to mention that there
are
some cameras which shoot monochrome photos merely. They tend to be very high-terminate and expensive, such as the Leica Chiliad Monochrome, which sells for $8000. Although you will occasionally find people who modify regular cameras to shoot but black and white, that procedure is expensive and hard to practise, so it isn’t mutual to see.

Why would anyone go to such effort for a camera that only shoots B&West? Well, nearly people don’t. But monochrome-only cameras practice offer sharper and cleaner black and white images than what yous can get from a color camera, so it’south not equally though in that location are zero benefits. For most people, though, the practicality of a regular color camera makes it the obvious choice.

Leica M Monochrome
The Leica M Monochrome

4.ii. Shooting in Black and White vs Shooting in Colour and Converting

Most cameras have a black and white style, which brings up an interesting question: Is it amend to take pictures in color and convert them in mail-processing, or go with monochrome mode from the offset?

The uncomplicated respond is that you should always take pictures in colour kickoff, and convert to black and white later in mail-production, just because in that location’s no real punishment for doing so. And, if y’all e’er alter your mind and want the color version instead, you ever take the option to go dorsum.

Also, if yous start with a color file, you lot proceeds a huge amount of flexibility – because you’ll however exist able to adjust “colors” in post-production, even subsequently converting to black and white. For example, you tin can darken the blue channel to make the sky announced darker in your monochrome images. This isn’t possible if your out-of-camera file is already black and white.

Graffiti in Paris
NIKON D7000 + 24mm f/one.4 @ 24mm, ISO 180, 1/100, f/1.4

4.3. JPEG vs RAW

The previous section was really a bit of a false dilemma. Quite merely, it isn’t relevant to many photographers in the first place. That’s because – hopefully – yous will exist shooting RAW files rather than JPEGs, and
RAW photos taken with a color camera always retain colour information.

If you haven’t heard of the RAW vs JPEG argue, take a expect at our specific commodity on the subject. But the basic overview is that RAW files have more than information and image quality, whereas JPEGs are smaller files with less information. For obvious reasons, then, photographers looking for loftier-quality images tend to shoot RAW.

So, if you are shooting RAW, you tin enable “monochrome” on your camera and start taking pictures. The images will appear black and white on the photographic camera’south LCD screen, simply when you open up them in post-processing software, they’ll flip to color! The RAW file doesn’t throw away any of that data.

You can use this to your advantage. Say that you’re out taking pictures, and you expect to convert most of your RAW photos to black and white. If you enable monochrome fashion, you’ll run into a black and white preview on your camera’due south LCD, which can help yous visualize your image amend. Merely the key is that all these photos are
really
in color, since they’re RAW files, and so you aren’t losing any flexibility if you later decide you adopt the color version.

Old Woods
NIKON D7000 + 17-55mm f/2.8 @ 17mm, ISO 100, 0.6 seconds, f/8.0

4.4. Filters

When you lot’re learning well-nigh camera equipment for blackness and white photography, yous may come across some information on filters. With black and white film – or if you shoot with a monochrome-only digital camera – it is important to use filters on the front end of your lens to alter the dissimilarity and tones in your images.

Take a await at the comparing below to get a sense of how color filters impact an image. These photos are taken with bluish, green, and red filters – physical glass filters attached to the lens.

Color Filters

As yous tin can see, the option of filter has a major event on each blackness and white photograph. The blue filter blocks red light, darkening things like the leaves and basis. The green filter brightens everything that is green (which, higher up, includes small elements of the tree). Lastly, a red filter darkens the sky and other blue elements of the photo, while comparatively brightening annihilation that is red.

Despite the major differences shown in a higher place, digital photographers today rarely use color filters for blackness and white photography. The reason is simply that they accept too much impact on colour photos, potentially making it incommunicable to convert back and get something that looks expert. Also, y’all can mimic many of the aforementioned furnishings in post-processing by adjusting individual color channels.

Purists still use color filters for their black and white photos, since the effects are not perfectly replicable in software. But it is becoming less and less common, and you lot most likely don’t need to invest in a colour filter organisation for your ain monochrome photography.

five. The Seven Elements of the Best Black and White Photos

When you shoot black and white, you lot need to “pull an Ansel Adams” and convey the essence of your subject – including its colors and other characteristics – through shades of lite and nighttime alone. The best black and white photos accomplish that past perfecting the vii elements below.

5.ane. Shadow

One of the starting time things to remember when shooting black and white is that shadows have an out-sized impact. They are no longer only darker regions of a photograph – they are major elements of composition, and sometimes your discipline itself.

Your treatment of shadows in blackness and white photography affects every other attribute of how a photo appears. Are the shadows black without any details? That signals a feeling of intensity and emptiness. Or, on the other manus, if your shadows are subtle and detailed, it may make for a more complex photograph overall.

Dark Shadows
NIKON D810 + 70-200mm f/2.eight @ 70mm, ISO 140, i/500, f/ix.0

Annotation that nothing about black and white photography requires regions of pure black in club to expect proficient (or pure white, for that affair). Information technology is a chip of a myth that you demand the complete range from deep shadows to crisp highlights earlier a black and white photo is optimal.

Instead, simply do what looks the best to you, but keep an eye out for the shadows in your frame. They frequently have a stronger “pull” in black and white than in color, and your limerick may need to change accordingly.

five.ii. Contrast

Many people recollect that contrast is just the deviation between the brightest and darkest portions of a photo. However, by that definition solitary, this soft slope has extreme contrast, since it contains both white and black:

Gradient of low contrast

Instead, contrast also includes a component of
proximity. The departure in brightness between ii objects is exaggerated when they appear adjacent. In the photograph below, the bright Eiffel Tower is directly in front of a black groundwork. This image has far more than dissimilarity than the gradient above.

Eiffel Tower
NIKON D7000 + 24mm f/1.4 @ 24mm, ISO 800, one/30, f/1.four

Contrast matters in black and white photography considering of the bulletin it sends. A photograph with high contrast, similar the 1 above, conveys a sense of dynamic intensity – often, again, because of the night shadows. This is why photographers similar adding contrast to monochromatic photos. Information technology helps the images stand out.

Depression contrast photos don’t attract as much attention, just their softer, muted quality can work every bit well. Some of my favorite black and white photos of all time take just a few silver mid-tones, and their subtlety is what makes them piece of work so well.

Low Contrast Sand Dunes Photo
NIKON D800E + 70-200mm f/iv @ 200mm, ISO 100, 1/160, f/11.0

The cardinal is that a photograph’due south level of contrast needs to make sense for your subject – which is something y’all can finesse, at to the lowest degree to a degree, in post-production. Perhaps it is a fault to photograph a gentle, spring day with intense contrast that distracts from your mood. Likewise, if you lot are taking monochrome photos of a powerful landscape, loftier contrast is a natural choice in order to make the subject stand up out.

five.3. Tones (Dark and Light)

Non all photographers use the word “tone” in the aforementioned mode. Hither, yous can take it to mean
the underlying brightness, darkness, and shades of gray that appear in an image.

Tones are the cornerstone of every blackness and white image. If you have ever heard the phrase “high-primal” or “low-fundamental” in photography, you’ve probably seen examples of tones taken to the extreme.

Although most photos are neither specially bright nor especially dark – they’re somewhere in between – yous all the same need to pay attending to tones when you take a photo. That’s considering, but similar contrast, tones tin ship a powerful message about your photo’s mood.

Take a look at the two photographs beneath.

Dark Aspens Photo
NIKON D800E + 20mm f/1.8 @ 20mm, ISO 100, one/thirty, f/16.0
Bright Aspens Photo
NIKON D800E + 20mm f/1.viii @ 20mm, ISO 100, 1/30, f/16.0

This is the same image, of course, but ii different versions – night and calorie-free. The darker image is more than mysterious and foreboding. The lighter image is more etherial and happy.

Although the differences above are extreme, fifty-fifty tiny variations in the tones you capture can swing a photo’s emotions significantly. Personally, I like the appearance of dark, moody photographs, both monochromatic and in color. But the specific tones that piece of work the best depend upon the scene you lot are photographing, and in the image above, I adopt the lighter version.

The most of import thing to call back is this: The tones of your image – whether nighttime or vivid – should harmonize with the graphic symbol of the subject itself. Utilize them deliberately to tell the story y’all have in mind.

5.four. Shapes

Every photo is a collection of shapes, uncomplicated or complex. When yous remove colour from your toolbox, shapes go even more than important as a part of the story yous tell.

Have a look at the photo below. Yes, it depicts a waterfall with trees and rocks. But at a more abstruse level, it is a series of shapes placed together on a canvas. The waterfall is a rectangle surrounded by lines and polygons. The big tree, anchored in the river, resembles a music notation.

Greeter Falls
NIKON D7000 + 24mm f/ane.4 @ 24mm, ISO 100, 1 2d, f/11.0

People are drawn to shapes automatically. If there is no colour to an object, the simply way we recognize information technology is by its shape. Imagine a monochromatic photo of a lamp, silhouetted. The merely tones in the photograph could exist white and black. In that location are no shadows or texture to indicate what the photograph shows. But is there any incertitude that you are looking at a lamp?

Shapes ballast and simplify a photograph. Some famous overlooks are photographed by thousands of people each yr simply because they comprise a mountain or river with a pleasing shape.

Personally, when I took the image below, I waited several minutes for fog to pass so that viewers could encounter the shape of the whole mountain. If part of the triangle were covered, the photo would not work well in the get-go place.

Triangle Mountain Black and White
NIKON D800E + TAMRON xv-30mm f/ii.viii VC @ 21mm, ISO 100, viii seconds, f/10.0

And practise I even need to mention the shapes of people, instantly recognizable and deeply emotional?

Grandmother
NIKON D7000 + 50mm f/1.four @ 50mm, ISO 450, i/400, f/1.4

With black and white photography, there is no color to make an epitome more familiar (or more abstract, if that’southward your goal). So, shapes are especially important – they’re one of the chief ways for a viewer to make sense of a photograph at all.

5.five. Texture

While shapes create the “large picture” of an prototype, texture fills in the residual. And, like all the elements of black and white photography we have covered so far, the textures you capture have the ability to affect a photo’s mood and emotions.

From smoothen pebbles to coarse grass, and sleek aluminum to dull rust, texture is the foundation of an paradigm’s personality. It is very tricky to take harsh photos of a gentle stream, for example, in large part considering of the water’due south soft texture. (But if you lot
did
have such a goal, you might want to heave dissimilarity and capture deep shadows – balancing out the soft texture by making the overall photograph more intense.)

Take a look at the textures in the two images beneath, and remember about how they impact the mood of the photos:

Cannon Beach Black and White
NIKON D5100 + eighteen-55mm f/3.5-5.6 @ 32mm, ISO 100, six seconds, f/22.0
The Great Sand Dunes
NIKON D800E + 70-200mm f/iv @ 86mm, ISO 100, ane/10, f/16.0

The chaotic waves in the first image add together to the intense, foreboding mood. By comparison, the 2nd photo has smoother, repetitive textures that lead to a sense of harmony and balance. When you tin’t rely on colour to grade the emotional backbone of an epitome, texture is even more than crucial. Information technology merely has a major bear upon on the way your black and white photos feel.

5.six. Limerick

The best photos tend to accept an underlying sense of purpose – a hint that the photographer deliberately captured the scene
in this particular way
rather than another. The epitome has structure and order. It isn’t just a snapshot. In other words, it has a strong composition.

Nosotros have written much more extensively virtually composition in the past, but the key in this context is that elements of your photo volition
change
in black and white versus colour. If you are taking portrait photos in colour, for example, your subject may have vivid eyes that bear upon your limerick significantly. The same is true in landscape photography, in which case a golden heaven can depict the entire image upward. In both cases, you would need to compose your photo differently if you shot in black and white instead – and these are far from the only examples.

Black and White Photograph
NIKON D800E + 35mm f/one.8 @ 35mm, ISO 100, one.iii seconds, f/16.0

Other times, you lot may desire to use the more imagination-driven nature of black and white photography to your advantage. In the example below, the tight composition eliminates some of the scene’s context. A lack of colors adds to the sensation, making viewers spend a moment longer looking at the photo to recognize what’due south going on. This sort of result is easier to accomplish in black and white than color.

Waterfall Landscape Photo
NIKON D7000 + 24mm f/one.four @ 24mm, ISO 100, 1/200, f/7.1

Of grade, it is crucial to compose your photos well no matter what, color or black and white. This isn’t something that changes when y’all convert a photograph. Still, when you have pictures in black and white, it helps tothink well-nigh the scene from a monochrome mindset. When you do, you’ll oftentimes find yourself making different decisions about your composition – and that can turn a decent shot into a portfolio piece.

5.7. Emotion

At some level, emotion is the most important part of photography – which makes it the perfect way to round out this list. All the elements we have discussed and so far are important primarily considering they are tools of emotion; they aid you pivot downwardly the mood and message of your blackness and white photos.

For a case study, take a expect at the 2 photos below, which showcase completely different scenes. The commencement is an image of architecture in Paris, and the 2d is a photo of mountains in New Zealand. Yet, despite the vastly unlike subjects, the emotions of these photos are quite similar:

Paris Telephoto
NIKON D7000 + 105mm f/2.8 @ 105mm, ISO 100, 1/125, f/5.0
Aerial Mountain Black and White
NIKON D810 + 70-200mm f/2.8 @ 70mm, ISO 160, 1/500, f/11.0

Why is that? Hopefully, the answer is obvious – they are both crowded, high-contrast photos with harsh textures and deep shadows. Both compositions contain like jumbles of shapes and tones. Who cares that the subjects are dissimilar? Thefeeling of each paradigm is spring to be similar, since their underlying elements are very much akin.

Compare that to the photograph below, which is the opposite in many means. As you would expect from the sparse composition and lack of distractions, the emotion in this photo is completely different – isolated and lone:

Two Hikers and Negative Space
NIKON D800E + 70-200mm f/4 @ 200mm, ISO 140, one/800, f/7.1

Emotion is non some separate variable that you lot need to get right in order to capture practiced blackness and white photos. Instead, information technology is the culmination of the tools we have discussed and so far. Used well, the other six elements of black and white photography let you sculpt your emotional message in a way that resonates with viewers and shows them something worth seeing.

half-dozen. Post-Processing

Let’s have a wait at how you can post-process color images to black and white using Lightroom, Photoshop and other software.

vi.1. How to Brand an Prototype Black and White in Lightroom

At that place are a few ways to convert photos to blackness and white in Lightroom, merely the easiest is just to toggle “Black & White” treatment at the very meridian of the Basic panel, or just press “five” on your keyboard.

You tin can also convert a photo to black and white past reducing the saturation to -100, or (with some cameras) by irresolute the contour nether “Camera Calibration” to monochrome. But these methods are not optimal, since they eliminate some options under the HSL tab to accommodate individual colors in the black and white mix.

Black & White Mix

Although the HSL tab is very valuable for fine-tuning black and white photos, exist aware that farthermost adjustments frequently add together loftier levels of racket to your images. This tin can be minimized somewhat in the noise reduction panel (specifically the “color noise” reduction), but it is best just to keep your adjustments minimal.

6.ii. How to Brand an Image Blackness and White in Photoshop

You have even more flexibility converting a blackness and white photo in Photoshop than in Lightroom, to the degree that everyone has a different preferred method. Personally, I similar using the “Camera RAW Filter” in Photoshop CC, which opens up the same editing options plant in Lightroom and applies them as a filter. That’s because I like Lightroom’due south HSL adjustments for black and white photos quite a bit!

Still, you have plenty of other options every bit well. Ane pop method is to create a “channel mixer” adjustment layer, which gives yous control over the reddish, blue, and light-green channel in your black and white epitome.

You tin can also go with a black and white adjustment layer, decrease saturation completely, or fifty-fifty open the photograph in a plugin that does black and white conversion. In short, there are many means to get a blackness and white image in Photoshop, and it’southward helpful to examination out some of these methods for yourself to decide which ane you like the best.

Photoshop Channel Mixer

6.3. Converting Photos in Other Post-Processing Software

These days, it is very popular to utilize defended, third-party software to convert a photograph to black and white. The most popular is Nik Silver Efex Pro, which many photographers already happen to own, since it was free for a few years in a row. (Information technology now costs $70 as part of the Nik bundle, since DxO bought information technology from Google.) It works on its ain, or every bit a plugin for Lightroom and Photoshop.

Personally, I tend not to use Silver Efex Pro or other 3rd-party conversion software, since saving the blackness and white version eliminates color information, significant that in that location is no way to convert back to colour from that point on. (Though you can e’er re-edit the original RAW for a color version.) Nevertheless, software like Silver Efex does a noticeably better job of handling extreme adjustments without adding noise, so it tin can exist very useful for some photos. And at that place is no denying that plugins like this accept much more than flexibility than Lightroom’s built-in options.

Nik Silver Efex Screenshot

7. Inspiration and Ideas

If y’all want to take some peachy black and white photos, simply get out and do it! The best way to improve your skills is to do, both in the field and in post-product. Before long, you’ll find yourself looking at the world in monochrome, visualizing exactly how the scene in front of you will await in black and white. Here are a few brief ideas to become you started.

seven.1. Black and White Portrait Photography

Because of how accessible portrait photography is, it’southward one of the best ways to offset taking blackness and white pictures. Pay special attention to the interplay of light and shadows when you take monochromatic portraits. You can employ careful lighting to sculpt the shape of your subject’s face up or draw attending to certain features, such as the look in their eyes or the texture of their hands. Done well, the results will speak volumes.

Also, you lot can employ blackness and white as a way to distill your subject’southward emotions. If you shoot colour portraits, any clothing in the photograph may draw more than attention than it should, taking away from your message. Monochrome helps you focus on things like facial expressions and gestures instead.

Monochrome Portrait Photograph
NIKON D7000 + 17-55mm f/2.viii @ 34mm, ISO 360, 1/100, f/2.8

seven.2. Black and White Mural Photography

Monochromatic landscape pictures have a sense of rawness that helps them depict attention. They rely on the fundamental characteristics of the scene – light and country – to tell a story. Forth with that, information technology is common for landscapes with countless colors to go unruly, distracting from the message you want to convey. Often, black and white is the best solution.

Still, in that location will be times when the colors in a mural are perfectly fine, only the paradigm still looks improve in blackness and white. That’s because, as a lensman, you are often trying to capture theessence
of a scene more than just a precise replica of what you saw. Sometimes, that essence is more near shadow, texture, shape, and dissimilarity than it is about particular hues.

Black and White Landscape Photo
NIKON D800E + 20mm f/1.viii @ 20mm, ISO 100, 1/50, f/16.0

7.3. Blackness and White Street Photography

Last is street photography – perhaps the simply genre of photography where people are
more likely

to shoot in monochrome than in colour. Why would this be?

In some sense, it is downward to the history of street photography. People like Henri Cartier-Bresson and Vivian Maier captured street life exclusively in black and white, and their influence has carried over to many people taking pictures today.

But at a deeper level, colour can distract from street scenes in a mode that is rarer in other genres. If you want viewers to focus on an interaction or subtle visual pun that you lot have captured, you certainly wouldn’t want to draw their eye away from the action with splashes of color (particularly in cities, where the position of colors in the frame is often haphazard). This is non to say that all skillful street photography must be blackness and white, but it shouldn’t be surprising that so much of it is.

Black and White Street Photo
NIKON D7000 + 17-55mm f/ii.eight @ 55mm, ISO 640, 1/ten, f/ii.8

8. Determination

Black and White Photography is deceptively difficult. Although you don’t accept equally many variables to juggle when y’all remove colour, you’re creating a new challenge instead: taking powerful photos without an of import tool at your disposal! If you shoot regular photos in colour, you might be able to rely upon bright clouds at sunset in order to capture a striking image. Or, for portrait photography, yous can make your subject field more than lifelike by depicting the color of their optics, pilus, and skin with a greater sense of realism.

None of that is possible with blackness and white photography. Instead, yous need to piece of work with lite, shadow, and the elements of limerick to tell a story and capture the emotions you lot take in heed. Although that takes practice, information technology is worth the effort. Some letters are simply meant to exist conveyed in monochrome.

Source: https://photographylife.com/black-and-white-photography