What is it about Black and White that is so appealing? Digital is brilliant for Black and White, so give it a go. In Photoshop simply desaturate the colour in a new layer. In the base layer then play around with the saturation of the individual colour layers. If you’re processing software is simple you’ll still be able to process in Black and white. Play around with contrast — sometimes hard contrast is good, while other times you’ll want a soft effect.
Many urban scenes loom better in black and white, especially on grey day. But landscapes can be wonderful in monochrome.
Some cities seem to be made for black and white. Paris — the home of film noir is better in black and white than colour (well for much of the time).
I don’t claim any real skill here but I’ve included some examples.
By the way, your camera may have a black and white mode which allows you to shoot in Black and White. Don’t use this!. Shoot in colour and then process in Black and White. I’ve a number of shots that I’ve processed both in colour and in monochrome; it is nice to have the choice.
Tryfan, taken from the Glyder ridge. Works as well in colour.
Welsh stone wall. Stone walls and broken down cottages make for great subjects.
Another stone wall!
Sunday morning from Clapton Station — there was no colour to play with here and so Black and White was better.
Manningham, Bradford. Note the flatness of the photo caused by the long lens length.
Cape Clear Ruin
Finally, urban shots — Paris, no better black and white subject!
Chess Players in the Luxembourg Gardens
Notice the depth of the photo which is provided by the wide angle.
Bookiniste, doing the crossword.
Café des Phares, Bastille.
Chefs preparing for Lunch, Beaubourg.
Rue des Roisiers, Marais. Here a cropped shot captured the atmosphere of the street in a way that a wide shot couldn’t.
Down and Out on the Places des Voges.
Reading in the Luxenbourg Gardens
Nice photos! It’s good to see that B&W image making is alive and well. Shades of Fay Godwin and Robert Doisneau.
Years ago, when I was living in London, I used to make sure I saw every Fay Godwin exhibition. She was my favourite landscape photographer ever — and all in black and white. Just before she died she was experimenting with digital.
Also an excellent portrait photographer, it’s a great pity that she didn’t get the opportunity to live a little longer and explore digital because she said she loved Photoshop.
I can see why she loved Photoshop.
I must admit to not having really got comfortable with Photoshop and Black and White. There really is a lot of work to be done here to get the right contrast, the right ‘balance’ and so on. Projects for long winter nights!
I agree. I have wondered whether we tend to overexpose our images at the taking stage compared with some of the old timers who were working with stock rated at something like 25ASA or less. I have made some prints using the Lyson ink and paper system that I’m quite happy with but the traditionally made prints are still the best IMO. I use the Channel Mixer for playing with B&W which permits a lot of tweaking but I’d still feel happier with the old enlarger and chemical trays if I had to produce the best possible print.
She must have spent, literally, years in the darkroom. I know there are professional printers for exhibitions. but you have to know what you want in the first place!
Yes, and (dare I say it) no matter how good a computer display is set up it doesn’t give the look and feel of the ‘real’ thing IMO! Perhaps a lot of younger photographers are missing out by not experiencing those velvety rich shadows and subtle highlights that can only be experienced in the presence of an expertly produced hand print.
I’m sure that is right Des. Mind you, they don’t stink of fixer and other chemicals for days on end!