Those of us with digital cameras are advised to shoot in RAW and convert to B&W post-camera. Best of all though by shooting RAW & JPG on a monochrome setting I get to see the tones and have an idea of what the RAW conversion will look like.
Often though I do not do anything with RAW files because my software cannot transfer them via Bluetooth & needs a physical connection (which I have but do not always use). Partly too, because I do not fully understand colour as B&W and so make do with the JPG outcome. Now however is as good a time as any to stretch my knowledge.
B&W images rely just as much if not more, on complementary colours for contrast otherwise some hues can all resemble each other and the greyscale image becomes flat – these are RED:GREEN; BLUE:ORANGE; YELLOW:PURPLE.
Looking at how colour filters work with B&W has also helped me to understand the complementary relationships – (these are simulated in Lightroom)
Do we with DSLRs need cool or warm colour filters?
With editing software the answer is superficially no but “since digital photography is all about the intensity & quality of light, lens filters are often necessary to modify the light before it enters the lens.”*
Even post-processing cannot improve poor lighting
And of course B&W greyscale is not the only monochrome (one-colour). Added to that are all the tints of sepia or selenium as well as split toning the lights and darks in other hues.
Often where glass and sky meet the outcome is a natural monochrome
* see "Lens Filters Explained"
Image quotes from "How to Use Colour Filters in B&W Photography"
Introspectives: thinking out loud with an aim to improve and learn more about photography. Hence the images are not always for show – feedback is welcome.
And thanks to Patti & this week’s Lens Artists Photo Challenge for the opportunity to look at Monochrome