Removing colour deliberately.
WHEN IT HELPS
When colour distracts from form or expression When colours clash and cannot be controlled When a timeless or documentary feel is wanted
WHEN IT DOES NOT
When colour carries information For products, where colour is the point
WHAT BLACK AND WHITE DEPENDS ON
Contrast and tone, rather than hue.
WHAT THAT MEANS FOR SHOOTING
Look for tonal separation, not colourful subjects.
WHY THAT MATTERS
Two different colours of similar brightness become the same grey, and the image falls flat.
WHAT TO SHOOT IN
Colour, converting afterwards.
WHY
Conversion in editing allows control over how each colour becomes a tone.
WHAT CHANNEL ADJUSTMENT DOES
Brightens or darkens specific original colours in the conversion.
WHERE IT MATTERS
Skies, skin and foliage.
WHAT TO ADJUST AFTER CONVERSION
Contrast, deliberately Blacks and whites, so the range is used Local adjustments, to direct the eye
WHAT TO AVOID
Converting because an image failed in colour Extreme contrast applied uniformly Leaving the image flat and grey
WHAT TO CHECK
That there is a true black and a true white somewhere.
WHY
Without them, the image looks washed out.
