Some monochrome shots with fuji x100
Todays fujifilm x100 photos black and white tourspecgolf golf blog
Shooting street photography with the fujifilm x100
Dubai hotel lobby selfie with the fujifilm x100t
My blacknwhite settings for fujifilm cameras

Three Column Blogger


Black And White Photography Fuji X100.

Look for Contrast, Shape and Texture. The complimentary and opposing colours that bring a colour image to life are all reduced to black and white or shades of grey in a monochrome image and you have to look for tonal contrast to make a shot stand out. In colour photography, for example, your eye would instantly be drawn to a red object on a green background, but in monochrome photography these two areas are likely to have the same brightness, so the image looks flat and colorless straight from the camera. fortunately , it’s possible to work adjust the brightness of these two colours singly to introduce some contrast. However, a good starting point is to look for scenes with tonal contrast. There are always exceptions, but as a general rule look for scenes that contain some powerful blacks and whites. This may be achieved by the light or by the brightness (or tone) of the objects in the scene as well as the exposure settings that you use. The brightness of the bark of a silver birch tree for example, may inject some contrast (and interest) in to a woodland scene. Setting the exposure for these brighter areas also makes the shadows darker, so the highlights stand out even more. Look for shapes, patterns and textures in a scene and move around to find the greatest composition.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are simply as useful in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more useful . An ND grad is collaborative when you require to retain detail in a bright sky while a polarizing filter can be used to decrease reflections and boost contrast. Alternatively, judge taking two or more shots with different exposures to create a high dynamic range (HDR) composite. Don’t be anxious to use a ND grad with a standard neural density filter if the sky is brighter than the foreground in a long exposure shot. Coloured filters, which are an essential tool for monochrome film photographers, could also be useful for manipulating contrast in digital images. They work by darkening objects of their opposite colour while lightening objects of her own. An orange filter, for example, will darken the blue of the sky while a green one will lighten foliage.

Shoot RAW + JPEG. The most excellent monochrome conversions are came across by editing raw files which have the full colour information, but if you shoot raw and JPEG files simultaneously and set the camera to its monochrome photograph Style/Picture Control/Film Simulation mode you get an indication of how the image will look in black and white. As many photographers struggle to visualise a scene in black and white, these monochrome modes are an invaluable tool that will help with composition and scene assessment. most cameras are also capable of producing decent in-camera monochrome images these days and it’s worth experimenting with image parameters (usually contrast, sharpness, filter effects and toning) to find a look that you like. Because compact procedure cameras and compact cameras show the scene seen by the sensor with camera settings applied, users of these cameras are able to preview the monochrome image in the electronic viewfinder or on rear screen before taking the shot. DSLR users should also do this if they kick in her camera’s live understanding characteristic , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

Try Long Exposure. Long exposure shots may work really well in monochrome photography, especially where there’s moving water or clouds. During the exposure the highlights of the water, for example, are recorded across a wider area than they would with a short exposure and this may help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If required , use a neutral density filter such as Lee Filters’ Big Stopper or Little Stopper to decrease exposure and extend shutter speed (by 10 and 4 stops respectively). typically , when exposures extend farther than on the subject of in connection with 1/60 sec a tripod is required to keep the camera still and avoid blurring. It’s also advisable to use a remote release and mirror lock-up to minimise vibration and produce super-sharp images.

Dodge and Burn. Dodging and burning is a road that comes from the traditional darkroom and is usually used to burn in or darken highlights and hold back (brighten) shadows. Photoshop’s Dodge and Burn tools allow a level of control that film photographers should only dream of because you could target the highlights, shadows or mid-tones with both. This means that you can use the Burn tool to darken highlights when they are too bright, or the Dodge tool to brighten them to increase local contrast. It’s a good routine of giving a sense of better sharpness and enhancing texture. Plus, because you could set the opacity of the tools, you should build up her effect gradually so the impact is crafty and there are no hard edges.

Take Control. Although coloured filters can still be used to manipulate contrast when shooting digital black and white images, it’s more common to save this work until the processing stage. Until a some years ago Photoshop’s Channel Mixer was the favorite means of turning colour images monochrome, but now Adobe Camera Raw has more strong tools (in the HSL/Grayscale tab) that allow you to adjust the brightness of eight individual colours that make up the image. It’s possible to adjust single of these colours to make it anything from white to black with the sliding control. However, it’s important to keep an eye on the whole image when adjusting a particular colour as subtle gradations may become unnatural looking. And adjusting the brightness of a red or pink shirt with the red sliding control, for moment , will have an impact on the model’s skin, especially the lips. The Levels and Curves controls should also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create discrimination between objects of the same brightness but with diverse colours.

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The more time I spend with the X100, the more I realise how versatile the 23mm focal length is. It’s equivalent to a 35mm lens on full frame camera, the standard for photojournalism.

Light and shadows. Nothing else. The purity and simplicity appeals me.

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In photo journal, reviews Tags Fuji X100, Fujifilm, monochrome, products, review

Truly inspiring and enjoyable. Thanks for sharing this. Look forward to take up such a challenge for myself.

Excellent work! Very enjoyable with any number of lessons we can learn from it. One thing that struck me is that in addition to shooting in B&W, by choosing to boost the contrast in-camera you have forced your images to rely even more on their composition–very successfully in my opinion.

I think because these cameras have the ability to record a very wide dynamic range we often fall into the trap of thinking we *need* to show that range in all of our images. We work to pull detail from every shadow or under-expose to keep from clipping any portion of a scene.

By increasing contrast you’ve purposely chosen to sacrifice some detail in order to strengthen the larger elements of the compositions. This is just one of many things that struck me while I watched. Very cool!

If you get too close to the subject with the aperture wide-open, the photos do get quite soft. Pulling back to f/2.8 or so does the trick.

Due to the lazy focus of Fujis, shots like this are normally impossible. This one was purely by luck.

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Welcome Flitstoned…Arjay is right, of course, but I have a different POV.I oppose shooting in camera BW modes and also shooting JPG + RAW.Let me tell you just why. First the camera BW is “fine” and useable but once you have it, you are much more limited than you would be using the RAW file to really make your vision of the image come to life — something that often “grows” as you play with it and consider how it might look best.

On my view toward JPG + RAW it’s more a matter of why bother and why junk up your filing system. Unless you are using an absolutely ancient computer, you will be able to open and manipulate RAW files just fine; they are not that much larger than a jpg.

If you have both, which do you keep ? How do you file them? Do you keyword them both … On and on… I don’t’ use LIghtRoom but if you do and you use that for your catalog/archiving software, you will have some HUGE catalog files in no time.

.. if you have both files on your hdd (internal or external).Sure, not every shot will be a keeper and why not just shoot jpgs for all but your “best” shots… Problem is, you often won’t know your best until you get home and work through them on your monitor (which I assume is larger than 2.

5″).But there is no wrong way here… What ever suits is the best (you can always adapt and change as you go on).Just keep shootingTom

Discussion in ‘X100F, X100T, X100S, X100, X70, XF10’ started by flitstoned, Jun 29, 2011.

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Welcome to the forum. Whatever you choose to shoot with, raw or Jpeg, you will need to get to know the camera well and what it can and can’t do for you. I shoot black and white and raw exclusively (unless a shot catches my attention for its colour content).

For me the reason is simple, I love b/w images and always have. My advice is to get inspired and then work towards getting the best finished product you can. But if you prefer not to work too much in post, then the Fuji Jpegs will certainly suit your expectations.


Welcome to the X100 forum, flitstoned!LR offers considerably more flexibility for BW conversions, but in-camera BW conversion for JPG files is nice too because it offers a number of rather unique options such as software simulated yellow, green or red filters etc.

And, even if you shoot BW JPGs, you can still save RAW files (which are always in color) for subsequent post-processing.The relatively high number of BW pictures probably is due to a certain part of the camera’s user base: Experienced rangefinder camera shooters.

Personally I shoot mostly in black and white and have done since my film days when I did all my only developing and printing used colour filters etc. But now with digital and the incredible power of the software that we have at our disposal (in my case I use Adobe LR3 and the nik ‘Silverefex pro2’) I would never shoot in camera jpegs as you really limit yourself as to what you can do afterwards in Post Production (PP).

So if your not happy with doing a lot of PP the in camera B&W modes are pretty good, but you need to keep switching between filter mode depending on the situation and I find this to be one of the biggest hassles like when you had to screw them on on and off in the film days.

It is so much easier and flexible to do it afterwards

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Very nice. Thanks for posting that.As to the original question – I shot very little black & white in the old days, preferring color slides instead, so I never had a darkroom, or even learned how to do that.

That’s probably part of why I just shoot jpg. I go back and forth between using in-camera b/w or shooting color and converting later. Being able to see in b/w in the EVF is very helpful for me, since I never used b/w much in the film days.

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Focusing on the luminance makes you notice things that would have been easily missed. The textures in particular. 

By the way, these photos only have some slight exposure work on them. The natural vignetting here is nice.

LincolnLogs: Thank you…. I would hope after almost 50 years of shooting, I know my way around a camera. But one minor point of correction: besides the X100, I am now using the Xpro1 and a few lenses.

I have to say that deciding what lens to have on or change to grates on me more after my time with the X100 than it used to. As my show tried to convey, NOT being able to choose lenses is very liberating.

It really eliminates a major distraction. Do I miss shots? Of course. But I always miss shots — while walking down Alley A instead of Alley B, while eating, sleeping… and changing lenses. At one point in my career, I carried a bag that had many lenses, camera bodies and doodads.

I was prepared for anything… and too laden down to move quickly. Whenever I can, I try to take only the X100, but on a recent trip to the Galapagos, having the 60mm and the 55-200 what helpful for nature work.

Thanks again for the nice words, and I am happy folks here are enjoying the X100 show. Maybe Fuji will see it.

Leica recently launched the gorgeous (and overpriced) M Monochrom. It’s designed from the ground-up as a black & white camera so the sensor records true luminance values instead of colors. This results in stunning sharpness and dynamic range. I’ve been looking at some of the sample photos and was inspired to try some monochrome photography with my X100. 

There is no question that shooting raw offers great post processing possibilities. Shooting JPEG is a much more limiting practice.I shoot JPEG.I find the limitations it imposes to be, perhaps paradoxically, liberating.

I wander with my camera and shoot what I shoot. Now and then I get a great photo. Often I don’t. For me its the interaction with the environment and my camera that provides the pleasure.When I shot raw I was forever trying to squeeze that last drop of goodness out of each photo.

It was silly really.

Kit,That capture of the the Yanomani girl is singularly well done. I can’t imagine that image in color! ………it literally cries for b&w! I have developed a similar workflow to see how my images look in b&w.

It’s surprising how some captures seem much more pleasing in b&w. I say surprising because sometimes it doesn’t seem logical. I once saw a crimson rose printed in both color and b&w and even though I consider myself a ‘colorhead’ I did prefer the b&w version!Lincoln

Keith,Gipper is a professional National Geographic photographer that has set aside his DSLR equipment to shoot only with the little Fuji X100. I don’t think he is in the learning stages. Check out the video and you will see what I mean.

Gipper,That is a singularly well done video! Your producer skills shine just as bright as your recording of all those beautiful images. Somehow the pensive, measured music does much to create a ‘b&w’ viewing mood…… There are many exceptional captures in there, but I walk away realizing that a single image very often does not reach it’s potential when viewed by itself.

It’s hard to believe you created this with the same little X100 I own. Well done!

So the question is this: am I going to regret having shot in monochrome in the future? Tough question. I tell myself that people have lived perfectly fine with black and white photos for ages. In the end, it really comes down to the fact that I love the minimalism of capturing only luminance data. It gets you to shoot in a completely different style. Then again, it seems dishonest to be using a color sensor to do this. Man, I sound like such a hipster.

When working with B&W images, ugly noise becomes attractive grain.

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I would agree wtih Arjay that you see a lot of B&W here because of the people the X100 appeals to. Many of us are drawn to it for street photography, and there is a bit of a tradition to B&W in street photography.

By shooting RAW and converting to B&W in Lightroom or other software you have a lot more choices. One thing I like about doing the conversions in LR is the 8 color sliders that give a lot of tone control — I can make red or green or aqua etc extremely light or extremely dark.

B&W often reveals a structure and contrasts that are lost in color. I end up processing about half my street photography in B&W, and maybe 20% of my other photography in B&W. I’ve made a quick B&W review of each new batch of images part of my regular worklflow — very easy in LR.

Select all of the new batch, hit ‘V’ for a basic conversion, then run the ‘Impropmtu Slideshow.’ After noting any that really stand out, another hit of ‘V’ and they are back to color. Then I make virtual copies of those taht look like great B&W candidates, go into ‘Develop’ and play around with the options until I like the tones, etc.

One of my lessons in the value of B&W was a photo I’d used in a travelogue slideshow, but didn’t think to print and frame, probably because of some of the color combinations. Then I was looking at it on the screen and on a whim did a quick B&W conversion, liked it, then reworked it.

It has brought me a few gallery sales: ever since I’ve made a quick B&W review part of my normal workflow.Kit

It turns out that the Fuji X100 is a natural at this. The camera offers multiple film simulation modes for monochrome with Ye, R, and G filter options. Traditionally, I’ve shot exclusively in color. After a week of experimentation, I realise how crisp, deep, tasteful and smooth monochrome can be. 

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I can add one good reason to shoot a JPEG with the RAW file–this gives you a completely BW workflow from camera EFV/LCD to (in my case) Adobe Bridge. I have the camera set for the “normal” (high compression) JPEG and all default settings.

If I want to review a shot on the LCD, I’m already looking at a BW image. I am from the BW rangefinder tradition, as Arjay suggested (

I did a project this past year called “X100.” I shot 1 mile for 1 year with 1 lens (the lens on the X100). All JPEGS. From them, I had a photo exhibit in Italy and also made a 15 minute multi-image show that has screened both at photo festival in Italy and here in the U.

S. 99% of the show was using JPEGs right out of the camera with little or no tweaking. Photographers from around the world have loved it. I am a National Geographic photographer and give workshops on photography for them and talk quite a bit about the X100.

Just returned from the Galapagos where I shot with vey good results with the X100s and Xpro1. For the record, I shoot my B&W Jpegs set at BWR, Highlight DR +2, Shadow DR +2 using SPOT metering and Aperture priority.

I use the EVF 95% of the time to see how things change dynamically. I hardly ever use my Nikon DSLRs anymore for professional work.Here is a link to my show on YouTube, which includes more background on the project:Please login or register to view linksI welcome comments that are civil, rational, polite, reasoned and reasonable.


By the way, these were all shot in the Los Angeles / Pasadena area. 

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What’s New? Forums > X Camera Discussions > X100F, X100T, X100S, X100, X70, XF10 >

The X100 is already a great low-light camera but it’s even better in B&W.

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This is when I wish I own a M9 with a Noctilux 50 mm f/0.95.

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I find a large number of X100 users creating photos in B&W.(More than other camera models) Is the retro styling one of the reasons, or does this camera excel in B&W, like no other. Finally, would it be better to shoot in B&W, or use Lightroom etc, to convert it into B&W.

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