Paris la defense black and white photography bw fotografía en blanco y negro paris blanc et noir foto blanc et noir foto schwarz und weiss photo
Black and white picture photo reflections in modern office buildings la defense france
Paris la defense black and white photography bw fotografía en blanco y negro paris blanc et noir foto blanc et noir foto schwarz und weiss photo
Paris la defense black and white photography bw fotografía en blanco y negro paris blanc et noir foto blanc et noir foto schwarz und weiss photo
Warren sea defense black white
Paris la defense black and white photography bw fotografía en blanco y negro paris blanc et noir foto blanc et noir foto schwarz und weiss photo

Three Column Blogger


In Defense Of Black And White Photographygraphy.

Take Control. Although coloured filters should 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 a couple years ago Photoshop’s Channel Mixer was the preferred means of turning colour images monochrome, but now Adobe Camera Raw has more powerful 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 could become unnatural looking. And adjusting the brightness of a red or rosy shirt with the red sliding control, for instance , 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 delineation between objects of the same brightness but with diverse colours.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are simply as advantageous in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more advantageous . An ND grad is helpful when you want to retain detail in a bright sky while a polarizing filter can be used to reduce reflections and boost contrast. Alternatively, think of taking two or more shots with unique exposures to create a high dynamic range (HDR) composite. Don’t be afraid 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 advantageous for manipulating contrast in digital images. They work by darkening objects of his opposite colour while lightening objects of their own. An orange filter, for example, will darken the blue of the sky while a green single will lighten foliage.

Try Long Exposure. Long exposure shots should 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 should 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 reduce exposure and extend shutter speed (by 10 and 4 stops respectively). classically , when exposures extend farther than in regard to 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.

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 immediately 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 drab straight from the camera. happily , it’s possible to work adjust the brightness of these two colours discretely 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 strong blacks and whites. This can 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, can 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 best composition.

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 hope of because you may target the highlights, shadows or mid-tones with both. This means that you may use the Burn tool to darken highlights when they are too bright, or the Dodge tool to brighten up them to increase local contrast. It’s a great habit of sharing a sense of superior sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you could build up her effect gradually so the impact is crafty and there are no hard edges.

Shoot RAW + JPEG. The best monochrome conversions are got up to 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. many 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 road 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 apprehension fashion , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

Related Images of In Defense Of Black And White Photographygraphy
Paris black white panoramic eiffel tower invalides defense
La defense skyline at night black and white paris
In defense of black and white photography guide to black and white photography 2 technical essentials
Black and white picture photo eiffel tower champs de mars la defense at sunset paris france
In defense of black and white photography guide to black and white photography 1
Download black and white image of historic tower of the valletta defense fortifications and valletta citadel
La defense black and white paris print by garyalanboxart on etsyGrande arche de la defense franceArt photography in black and white loading zoomList of essential black and white tutorialsGrande arche de la defense at dusk franceMagnum photos photographer portfolio

Recent Commentsنهمین شماره مجله مینیمالیسم منتشر شد – باشگاه عکاسان جوان on B&W Minimalism Magazine 09زیبا on Minimalism Exhibition in Kerman,Iran.Fotografia minimalistă, cu Andreea Tănase – F64 Blog on B&W Minimalism Magazine 04

OVERVIEW BLACK AND WHITE POST PROCESSING METHODS TOOL / METHOD RECOMMENDED APPLICATION PRO CON REMARK DODGE AND BURN Small areas and details that need tonal correction – Quick and targeted correction – Is a ‘finishing touch’ tool in my opinion – Not ideal for larger areas – Smooth transitions in for example gradations are almost impossible – Time consuming This is not the tool I prefer for editing, there are more accurate and subtler tools than this for B&W processing.

But very useful for the finishing touches and also for masking techniques CURVES TOOL Larger areas that need either a subtle or drastic local or global correction – Very accurate tonal correction – Ideal for tonal corrections on large areas like skies or water – Is very effective when used locally through masks and layers – Less intuitive – Knowledge of tonal zones is required – Is less effective as a stand alone tool and should be used in combination with masks, brushes and gradient tools.

Is best used in combination with layers and masks. Subtle tonal gradations can be made in combination with the gradient tool and masks. LEVELS TOOL Very effective in increasing the global contrast. Not recommendable for local adjustments – Effective in adding either blacks or whites or both at the same time to increase the global contrast – Very easy to use with a black point, mid point and white point slider – Not very suitable for local adjustments, if local adjustments are needed then the curves tool is much more accurate and controllable.

Whether you use the levels or curves tool for tonal corrections, for local adjustments you always need a mask. Personally I use this tool in the finishing touch phase of my workflow if I need to add a bit more shadows or highlights.

GRADIENT TOOL WITH MASKS This is the tool to subtly blend several layers, that contain luminance adjustments, together and create tonal gradations that aren’t possible in any other way. – Subtle control over layers that need to be blended together – Enables creation of subtle transitions between blended parts with tonal adjustments – Far more controllable than a brush tool – Numerous other applications possible – It requires a bit of practice, but once you know how to use it, it is the most powerful tool for me in Photoshop.

I don’t know any other tool in PS that is so powerful, so versatile and so subtle in its results, yet is always used in a way that doesn’t do this tool any justice. Very effective in combination with the mask and curves tool.

Also my secret tool to create the most accurate selections, with the least effort in the least time. More information on how to use this tool can be found in my B&W Speed Workflow video (information on using this as a selection tool is not available yet).

TOPAZ B&W EFFECTS – PLUGIN FOR PS AND LR Any easy and quick B&W conversion and processing, albeit more suitable for more global processing instead of controlled local processing. Very allround and will suit any black and white photographer who wants quick results – Intuitive – Fast results through an enormous variety of beautiful presets that give you instant results – Includes global adjustments tool and color filters to affect the sky for example – Also includes local adjustments tools but they’re limited to dodge and burn – Very affordable.

– Local adjustments are limited to tools as dodge and burn – B&W conversions are based on the original colors, many adjustments are also color based A very effective and great tool for beginners but also for advanced black and white photographers.

I would recommend using this tool in combination with Photoshop as a plug-in to increase control through PS features such as layers, masks and selection tools. NIK SILVER EFEX PRO2 PLUGINS Just like Topaz B&W effects this is a very easy to use and versatile tool for B&W conversion and processing.

Various presets that will suit the preference of most black and white photographers, that can be tweaked easily. – It has all the advantages of Topaz but one important tool more: the local adjustment tool using control point gives you more accurate and controllable results than the local adjustments in Topaz.

– Since NIK Software and all its tools have been taken over by Google, it went from being the #1 B&W plugin to a tool that is no longer supported. Google is phasing out SEP2 and that’s a big loss.

– All conversions and the majority of adjustment tools are color based, which I think is not a plus. Absolutely the trendsetter in this market and the most versatile for B&W photographers who want quick and great results but SEP2 will no longer be supported.

In some cases, as is the case with pure monochromatic digital sensors like the Phase One IQ3 achromatic or the Leica M Monochrom, all interpolations are canceled out even the interpolation in the blue callout.

The result out of such a camera is the most neutral and least subjected to algorithmic interpretations and the conversion to remove the colors is eliminated. This is the most ideal starting point for a black and white photograph.

Of course such a camera comes with a price, but I believe there should be a place for a monochrome camera only, in the marketing strategy of all mainstream camera manufacturers and not only in the strategy of high-end camera manufacturers like Phase One or Leica.


The Bayer filter is a physical layer placed on top of a CCD or CMOS photo sensor, containing a grid with a pattern of red, green and blue filters that can identify the various different wavelengths that represent the various colors. Each colored filter represents a pixel on a sensor and are literally placed on top of a pixel. In a Bayer filter there are always more green than red and blue filters since green filters are more sensitive, just like the human eye is more receptive for green. If for example light hits the red filter, it will only let through the red color component of that light and will discard the blue and green information. The discarded blue and green components will later be added through a demosaicking process that interpolates the missing colors to make up for a full color image. This implies that a color sensor will always miss 2/3 of the information per pixel that will later be guessed! The set of data, containing the red, blue and green data and the luminance values is the actual RAW data file and demosaicking is the process that takes place when we run a RAW file through the RAW converter in Photoshop for example. Despite the fact that demosaicking algorithms are very intelligent, it still is just an algorithm that can make very well educated and accurate guesses. Therefore it has its flaws that become more critical around edges of a photo and also in areas in an image where colors abruptly change. It is for this reason that a photographer working in black and white only, will benefit the most of a sensor that has no CFA and no interpolations will be part of the entire process.

IN DEFENSE OF BLACK AND WHITE PHOTOGRAPHY – GUIDE TO BLACK AND WHITE PHOTOGRAPHY 2 – TECHNICAL ESSENTIALS INTRODUCTION In part 1 of this guide, ‘In Defense of Black and White Photography’, I wrote about why black and white photography could be used, and gave an overview

Guide To B&W Photography Part 2 – Technical essentials Aug 16, 2017 by B&W Minimalism in Articles

As can be concluded from the overview of most used conversion methods, there are only a few ways to create a neutral Black and White result without any interpolation. There’s no default setting in the B&W conversion features in Photoshop, Lightroom or Capture One that will create a neutral conversion. All conversion methods are based on the original color channels and increasing or decreasing the color intensity for the desired black and white output. Of course it should be possible to adjust the color intensity in such a way it results in a neutral B&W conversion, but again, there’s no default setting for that, nor does ‘all channels set to 0’ result in such a neutral conversion. From the plug-ins that I have used only the neutral presets in SEP2 and Topaz will offer a black and white conversion without any luminosity corrections. Some may oppose that desaturation in Photoshop should result in a neutral conversion. Theoretically desaturation of colors should indeed result in a neutral black and white image, but practically, in Photoshop for example, desaturation is not neutral and it will change the luminance values

In part 1 of this guide, ‘In Defense of Black and White Photography’, I wrote about why black and white photography could be used, and gave an overview of the artistic pros and cons of black and white photography compared to color photography. One of the conclusions in part 1 is that black and white photography is one step away from reality, which is a way of achieving beauty, necessary for art. Furthermore an elementary difference between color and black and white is that you can only perceive dimensional depth correctly when your view isn’t distracted by colors. Black and white is the ideal medium to create and perceive depth since it’s the art of working with luminosity differences to create a meaningful photograph. On the other hand, colors can add to the symbolism and mood in a photograph, which is a way of communicating a message in a photograph, necessary for it to be called art. In another article I wrote how you can combine the best or most valuable aspects of black and white photography with some of the most valuable characteristics of color, namely by working with split tones in a black and white photograph.

Processing: all other adjustments in photo editing software that doesn’t include a color to black and white conversion. Also applicable to color photographs. Of course.

 Color is added through a CFA (Color Filter Array) that’s placed on the digital sensor – the sensor itself, only captures light, or better yet, luminance values, and are always without any color information.

Photographic sensors such as CCD or CMOS sensors, can only capture light intensities and are, due to its nature, incapable of separating wavelengths, which basically is the actual color. Contrary to common belief, black and white is not a color recording with the colors removed, but color originally is a black and white recording with colors added through the use of a CFA such as a Bayer filter, that can separate the different wavelengths.


There’s one very easy way though in Photoshop by which you can create a completely neutral black and white conversion, the luminosity blending method, that I demonstrate in the 1 minute video below.

چرا عکاسی سیاه و سفید؟ این سوالی است که از عکاسان سیاه و سفید، بسیار پرسیده می شود. اصولا عکاسان تازه کاری که با گرایش ذاتی  و اولیه به عکاسی رنگی می پردازند و یا عکاسان با تجربه ای که هنوز هم به توجیه تخصصی،

Not part of this overview is an elaborate analysis of what the in-camera black and white conversion does, simply because there are too many cameras and more importantly: almost all of them, with the exception of a few that will be discussed here briefly, convert images to black and white in-camera to a JPG image. The same applies to all the apps and filters for mobile devices: I love what they can do but it’s also JPG. The quality of a JPG image is such that it’s not comparable to working with a RAW file and working in JPG will result in a loss of too much information that it’s simply not useful for high quality black and white post processing. But if you only want to use your photos for quick uploads to instagram or other social media and don’t intend to create fine art or other high quality images on printed paper, then that’s perfectly justifiable but then this article may not be for you.

As stated earlier on in this article: with a black and white conversion I’m only referring to a method for making the actual one-off step, to come from color to black and white. The adjustments that take place after the image has been converted to Black and White, will be referred to as post-processing methods or steps. After all, you only need to make the step from color to B&W once, while post-processing steps can be done multiple times and always have as a goal to correct the luminance values.

There are various interpolations in the pure color process that are inevitable to produce a color photograph. The interpolations indicated in the red callouts cannot be avoided in both color and black and white workflows with a full color sensor.

Note that I’m also referring to the addition of color through the CFA as ‘interpolation’, which some may argue this is not strictly interpolation. For the sake of this article I’m also calling this interpolation since it has an impact on the original data of recorded luminance values.

The interpolation in step 2 is inevitable with a full color sensor and consists of an algorithm that depends on the CFA used. There are various interpolations in the black and white process that should ideally be avoided to achieve a good black and white photograph The interpolation indicated in the blue callout in the black and white workflow can be avoided by choosing the right way of ‘converting’ the color image to black and white.

With the right way I mean a neutral way of conversion that will leave intact the luminance values of an image and only removes the color information. The necessary adjustment of luminance values to express the artistic interpretation will then be controllable and individual and not the subject of algorithmic interpretation by the software.

More on this further on in this article where I will discuss this in more detail.

Finally, one might argue: perhaps converting to luminance values (black and white) based on colors is not the right way but since that will be followed up by color independent corrections, targeting luminance corrections only with color independent tools like the curves or dodge/burn tools, so all is still good? As long as you’re happy with the final results, then yes, all is still good. But you’re only adding more interpolations that will always deteriorate the image quality, and you may be happy with the end result, you won’t know what you have missed in additional and correct information during the process.

The article in front of you can be read without reading part 1 of this guide, but I would highly recommend reading part 1 for a better understanding of the artistic reasons behind black and white photography. This article is all about the technical reasons for a correct approach to black and white photography.

TIP: to check if you have an absolute neutral conversion you can duplicate the converted black and white layer on top of the original color layer where it’s converted from. Then set the duplicated B&W layer to luminosity blending mode. This will result in a layer that should have exactly the same colors as the original color layer below. With no luminance differences.

Photography Location Guide 2 Phase One IQ3 Achromatic 100MP Review

There are as many processing methods as there are artists, trying to give an overview here would be impossible but roughly there are the following processing methods: using traditional darkroom tools such as dodge and burn only, methods that largely rely on presets and global adjustments like those available in Lightroom and Capture One. Methods that are based on a combination of traditional PS tools and Plugins like SEP2 and Topaz and finally there are methods like my method that are the practical reflection of one’s personal preferences. My method for example has a clear structure and underlying philosophy to make my workflow transparent and accessible to other aspiring artists. They’re not random tricks. More on my method can be found in my videos/books, and my most recent evolutions of this workflow starts from an absolute neutral conversion. In principle, the objective of post-processing is the adjustment of luminance values for the sake of artistic expression. Conversion methods should be irrelevant in this phase.  In the following overview I’m trying to list the most used tools for luminance adjustments, when they’re most useful and what I prefer.

Conversion: the initial step to come from a raw color photo file to a neutral black and white version of it.

© Copyright 2009-2018 – Joel Tjintjelaar – BWVISION.COM TwitterFacebookGplusFlickrFive_100_pxInstagram

Considering that black and white photography is still being enjoyed by many people and actually never lost any of its allure and popularity, it is a question mark to me why not more camera manufacturers, also in the more mainstream pro-consumer market, aren’t offering pure black and white cameras. It isn’t a technical issue, it’s simply a matter of removing the CFA, so basically it should be cheaper. Granted, with a color sensor you are not limited to taking black and white photographs only and you can get close to the results of a black and white only camera, but it is definitely not the same. There are technical differences that indicate a loss in quality, but not only that, there are also differences in quality that can be very visible in critical areas. Simply due to all the interpolations that in fact aren’t necessary. As long as the mainstream camera manufacturers aren’t considering pure black and white sensors, and you can’t afford the Phase One Achromatic or Leica M Monochrom, then be sure to skip as many interpolations as possible to achieve a less compromised quality and start with a neutral conversion.

A visual representation of how an image is recorded with a regular sensor consisting of a Color Filter Array (CFA), and after that how it is processed within a color and a black and white workflow.


A black and white photo is not a color photo with the colors removed, but a color photo is originally a black and white photo with colors added to it.

Subway Rotterdam (c) Copyright Joel Tjintjelaar – pure black and white capture with the Phase One IQ3 Achromatic

Usually when we talk about converting to black and white we’re referring to the entire process from doing the basic conversion from color to black and white to the further processing of an image. It is important in the context of this article to separate ‘conversion’ from ‘processing’. Whatever phrase you prefer to use outside of this article, is entirely up to you, but I would recommend separating them to avoid confusion.


Subscribe to our newsletter to automatically receive the lastest news, issues, contests… Enter your email and hit subscribe.

Many people may wonder why I consider a tool or plugin that bases its conversion and processing on the original color information as a negative instead of a plus or even as neutral. To start with, you’re basing the end result on something that shouldn’t play a role in black and white. Moreover: the color information is interpolated information, now you’re using that for your B&W outcome! While I would recommend skipping as many interpolations as possible. Related to that, my personal B&W workflow is independent of the original color to avoid any interpolation. It is based on the basic elements of a photograph: light (or better yet: luminance values) and objects. If you base a black and white photo on those elements only then you have more subtle and also more local control over a photograph. More on this in my article on black and white processing techniques in the digital age. But also consider this: what if you have a black and white raw file only (such as from an achromatic back as the Phase One or Leica) or scanned a black and white analog photograph to process it in one of these tools? Then it’s obvious you can’t do much with the black and white adjustments features that are based on color only.

B&W Minimalism Magazine Copyright 2017 B&W Minimalism Magazine. All rights reserved.

The overview of black and white conversion methods that is presented here can of course never be complete overviews since there are so many individual ways to create a black and white photograph from color and I surely won’t pretend I know all of them, nor do I want to discuss all of them. For every method I’ll try to select a representative set to get an impression.

Aim for an absolute neutral conversion that has no luminance corrections during conversion.

To minimise the number of interpolations  and to start with a neutral and ‘clean’ image, I’m suggesting here that the conversion method should preferably result in a neutral conversion without any luminance corrections that take place ‘behind the scenes’. Luminance corrections should only be part of the subsequent post-processing steps as an intended result.

What happens with most conversion methods is that they’re aiming to use the characteristics of a black and white photograph, namely the visible differences in luminance values, to create or suppress depth, while at the same time they’re selection criterion is its original color values. This is quite arbitrary since you change a luminance value based on a property, color, that gives no clear indication of its luminance value (see previous article) unless its stripped from its colors. And you may argue that in the end you’ll end up with the right B&W image anyway, so it’s irrelevant, but it’s simply a fundamentally wrong approach.

Tagged with: bnw, fineart, IN DEFENSE OF BLACK AND WHITE PHOTOGRAPHY, Magazine, minimal, Minimalism, minimalism article, minimalism magazine, Photography, photography article

The Bayer filter is the most used Color Filter Array to detect differences in wavelengths to add color to a photo sensor. A photo sensor can only detect luminance values. In other words a photo sensor can only record in black and white

A schematic representation of what happens in the process of capturing a photo to presenting a photo in black and white or in color, to illustrate why the concept of separating conversion from processing to black and white is important

By Joel Tjintjelaar – (c) Copyright 2017 Joel Tjintjelaar –

Related Post of In Defense Of Black And White Photographygraphy