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What Camera Is Best For Black And White Photography.

Dodge and Burn. Dodging and burning is a policy 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 thought of taking a degree 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 perk up them to grow local contrast. It’s a good habit of giving a sense of better sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you should build up her effect gradually so the impact is crafty and there are no hard edges.

Look for Contrast, Shape and Texture. The complimentary and opposing colours that bring a colour image to life are all decreased 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 dowdy 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, could 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 unsurpassed composition.

Shoot RAW + JPEG. The greatest monochrome conversions are blundered on 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 picture Style/Picture Control/Film Simulation mode you get an indication of how the image will look in black and white. As numerous 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 thoroughfare 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 sneaking suspicion convention , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.

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 few years ago Photoshop’s Channel Mixer was the favored 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 may 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 can also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create demarcation between objects of the same brightness but with diverse colours.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are merely as useful in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more advantageous . An ND grad is collaborative when you require to retain detail in a bright sky while a polarizing filter may be used to reduce reflections and boost contrast. Alternatively, see 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, should also be useful for manipulating contrast in digital images. They work by darkening objects of their opposite colour while lightening objects of their own. An orange filter, for example, will darken the blue of the sky while a green one 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 place than they would with a short exposure and this could help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If necessary , 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). typically , when exposures extend farther than as regards 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.

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Dynamic range at ISO 100 (SNR=2): Pentax K-1–9.7 EV, Nikon D810—10.2 EV (ISO 64), Canon 5Ds R—8.5 EV, Sony A7R II—8.4 EV

“Tonal range”: Pentax K-1—478 tones—8.9 bit, Nikon D810—9.2 bit, Canon 5Ds R—8.5 bit, Sony A7R II—9 bit

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These data show that FF cameras give better results than APS-C, and Nikon is the best. Although, differences are small.

However, if you would like to shoot only in B&W, you need to consider (strongly)

It’s an uninformed question. Black & white is the medium, not the devise. A camera doesn’t care if its color or black & white, but the medium does. Digital is set up to shoot color: the medium is a memory card, recorded by a gathering sensor. its up to the vision of the shooter or editor/client to decide what output is the desired finish. Used to be all film was black & white regardless of what camera exposed it. With the advent of color they introduced new film emulations of color that went into the same camera as the black & white was in. Now the deserning photographer may like the contrast of one lens manufacturer over another but that is highly subjective and part of the formula that a shooter employs in his combination of camera, lighting, exposure & finishing.

But beyond that, there are some creative choices and add-on gear to enhance your ability to create such black and white images. Geometric shapes and patterns are especially eye-catching in an abstract image. By stripping color away from the scene, you are more apt to see it as an abstract piece of art, rather than merely picture and black and white portraits allow you to focus more on the mood and emotion of the shot than a color photograph.

Converting a color image into monochrome in your computer offers the advantages of lots of control—your home computer is more powerful than the one built into your camera, and can handle more complex algorithms, and specialized monochrome software such as Nik Silver Efex Pro provides powerful conversion and finishing tools. And you can convert any digital image, whether it was shot recently or it’s a scan from an old Kodachrome transparency. Photoshop’s Channel Mixer gives you tremendous control over the tones in the image. (See “Monochrome Conversion” by Ming Thein in this issue for more about using the Channel Mixer.) The main drawback to converting a color image is the same as with using the camera’s monochrome mode: That color original image suffers the effects of demosaicing.

To make the most entertaining black and white photographs, some tips as mentioned below needs to be part of the final images:

“Tonal range” at ISO 100: Pentax KP—409 tones—8.7 bit, Nikon D7200—8.7 bit, Canon 80D—8.5 bit, Sony A77 II—8.8 bit

What makes a monochrome camera better? Most conventional digital cameras have color filters laid over its sensor that capture a full-color image — this process is called demosaicing — but these filters also interfere with the sensor’s ability to capture the full spectrum of available light. This means that even though a digital camera’s monochrome mode can do a good job, it’s not going to be able to reach the same black and white levels of a monochrome camera. The advantage of using a conventional digital camera when shooting in monochrome mode, on the flip side, is you can turn black-and-white RAW photos into colored photos after they’ve been taken.

So, good dynamic range give us the possibility to shoot high contrast scenes, like against light, there both shadows and highlights have right exposure.

It’s a bit ironic considering the Leica cachet, but the M Monochrom is far and away the lowest-cost monochrome digital camera available today. It’s essentially a classic Leica M rangefinder camera, but with an 18-megapixel, full-frame (35.8×23.9mm) monochrome CCD sensor that has no RGB filter grid and no AA filter (but it does have an IR filter to cut off wavelengths longer than 700nm). Like all M-series Leica cameras, the M Monochrom can use the full lineup of legendary Leica M lenses (from 16mm to 135mm), and each frames just as it does on a traditional 35mm Leica M camera, thanks to the full-frame sensor. ISO range is 320-10,000 (and there’s even an auto ISO feature). Unlike most digital cameras, the M Monochrom has a histogram that displays the unprocessed, unmodified raw data, rather than data for a camera-processed JPEG image—very helpful for nailing those RAW exposures (the camera shoots DNG RAW files, as well as JPEGs). You can tone JPEGs in-camera. Digital aspects aside, the M Monochrom is a Leica M camera, with quick and easy rangefinder focusing, quiet operation, and a rugged body featuring top and base plates of machined brass and a housing manufactured from a single piece of magnesium alloy. Dimensions are 5.5×3.1×1.5 inches, weight is 21.2 ounces (body only). Estimated Street Price: $7,200.

Considering shooting only B&W, I would say that analog cameras are still best (photographic film). Of course, it is not more comfortable or cheaper. For editing, we need to digitalize films, and to retain film quality we need high-quality scans which are quite expensive and time-consuming.

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Using your camera’s monochrome mode has several advantages. You can use the camera’s built-in filters (including the old black-and-white standbys red, yellow and green), you can view the image in monochrome on the LCD monitor, and if you shoot RAW rather than JPEG, you have the ability to process the resulting file into monochrome or full color after the fact. The primary drawback is that conventional digital sensors, with their Bayer RGB filter arrays, don’t provide optimal monochrome image quality—more on this in a bit.

Contrast is a defining factor – as the absence of it makes the composition dull while a big contrast spoils the effect and is never encouraged. To achieve a dramatic effect, look at the elements first and train the lens on the deep blacks that can grab attention to the focal point in any imagery.

Make the blacks darker – is to make the lights appear brighter and make the central element to microburst and really pop. This is an artistic rendition and is a favorite trick used by most photography enthusiasts.

Create drama – is achieved by using vanishing lines as in a perspective to project a visually powerful image. Picking out a lonely rural road for instance with rows of lamp posts interplayed with lines of trees along the length, lends credence to an Architectural imagery and creates heightened drama in black and white.

Clean black and clean white – should capture and finish a photo to do away with a muddy image. An image in mono is a bunch of grays, when a clean black and clean white is added like simple twig or a roof will be enough to compensate and achieve balance of character.

See and think black and white – is tougher to tinker with because of the color world around. It stands to reason that imagining and capturing an image in black and white is a long shot because of the influence of color around.

Filters makes a lot of difference to a photo, as it allows part of images to darken to increase the overall drama within the composition. This is done in purpose to increase the mysterious effect of the imagery towards the viewer.

Software and apps help – to achieve the magic of a black and white photo. There are apps in the web that allow enthusiasts to play with black and white photography to reach the desired end.

Note that all digital images can suffer from aliasing—when you sample real-world scenes with a fine grid array, some aliasing (“stair-stepped” edges, moiré, etc.) will occur if the pattern of the subject is the right size and at the angle to conflict with the sampling grid. The finer the pixel grid, the less likely this is to happen, so more and more DSLRs and mirrorless cameras today are doing away with the AA filter as pixel counts go up. And medium-format digital cameras have never used AA filters. Aliasing—when it occurs—can be corrected in post-processing, as medium-format users have operated from the start.

Having in mind these features I have looked at some tests at

A monochrome (or black-and-white) photo can be nostalgic, timeless, beautiful and these days there are a few ways to capture one. Many digital cameras have monochrome modes. You can also edit photos with programs like Photoshop and Lightroom, or by using a RAW converter, that turn your color photo into a monochrome photo. For the best monochrome photos, however, you really want a camera that doesn’t collect color information at all, and they’re a decidedly rare breed.

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The dynamic range of some best B&W films is about 13 EV. Same as the digital and the human eye. While the “tonal range” is much better, I think. I haven’t found any data on the Internet how many tones produce an analog film. That observation is from my own experience. I have noticed that analog B&W image is richer than a digital one. I mean there are more tones, skin tone is more accurate, it is just more . Besides an analog B&W film frame (36x25mm) has higher image resolution—140 Mpix in average. (

It depends on your goal.Here’s the thing, a huge part of B&W is about the print.  In fact, it’s close to being all about the print.  You want to be able to pre-visualize the eventual tonality placed on paper the moment you press the shutter release.

  You need to know the techniques, in particular, the tools used to map hue to tone.  Much of this is done in the digital darkroom.  So, the best B&W camera is a modern, full color, large sensor, high dynamic range digital camera.

  This enables you to, for example, color filter in post, in fact, to color filter different parts of the scene.However, if your want to shoot on B&W film, I’d recommend going medium format, i.e., 120 roll film.

  It’s a good trade-off between cost, convenience, flexibility, and the amount of enlargement necessary.I’m partial to the Mamiya RB-67 series (got two bodies myself.)  It’s a good value, and I like the 6×7 aspect ratio.

Any camera will do. Do you know the famous Ansel Adams quote “You don’t take a photograph, you make it”? You have to know that in B&W photography, just like in colour photography, there are 2 phases: 1.

The phase in  which you take the photograph. In this phase things like composition, aperture and proper exposure are key. This is the phase when you take the photograph.2. The phase of post processing.

This can be done either in the conventional dark room or in the digital darkroom. This is the phase in which you create the photograph with the photograph you took.Ansel Adams said those famous words because he wanted to emphasize that the phase of processing the photo is the phase where a good B&W photograph can become an exceptional B&W photograph.

Good B&W photography means giving equal and proper attention to both phases, to the ‘taking part’ and the ‘creating part’. A great B&W photographer can take (and create) better B&W photos with a simple point and shoot than a mediocre photographer with a 50K PhaseOne or Hasselblad.

It’s like asking ‘what brush and canvas are the best to create beautiful paintings’? Any will do, it depends on the artist.

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Today, there are three basic monochrome digital cameras on the market, from Leica, Phase One and RED. They range in price from over $7,000 to over $40,000, and that’s their primary drawback. But in terms of monochrome image quality, they offer the best there is.

Conventional image sensors consist of a fine grid of millions of pixels or photodiodes that record light in proportion to its intensity. Each pixel can detect how much light strikes it, but not what color that light is. To provide color information, most manufacturers position a grid of primary-colored filters called a Bayer array (named after the Kodak scientist who devised it) over the pixels, with one primary color, red, green or blue, covering each pixel so that each pixel receives only light of that color. Then, through a process known as demosaicing, the camera’s processor (if you shoot JPEG) or your RAW converter (if you shoot RAW) creates a full-color image, using color data from neighboring pixels and interpolation via complex proprietary algorithms to furnish the missing color data for each pixel.

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Black and white photographic film offers still high-quality image, in some cases better than digital.

There are three basic ways to produce a monochrome (black-and-white) image with a digital camera: Shoot it that way using your camera’s monochrome mode; convert a color image to monochrome using your RAW converter, Photoshop or specialized monochrome software; or shoot with a monochrome digital camera.

If you want to go all the way, a large format camera is a good choice. With a single sheet of film rather than a roll, you can do a lot of manipulation to the film during development. I’d suggest that you look for Ansel Adams books. One book covers cameras and others cover film and printers.

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Otherwise, a Hasselblad or Mamiya film camera, both are medium format and produce great results with the right film.

Monochrome photography is a bit different than traditional photography — things like light, shadows, shapes and textures play much more prominent roles. (Since most photographers see in color… this adds another level of difficulty.) But for those who really have a passion for monochrome photography, and they want to take the best quality photo, they should really look into a dedicated monochrome camera. Be forewarned, there aren’t many options and they are all pretty expensive.

Dynamic range at ISO 100 (SNR=2): Pentax KP—9.3 EV, Nikon D7200—9.4 EV, Canon 80D—9.1 EV, Sony A77 II—8.9 EV

As regarding the gear, an ideal way to create better contrast is by using a polarizing filter. Using a polarizer with your smartphone requires that you utilize an add-on lens as well, which is a smart choice if you want the highest optical quality: Essential Tips for Black and White Mobile Photography

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This process works quite well—all major-brand digital cameras except Sigma’s use this method on amateur as well as pro-oriented models (see the “Sigma/Foveon” sidebar). However, the demosaicing process does have some drawbacks. First, a lot of light is wasted, since the colored filters block two-thirds of the light from reaching each pixel. Second, the demosaicing process produces aliasing—moiré, color artifacts and the like. To combat this, most sensors also include an anti-aliasing (AA) filter, or optical low-pass filter (OLPF), which slightly blurs the image at the pixel level to minimize moiré. This, of course, also slightly reduces overall image sharpness.

So when you use your camera’s monochrome mode, or convert a color digital image to monochrome in your computer, you’re working from a color image that was fabricated from a monochrome image using colored filters and complex image processing, and then turned back into monochrome. There must be a better way.

Taking excellent black and white images is simply a matter of following a few crucial guidelines. Lighting, like for any type of image, is of the utmost importance.

Many still photographers may think of RED as being only for video. However, RED’s DSMCs (Digital Still and Motion Cameras) can produce superb still images, as well as feature-quality video. The EPIC Monochrome features the RED Mysterium-X Monochrome sensor, a 30x15mm unit that can deliver 14-megapixel still images, as well as video up to 5K (5120×2700) at rates up to 59.94 fps. Native ISO is 2000; dynamic range is 13.5 stops (up to 18 stops with RED HDRx). Adapters are available for PL, Canon, Nikon and Leica lenses. RED offers two electronic viewfinders and LCD monitors from 5.0 to 9.0 inches, some with touch-screen capability. Images are saved to REDMAG 1.8-inch SSD units from 48 GB to 512 GB, or the RED MINI-MAG 512 GB. There are two versions of the EPIC Monochrome: the EPIC-M is handmade in California and carries a two-year warranty and a $25,000 price (Brain only), while the production EPIC-X (also made in the U.S.) carries a one-year warranty and a $20,000 price (Brain only). The RED EPIC-M Dragon Monochrome adds 6K (6144×3160) video, 19-megapixel stills and a 16.5-stop dynamic range to the above features, thanks to the Dragon-M sensor with interchangeable DSMC Monochrome OLPF. It sells for $31,500 (Brain only).

Sigma’s DSLRs and compact cameras with Foveon X3 image sensors don’t use Bayer filter arrays and demosaicing. Instead, they derive color from the fact that different light wavelengths penetrate silicon to different depths. Foveon sensors stack three pixel layers, in effect, the top layer recording short (blue) wavelengths, the middle layer, medium (green), and the bottom layer, long (red) wavelengths. (It’s really more complicated than that, especially with the latest-generation Foveon Quattro sensors, but it’s simpler to think of it this way.) The result is that these sensors record all three primary colors (as well as full luminance data) at every pixel site, no demosaicing or interpolation required—and, thus, no AA filter required, either. The result is sharper images than produced by Bayer sensors of equal horizontal-by -vertical pixel count—and better monochrome images. The Foveon monochrome images aren’t as good as those from dedicated monochrome sensors, but they’re better than those from Bayer sensors—and the Sigma cameras cost a lot less than the monochrome digital cameras. The Sigma SD1 Merrill DSLR sells for around $1,999, the DP1, DP2 and DP3 Merrill compact cameras (with built-in wide-angle, normal and short tele lenses, respectively), for around $799, and the new dp1, dp2 and dp3 Quattro compacts (with wide, normal and short tele lenses, respectively) for $999.

For me, black and white photography is light, shadows of people and objects, and contrast. So dynamic range is crucial to achieving best results. Writing dynamic range I mean not only range of exposure from black to white of photographed scene. I also mean “tonal range”—how many tones the camera is recording, so the image is smooth from black to white. (I don’t know if the “tonal range” is a proper English photographic term—any comments?)

The Leica M Monochrom is a rangefinder-style digital camera and a true black-and-white shooter. Released in 2012, it’s beloved by most serious photographers, but it’s also known for being quite difficult to use. It doesn’t have autofocus, so you’ll have to adjust the lens’s focus ring — any of Leica’s M-Series of lenses are compatible with the M Monochrom — to capture in-focus photos. Aperture is also controlled by the lens. It doesn’t have great bursting or video shooting (up to 1080p) abilities, either. And it lacks wi-fi, GPS, and NFC, which are all common features on today’s digital cameras. However, the M Monochrom has a 24-megapixel full-frame sensor and flexible ISO (320-25600) and can capture stunningly crisp black-and-white photos. For expert photographers who aren’t scared away by this Leica’s price tag, this is the best monochrome camera you can buy.

Phase One’s IQ3 100MP Achromatic is a digital back that allows any IQ3 XF medium-format camera to shoot black-and-white-only photos. Announced in 2017, the digital back has a brand new 101-megapixel CMOS sensor with a max ISO of 51,200, making it that most light sensitive medium format digital back that you can currently purchase. It also has an electronic shutter button, built-in wifi and can capture up to 60-minute long exposures. This camera back is really designed for photographers looking to take super high-resolution photos of architecture and landscapes. At at $50,000 for the back alone, they probably need to be serious photographers.

Remarks: dynamic range tests were taken at specific criteria just to compare cameras. Max. DR of digital cameras is between 13–14 EV. Dynamic range decreases with ISO value.

Edit 1: after the discussion (see below) about the b&w film resolution, it turns out that the calculation with the result of 140 Mpix has incorrect assuming. So, the value is too optimistic, and for now, I cannot say what the resolution of the b&w film is. Any comments are welcome.

Remember, adding small details can add up to the big drama of black and white photography. It could mean a slight darkening of a huge background or maybe adding up touches to a dull brickyard,

The reason could only be attributed to color being easy to pull the attention of the viewer around. Black and white photography is much tougher because it requires excellent rendition of lighting to achieve a similar effect. Imagine, projecting grief, death, love, hate, jealousy and mystery is not easy to pull through with monochrome, but is child’s play using color. It takes the interplay of shades and shadows to achieve a desired effect on the viewer.

“Tonal range” shows how good the image is recorded, how many tones are in it. As the B&W image has no color, all these tones compose the picture.

For those who don’t want to spend as much on a monochrome-only digital camera, there’s the third-party company LDP LLC (, who sells modified versions of the Fuji X100S-M and Fuji X-Pro1-M. They convert Fuji’s X-Trans color sensor cameras to monochrome by removing the color filter array, and, according to, they perform very well: “Fuji monochrome cameras can compare quite favorably to the Leica M but with higher performance in many respects and with a much lower price.” You can currently purchase the Fuji X-Pro1-M for $2,425 and the Fuji X100S-M for $2,600.

Edit 2: I have found an extensive article about photographic film resolution. No conclusions yet.…

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The best? Probably the Leica Monochrom full frame digital if you want to go digital.

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I say a view camera.. black and white photography is all about form, texture and light. A view camera with its ground glass back (which is bigger and sharper than any LCD) let you really focus on those elements in the field.

The image is actually inverted in the back… but that actually helps I’m told… because it lets you focus on the lines and texture and less about the literal subject of your photo (like when you take a photo of a tree.

.. it’s more important to think of the lines and textures that the trees creates in the image than the fact that it is a tree… inverting the image helps give you that abstraction to focus on what is important).

Here are some portfolios of a Chris Honeysett, a pro photographer I know who makes my favorite black and white images. He’s been using a view camera for 25 years for his professional work.The Luminous Land – FormThe Luminous Land – Architecture The Luminous Land – LandscapeThe Luminous Land – Trees

When DSLR users talk about full-frame, they mean 35mm full-frame: a sensor measuring about 36x24mm, the size of a full 35mm film frame. To medium-format users, full-frame means the size of a full 645-format film frame. That would be 6×4.5cm, in theory, more like 56×41.5mm in terms of actual image area. Phase One’s IQ260 Achromatic medium-format digital back (available as a kit with the Phase One 645DF+ camera body, or with mounts to fit many popular medium-format and technical cameras) features a 60-megapixel, full-frame medium-format monochrome CCD sensor that measures a whopping 53.7×40.3mm—more than 2.5X the area of a full-frame 35mm DSLR sensor and 1.5X the area of the 44x33mm sensors found in lower-end medium-format cameras. Besides the huge sensor size and 60 megapixels (and the resulting superb image quality), the back offers a 3.2-inch, 1150K-dot touch-screen display, 13 stops of dynamic range and ISOs from 200-3200. The back is ruggedly constructed of 100% aircraft-grade aluminum, and can be operated as an independent unit, tethered to a computer or wirelessly from an iPad or iPhone using Phase One Capture Pilot. Besides having no Bayer filters or AA filter, the IQ260 Achromatic has no IR cutoff filter, so it can also be used for infrared photography. Estimated Street Price: $44,495.

Editor’s Note: If you’re looking for a more affordable option, we suggest looking into the Sigma dp3 Quattro ($899+). It’s not a true monochrome camera, as its Foveon Quattro sensor can still capture color, but the sensor doesn’t use traditional light filters and it instead derives colors without demosaicing, resulting in more accurate monochrome photos.

(You can read more about the technology, here.) All Sigma’s new dp1, dp2 and dp3 Quattro compacts have a Foveon sensor.

There is: a monochrome camera. The sensors in monochrome digital cameras don’t have color filter arrays because there’s no need. Thus, they record all the light (per the sensor’s quantum efficiency) that falls on each pixel; none is lost to color filters, so sensor sensitivity is, in effect, higher. There’s no demosaicing, and thus no color moiré and no need for the blurring AA filter. So images from a monochrome sensor are inherently sharper than converted color images, and sensitivity is higher. Of course, the monochrome camera can’t produce color images, so you have to consider your needs. Monochrome cameras are quite costly, so most photographers probably will be better off doing monochrome with their regular digital cameras—which can deliver excellent monochrome images despite the drawbacks. But for the monochrome connoisseur, the monochrome camera is the way to go.

Black and white photography will remain a powerful medium as images are shrouded in mystery and needs to be taken in context to understand, feel and appreciate the message it carries.

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