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Colour vs Black and White

Colour vs Black and White

Why, When, and How to Use it

Black and White

Classic, enigmatic, and atmospheric – black and white is timeless. The pioneering photographs of the 19^th Century, and its subsequent association with famous figures of photography like Ansel Adams, glamorises this process with an artistic allure. It’s not as easy as turning your camera to ‘Classic’ mode, or converting a colour image later in post-production, though. These pages will reveal how best to use this photo finish for stunning shots.

Colour

Colour is bold; it’s attention grabbing, and it’s full of life. It’s how we see the world everyday, yet the way in which you use colour in your photographs will portray how you personally see the world. Unfortunately it’s not as easy as recording what you see, as certain situations and subjects can appear flat in colour but striking in mono. Here, we will show you how to use colour to your advantage. 

CHECKLIST

What you’ll need

- Camera

RAW capability is advantageous

- Len filters

Enhance your shots with coloured filters

- Editing software

Convert your colour files to mono

Skills you’ll learn

- Converting

Create a black and white masterpiece

- Filters

Learn how to use this popular accessory

- Editing

Combine mono and colour subjects in a single frame

SUBJECT MATTERS: Colour

Develop your colour palette and breathe life into your images

Colour may seem straightforward, but there’s actually a whole theory dedicated to it. We can react differently to colours based on our own cultural backgrounds and views, but generally this is what these colours connote:

Red –Warm colours are happy and inviting

Green - Represents nature and vitality

Blue – Cold colours can be bleak and verge on sadness

Experiment with your camera’s white balance presets to alter the tone, for example: by using the Cloudy setting whilst photographing a sunset, the warm hues will be exaggerated.

The opposite colours on a colour wheel are considered complementary and create balance when placed next to each other in an image, for example: yellow and purple. The colour clash will help to create a striking image.

Landscape

Sunsets and sunrises make beautiful colour images, but the changing light doesn’t last very long. Wait in anticipation with your camera already setup so you don’t miss it. By using a tripod, you will be able to combat the low light and use longer shutter speeds to let more light hit the sensor. To add interest, include silhouetted subjects in the foreground such as trees, and ensure to capture any water reflections.

Portrait

Colour screams energy so its understandable that it shows off children extremely well. Setting the correct white balance is crucial to getting the skin tones looking natural so take note of the lighting conditions. If you’re indoors and the light source is a bulb, for instance, set the white balance to Tungsten. Watch out for nearby reflections from leaves and clothing, and use a reflector to eliminate shadows or use fill flash.

Abstract

The most popular macro shots are captured in colour because it best shows off the intricate details of the subject. Your back garden will reveal an array of photogenic subjects, whether it’s a flower covered in dew or a hovering insect. Try and contrast the subject with the background to make it stand out. A good tip is to carry a piece of coloured card around with you, which instantly de-clutters any background.

Street

If you’re abroad, colour photography will help to capture a country’s culture. This shot of a Mexican street shows off the vibrant shops and dress of the local woman so that you get more of a sense of the place. Turn your holiday snaps into professional quality travel photographs by varying your angles – shoot high and low. Don’t just focus on buildings either, ensure to capture the food and the residents too.

SUBJECT MATTERS: B&W

How to visualise the shot in monochrome before you press the shutter

They say to master monochrome is to ‘see’ in black and white, which is easier said than done. Try draining your colour photos to see how they look in monochrome. This will help you decipher what works and to imagine how the colours in your viewfinder will translate into black and white later.

The key aspect of a black and white photo is contrast and tones, which are enhanced by textured subjects. Highlights and shadows are important, so ensure the scene is correctly exposed by shooting in RAW and bracket expose. This means taking a shot either side of the average reading, for example if the settings are ISO 200, f8, 1/125 you should take a shot on this, then ISO 200, f8, 1/250 and ISO 200, f8, 1/60.

Landscape

Technically, you can shoot black and white landscapes at any time of day, but head out at dawn or dusk for the most dynamic lighting. Clouds add drama and interest so avoid stretches of blue skies, which will turn to a blanket of grey once converted. Mono prints emphasise the structure of a landscape, so use natural lines or curves to lead the eye into the image, such as a path or a bridge.

Portrait

An advantage of the mono medium is that you needn’t worry about white balance; so multiple light sources are no bother. A black and white portrait is timeless and flatters anyone, young or older. It captures a person’s character beautifully as there are no colour distractions. Monochrome can enhance the emotion in an image, so try filling the frame with a pair of eyes or a child’s tiny feet.

Abstract

With no colour to distract us, we notice aspects such as line and pattern. Architecture is a prime subject matter for monochrome, so seek out cathedrals and cityscapes for stunning visuals. By zooming in or cropping close to a particular part of a subject, you will achieve some great abstract shots that can cross over seamlessly into the fine art medium thanks to the classic black and white medium.

Street

Black and white street photography has a photojournalism edge, inherited by the renowned Magnum photographers like Henri Cartier Bresson and Robert Capa. It imbues a setting with an aged appearance, which is suited to traditional towns and seaside resorts. Candid pictures of people in the street look great in mono, but print out a ‘Bust Card’ from www.photographernotaterrorist.org so you’re aware of your rights if you are stopped by a police officer.

Q&A

Q: Is it best to shoot in colour and convert later, or switch to B&W mode in-camera?

A: Most compacts offer you the choice to shoot in black and white, which is handy for those who don’t have any editing software. However, if you can, always shoot in colour and convert later for more control over the final image and to keep your options open.

Q: RAW or JPEG?

A: RAW files, unlike JPEGs, contain uncompressed data. They act as a film negative, as you cannot get a print without converting the RAW image file, but it possesses all the information you need and gives control over aspects like white balance and exposure.

TOP TIPS 

Composition rules

For monochrome shots, look out for objects to lead the viewer around the photo as you cannot rely on colour.

Shadow play

Shadows become important in black and white imagery, so avoid shooting with the sun behind you to ensure maximum contrast.

Bursts of colour

A bright umbrella or a tree doused in crimson leaves – look for bursts of colour that will add life to an image.

Match the Mood

Express the mood of a place to tell a story to the viewer. Blues will make a place appear cold and uninviting, whereas oranges and reds are warm and welcoming.

Photographic Filters

A cheap way to enhance your colour and black and white images Have you ever tried capturing a sweeping vista only to find that the detail in the sky is lost? It’s tricky to expose for the land and the sky when shooting in bright light, but filters are a landscape photographer’s saving grace. In effect, it’s like putting a pair of sunglasses over the lens. They all have different uses, for instance: a polarising filter will eliminate reflections when photographing shiny subjects, such as cars. Another kit bag essential is a UV filter, which is designed to reduce haziness but does not noticeably alter an image. Therefore, you can leave this on the lens at all times and it doubles as protection for your lens. There is also a host of coloured filters, and here we will demonstrate the results.

Gradual Neutral Grey (ND2)

This filter limits the amount of light that reaches the sensor without affecting the colour balance. Half of the filter is grey and the other half is clear, so it darkens the sky and provides balance. It’s perfect for both colour and monochrome photography, and comes in three tonal strengths (ND2, ND4, ND8).

Red

The most dramatic of the coloured filters, red will transform a blue, cloudy sky into an impending apocalyptic scene. Shadows are darkened further, so you lose some fine detail, but it will lighten skin tones in a portrait. This is because a coloured filter darkens opposite colours within the frame.

Sunset

This filter gives the appearance of a sunset by bathing the image in a warm orange tone. Once converted to black and white, this filter enhances contrast by darkening the sky from the clouds. Like the Graduated ND filter, it becomes progressively darker from the middle, enabling you to position it on the horizon.

Green

If your landscape shot contains a lot of foliage, a green filter will make it will stand out against the background by lightening the grey tones. You can also use this filter in colour photography by slotting the filter in part of the way so that it only covers the land in the frame.

How to… Filters   

Step 1 – You can purchase filters from photography stores such as Jessops, or online from websites like Amazon. Popular brands include Cokin, Hoya, and Lee, and there are two types – ones that screw onto the lens, and square filters that are attached to an adapter.

Step 2 – If you’re opting for the square filter, you will need an adapter and a filter ring. These simply slot together and fix straight onto the lens. Filter adapters come in different sizes so note the diameter of your lens (this can be found inside the lens cap, or in the camera’s specs).

Step 3 – All that’s left to do is to slot your chosen filter in between the adapter and the filter ring. Make sure you don’t damage it because any scratches will affect the clarity of the final image, and for best results use a tripod when composing your shots.

Q&A

Q. What is the best ISO setting to shoot at?

A: High ISO settings amplify the signal from the light photons to the sensor inside the camera, which increases the electrical noise, much like turning up the volume on a radio. Of course, higher ISOs are needed in low light situations so the sensor can gather weaker signals of light, but always shoot at 100 or 200 when you can. This will mean less grain in your mono and colour prints; unless this is the look you want to achieve. 

Combining both

Draw attention to your subject with the selective colour technique

A splash of vibrant colour within a monochrome frame immediately commands your attention by isolating it from the rest of the scene. The selective colour technique is widely used for advertising products and book covers for this very reason and we will show you how in five simple steps. We are using Photoshop, but Elements users will be able to follow along, too.

The most common error is converting colour images to monochrome by using the Desaturate option, but this will lead to a dull grey picture. We will show you how to convert the correct way and keep a range of tones in the background. Ensure that the subject you will be keeping in colour is worthy of being the main point of interest by using the Rule of Thirds when composing.

Five steps

Choose your image

Photographs made up of simple shapes work best for this technique. Once you have chosen your image, save another version of it so you have two copies. We have called them ‘selective_colour_1’ and ‘selective_colour_2’. Then, open them both up in Photoshop and convert one version to black and white by clicking Image > Adjustments > Channel Mixer. Tick the Monochrome box and play with the Red, Green, and Blue sliders to achieve your desired effect.

Create your layers

Once you have transformed it into a monochrome image, go to Image > Mode > CMYK. Now turn your attention to the other, untouched version of the picture and hold down ‘command’ and ‘A’ to select all of the image, then go to Edit > Copy, click on the black and white version and hit Edit > Paste. This will create two layers – make sure you can see these by clicking ‘View’ and ‘Layers’ if it isn’t on your screen.

Draw a path

Now select the Pen tool, indicated by a picture of a nib of an ink pen. Then click the ’Path’ icon at the top, shown by a pen nib with a square drawn around it. You are now ready to create a path around the outside of the element you wish to be kept in colour. Zoom in for more precision as you work your way around the shape, clicking as you go to create the outline. 

Make a mask

Once you have created your path around the object, you need to make sure the black and white layer is first on the list of layers. To do this, just click on the colour layer and drag it to the bottom. Once you are on the black and white layer, hit the mask icon at the bottom of the Layers box – indicated by a square with a circle inside. Then enter the ‘Paths’ tab and hold ‘command’ and click to select the path you created.

Brush work

Now for the easy part. Select the Paintbrush from the toolbox and choose a large sized brush. Choose the colour black to paint with and once you click and drag the mouse over your image; it will transform your chosen shape into colour. As you have already created a mask, it will not let you paint outside of the lines, making the process really simple. When you’re happy with it, go to Layer > Flatten Image and save your work.

Q&A

Q. What is the best way to convert to black and white in Photoshop?

A: Never click Image > Adjust > Desaturate. It’s a simple step and will convert to monochrome, but it does not accurately represent how light or dark the colours should be. What’s more is that colours of the same brightness will be turned the same shade. Instead, go to Image > Adjust > Channel Mixer and make sure the monochrome box is ticked. Here you can alter the levels of Red, Green, and Blue that make up an image, giving you much more control.

Pro Tips: Keith Cooper 

Commercial photographer Keith Cooper shares his expert tips on black and white processing

As an avid architectural and industrial photographer, Keith Cooper produces images for business promotion. “In the past I’ve been a geologist and an electronics engineer, but photography is now my job,” says Keith. “I love black and white landscapes and exploring printer technologies for my large prints. I test printer and colour management products for major manufacturers, so I’m always looking for advances that can bring out more from my photos.”

Tip 1

You don’t need a perfect colour photo before you can convert it to black and

White. You can alter colour hues and saturation when processing a RAW

file to get the colour image that best converts to black and white.

Tip 2

When prints look too dark, it’s likely that your monitor is too bright.

Many now calibrate their monitors, but LCDs are very bright – mine is at ~50%. If your screen is then too dim, your room is too bright.

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