Black and White

[Bill Pierce]

Most of the digital cameras used for conventional photography have color sensors. (The most obvious exception are the Leitz Monochromes.) For the most part we convert color raw files to black and white files. Most image processing programs such as Photoshop, Lightroom, Capture One, Raw Therapy, Iridient Devopler and PhotoNinja have black-and-white conversion options among their features. Some “conversion only” programs such as AccuRaw Monochrome, Tonality Pro, Black White projects 4, DX0 FilmPack and Silver Efex Pro 2 work in conjunction with the full feature image processing program.

There’s just one problem. These converters don’t necessarily produce images with tonal characteristics similar to the ones that you may be use to from the wet darkrooms of silver film and silver paper. By comparison, many digital conversions will hold more detail in the darkest values, but also have less midtone contrast. With so many ways to convert and so many variations possible on your computer, this is obviously an inexact whine from an elderly darkroom worker, but it is also a whine shared by a lot of folks, the “ You know, there’s just something wrong with my b&w prints.” folks.

I’m interested in what other folks are doing to solve this problem. Here’s an oversimplified version of what I do. First, I throw away some of the darkest tonal values and let them sink right down to a black. I understand that is emotionally impossible for some people, but you may remember that those threshold values on film negatives never really made it to the final silver print. It was just the nature of the materials and using two materials with tonal responses that were far from linear. Indeed, the mid tones of those materials held the highest contrast. That can be duplicated by increasing what is called “clarity” in many of the digital programs. That’s today’s gross oversimplification - throw away some dark values and increase the mid tone contrast.

 

[sojournerphoto]

I almost.always start by adding.an s curve to the file, which I think of as my paper curve. At one point I considered programming different grades as presets, but in practice there's really no need.

A bit of clarity sometimes helps, but I try to avoid overdoing it.

This process is pretty similar whether I start with colour digital, mono digital or film scans.

Mike

 

[Nathan King]

I haven't yet found a method of processing that replicates the prints from my darkroom despite having the digital files exposed on Ilford Galerie. The digital prints aren't better or worse, just different. As you stated, adding a curve that creates a toe and shoulder helps, as does adding a touch of clarity, but the overall effect remains different.

 

[shimokita]

not sure if it really helps, but I normally adjust the RGB channels to align as much as possible prior to conversion, clip the blacks, and adjust contrast using very simple editing tools. For some photos I use an IR preset as part of the conversion. Two years ago at CP+ in Yokohama I was able to have Illford digitally print one of my B&W conversions on proper paper to good results...

Casey

 

[DwF]

Files to B&W

Files to B&W

I am no expert, nor am I very scientific in my approach. I can only say that similar to 35 vs 2 1/4, full frame files tend to be easier to work with in gaining contrast in the mid-range and also nice tonal gradation.

After converting to B&W and using filtration to get whatever it is I am after, I use Curves to bring in the outer zones so there is adequate blacks and whites. And then I fine tune from there, usually lifting desired info from the low end first. Depending on the image, I play with Curves to tweak the sweet spot in terms of how contrasty vs how subtle and smooth I want the middle range to exhibit. And then I hold my breath as I fine tune the highlights!

I also agree with what Nathan said that digital is neither better or worse but different. It needs to be approached on its own terms both in processing as well as viewing.