For more than forty years I was a monochrome photographer, with only occasional forays into colour when finances permitted. I had a home darkroom with a Leitz enlarger and did all my own developing and printing. Despite this long-term involvement with monochrome, when colour photography became so much more accessible financially with the advent of digital, I enthusiastically switched to being a colour-only photographer.
In fact, I adopted a negative view of contemporary monochrome photography. Historic monochrome photographs I understood. Masters such as HCB and Ansel Adams did not have a choice. But the mania for conversion of colour images didn’t cut the mustard with me. I felt that many of these converted black-and-white pictures had been converted into (to my mind) a misguided effort to make them “artistic”.
More or less?
My views didn’t change when the Leica Monochrom hit the scene in 2012. I just didn’t see the advantage in paying more for less; for a camera that I considered to be a one-trick pony. In fairness, I was right in the middle of my anti-monochrome phase, so even the Leica was unlikely to draw me in.
Recently, however, I’ve experienced something of a Damascene conversion. I am once more appreciating monochrome.
While still not willing to splash out on an M or Q Monochrom, I have developed a new interest in converting colour images. Why?
I’ve seen some superb monochrome shots in recent photo books by experts such as Alan Schaller and Phil Penman, and in the recent publication Paris Amour by David Turnley.
On the road to Morocco
Closer to home, I’ve enjoyed outstanding monochrome images taken by one of the participants of last October’s Leica Akademie Australia photo tour of Morocco.
That had been a new experience for me — travelling with a group of enthusiastic photographers and enjoying some excellent tuition along the way.
I had raided the piggy bank and set off for Morocco with few expectations and some doubts.
Was this something I’d thoroughly enjoy? It was decidedly an expensive operation, both in terms of course participation (A$15,500!) and the flights from Sydney.
The answer to the question is that I did enjoy the entire operation. I discovered that Morocco is a colourful country and extremely photogenic. Colours were everywhere. Perhaps because of this initial impression, however, I was all the more surprised to find several travel companions using monochrome cameras — a mix of various Ms and Qs. My immediate reaction was, “what a wasted opportunity”. But the results undoubtedly speak for themselves.
Arguably, I already have too many Leicas. So purchasing a Q3 Monochrome variant to attempt an emulation of my Moroccan trip companions, or Schaller or Penman, is off the agenda for the moment.
Conversion to the rescue
Back to software conversion. A process which I once decried vociferously, but I’m prepared to hold up my hands and admit that I was wrong. Black-and-white conversion presets are legion — in Adobe Lightroom and other post-processing packages. And most camera manufacturers include at least a couple of monochrome presets for instant, shareable out-of-camera images.
I have used the presets in Lightroom and Leica Looks, as well as Nik Silver EFEX software to convert colour images to monochrome for many years. But with my enthusiasm for monochrome rekindled, I decided to invest in the latest — and much enhanced — edition of the Nik software, now badged as the DxO Nik Collection 8, to see what I can do with it.
Complete collection
Before shelling out for the new version, I took advantage of the free 30-day trial offered by DxO. This gave me an opportunity to compare a conversion done using the DxO software against my efforts with Photoshop presets.
It was far from being a rigorous test, using just one image converted to a neutral tone. The results were quite close.
The DxO Nik Collection 8 is a complete bundle of the various tools — sharpening and colour effects, as well as monochrome conversion.
And although it initially appears expensive, you do purchase a one-off licence and don’t have to suffer the monthly month water torture as you do with Adobe.
The Silver EFEX part of the collection, which has long been a staple for dedicated black-and-white photographers, is an expanded and definitely improved version.
It offers more options, adjustment tools and presets, and I’d recommend it for anyone who is serious about black-and-white photography.
It’s early days in my mastering of it, but I am making progress.
Black and white
I have come full circle. After a lifetime of mainly black-and-white photography, I now see my 15 years as a colour-only champion as something of a hiatus in the natural scheme of things. A couple of years ago, I thought I would never write this.
But I am enjoying the new purity of monotonal images which are anything but monotonous. They are not, as I once imagined, a pretentious effort to turn the ordinary into art, but a valuable means of adding a different perspective to the creative process.
Is it enough to convince me to invest in a Leica Q Monochrom? I would like to try one, of course, and I appreciate that they are capable of producing images which are very difficult to replicate using software.
Shooting colour
However, currently I have too many cameras. I am still trying to sell my Q2, and the SL2 is very under used. Another factor is that, despite the eulogy, my dalliance with black and white may well be short-lived.
Yet, my preferences remain fluid. Since writing this article, I’ve been out shooting colour, and some images would be nothing without colour.
The jury is out. I’ve truly enjoyed my foray into monochrome, and I am sure I will continue to enjoy the process — but without the full commitment of buying a Leica Monochrom. I’m pretty pleased with the conversions and the capabilities of Silver Efex Pro, and increasingly with the Leica Looks suite. So I’ll keep my wallet safe for the moment.
The DxO Nik Collection 8 costs $169.99 | £149.99 | €159.99 for new users and $99.99 | £79.99 | €89.00 for upgrade.
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John, I do enjoy your articles. Especially when Marvel is involved [:-)
FWIW, a couple of thoughts on the subject. I, too shot a lot of B&W (I still prefer that term to “monochrome”) in my film days. I had five darkrooms along the way; three of them makeshift, and two custom-built (by me!). Alas, the last one I left in 1986 with a big move. But unlike you, I shot color at the same time, and also processes it myself, in at least one of those darkrooms, both reversal and color prints.
When I finally jumped in the digital world feet first (2013), like you, I shot only color. B&W jpegs in camera were OK, but not great. I have not done conversions in post. It seemed a little like cheating to me (no offense intended). I had heard about monochrome camera conversions, but the steep price asked put me off. Then by chance I discovered infrared B&W. I had one of my Nikon Df bodies converted to 830nm IR for a small fraction of the cost for a traditional monochrome conversion. The camera thus modified is not a traditional monochrome camera (that is, sans Bayer array), but it is a true monochrome camera, as in this wavelength range, there is no color present.
Many of the landscape images shot this way have a sort of luminescence to them that reminds me of Adam’s work. Sometimes the foliage looks unnatural, but not all the time. And the skys . . . wow they can be dramatic. I am assembling a little portfolio, with nowhere to publish it – yet.
Martin, thank you for your interesting comment.
Firstly, very sadly there will not be in more articles featuring little Marvel as she succumbed to a heart condition some time ago. She is still missed. She was a treasure.
I also did some infra red photography in my case with a Leica Digilux 1 camera fitted with an infrared filter . I converted them to monochrome and they were surprisingly good however the novelty soon passed . I’ve never been tempted to try IR again but friend and Macfilos contributor, Wayne now has the Digilux, and the IR filter, so maybe he can be tempted to dust it down and try it.
Like you I briefly, very briefly, thought about about having a camera modified for monochrome only but the idea soon passed when I saw the cost.
Over the next few, downunder winter, months I intend to try some monochrome sea and landscapes but having just moved house camera purchases are off the agenda and they will not be taken with a monochrome camera of any persuasion. They will be DxO’d!
Great and thoroughly enjoyable read John
For B&W I stick to lightroom 5 and pc embedded image software.
There’s a Ricoh IV monochrome coming. Worth a try without breaking the bank.
Really enjoyable read John, I tend to use a few different packages – ON1 Raw has built in monochrome converters but also black and white film simulations, which have their place in this conversation.
On certain days I’ve discovered that the Acros with Red filter simulation built into all Fujis produces stunning results, and you can still tweak from the base recipe if Fujis engineers are slightly off.
If neither of them manage to give me a result I have other standalone post processing options that can adjust anything arriving from either Fujis attempts or ON1’s.
Hilariously try converting images in Gemini a.i. And ask for specific looks – it’s not bad, and as I prove weekly to close friends and family totally scary what you can ask it to do in any scene you shoot.
John, your journey has been very similar to mine. Having grown to love colour photography, in all of its many variations, I cannot see my reversion to colourless picture-making in the future. It calls for a different mindset. You cannot easily mix the two, though some people try.
Many subjects cry out for colour; flowers, for example, and many forms of illustrative photography, such as work intended for educational purposes. But equally, black and white pictures can be very compelling and can lend an historic ambience to many subjects.
For the foreseeable future, l doubt that I shall be tempted to ‘splash out’ on a monochrome-only camera. My multi-colour filter conversions more than meets my needs.