When do you convert to mono?

juggler

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Following on from another thread.. when do you convert an image to mono?
  1. Do you conceive of an image in mono from the outset?
  2. Mainly for those quieter, more reflective moments?
  3. When an image lacks contrast, in an attempt to salvage it?
  4. When the colours are too dull?
  5. When the colours are so loud there's no other way to calm them down?
  6. At random?
  7. When it's all about shape & texture?
  8. Always, and ask the internet to help choose between colour and mono?
Other options are available...
 
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juggler said:
Following on from another thread.. when do you convert an image to mono?
  1. Do you conceive of an image in mono from the outset?
  2. Mainly for those quieter, more reflective moments?
  3. When an image lacks contrast, in an attempt to salvage it?
  4. When the colours are too dull?
  5. When the colours are so loud there's no other way to calm them down?
  6. At random?
  7. When it's all about shape & texture
  8. Always, and ask the internet to help choose between colour and mono?
Other options are available...
Click to expand...

All of the above but mainly 4 or 5, when the colours are either dull or far too loud.

If it's a portrait I'd mostly go off skin tones and let that decide where I go with the final image.
 
#9 when that's all the film I have defrosted, or I've run out of C41 or E6 chemistry.
#10 when the client requires it.

but other than that, pretty much always #1
 
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Colours often detract from the reason I've taken a photo, I only keep colour if I think it adds.
 
I rarely have mono in mind (unless it's for a project), but I find that some images just scream out for it. The only reason I would definitely not choose mono is if the background is very busy and the subject could easily get lost in it.
 
juggler said:
Following on from another thread.. when do you convert an image to mono?
  1. Do you conceive of an image in mono from the outset?
  2. Mainly for those quieter, more reflective moments?
  3. When an image lacks contrast, in an attempt to salvage it?
  4. When the colours are too dull?
  5. When the colours are so loud there's no other way to calm them down?
  6. At random?
  7. When it's all about shape & texture?
  8. Always, and ask the internet to help choose between colour and mono?
Other options are available...
Click to expand...

Heard a great take on an expression from Lock, Stock... "Guns for show, knives for pro.".... turned into: "Black and white for show, colour for pro." - the meaning I got from it was B&W is fab for showing off an interesting image and can be wonderful pieces of art, but ultimately you need to be able to shoot and show that image in full colour, properly exposed, colours, contrast, etc, as well, and not use black and white to fix your mistakes on the colour version. I'm not saying that's right or wrong, but thought it was an interesting quote nonetheless.
  1. Do you conceive of an image in mono from the outset? Not usually in portraits, lifestyle more likely to.
  2. Mainly for those quieter, more reflective moments? If and when I convert, this 'mood' does play into it.
  3. When an image lacks contrast, in an attempt to salvage it? Hands up, yes...
  4. When the colours are too dull? As above, maybe a bit...
  5. When the colours are so loud there's no other way to calm them down? As above... relating to the quote above - if I can't show it in colour as being 'right', then I'll try it in b&w... before it gets binned.
  6. At random? A little bit - when I present a gallery to a client, I like to select the best photos that suit a black and white and convert them, simply to give more selection / options.
  7. When it's all about shape & texture? Shape, perhaps, but texture I think looses some impact in black and white... it's the colours / tones that make a texture for me.
  8. Always, and ask the internet to help choose between colour and mono? Nope... the internet is full of some right weirdo's ;)
 
sunnyside_up said:
Heard a great take on an expression from Lock, Stock... "Guns for show, knives for pro.".... turned into: "Black and white for show, colour for pro." - the meaning I got from it was B&W is fab for showing off an interesting image and can be wonderful pieces of art, but ultimately you need to be able to shoot and show that image in full colour, properly exposed, colours, contrast, etc, as well, and not use black and white to fix your mistakes on the colour version. I'm not saying that's right or wrong, but thought it was an interesting quote nonetheless.
Click to expand...

I've been kind of thinking along those lines without being that clear about it. An image needs to be good before conversion, not because of a conversion. There must be some images which only work in b&w, though.
 
•
There are two parts in light that one may control: colours and intensity.
Sometimes one may take over the other and still a colour version will be preferred!
As the many observations above noted it.

In my recent Special People series, I opted for B&W because
• colours may distract from the intent
• colours may be conflictual
• colours may ad/disadvantage some shots in a series
• when it comes to intensity only, it is a way to insure homogeneity in this given, specific project.
 
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juggler said:
I've been kind of thinking along those lines without being that clear about it. An image needs to be good before conversion, not because of a conversion. There must be some images which only work in b&w, though.
Click to expand...

When you're creating a portrait and have full control over the elements in a studio, fair enough.

Most of what I enjoy is candid, I don't ignore composition - but I can't control all the elements.



I suppose the context of the thread was meant to be studio portraits, I didn't assume this.
 
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dancook said:
When you're creating a portrait and have full control over the elements in a studio, fair enough.

Most of what I enjoy is candid, I don't ignore composition - but I can't control all the elements.



I suppose the context of the thread was meant to be studio portraits, I didn't assume this.
Click to expand...

Fair point - that was the original inspiration for the question but I enjoy candid portraiture too. Though in fact the question still applies beyond the realms of people photography.
 
Kodiak Qc said:
•
There are two parts in light that one may control: colours and intensity.
Sometimes one may take over the other and still a colour version will be preferred!
As the many observations above noted it.

I my recent Special People series, I opted for B&W because
• colours may distract from the intent
• colours may be conflictual
• colours may ad/disadvantage some shots in a series
• when it comes to intensity only, it is a way to insure homogeneity in this given, specific project.
Click to expand...

Sorry Kodiak, totally unlrelated to the subject at hand... however I just wanted to ask why you almost always start your messages off with a bullet point? :) No disrespect intended... I'm just curious.
 
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sunnyside_up said:
Sorry Kodiak, totally unlrelated to the subject at hand... :)
Click to expand...
•
The question was when? …and after reading the posts, I followed by why? and
give practical examples of when/why my decisions were made and in which
context!

Unrelated? …your opinion.
 
Kodiak Qc said:
•
The question was when? …and after reading the posts, I followed by why? and
give practical examples of when/why my decisions were made and in which
context!

Unrelated? …your opinion.
Click to expand...
No, I think you misunderstood what I was asking... nevermind.
 
sunnyside_up said:
No, I think you misunderstood what I was asking... nevermind.
Click to expand...
•
…did you mean that the question about the point was your unrelated point?
You're right! …I completely went off track… English is not my language so I am
goofing a lot at times!

The point, yes… I think, since I'm thinking in French and translating my thoughts
as I go, and this exercise is not effortless for me, it is possibly my way to think:
OK, let's do this. I'll do my best and hope for the same.

More than that, I will have to consult a psychiatrist to give you a deeper answer!
Sorry if I did not decode you correctly.
 
OMG I'm so sorry for causing upset. lol. it's totally unrelated to your thread Simon, and I do apologize profusely for going off track. Please feel free to have my messages deleted. :)
 
I convert to B&W for the opposite reason in #3.
That is, if an image has a full range of tones, I feel, mostly that it would make for a decent B&W conversion.
There are exceptions to this though IMO. If, as someone mentioned above, the background is busy, sometimes the subject can get lost in that background.
 
Some subjects just scream out to be converted to mono imho so probably 1 and 2.


And always post a mono and colour on the book of face and ask which is better ;):D
 
It's an interesting question, and one I personally dont really have an answer to. Sometimes I just assume I'll process them in mono but I rarely convert anything these days. Why? I'm not sure other than to say I really enjoy changing colour balances and messing with colour tones.

I'm also of the opinion that mono is way overused. I hardly ever see an image that is 'screaming out' to be converted. The only time I've done it recently is when there isn't much colour in there in the first place so losing it doesn't make a huge amount of difference or the image is mostly one toned. I'm always disappointed when a portrait of an old 'craggy' guy is automatically converted - for me it takes so much character away and instantly makes the image like so many others out there.

Somehow there's a feeling that mono = fine art and I don't get it really. It also seems to be the biggest image manipulation out there and yet because photography started this way its always accepted without question. Cloning or colour changing of background distractions gets criticised by traditionalists. Odd really when you think about it...but thats a whole other debate.
 
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