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Aggressive Monochrome Processing for Mood/Style, or Recalcitrant Images
Particularly in monochrome, stylistic emphasis can be used to rescue images that are strong structurally, but difficult to rescue from a raw conversion standpoint. And it can be perfectly acceptable to be aggressive with some of the controls in order to evoke a feeling or mood.
As well, shooting with a color-sensor camera can impose limitations on the raw conversion or post processing in the form of image defects such as PDAF banding. Why not go with the flow instead of fighting against a limitation of the image quality?
After all, a good portion of classic black-and-white photography really was about chemical enhancements or chemically limitations that hard pronounced effects—hard contrast, solarization, tinting, partial development, severe push, etc. The tools determined the output, so why shouldn’t digital tools have free rein to do so also?
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Diglloyd Infrared Photography covers cameras and lenses for infrared photography.
The coverage explains all the issues involved in shooting for monochrome and in infrared. It is not a review of any particular camera or lens, though many examples are included.
- Monochrome vs color cameras.
- Post processing for monochrome.
- Guidance on workflow for infrared, including black and white and channel swapping for false-color images.
- How infrared renders, and why certain spectral cutoffs matter: false color vs black and white.
- Image quality issues to be on the lookout for in infrared.
- Numerous lens evaluations in infrared.
View an overview of infrared as well as filter spectral transmission plus examples from an optimal lens.
