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Color to Monochrome: Color Spaces and Color Channels
Always use 16-bit images regardless of color space. This is critical to avoiding posterization with more aggressive post-processing techniques.
The workflow idea here is to view the channels of the image in several different color spaces (and Lab mode as well), choosing the channel that best reflects your intended renditions, then convert that channel to monochrome.
A single color channel can be extracted as monochrome, and it is possible to mix two or more channels together (advanced technique).
For RGB images, this means the Red or Green or Blue channel, or in Lab mode, the luminance (L) or magenta/green (a) or blue/yellow (b) channels.
The most important thing to understand is that each color space differs from the others in its relative mapping of the color channels to each other. The red channel in the sRGB color space differs from the red channel of AdobeRGB differs from the red channel of ProPhotoRGB. Ditto for the green and blue channels, etc.
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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.