Color & Light
Meeting Photo Challenges
Creative Image Processing
Nature & Outdoor
Creating Better Photographics
Night & Low Light Photography
Light & Exposure
Close-Up & Macro
Digital Black & White
Color & Design
Choosing & Using Lenses
Digital Photography Equipment
Black & White, Film & Digital; What’s Changed And What’s Remained:
Aside from the color to grayscale conversion information the channels reveal, each channel also has characteristics that can be enhanced, exploited or corrected when processing the image. This photo was made at ISO 1600 with no Noise Reduction filtration activated (#9). The blue channel (#10) shows considerably more noise than the red channel (#11).
But taking it one more step—there is no color image; indeed there is no image in the camera memory or the computer drive onto which you download it. The image is merely an assemblage of codes and instructions of what to do with those codes, as well as a record—the EXIF data—of how you set up the camera for the shot, that can only be seen on a monitor when translated through a computer. That’s quite a change from looking at a frame of film on a light box.
Perhaps the weirdest part of digital for film photographers to accept is that there is no image, just a bunch of numbers that are later reassembled by a computer to look like an image on a monitor, or print. But with that comes an incredible opportunity for many photographers to become engaged in black and white photography like they never could, or imagined they could, before.
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