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Introduction to Monochrome Imagery
The original forms of photography were all monochrome (“one color”), which does not mean “black and white”; some processes had strong tints such as sepia (yellow/brown) or cyan (greenish blue) for for cyanotypes. Monochrome images were sometimes hand-colored, but that was a blend of arts.
Once modern silver halide photography was established, first with black and white glass plates and later with celluloid film, it took a relatively modest amount of time before Kodachrome color reversal film was developed in 1935. Even so, black and white film long dominated for its relatively inexpensive and wide ranging film stocks (and sizes), and ease and control over development at quite low cost.
Color is by far the most popular photographic genre, for good reason: we see in color. And some images are about the color itself. Not everyone likes monochrome: a friend of mine with quite sophisticated tastes in every area has a distinct distaste for it.
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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.
Leica M10 Monochrom + Leica 24mm f/3.8 Elmar-M ASPH + filter B+W 091 Dark Red
ENV: Eureka Dunes, altitude 3350 ft / 1021 m, 60°F / 15°C
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