Mono continued...... / by Dawn Webb

Continuing on from my previous post on monochrome conversions in the digital world I want to explain why it is best to make the image in camera in full colour rather than set our colour space to monochrome.
When you shoot and record in colour you are retaining as much information on each pixel as possible.  You have full control in post edit, when playing with the channel mixer adjustment mode you can adjust individual channels, so for instance a person wearing a red jumper you can lighten or darken just the red jumper.
I like to adjust the blue slider in my landscape images to darken down the blue skies.
If you decide to let the camera do the mono conversion you lose all of this control and can only adjust contrast levels so be warned.

What I do is shoot in RAW, select capture mode to monochrome and then edit the full colour image in Lightroom and Silver Efex.  This gives me FULL control.

Of course in Photoshop there are several ways to convert to B&W - lab colour, grey scale, HSL and so on - I believe the dedicated B&W channel mixture mode is the best.

I am not endorsing my way as the right way, just letting you know my way is my way.

another heavily converted image of mine, taken way back in 2009, Afghanistan.  (converted from the colour jpeg.  You might also notice with this image a slight silver halo around the soldier? This was achieved by me using a homemade silver snoot covered in silver duct tape and slipped over the end of a speed light and placed off camera right. Looks great on the mono image I think.