Graphics Programs Reference
In-Depth Information
Why Are There So Many Conversion Options?
For many photographers, the ability to convert an image from color to black
and white is one of the most powerful and compelling advantages to working
in the digital domain. Traditional i lm requires a photographer to either choose
color or black and white before capturing an image, or necessitates taking two
images, which is not always possible. The ability to capture images in color and
make decisions after shooting (on a frame-by-frame basis) about which images
will be converted into monochrome of ers photographers enormous l exibility.
Converting an image to black and white can be a very simple process.
However, when the visual impact of an image fails to transfer with those
simple processes, the need for more complex conversion options increases.
If the conversion method is not done most ef ectively, contrast and delicate
gray tones can wash out, leaving an image looking muddy or lacking in
adequate tonal range. Black and white conversion methods must honor the
spectral relationships between colors, or the conversion can haphazardly
dilute the overall aesthetic impact of an image.
The history of black and white conversion methods in the digital environment
has continuously inspired great technical controversy. Every guru in the industry
has an opinion supporting a particular conversion method. Unfortunately
for the non-gurus (the rest of us), there are a substantial number of dif erent
conversion methods, and an even greater number of gurus to champion each
method for any number of disparately convincing reasons. So how is a
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