THE POWER OF BLACK & WHITE In Adobe Lightroom & Beyond by Piet Van den Eynde

Now that printers use more than ten tints of ink and that software and calibration hardware seems to have tamed almost every known colour, manufacturers have started to pound on the last stronghold of analogue photography: black and white. We have printers with greyscale cartridges of varying intensity and special black and white drivers. With Photoshop CS3, Adobe introduced the much more intuitive Black & White Adjustment Layer that was the basis for the even better B&W panel in Camera Raw and Lightroom. Third-party software developers entered the game with plugins that could completely mimic the grain structure and spectral relationships of your favourite black and white film.
Nowadays, only a mouse click separates your raw file from its two-stops pushed Tri-X incarnation. At least, so the manufacturers would want us to believe. While it’s true that digital black and white has become more accessible, what was once a lack of options is now an agony of choice: which tool, but more importantly, which process will express your black-and-white vision best?
In this eBook, I’ll explore the black and white conversion options that Adobe Lightroom has to offer. Almost all of these techniques work also in Adobe Camera Raw, which shares the same processing engine as Lightroom. Only when it’s necessary will we go to Photoshop. For Photoshop-only techniques, I highly recommend Andrew S. Gibson’s eBooks, available at CraftAndVision.com.
I will also discuss a few Lightroom plugins that can make your black-and-white workflow more rewarding, and I will talk about how you can incorporate High Dynamic Range techniques into your black-and-white post-processing.
The book also gives some suggestions on finishing off your photo, with notes on adding borders and tinting your photographs.
But before diving into Lightroom, let’s start with some general—if you’ll allow me to be so directive—digital black-and-white dos and don’ts.

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