No surprise, I'm experiencing the same old problems as always in discussing this topic, the topic of the monochrome sensor.
Problems with explaining
First, it's not a question of output/results. Of course I can make B&W/monochrome files/pictures, and have done so a great many times in innumerable ways. It's an issue of mindset. (Thanks to Jeff for introducing that word in the comments.) It doesn't affect everyone, so not everyone gets it. This happens every time the topic comes up, and apparently, from what I find "out there" on the internet, it comes up everywhere else it's mentioned, too.
Secondly, what's needed isn't to see the B&W/monochrome image in the viewfinder or in the workflow. I have something like 90,000 B&W negatives that I shot mostly with SLRs with yellow filters on the lens—what you see in the viewfinder is a color image "stained" overall with yellow. I don't care what I see in the viewfinder. I have no problem visualizing the final results based on whatever materials I'm using. It's what the camera sees that counts, not what I see.
The problem is that I shoot with a different mindset when I'm shooting color. I take different pictures. I mentally translate the world differently. I look for different things. Do you see? And what happens with me is that I can't help looking for color pictures when I'm photographing if I know the camera is recording color. I'll always be looking at the world as if I'm looking for both B&W and color pictures. It's very unsatisfying.
...To me. I understand that if you don't experience this, then naturally you wouldn't see why it's a problem. But I'm telling you it's a problem for me, so it doesn't help if you simply say I shouldn't be having the problem.
It's not an inability, either. I actually did a project in art school for which I shot color negative film and made enlargements on Panalure B&W paper, to make B&W prints. It's just that I find that difficult to sustain over the long haul. If I know color is available, I gradually migrate into seeing color pictures again and making pictures that have to be in color. It's totally a mental thing. It's not a technical issue or a technical problem. It's about mindset.
Jeff wrote,
The reason my Leica Monochrom cameras (M9 Monochrom and M10 Monochrom) help with my black-and-white mindset is that I’m not distracted by looking for color pics, as I know the monochrome cameras can’t capture color [...]. I’ve found that it’s a different mindset than when I shoot with my color-based digital cameras, even when my intent is to take B&W pics. I didn’t think this would be the case before I actually bought a Monochrom, but I should have learned otherwise from my decades shooting B&W film.
There it is..."distracted by looking for color pics." When you look for B&W pictures you're looking for scenes that will render nicely with just luminances. When you look for color pictures you're often looking for colors that work together or against each other. It's a different mindset. I'm sure some people can simply "decide" they're shooting B&W, and only look for scenes that would render well as luminance-only, and God bless 'em. I find I can't do it.
Aspect ratio
Stephen S. added,
"Re 'But what I've always found is that if the camera sees colors, then I'll see in color. Can't seem to help it. However the camera sees, that's how I'll look at the world.' I fully understand this, and how I relate may help others who can't figure out why you don't just set a colour camera to record B&W: I have many cameras where you can choose to photograph in a different aspect ratio than what the sensor physically is, but I can never bring myself to do it, as it seems like I'm just wasting potential. I want to use all of the sensor I've got. Why throw away perfectly pixels on the top and bottom of my frame, and perfectly good light from the lens, to crop a 4:3 or 3:2 sensor to 16:9? I know it's all in my head, but I have a hard time doing it. Using a sensor's full size and native aspect ratio just makes me feel better about it.
That's a good analogy. I've had different experiences with that. Once I tried to use a 28mm lens meaning to crop it down to a 35mm angle of view in post, and found I simply couldn't do it consistently—I found myself simply composing pictures with the entire 28mm field of view. (Duh, huh? It took all of one day to discover how dopey the idea was. Probably didn't even need to actually do that experiment.)
Oddly, when I once had the opposite problem, I had no trouble. I had an old medium-format SLR, 6x6cm, on which the viewfinder showed less than the negative would record. Worse, the overlap was offset:
And for some reason, in that case, I would often find myself calmly composing in the viewfinder with the top of the picture cut off! I knew the negative would get it, and I didn't worry about it.
And this is odd. With most square cameras, it doesn't matter if I mean to crop to a vertical or horizontal rectangle, I end up composing with the whole square. I just end up looking for square compositions and arranging to the square in the viewfinder. But in the case of that one camera with the offset viewfinder, from first to last I created vertical rectangles. It just felt natural, and that's the way I saw and that's what always worked.
Why was this? No idea. But it brings up a crucial point: you need to adjust to yourself. You're not seeing with a camera. You're not even seeing with your eyes, mostly. You're seeing with your brain. So you have to adjust to how your own brain likes to see things!
Problems with the product
People who are objecting that it makes no sense to pay a lot of money to cripple a perfectly good sensor sure got that right. People like me are trapped by the camera manufacturers. Apart from Leica, the cameramakers have no interest in making cameras with B&W-only sensors, I presume because they know the "take rate" would be minuscule and they'd make no money on the product. And they have no interest in giving random artists what the artists need—their purpose is to make money. Q.E.D.
But could they? If they wanted to? Of course they could. It would be easy as pie. If there were a market for it, the camera would be simpler to make and most likely cost less.
I honestly believed that once Leica did it, that some other more mainstream manufacturer would follow suit with a reasonably priced monochrome sensor camera. But no. Didn't happen. I'm sure the camera makers just don't see it as something that would be worth the hassle. It would be like a car maker building a sedan with a stick shift, manual windows, and no air conditioning.
So then I'm left with taking a $1,200 camera (what I paid for the A6600) and investing a further $1,200 in it, to make a camera that would have cost $900 if Sony offered it as a commercial product.
This would make sense two ways: 1.) if I wasn't price-sensitive about that extra $1,200 (I loved what Bruce Bordner said: "don't make a business decision on a toy"); 2.) if I knew I'd like it and would use it. But of course you can't try it before you buy it, so that makes the second proposition iffy. (You can't even find much about it online; there's doesn't appear to be a lot out there.) I don't really like the tonal rendition of the Leica Monochroms, for instance, so they're not really what I'd want. [UPDATE: I don't actually really know this...having not tried a Monochrom for myself. —MJ] What Sroyon said is very true: "What I'm wondering is, do you know for sure that you'll like the way the B&W-converted sensor renders colours? Because as you know, sensors have a spectral sensitivity curve, just like film. With a product like Tri-X, decades of research have gone into producing a curve which 'translates' colours to B&W in a pleasing way, both natively and with the typical filters." Richard Parkin seconded this, writing, "Why do you think the B&W from a converted camera will be the 'good' B&W you desire?" The answer is that I don't know if it will be.
Anyway, I've asked Daniel at Monochrome Imaging if he has a converted camera he'd be willing to let me try for a couple of weeks for the purposes of writing about it. We'll see what he says.
Maybe I could ask Roger Cicala if he has any interest in adding a few converted monochrome-sensor cameras to the rental fleet at LensRentals, just so people could try them out. He might not be, as they already rent Leica Monochroms. But I'll ask.
Thanks for all the comments! Very engaging, at least for me. I love B&W, and miss it a lot.
Mike
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Chromes is an edit of more than 5,000 Kodachromes and Ektachromes taken from 10 chronologically ordered binders found in a safe in the Eggleston Artistic Trust. This archive was once used by John Szarkowski, who selected the 48 images printed in Eggleston’s seminal book William Eggleston’s Guide, while the rest of the archive has remained almost entirely unpublished. Three volumes, slipcased.
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(To see all the comments, click on the "Comments" link below.)
Featured Comments from:
Clyde Rogers: "I'm primarily a black and white photographer, a Pt/Pd printer, and have a Leica M10 Monochrom. It's easily the best camera I've ever owned, and I love the results I get from it. The primary technical advantage is not just absolute higher ISO capability, but how much better the noise looks is as it creeps in at middle ISOs—smooth and stochastic, never chunky or patterned.
"That said, the black and white camera hasn't changed my photos in any way I can notice. I get that better middle and high ISO, but won't carry a second camera, so lose color. I was hoping for but haven't noted any mindset advantage. Having used both extensively, I think an excellent black and white EVF is a more useful tool for me than the monochrome sensor. The ability to do filter effects after the fact is also worth more than the noise/ISO advantages. Is the monochrome sensor worth it? As the owner of a beautiful monochrome camera, I have to be honest and say not for me."
John Cornelius: "$2,400.00 would buy a lot of Tri-X; just saying. I still shoot it, develop it myself, scan it and print digitally. Silly, but I love it. With any luck the next house will have room for a darkroom and I can be even sillier. It is my hobby, I can be as silly as I want."
Pierre Charbonneau: "Mike, About your dislike of the Leica Monochrom’s tonal rendition, I would point out that the natives files coming out of the camera are on the flat side, without any pop. On the other hand, these are very rich (shadow details) and malleable, so you can play with it a lot, to your liking. After years of using the first and also the latest iteration of the Monochrom, I do not have yet any preset to apply universally to the files. Each picture that I spring for asks for a specific process, even if moderate, like for the curve, exposure, highlight and shadow and even graininess. In the end, it is less work than shooting and processing Tri-X, and the work is cleaner and safer than the chemical way. I still use a film Leica here and then, to reset my appreciation of film. I enjoy using the old non-automatic, manual winding and the beauty of the camera and even the distinctive click of the shutter. But the road to satisfying results is more complicated."
William Cook: "Depending on the day, it may or may not be natural to ‘see’ in B&W for me, but I fully understand what you’re getting at. I too yearned for a simpler camera and I also was a happy B&W film shooter, mostly in medium format. I get easily overwhelmed and the dearth of controls on current digital cameras is the opposite of what I want, well, except for IBIS, that’s mandatory! All that, coupled with the infinite ways to enhance a photo in Photoshop, was overwhelming—and not fun. Granted, most other photographers feel exactly the opposite that I do. I yearned for a simple B&W experience again. When the Leica Q2M was released, that was the answer to my dreams. I don’t even want to get into the angst over the price, but I bought one anyway. Instead of thinking of how I can fiddle the color sliders to produce a ‘filtered’ monochrome image, I do it the old fashioned way, with glass filters on the lens. In Photoshop, I adjust exposure, maybe some dodging and burning, add a touch of sharpening, and that’s about it. Rather than endless options, I love the constraints and discipline. The process now makes me think more when I’m behind the camera and I enjoy the entire photographic process again. I suppose those younger would consider me a dinosaur, but there should be room in the tent for all of us!"
Kirk W.: "C’mon Mike, just hurry up and do it. Then within a few months, I’ll be able to order one of those trick new Fuji X100Ms!"
Henning: "I get what you say, because I'm the same way. I started shooting mostly B&W film. In later years colour became more important. They definitely required a different mindset. I photographed professionally for 40+ years, and in the early years B&W was requested more than colour. By the 90s B&W had largely disappeared as a preference. In the transition decades I was often asked to shoot both B&W and colour, and I always asked the client which was more important, as I had to know going in. With large format in particular, it was easy enough to shoot both; just put in a different film holder, but my vision was right for one but not the other. I couldn't readily do both to my highest standard on the same job on the same day; it was either/or. If a client was particularly discerning I would suggest that I go on two different days (I did architectural photography) and use one medium the first day and the other on the next day. I probably did that about once a year.
"Now I have colour cameras, and I have an M10 Monochrom. I don't take both on the same day."
Frank Gorga: "Although I am,for much of my work, a black and white junkie, I doubt that I will ever buy a monochrome-only digital camera. The reason...flexibility. The control one has in converting colors to gray tones using modern software is much too important to me. The color channels sliders allow me to dial in exactly the right strength or a particular color 'filter' rather than having to rely on one or two strengths of a physical filter. Additionally, one can easily 'stack' virtual filters something that is not recommended and difficult to do with physical filters. Lastly, using layers and masks, one can apply different color filters to different parts of an image. This is not something I do often, but it is impossible to do with physical filters. To me, a monochrome digital camera is a big step backwards."
Inkphot: "Another analogy to think about. I have recently returned to shooting (now digital) with single focal length lenses, something I almost always did when using film (I haven't shot film since 2003). I find I select a focal length to use depending on a whim. A 35mm-e one day, 28mm-e another or an 85mm-e the next. It doesn't matter what the focal length of the lens is, after a few practice compositions I find I can now see and compose in my head the view the camera will record. Using a zoom lens these day throws me off balance. I feel very discombobulated. On the other hand I find the ability to show a black and white image (grey actually) in the EVF and on the LCD to be very useful for me to 'see' in B+W. Also I have a camera converted to infrared and the same thing happens when I am out shooting with it, I find I quickly adjust to seeing in IR (obviously not literally). So Mike I totally get where you're coming from on this."
V.I. Voltz (partial comment): "I don’t think you’d be happy with the tones from the Monochroms. They look like APX 100 in Rodinal—they lower the midtones and produce quite closed shadows. And, most of all, the tones are more resistant than you might imagine to opening them up—it is harder to do and image quality suffers more than I thought it would. In 2012 when I got the first Monochrom I noticed this markedly, thought about it a while and just decided to live with it and shift my look. Until then I used a lot of Plus-X in Xtol with a yellow filter. I thought about continuing with film as my main medium, but, as you put it, I’ve done enough of that work. These days when I use film I use Adox CHS 100 II to match the tones of my Monochrom."
Frank: "Re 'I love B&W, and miss it a lot.' I think you are missing black and white photographs that have been beautifully exposed and developed in the darkroom on fine paper. Digital monochrome photography is quite different, and is often very ugly. I have not yet seen a single beautiful black and white photo from digital that was beautifully printed. For that you need a 6-greys printer, another investment."
Jens Hauser: "I have more or less the same issue because I want to try a monochrome Sony before I decide to buy one, so renting one would be super. I have loved monochrome for a long time and edit many of my photos to B&W."
Bill Tyler: "I have to admit that a full monochrome camera has a strong but irrational appeal for me, even though I would likely not use it very much. What's stopping me is the price."
Joe Holmes: "The mindset is powerful. More than once I've lifted the camera to my eye and felt a kind of reeling vertigo as I discover that my mind's lens, with which I'd been I scanning the world, is not the lens I've got on my camera."
Josh Hawkins: "It is all mindset. I shoot my mirrorless camera in the B&W setting but with raw files. I’m seeing the image on the LCD as B&W. I’m composing for B&W. But I’ve got all the color data. I almost never use the image in color though. It looks wrong. Off. I just can’t. It’s a B&W image, in my mind. Thanks for the read. As always."
