St. John’s Catholic Church, in Keeseville, New York, was erected in 1903 on the site of a relocated 1850s Baptist church. The Catholic church is an example of early twentieth century gothic revival architecture, emulating in its steeple design in particular “reach to the sky” elements that are typical of gothic churches, but also incorporating arches, stained glass, and stonework found in gothic and gothic revival styles.
“Black-and-white film photography, its image qualities and processes, have a great deal to teach us…. What sets black and white apart from colour is that it is not the way we see the world, and it does not pretend to represent reality. It is a translation of a view into a special medium with very particular characteristics.”
On Wednesday, I posted a series of photos of a vintage camera, a No.1 Pocket Kodak. While working on the photos, I accidentally converted one to black and white in Lightroom, briefly thinking “Well, that’s kinda cool” but then flipped it back to color and continued processing the batch. I hardly ever work in black and white, you see, because I’m so colorful, but I still thought it might be fun to come back to this set of photos and give black and white a shot, especially since most of the color in the photos came from the background or from the slight blue cast emanating from the camera body. I also got a bit of inspiration from a Christmas gift a friend sent me…
… a series of books by photographer Michael Freeman — including the one I quoted above — that I’ve been reading from nearly every day since I got them.
I took the color photos with two of my favorite lenses: a Minolta 50mm f/1.7 lens that’s about 25 years old (that even has its own Wikipedia page) and a Sony 100mm f/2.8 Macro lens that I’ve had for a few years (that has no Wikipedia page but gets used for many of my closeups and macros). Both lenses do well in low light and even intentional under-exposure, so were ideal for the camera photos: taken on my dining room table lit by a single window, with supplemental lighting from a small LED flashlight (yes, you read that right) that I normally use for finding things in the depths of dark closets. I did use a high ISO when taking the photos — because I forgot to check my camera’s ISO setting before shooting (oops!) and it was set to 1600 — but Lightroom and the Nik Collection did a suitable job of ridding the photos of what little noise was captured.
So I made copies of the color images that I’d processed and posted — having done mostly saturation and contrast adjustments — and ran them through Nik’s Color Efex Pro, applying these filters:
Black and White Conversion, where I made brightness, shadow, highlight, and contrast adjustments;
Tonal Contrast, to soften the images slightly and create smoothness in the backgrounds;
Darken/Lighten Center, to accentuate lighting on the camera and shift the eye’s focus to the camera body;
Detail Extractor, to reveal the structure and texture of the camera’s bellows and leather case, recovering a bit of detail that was lost by the Tonal Contrast adjustment.
The first gallery below shows the black-and-white versions of Wednesday’s images. Personally I think they’re interesting, but what I really liked was experimenting with the same tools I’ve been using for color photos for a while now, in the world of black and white. I avoided special effects — like applying warming filters, converting them to sepia-tone, or adding grain for that aged look — and concentrated on how to make the primary subject appealing without color.
In the second gallery, I’ve set the black-and-white and color images side-by-side. You can select the first image and page through a slideshow to view them as before-and-after versions. Thanks for looking!