>>4494531>During Shooting- More attention must be paid towards shapes, tones, composition, and contrast
- Colours still play a vital part but only because different colours register different greyscale values
- Don't be afraid to have some actual black (crushed) and white (blown) areas
- Shooting mirrorless, you can often switch between "filters" that change the greyscale value of different colours to create better contrast zones for your JPEGs
- Shooting DSLR, go fuck yourself. You'll need to take photos and see how everything intereacts after the fact. Do a bunch of test shots with different colours and lighting conditions to get a feel for it.
- Shooting film, you well and truly need a yellow filter by default. Orange and red filters also give stronger, interesting results
>Post Processing- Your WB and Saturation levels interact with all of these conversions; I recommend upping the saturation of the RAW slightly to moderately before any other steps
- Warmer WB typically gives brighter images, and cooler WB give darker images. However this is filter / chanel value dependent, i.e. warmer WB paired with an orange filter rings true, but warmer WB with a blue filter interacts differently
- Avoid "Convert to Greyscale" or similar tools as they are rather basic and seldom get you ideal greyscale values
- Colour Chanel Mixer with 'monochrome' setting is very powerful and worth learning
- Filter emulation is partway between the two other settings. Red filters make red and orange colours much lighter for instance, while a green filter makes blues and greens lighter.
- Ensure your chroma NR is strong enough, since any left over colour noise is going to be treated like any other colour during conversion; it can sometimes be hidden well, or rather distracting
