Converting an Image to Black and White

When we come to a place like this in the winter, and we don't have that bright sunlight, we kind of call it limp light, for lack of a better term, tographer's term, is that, these scenes are already kind of monochromatic already by themselves. You've got dark darks and you've got white whites and there's not a lot of color in between. So if sometimes they lend themselves to being better black and white photographs, then, color shots that look black and white. So this particular scene notices. I'm going to take this and turn this into a black and white image and you can see the difference, it's summer but you can see the difference. It actually seems to be a little bit richer in black and white and a little bit more realistic in black and white and just the way the medium works. And so there are times when you get this limp light. We're converting a shot that is colored into black and white. Really allows the image to speak at a greater volume. So the decisions that you make when converting a shot in this limp light to black and white from color, it's a pretty easy decision to make, because if the sun was out and it was crisp, my gosh! You get that gold, low light or afternoon light that's hitting your scene. You don't even think black and white. And so, in this particular case, I'm thinking black and white because it's already almost black and white. And so the decisions become a fairly easy choice when you're out there, because if I'm in the winter and I've got that gold light that's lined to my son up that warmth that gets there it takes a cold scene and makes it warm. Why would I bypass that and turn it into a black and white shot. So, the decisions are pretty easy but it's nice to always have your mind open to one or the other.