E.L.. Shapiro wrote:
`This raw vs Jpeg argument has yielded many posts, threads and interesting points of view- it's all INTERESTING!
As a commercial photographer, all that is good to know and understand but my job is to avoid problems with clients. Oftentimes the need for black and white images come up as an afterthought- after the job is shot. Sometimes an assignment calls for monochrome and all of a sudden, the need for colour images arises after the fact. So, I routinely, whenever practical, shoot everything in RAW and Jpeg and therefore have the advantages of both and can easily convert to monochrome if required.
There are certain instances when I will soot in MONOCHROMe from the getgo. Here's the reason: Folks who never shot film may not consider "panchromatic rendition". Simply stated, that the way panchromatic film or our digital cameras in monochromatic mode, interpret colours and shades in the grayscale. As an example; if you shoot a red apple on a blue background the complementary colours will provide separation and contrast. In black and white, depending on the densities of the colours, they may register as the same tone of gray in which case I would employ filters. A red filter would lighten the apple and darken the background. A blue filter would lighten the background and darken the apple. This might seem to lie an oversimplification but things like this can be troublesome if left to post-processing and better to be addressed while shooting. I frequently shoot portfolio shots for male models and actors and fashion sessions out of doors. A green filter in monochrome mode will provide more robust skin tomes and lighter foliage- great for mood and reproduction in print. An orange filter will provide kinda alabaster skin tones for the ladies. In the studio, in monochrome, the green filter simulates the effect of the old orthochromatic films in dramatic portraiture. It's old school but I know I have the effect I want as I am shooting- I see it right in the viewfinder!
`This raw vs Jpeg argument has yielded many posts,... (
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👍👍 😊 If I was still doing commercial photography and owned the Leica Monochrome, I would still shoot both color and B&W with two different cameras. Like you say, sometimes the client doesn't think about color or B&W until later looking at the proofs. You always have to cover your tracks.