Particularly if you shoot Raw, set your camera to monochrome and you can view the relationships trivially in black and white and at least judge relationships on your back screen
Thanks, its a selfie
heres a shot from a workshop i held a few months ago. its also a selfie of another photographer. they think im joking when they have to act out the image themselves 
Both are really fine! Excellent lighting, and theme creation. Right out of the film noir movieThanks, its a selfie
i shoot live monitors in my studio, and i can tell you you cant see the smoke mist patterns shooting colour with light shinning through it i also experiment with different costume colours as well for the desired effect.. "mood" is the most important aspect of shooting noir you cant PP it.
Well, I think the idea of a landscape shot narrows it a bit too much. Let's take the photos of the model he posed -- I'm thinking Don chose the colors of his models' clothing to provide that nice contrast between the model's face and his clothing. Even the cigarette helps to draw attention to the expression of the model. His lighting emphasizes those contrasts between light and dark.
Certainly you can make the changes, yes. I've never been much for post (either PC or darkroom) so I've always tried to get stuff the way I want it in-camera.
you are correct i change the colours of the cloths to match the look im after. I have a very interesting project in the making shooting young dancers in a vintage era 20s 30s that no one has ever tried before.
can i pull it off ? i hope so but no guarantees. You just described a very specific circumstance of the type I mentioned.
As I replied to him directly:
It's a fact that many (perhaps most?) of the world's iconic B&W photos were created in the darkroom (post processing) as much as they were created in the camera, if not more. This is the case whether you personally work that way or not.
Thank goodness! That'll save us some time.
I dont think anyone is going to shoot street with murals painted on walls either in b&W over colour. landscapes cant be manipulated in post either to even come close to shooting for B&W with the correct use of shadows.
Thats incorrect. post some of your b&w conversions !
as much as they were created in the camera, if not more. This is the case whether you personally work that way or not.
Thank goodness! That'll save us some time.
I had also been dreaming of doing it. And after finding the web site monochromeimaging.com, and having a Sony A6300 that wasn't being used much since I already had newer cameras, decided to go for it.
Perhaps it's not a fact since I can't prove it.
I don't want to get into another out-of-camera JPEG vs processing debate here. I like shooting RAW though I have to add that there are far better photographers than me who manage to get great results with another out-of-camera JPEGs. I do think though that with B&W specifically that it really makes sense to process. If for no other reason than the way that the color image is covered to B&W, it really makes sense. When you do that conversion you filter the color information so that for example the blue in the photo can be darker or lighter (and other colors are effected as well depending on their relationship in the color wheel). Something that can be quite muddy with a straight conversion can have nice contrasts if the conversion is done in a particular way. Beyond that, various contrast adjustments are more important as without color those grey tones can again be muddy... or too harsh. Fine tuning in post production really makes a difference...
That totally makes sense and that's just the kind of thing that I could certainly do as I don't shoot RAW only, but shoot RAW with a low res JPEG (that I use as a preview because my old software doesn't recognize the RAW files from my camera very well so they never look right when I preview them). It would be very easy them to set that low res JPEG that I use to B&W and then I'd have a perfect B&W preview, I came up though in the age of film though, where there was no B&W preview so the thing that was required was to "think in B&W." I still follow that philosophy and prefer the challenge of making that mental adjustment rather than have the camera do it for me. I've become quite good at seeing just what possibilities for B&W there are for any given scene that I may be looking at.
With the $8K Leica monochrome, JPEG is entirely useable. But with a modified camera, it doesn't know that it is monochrome. And because of this, it is going to do an in-camera demosaicing of the JPEG images, defeating the very purpose of going monochrome.
That seems fair, with so many years of experience I am sure you have tried a bit of everything already.
That makes perfect sense. To make a shot successful in B&W might require a particular time of day and a particular perspective (e.g., ground-level, distance). The constraint "forces" one to do the extra legwork.
