For instance, when editing raw files from my Fujifilm camera, one option is “Camera ACROS v2,” one of Fuji’s profiles. One advantage to profiles is the ability to tap into the same recipes that camera manufacturers use to develop their raw images. Lightroom includes several black and white profiles, (un)helpfully named “B&W 01,” “B&W 04,” and so on, but they all provide specific looks that can either be what you’re looking for or a good starting point for further editing. You can assign a profile and then manipulate tone controls on top of that. Whereas presets are saved collections of settings, profiles are instructions for interpreting the image data, and have no effect on individual tone settings.
Sharp-eyed readers will notice that choosing some of the presets also changes the Profile setting in the Edit panel (Lightroom) and Basic panel (Lightroom Classic). The Presets panel in Lightroom Classic appears to the left of the image. This is the quick approach that produces basically the same effect as reducing the Saturation slider to –100, converting all color values to grayscale.
The easiest method is to let the software handle the conversion with a single click of the B&W button in Lightroom, or the Black & White option under Treatment in Lightroom Classic. You’ll find the controls in the Edit panel of Lightroom (the newer cloud-based app, until recently called Lightroom CC) and the Develop module in Lightroom Classic, depending on which version you use. Most photo editing programs offer similar options, but I’m focusing just on the two current versions of Lightroom for this article. In Lightroom and Lightroom Classic, you’ll find multiple methods of making photos black and white and fine-tuning the appearance for the look you want. Converting a color photo to black and white isn’t just a matter of removing the color saturation, however. Now, of course, we can create the effect easily in software. Even long after color did become the norm, black and white remains a popular artistic choice. Making photos black and white is a separate treatment today, but for much of the history of photography, it was the only option-color film first didn’t existent, and then was often too expensive for most people to process.
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