Black & White Photo Editing with Film Grain

Good B&W conversion is more than desaturation. It's about where the grain sits, how the shadows fall, and whether the tonal range feels intentional. The Photo Editor gives you the controls to get there.

Start with B&W Mode

Open the Photo Editor, upload a photo, and switch Mode to B&W in the Adjustments panel. The conversion desaturates while preserving luminance, so you keep the tonal separation your camera captured.

Shape the Tones

With color gone, contrast becomes the whole image. Use these adjustments together:

• Curves → Crushed Shadows clips the deepest darks to pure black. Good for street photography where you want hard shadows with no detail.
• Curves → Faded lifts the shadows, keeping everything above pure black. Gives a matte, vintage print feel.
• Contrast → High or Max pushes the tonal range wider. Pair with the Faded curve for a look that's contrasty in the midtones but soft at the extremes.
• Wash lifts blacks from the bottom. At 20-40% it adds a slight fog. At 80%+ it creates a washed-out, overexposed print look.

Watch the histogram as you adjust. B&W images read well when the histogram stretches across the full range without hard clipping at either end, unless that clipping is the point.

Add Grain

B&W without grain looks digital. Open Smart Grain and pick a preset:

• Mono at 30-50%, classic B&W film grain. Even distribution, shadow-weighted. The default choice for most B&W conversions.
• Dark at 40-70%, grain appears only in shadows and midtones, highlights stay clean. Mimics how fast film stocks (Tri-X, HP5) behave in low light.
• Heavy at 20-35%, dense, clumpy texture. Looks like heavily pushed film. Works on gritty portraits and urban scenes.

Zone-Based Grain for More Control

For precise placement, enable the Image Analyser. It scans your photo and maps shadows, midtones, and highlights separately.

1. Click Analyse to scan the image. Toggle Zone Preview to see what the analyser classified as shadow (blue), midtone (green), and highlight (amber).
2. Set Shadows to 50-70%, size Medium. This puts visible grain in dark areas.
3. Set Midtones to 20-30%, size Fine. Subtle texture in the mid-range.
4. Set Highlights to 5-10%. Clean highlights with a slight surface texture.
5. Set Blend Mode to Screen for a brighter grain that sits on top, or Normal for grain that darkens as well as lightens.

The Film Shadow preset does most of this automatically. Use it as a starting point, then adjust per zone.

Finishing

Apply a Film Preset if you want the last layer to tie it together. Film presets add their own subtle grain, fade, and vignette on top of your grain settings. Keep the film preset's grain slider low (0.1-0.2) to avoid doubling up.

Use the Compare toggle to drag a split view across the image and check your grain at different points.

Recipes

• Tri-X street: B&W mode, Crushed Shadows curve, High contrast, Dark grain at 50%
• Soft matte print: B&W mode, Faded curve, Wash at 30%, Mono grain at 25%
• Pushed film: B&W mode, S-Curve, Max contrast, Heavy grain at 30%, Image Analyser shadows at 70%

Open the Photo Editor and try B&W mode on a portrait or street shot. The grain presets alone change the character of the image more than you'd expect.

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