BLACK & WHITE PRINTING

NOT JUST A DESATURATED FILE

There’s a common misconception that black and white printing is simple, just remove the color, and you’re done. But in fine art printing, black and white is not a shortcut. It’s a discipline.

Black and white images demand more than conversion. They ask for intention, how light is mapped, how shadows fall, how the midtones breathe between contrast and quiet. Every grayscale photograph is a study in structure and tone, and the way it prints is as important as the way it’s captured.

WHY IT’S NOT THE SAME AS DESATURATION:

A desaturated file simply strips away color data. But true black and white printing starts with a monochrome image file that has been carefully adjusted, often using

channel mixing, tonal curves, and local contrast refinements. It’s about sculpting the grayscale range so that nothing is lost in the extremes.

THE ROLE OF PAPER:

Paper choice is especially critical for black and white work. Matte surfaces like Photo Rag offer soft, velvety gradations, while baryta coated papers such as Silk

Baryta bring out richer blacks and more luminous highlights. The finish can subtly shift the emotional register of a photograph making it feel cooler, warmer,

softer and even sharper.

WHY IT’S AN ART IN ITSELF:

Printing in black and white is less forgiving. There is no color to distract or to hide behind. The image stands alone, relying on composition, tone, and light to do the

speaking.

That’s why photographers like Carlos Rivera choose their materials and settings with care. His images rely on silence, geometry, and atmosphere. And when printed

on Hahnemühle FineArt Paper, those qualities aren’t just maintained, they’re magnified.