I have done a few model shoots lately (and I have one tomorrow with the lovely Sarah).
During my processing of the images from a few recent sessions, I have found that I have gone for high-contrast black and white treatment.
I think black and white really works well for portraits. Sometimes colour can be distracting, and if you are using moody lightning like I often do, black and white treatment, with its removal of the potential distraction in colour, makes shape, form and tone more prominent.
Here are a couple of examples of where I think the black and white treatment has worked well.
Firstly, the talented Jess:
I’m Not That Innocent (B&W)
In this session, I went for dramatic, high-contrast lighting and seduction/sexyness as a theme/feel. With this sort of lighting and prominent shadow from which the model emerges, the monochromatic treatment highlights shape and form.
Compare this image to the colour version.
When I photographed Sarah recently, even during the shoot I was pre-visualising black and white. As it turned out, I prefer the images of her when processed in black and white. Here is an example image (and one I quite like):
While I have not published the colour version of this shot (yet), I think the black and white version has more appeal.
In processing portraits lately, I have adopted the multi-layered, non-destructive approach I apply to my seascapes, with heavy use of lightening and darkening curves adjustment layers to selectively add pop to certain parts of the image and darken others and/or apply vignetting.
I have taken to using two black and white conversion layers and applying a green filter to the base black and white layer, and an infrared filter to another layer which I apply only to the eyes using masks. This really makes the eyes stand right out, and the eyes are the most important parts of a portrait (in most cases).
In the future I might publish a post-processing tutorial on one of my recent black and white portraits.