The first step to abstraction in photography is black & white: by its very nature - providing less than complete information about a scene. Monochromatic imagery engages the viewer on an emotional level in ways that color seldom does. The primary component of this effect is the modern viewer's perception that this abstraction is due to chemistry - founded in the laws of physics, that somehow reveals mystical truth about the fabric of being and substance of soul. While the empirical experience, of anyone who has ever worked in the darkroom, points to a very predictable and controllable phenomenon, not that dissimilar to what is done digitally in Photoshop, this seems, in no way, to detract from most people's romanticism (and even reverence) for the black & white medium.

From a technical standpoint, the dynamic-range of black & white is generally much greater than color and enables excellent photography in situations such as direct sunlight that typically exceeds color's range. With true black & white films, this is due to an actual ability to record 14+ stops of contrast. But it should also be noted that the eye may look much more favorably on failed, high contrast color scenes when converted to black & white - and thus poor quality color images may find new life and redemption in monochrome.

What about filtration? With color, filters are used to overcome color casts, provide polarization and decrease depth of field, but with black & white, the entire mood of a shot may be customized. In classic black & white landscape-photography, deep red and orange filters are used to bring out clouds in the sky and cut through haze (by masking out rays from the blue-end of the spectrum). In figure photography, this can also be effective in adding dimension to the background and a crispness throughout the scene. But care should be taken with light-skinned models (particularly up close), as veins beneath the skin often become more noticeable due to the masking of the vein's bluish color.

Where nudes are concerned, green filters are the ones to keep handy (or if processing digitally, convert to grayscale through the green channel). Green filtration can bring out shape, form and contrast that relate to what the viewer 'expects' to see and thereby masters the image to the spectral response of the eye. Lips, and redder parts of the body, like tanned and highly-pigmented skin will appear dark: blue or green eyes will be lighter and textures throughout the scene will be correspondingly accurate.

For intense, moody contrast, and to make the most of models with very good skin and/or backgrounds with strong texture, the blue filter is KING! Details like freckles are intensified as are hue-shifts and surface characteristics. While this is not for every model, it is a 'Rolls Royce' treatment for those with great complexions. A blue filter can also be used on a clear day, after sunset, to simulating a foggy/rainy day. This can create a perception of calm, composure amidst a cold, inclement environment.