One Lightroom Shortcut That Helps Me See in Black and White

Why I Always Hit the V Key When Editing in Adobe Lightroom

Most photographers edit their images in color by default, which makes it surprisingly easy to overlook strong black-and-white opportunities. As a result, many compelling black-and-white photographs aren’t created—they’re simply missed during the editing process. Learning to see beyond color isn’t always intuitive, but one small habit in Adobe Lightroom can change how you evaluate your photos and quickly reveal images that are better expressed through light, shadow, and contrast.

The One Shortcut I Use All the Time

The shortcut I use constantly when reviewing images is the V key in Adobe Lightroom. With a single press, it instantly toggles an image between color and black and white, making it easy to evaluate the photograph without committing to a full conversion. I use this as a quick visual test, flipping back and forth to see whether the image gains strength through tone, contrast, and shape rather than relying on color.

How I Use the V Key in My Workflow

I use the V key early in my workflow, starting with my first image review in Lightroom. As I’m culling photos, I’ll quickly flip back and forth between color and black and white to see how each image responds without slowing down my process. At this stage, I’m not editing at all—I’m simply using the shortcut as a decision tool to help identify which photographs are strong candidates for black and white before doing a black and white conversion later in my editing process.

**Photographer at Work on a Foggy Morning**

What I’m Looking for When I Hit the V Key

When I hit the V key, I’m paying close attention to how the image holds up without color. Strong light and shadow are usually the first things that stand out, followed by clear subject separation that keeps the composition readable. I’m also looking for texture, shape, and repeating patterns that become more pronounced in black and white. If removing color simplifies the scene or eliminates distractions rather than taking something away, that’s a strong sign the image works better without color.

Images That Often Work Well in Black and White

Certain types of images consistently respond well when I toggle to black and white. High-contrast scenes—such as caves, architecture, or photographs taken in harsh directional light—often gain impact when color is removed. Foggy, misty, or overcast conditions also translate well, as black and white emphasizes mood and tonal transitions rather than muted color. Infrared photography naturally lends itself to monochrome, and minimalist or graphic compositions tend to benefit from the simplicity and clarity that black and white provides.

Finishing in Silver Efex Pro

Once I’ve identified a strong black-and-white candidate, I usually handle the final conversion in DxO/Nik Silver Efex Pro rather than directly in Lightroom. Silver Efex Pro gives me far more control over contrast, tonal relationships, and local adjustments, allowing me to shape the image with precision instead of relying on a global conversion. The built-in presets provide an excellent starting point, offering a wide range of tonal styles that help me quickly explore different looks before refining the image further. I’ll then fine-tune structure, highlight and shadow detail, and make selective adjustments to guide the viewer’s eye, using the Lightroom preview as a foundation and Silver Efex Pro to fully realize the photograph’s black-and-white potential.

Learning to See in Black and White

Using the V key consistently does more than speed up the editing process—it helps train your eye over time. The more often you flip between color and black and white, the easier it becomes to recognize which images will benefit from a monochrome treatment. Eventually, that intuition starts to develop before you even begin editing, and with enough practice, you’ll find yourself anticipating black-and-white images while you’re still in the field, composing with light, shadow, and contrast in mind.

Written by Martin Belan

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