From time to time I get rather inquisitive looks from people wondering why I produce the majority of my work in black and white when technological improvements have made stunning color display possible. In some ways I feel that black and white was lost in the sea of new color printing technologies. So I’ll take a few minutes here to explain why I hold black and white so closely to my heart.
First, it’s partly because I visualize in black and white. I cut my teeth in the darkroom over 16 years ago, and at the time all that I could work with was black and white. So when I approach a subject, I’m often visualizing how the colors will translate into tonal values in the final image.
Next, shooting for black and white helps to focus my composition. Or, stated another way, color can be a crutch. There are plenty of photos that are visually appealing in color, but will look like trash in black and white. This is because color distracts from form – however I will say that the best color photos use color to reinforce form.
Black and white also allows my composition to be more complex. As an abstract photographer, this is definitely a bonus. Abstract images can be harder to “get” with regards to what my intended message is. Often times, throwing in the additional visual complexity of color would/could put the accessibility of the concept over the edge.
For portraiture, I’ve always felt that black and white was the best medium. This goes back to the saying that “if you want to see the color of their clothes, shoot in color; if you want to see the color of their soul, shoot in black and white”. Just as black and white brings forth the form and message of a still life, it helps to remove visual clutter from someone’s portrait, and let their true nature shine through. There especially is a certain quality to a subject’s eyes in black and white that cannot be grabbed in color.
From a practical standpoint, a black and white print will fit with any decor, anywhere.
There’s no true tonal scale, or zone system as Ansel Adams explained, in color. I won’t go into the debate on this one, except to point out one thing: the best way to make a really engaging color photo is to first make a black and white version of it (such as I did in my series, The Evening Clouds, inset photo).
Recently I was talking with someone who was looking at my work, who shared my love of the black and white print. He mentioned something that I think really sums it up very succinctly: “Anyone can take a color picture of a red apple, but it’s an entirely different accomplishment to take a picture of a red apple in black and white.”
1 Comment
November 18, 2008 at 1:18 pm
I’m with you.
Keep up the good work.
tony