Photography in black or white or color is, by its very nature, the creation of an abstraction. At the least, a three dimensional scene is rendered in two dimensions, and the image represents a mere sliver parted off and saved from the great continuum of the dynamic called time. Rendering a scene in black and white and shades of gray rather than in color takes the inherent abstraction a step further.
I think black and white works best when the subject matter in the frame is strong and important enough to be compelling without color.
In a simplistic sense, for example, the typical autumn foliage shot is less interesting in shades of gray than it is when rendered in full, glorious color. Why? Because the subject is color, almost for its own sake.
Of course, there are exceptions to the rule of thumb about color and autumn foliage, as we see in some of the grand black and white scenic photos produced by Ansel Adams. The luminosity Adams captures in “turned” foliage substitutes for color, to produce much the same impression – on a more abstract level.
How many times have we experienced that luminosity in autumn foliage ourselves, only to find the results in our color photos of the scenes to be far less than authentic and compelling than the real thing? What would happen if we shot in black and white. Concentrating on tonality rather than color?
Do we really need the red-yellow glow of a campfire to capture the ambience of our evening huddle around it?
The shot of the gravestone and child used as a springboard to open this discussion is an example of a photo that works well in black and white. This isn’t because the gravestone itself lacks color – exists in shades of gray in real life, as it does – but because color simply is not necessary to tell the story, and the content is inherently interesting. We know the surrounding foliage probably is green, and the child’s skin pale, and the child probably is dressed in childishly colorful garb. But who cares?
The child’s role here (my opinion, as one not emotionally involved with the picture in any way) is to provide a sense of scale and humanity. Some may read into the relatively high key (light) tones in the child a contrast (perhaps ironic) of youthful innocence and sunny outlook to the Poe’s more somber – literally darker -- view of the world. The child’s pose may seem to underscore that conflict. Perhaps the photographer sees this picture principally as a document, a snapshot telling of a place he or she visited during a family outing.
In any event, black and white works in this photo. What would color add here? Or, might color actually distract?
Now, having determined that the gravesite photo is suitable for black and white, what can be done to make it really “sing?” Or does it sing already? You decide.
To make the very best black and white photos, it is essential to be keenly aware of lighting, the interplay of highlights and shadows and mid tones, the rendition of textures. One also must be keenly aware of composition, and of the decisive moment, for there is no interesting color to distract and help carry the day.
Many years ago, I taught photojournalism at the college level. One thing I always told my students – because it is true – is that they would know they had achieved some mastery of the medium when, consistently, what they saw in the camera viewfinder at – or just before -- the moment of exposure is what they later saw in the finished black and white print. It was far more a matter of “thinking” in black and white and gray than in actually seeing the world that way.
I suppose that shooting the best photographs in color calls for the same kind of “mind’s eye training.” My own experience suggests this may be a tougher row to hoe, since the act of rendering color subjects as color photographs invites a sort of complacency.
These days I shoot everything in color, because that is what my market requires. Still, a lot of my output winds up being published in black and white, because that is what placement and production process demands. The conversions often “work” well enough, but many are not happy and successful, for a variety of reasons, some technical, others communicative or aesthetic.
I guess that is a way of saying, choose carefully before you convert, and evaluate critically after you do. And remember, it may work best if you plan on black and white from the get-go.
G.
