24 June 2022

What's So Cool About Black and White Photography

 

Anonymous Abstract Portrait, Hanoi 2021

“Color is descriptive. Black and white is interpretive.” 
– Eliott Erwitt

The evolution of color has taken us to new depths of imagination and has answered many questions on what is possible. Virtually any camera can see 16 million different colors or shades of a color. The very nature of color can't be discussed without talking about the color wheel, color spectrum, color theory, color grading, or color space. We get taught our colors in primary school and our first notion of a social class is determined by the size of your box of Crayola Crayons. Nope, I never had that box of 64 with the sharpener in the back. Mama said, I'd never use more than 16. 

So why would we ever photograph anything in Black and White or change a color photograph to a stripped down monochromatic version of itself? Or even crazier, why buy a camera for $8,000 that ONLY shoots B&W? Well, here are a few good reasons why Black and White (monochrome) photography has remained so relevant.

River nude shot with Leica M Monochrome Type 246 with the 35mm Summicron on loan from Leica. They didn't appreciate me taking it out to the river, though. 

1. The Distraction of Color - The very first time this was explained to me, I didn't really see it. How is color a distraction? It's the real world as our brain perceives it! But I began photography with B&W film... Agfa, Kodak TMAX, Fomapan, Tri-X, Arista-EDU. All these were brands of film that had different qualities that rendered B&W tones that suited your style or purpose. 

The absence of color in a composition left a photo with a clearer view of it's fundamental elements. You saw lines, shapes, shadow/light values, and  contrast better. Texture popped out. It gave you a sense of form and balance within an image. Layering of depth and focus points become easily apparent and appreciated because you have reduced the photo to the basics and left it with only the properties that it needs by eliminating the frivolous.

Hanoi, Urban Rooftops, 2020 Sony a7rMkII

2. Creates Drama - Fine Art Photography is all about emotion. How does a composition make you feel? Emotion is moved and manipulated via drama. A landscape photo with dramatic clouds can be further emphasized in Black & White because of the deeper tonal values and separation of highlight and shadow. But it also brings out facial emotions in street photography, portraits, and documentary work. If emotion is the primary target, go Black and White. If there is no relevant color information anyway, such as in some architecture photography, go Black and White.


Up in the Andes Mountains of Southern Peru

3. Timelessness - Photography began it's existence in Black and White. It took 140 years before color became widely used. Many of the greatest and most influential photos taken in the world were done in B&W. It speaks to history, significance, and originality. It is almost synonymous with artistic style. That creditability is so consequential that when you turn a photograph B&W today, it borrows from our timeless past. We give it historical or artistic value just by losing the color, which has a tendency to modernize any photo.


Shot with film, 2006 Art Model, Mary posing on the side of a friggin' cliff. That's a bridge far below.

“Black and white creates a strange dreamscape that color never can.”  

– Jack Antonoff

4. Artsy - And speaking of artistic value... what is the number 1 thing we do when we want to "save" a bad color photo? Turn it Black and White! Instant improvement! And this is never better served more so than in abstract art, but not only that. Look up the most historically significant photos to date, almost all are Black and White or at least monochromatic. Interestingly enough, this mainly works in the medium of photographic art. How many black and white paintings do you see?

Just me...

5. Easier on the Camera - This probably sounds like a trivial excuse to use Black and White, but hear me out. We're talking about helping the camera take a better picture. The camera can't see color at all. It only translates electrical signals as it gathers photons of light. Sensor tech uses color filters and algorithms and processors to determine the quantity of red, green, or blue, thus deriving all the other colors from those primary ones. 

Well, when the camera doesn't have to work so hard for determining if a light signal is red, green, or blue... all it has to do is register tonal value! What do you get from that, deeper dynamic range and more latitude! Now you can partially understand why Leica makes an $8K camera. I've shot with it and it's remarkable! Hence the pic above.

Art Model, Katherine with Hades. Hades isn't a colorful hawk. Black and White is fine.

Understandably, color still has a significant roll in photography. You do NOT change everything to B&W. You use color when it is part of the narrative, needs to appeal to a wide audience such as in marketing, and most significantly in video production. I photographed a playground once to test my theory in this. There was a definitive loss in the narrative when you miss out on the vibrant color of the playground. 

Do wildlife photography and photograph a lion. No problem, you can go B&W or color. But try photographing a bird in the wild that has a distinct colorful plumage, like my personal favorite, the Kingfisher, and you've done yourself a disservice if you reduce it to monochrome values. Show me a rose without its color and I'll show you a failed experiment. Learn the difference and apply that wisdom well.

05 June 2022

How to Shoot Prime Lenses

 

Art Model, Trixie ©2017 Terrell Neasley

Prime lenses can be challenging to shoot with if you are used to using zoom lenses. However in all truth, they simplify your shooting experience more than they challenge it. Old school shooters used DSLRs with a 50mm 1.8, a 35mm, or maybe even a rangefinder style 24mm that was non-removable. 

So what are some of the difficulties of shooting with prime lenses. In truth, there is only one and that's the fact that prime lenses do not zoom. All other issues people talk about usually stem from that one main thing. 

1. Missing the range of a zoom's versatility

2. Changing lenses all the time

3. Having to move around

4. Can't use it if you are in a tight space without a wide-angle lens

Art Model, Trixie ©2017 Terrell Neasley

First, go back and look at my previous blog post, "The Case for Prime Lenses" to see the benefits of shooting primes. The trade-offs might be enough for you to forget about these minor infringements. If you're still having a tough time seeing it, then read on.

None of the cons of a prime lens inhibit your ability to make a good shot. Unless, that is, if you want to make your photographs from the comfort of a recliner with cup holders and a foot rest. If that is the case, then I will concede your point right here.

Art Model, Trixie ©2017 Terrell Neasley

However, I'd wager this is not the case. Prime lenses simply make you an active shooter, but in a good way. You become more engaged and alive. You bring in more movement and it pushes you to "see" and become more creative as your continue to work and gain experience. Dare I say it, it could be considered exercise! Because you will activate and engage photographic muscles that don't get developed as well when you use a zoom lens. 

Here is what you do. Get used to using your feet. Have a comfortable pair of shoes. This doesn't mean you need hiking boots. Just something comfortable to walk in, at least. If you are outdoors in the backcountry, then yeah... have some boots. Just make sure you are comfortable in them so you aren't tiring too quickly as you move around.

Art Model, Trixie ©2017 Terrell Neasley

Understand your shot selection and shoot according to the lens needed. For instance. Moving your person back and forth will usually suffice when you are using a lens in a single perspective. if you have a need to shoot at 50mm you can move in to get a 70mm perspective. It's practically the same. However, when necessary, get all your wide perspective in one group. Then change lenses and get all your portrait perspectives. See what I'm saying. Don't mix the two. If you do, you'll be switching lenses more than necessary, going back and forth more often than you need. 

As far as tight spaces go... well hell. You'll have that problem even if you have a zoom lens. The answer is simple... know your location and shot selection requirements. Then bring the gear necessary to accomplish the goals. 

I get it. Some locations aren't planned. Sometimes, you have a camera kit and see something spontaneously and it just doesn't work. Well, chances are, you'll run into the same problem with a zoom. In that case, you have to live with the hard lesson all photogs have to learn: You're not going to get every shot. Sometimes, you don't have the right gear. Sometimes, autofocus misses. Sometimes, there isn't enough light. Live with it and try to learn from the experience. 

Art Model, Trixie ©2017 Terrell Neasley

You should be able to cover 85% of your shots at all times with your gear. That's 85% of what you traditionally do. If you don't shoot wildlife, don't be pissed because you missed a rare sighting of a Blue-Eyed Ground Dove (Columbina Cyanopis) because you don't have a 600mm 1.4 lens. No... that's not your gig. Eighty-Five percent of all I do is covered between my 24mm 1.4, 55mm 1.8, and my 90mm 2.8 macro. The far away stuff, I let it go or get the best I can with it and maybe crop-in. If you endeavor to stand out, don't look for safe, security, easy, or SOS (Same Old Sh*t as everybody else is doing). Be like Trixie. Trixie don't do safe. Her brilliance will likely leave you feeling less secure about your own. Nothing about her is easy (Except for her hospitality! You will get drunk!) And she definitely does not put up with SOS people. Be a Trixie!