Making Time for Monochrome

Making Time for Monochrome

1 Introduction

The pursuit of instant gratification from Likes on social media leads many photographers to produce images for impact, often without consideration of the technical quality that would stand the test of printing the image as a large photograph. The sheer volume of colourful photos on social media may also have a desensitising influence. Some images, however, require reflection and concentration to appreciate their value; they often consist of subtle tones tones from an understated production that expresses the intent of the artist and brings pleasure to anyone immersing themselves in the image. Over-production shouts for attention, whereas subtlety invites us to look at an image more carefully and appreciate the atmosphere created by its texture and composition, to ultimately feel part of the scene or close to the subject. But what about black and white photography? Does the lack of colour render it obsolete? Or is it relevant to those who will switch their brain to appreciate tones, texture and mood?

As a photographer brought up on monochrome film, and learning the art of printing, I deliberately make time for monochrome, and encourage others to do the same. This Blog explains some of my reasoning when creating mono images using a digital camera. The logic also holds true for film; but when using a digital camera most of us will capture the image in colour then convert it to mono in post-production.

2 The monochrome mindset

We see the world in colour. Hence colour images are the norm, with our phones or cameras are set to take pictures in colour as the default. Indeed, it is common to do a double-take when seeing a monochrome photograph. If making the effort to create a photograph in monochrome, what makes a good subject? When considering composition, imagine the scene after colour is stripped away. What about the tone, texture and lighting? Ideally, such  criteria should be considered before capturing the photograph, but it is not too late to experiment in post-production. There are different styles of monochrome image: high key; low key; high contrast; or low contrast. Each style has its place, and this article gives examples of differing types of image and subject, along with some of the artistic considerations in making a picture.

3 Influences and inspiration

Many of us are moved by great work; and the earliest great photography - produced in monochrome – stands the test of time. The early work of Ansel Adams incorporates the full range of tones. His striking images of the American West are legendary amongst photographers. More recently, Michael Kenna is another photographer using a wide tonal range. Kenna produces unusual landscapes featuring ethereal light, often minimal in subject content yet immersive to the viewer. Conversely, many portrait and fashion photographers produce at least some of their work in high key. This technique may also be appropriate to still-life images and even landscapes, by portraying a lighter mood. Not all images must be contain the entire tonal range: from dark black to extreme white with all shades of grey in between. The objective of the mono artist is to create appropriate mood and atmosphere, which requires a thoughtful approach and a difference in production styles, depending on the subject.

Landscapes

The intuitive feeling of many people is that good landscape scenes depend on colour. After all, a vibrant colour palette attracts us to a scene. We also see nature in colour and are attracted by it. Floral colours and autumn hues are typical examples. How then, can a landscape devoid of colour appeal to our emotions? Monochrome landscapes depend on lighting, tones and textures. Separation of tones and contrasting light are two real-life considerations that influence appeal. Photographic tones can be changed by filtration. Adding coloured filters (such as a yellow or a red filter to darken a blue sky) will change the tones captured on black and white film. Alternatively, such filters may added or simulated through software in digital post-production. Such filtration enhances the tone separation in the finished monochrome image.

Lines, composition, tones and texture make this image work in monochrome

The difference in tones between the dominant foreground tree and the snow-capped peak in the background add interest

High Key

High key images are predominantly bright, with little or no shadow - tending to suggest optimism or softness through their brightness and low contrast. The subject of the next image - the old pier at St Annes on Sea - is physically separated from the new pier through a history of fire damage. Most of the original pier had to be demolished after the fire, and a shorter pier was subsequently built, leaving the old pier standing as a separate entity but rewarding the photographer with an interesting subject.

Foreground and background appear seamless when rendered in high key because of the sand blowing in a strong breeze, and thus suppressing detail

 

The graphic lines of the composition and the texture of sand complement this high key rendition. A warming filter has been added to match the subject

High Contrast

A monochrome image is commonly described as “black and white,” implying the use of a full tonal range. Such high contrast creates initial impact and is appropriate to many subjects. Here is an example featuring water.

The high contrast and the full tonal range add to the dramatic viewpoint - above the weir

Long Exposure

Long exposures are particularly useful in adding ambience to a landscape scene. Moving water is 'flattened' or smoothed by use of a long exposure. Conversely, skies can be made more dramatic, as cloud movement leaves trails, or lines, as the shutter is left open. Exposure time can be lengthened by use of a low ISO setting; a higher f stop (giving a smaller lens aperture) or the addition of a neutral density filter. A combination of all three will further lengthen the exposure. The use of long exposure photography allows the camera to record more than the eye can see, since it is capturing more than a brief moment in time and a pattern that our brain cannot record in real time. The use of an ultra-long exposure can add an ethereal quality to a photograph and perhaps the most famous exponent of this form of photography is Michael Kenna.

Here a 30 second exposure has captured movement in the clouds and flattened the water, adding to the mood of an overcast Lakeland day, with light rain falling 

In this instance a 4 second exposure created an unusual pattern of the fast-flowing tide. The wave occupying the dark area at the top of the picture suggests the force of the ocean bearing down on the sea defences

The ethereal effect was created by a 252 second exposure after the set and disappeared below the horizon. It was surprising to discover what the camera had recorded after the shutter was open for more than 4 minutes with fast-moving cloud.

Architecture

Dynamic lines, shapes, tones and texture may be effectively expressed through a monochrome image. These characteristics, along with prevailing light and shade, ensure that architectural photography works extremely well in monochrome. Different renditions (high contrast, high key, low key, etc) work equally well, depending on the subject. It is usually desirable to create clean lines with sharp focus, although in some cases differential focus can add interest and intrigue.

The dynamic lines of the brutalist architecture of Preston Bus Station leading to a nearby hotel record different architectural styles as a fine art image

This footbridge photographed at night, appearing to span dark water, creates a dramatic image by eliminating distractions seen during the daytime.

A mild telephoto effect suggests a congested skyline perhaps reminiscent of the older pictures of New York. This is a view of Media City, Salford Quays, Manchester

Abstraction.

The eye of many artists is honed to identify subjects in isolation and to identify an interesting part of the whole. Abstraction also works well in architectural photography, by concentrating on a section of a building to emphasise a pattern or strong dynamic lines. Graphic lines or macro topics from nature also make interesting abstracts. Trees and plants (including macro images) may be interpreted in mono because their strong graphic lines or texture. 

This dramatic perspective, looking up at the unique roof-line of the Imperial War Museum, North, makes a case for abstract architectural photography 

An abstract macro view of wild garlic in its natural woodland setting shows the attraction of monochrome photography in nature

Conclusion

Other forms of photography work well in monochrome, from portraiture to nature photography. Possibilities are limited only by a lack of imagination. If you are interested in photography and have not explored the potential of monochrome, I urge you to give it a go. Not only will it add another dimension to your work, you will be contributing to the survival of mono art. Long may it live and thrive!

You can see more of David McCulloch's photography on his Website PhotoDave.org