READING THE ROAD
By MICHAEL PERKINS
COMPOSITION IN PHOTOGRAPHY IS NEVER MERELY A MATTER of rearranging the deck chairs on the good ship Take-A-Snap. Yes, at first, there is the frame to be dealt with, and with that, the crucial decisions on what stays in and what gets left out. And then there is the front-to-back and side-to-side staging of the image, the visual coding you build into the picture to tell your viewer where to look and how to prioritize what he sees, a process influenced as well by contrast, depth of field, and other shooting settings.
But there is another crucial way to instruct the viewer’s eye on how all this information ranks within itself, and that is the decision to shoot in either color or monochrome. It’s true that, merely by landing on one or the other, you haven’t added or subtracted any visual elements that weren’t already in the frame. That is, you didn’t stick in four more trees or yank out the ocean shore. However, pictures in these two opposing modes convey information in distinctly different ways, and so both will confer certain qualities on the objects in the frame based on how the eye takes in that information. This can either make your picture pop with dimension or sink into murk.
Color assigns a rank to things and relegates objects to either shadow or light, foreground or background. Monochrome does this as well, but in a far subtler manner, meaning that some color shots which are clear in their message might appear muddled or muted when rendered in black and white. Conversely, something which is direct and contrasty in mono might appear either weakened or magnified in color.
In the case of the two renderings seen here, the tangly busy-ness of the color shot (top) seems, in monochrome (above), to make a very dense photo much harder to read. There is so much texture in the color version that just becomes mushy in grayscale, so that the mono version does nothing to simplify the shot….quite the opposite. The Color/No Color decision can either make or break even a well-balanced composition by making the “look here” rules for the viewer too ambiguous or unclear. Reading the room can help pictures communicate cleanly.
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