By MICHAEL PERKINS
THE WORLD OF PHOTOGRAPHY’S EMBRACE OF COLOR, which now seems instinctual and absolute, is actually a very recent thing. The arrival of color film stock targeted to the amateur market barely reaches back to the 1920’s, and its use in periodicals and advertising didn’t truly begin to outdistance color illustration until well after World War II. Color in so-called “serious” or “art” photography existed on the margins until half-way through the 1960’s, when hues, like every other element of the contemporary scene, gloriously exploded, creating a demand for color from everyone, amateur to pro. The ’60’s was also the first decade in which color film sales among snapshooters surpassed those of black and white.
Today, color indeed seems the default choice for the vast majority of shooters, with the “re-emergence” or “comeback” of black and white listed among each year’s top photo trend predictions. The ability to instantly retro-fit color images as monochrome (either in-camera or in-computer), has allowed nearly anyone to at least dabble in black & white, and the tidal wave of phone apps has made converting a picture to b&w an easy impulse to indulge.
And yet we seem to be constantly surprised that black & white has a purpose beyond momentary nostalgia or a “classic look”. We act as if monochrome is simply the absence of color, even though we see evidence every day that b/w has its own visual vocabulary, its own unique way of helping us convey or dramatize information. Long gone are the days when photographers regarded mono as authentic and color as a garish or vulgar over-statement. And maybe that means that we have to re-acquaint ourselves with b&w as a deliberate choice.
Certainly there has been amazing work created when a color shot was successfully edited as a mono shot, but I think it’s worth teaching one’s self to conceptualize b&w shots from the shot, intentionally as black and white, learning about its tonal relationships and how they add dimension or impact in a way separate from, but not better than, color. Rather than consistently shooting a master in color and then, later, making a mono copy, I think we need to evaluate, and plan, every shot based on what that shot needs.
Sometimes that will mean shooting black and white, period, with no color equivalent. Every photograph carries its own burden of proof. Only by choosing all the elements a picture requires, from color scheme to exposure basics, can we say we are intentionally making our images.