Black and White or Colour

[feethea]

At the ripe old age of 59 I am taking an advanced level course in photography - mainly to keep my grey matter active. It is a UK GCE Advanced level course, one normally taken by 18 year old students - I'm sure there are equivalent courses in the USA that meet that standard, which, if passed at the appropriate level (grade A*, A or B) will grant me an exemption from having to submit a panel of prints to the Royal Photographic Society to gain my Licentiateship.

Anyway I digress, we have now been tasked to choose one from five topics set by the exam board for our end of year one assessment. The one I am considering at is as per the title. The 'brief' states: -
"Subject matter can often influence the photographer's decision as to whether they should use black and white or colour in their work. Using a theme of your choice, investigate appropriate examples and respond in your own way."

The theme won't be a problem. I also intend looking at the various forms of black and white and colour methods - i.e. format (35mm, medium format, and large format), films and the differing types of film and their uses, digital methods and conversions to black and white.

What I was wondering was, what influences you, as photographers, as to whether you use black and white or colour for your image(s)? Any examples?

Your input would be very much appreciated.

Barry

[Christoph C. Feldhaim]

Its both possible in basically any case.
You have to decide how you want to look at something.
I am doing color and b/w work, sometimes as conversion, sometimes with dedicated b/w film.

You must trust your own feeling and listen to your soul .....

[RSL]

Barry, For what it's worth, what I do is bring the image into Photoshop, make a conversion with Silver Efex, and then flip back and forth between the color and B&W versions until I'm convinced that one's better than the other. It doesn't always work, because sometimes I run into a situation where both versions look equally good to me. Then I just have to make an arbitrary choice. An awful lot depends on how strong the graphics are. Color can interfere with the geometry of a well-composed picture, but sometimes it can be a crutch to hide a weakness. Generally, though not always, I find myself going with B&W for street photography and informal portraiture, color for landscape, and usually, bur far from always, color for dying towns and deserted farmhouses.

[feethea]

Russ,

"Color can interfere with the geometry of a well-composed picture, but sometimes it can be a crutch to hide a weakness." - that is so right!

I too generally import in CS5 then also use Silver Efex and compare the two. However, at times, I deliberately make a decision to take with me either colour or black and white film - as I'm doing tomorrow when I'm going to take panos of the Liverpool waterfront with Pan F. I know the area and want to emphasise the graphical shapes of the buildings. If I'm shooting digitally then I will always shoot in colour and convert later - merely because of the increased file size compared to the same shot in 'lazyman's' black and white. But then, as you say I'm still left in deciding which one to choose.

As you said "An awful lot depends upon how strong the graphics are." -are we saying that for graphic, geometric, tonal scenes we tend to prefer black and white because cloud can detract from the image elements?
Do the pros pre-determine either b&w or colour or are they undecided until they see the imported image?
As the brief states in my original post "Subject matter can often influence the photographer's decision..." what types of subject would forum members choose to shot in colour and which in black and white?

Barry

[Rob C]

Barry, do you really want someone to write your 'theory' paper for you?

Christopher gave you the best advice: trust your soul. If you can't or are unwilling to go with your guts, then perhaps you are chasing the wrong subject. Without your own, personal, and overpowering convictions you won't get anywhere or achieve anything in this game. That's the problem with 59 (and it gets a hello of a lot worse after that - trust me!), all those thoughts, doubts and hopes should have been long resolved. I have no idea what you want to do with a code after your name, but if it's anything to do with work, then in my opinion, you're wasting time for yourself; it's not about that. At all. 

Rob C

[feethea]

Rob,

No I don't want anyone to do the work for me - I'm merely seeking personal opinions from members (BTW it's not a theory paper that's required, more a portfolio of my own work supported by evidence from extensive research into photographer's work, both contemporary and traditional, 'new age' and past masters).

I know what I like and that will be reflected in the portfolio.

The 'code' you refer to isn't for work, it is purely for intrinsic purposes as it recognises a level of photographic ability from a recognised group.

If by seeking opinion and advice I am to be pilloried then so be it, but I have always found this forum to be very friendly and helpful.........?

Barry

[Rob C]

Rob,

No I don't want anyone to do the work for me - I'm merely seeking personal opinions from members (BTW it's not a theory paper that's required, more a portfolio of my own work supported by evidence from extensive research into photographer's work, both contemporary and traditional, 'new age' and past masters).

I know what I like and that will be reflected in the portfolio.

The 'code' you refer to isn't for work, it is purely for intrinsic purposes as it recognises a level of photographic ability from a recognised group.

If by seeking opinion and advice I am to be pilloried then so be it, but I have always found this forum to be very friendly and helpful.........?

Barry

Nope, not pilloried at all. All I'm expressing - perhaps without benefit of velvet glove - is that photography is a mother of a mistress, and that without some overpowering passion behind you, she offers pretty damned little beyond headaches and never-ending expense.

If you thought I was being unhelpful, then I apologise; I thought the opposite. Were I able to turn the clock back to the happy age of 59, knowing what I do now, then I'd have abandoned her many years ago, bought myself a Mustang and had some fun instead.

Rob C

[hasselbladfan]

Barry,
When we were 20, you had to choose in advance, if a subject would work better in B&W or in color. Curently, with SILVER EFEX PRO, you have always the option to try it again in B&W, if you are not happy with your color results.

[feethea]

Rob,

Thank you for your explanation but albeit repeating myself all I am seeking is opinions.

Hasselbladfan,

I think you are quite correct re the comparison of when we were 20 and now (with the benefit of such as Silver Efex Pro) - it could be argued that we have it easier today as opposed to having to make a choice from the outset. Thank you.

Barry

[RSL]

Do the pros pre-determine either b&w or colour or are they undecided until they see the imported image?

Barry, The term "pro" indicates that the subject of the term is in business. It doesn't say anything about his ability as a photographer. I've seen plenty of "pros" whose work is absolutely awful, and I've seen some who are fine artists, and I guess just about everything in between.

But I think that since a pro is in business he's going to shoot either B&W or color depending on what his client wants. If he's a wedding photographer he knows that in most cases his clients want cliches in color, though he might meet up with an artist, about to get married, who understands the power of B&W. In the end, a pro is going to shoot what he can sell. Nothing wrong with that, but the choice hasn't anything to do with fine art.

[louoates]

The great benefit to shooting in color is that you can always change your mind later. With fantastically good software such as Silver Efex you always have the b/w option. I can't count the number of times I went back into old files and "discovered" perfect b/w images.

[Jim Pascoe]

Barry, You say the theme will not be a problem, can you tell us what it will be?  When they say "subject matter can often influence a photographers choice of colour or B&W", they are probably alluding to the fact that for instance you might choose monochrome for gritty reportage photography, and colour for wildlife.  Of course there are many exceptions to this, but it is a common choice.  As others have said, you have to go with your gut instinct on this.  Photo journalists used to shoot in mono, because mostly that was the only practical choice, and most of the reproduction was in mono anyway.  Last year we attended some of the exhibitions in Perpignon (France) for the Photo journalist week - and all I can say is that I was mesmerised by the breadth and quality of work - almost all in colour - from recent months and years.

For me, who started out almost exclusively in mono as an amateur, the tones and textures and shapes were how I viewed images.  It took me a long time to appreciate how good colour pictures were quite different, and it took me a long time to see in colour.  I have been a pro for 14 years and I am still learning to see in colour.  Sometimes it seems an easy choice, and other times either medium can work.

Good luck with your project and course.  My only advice would be to do your own thing as much as possible.  Only by photographing what you are passionate about can you ever be satisfied as a photographer.  A picture is just communication, and your message needs to be personal to yourself.

Jim

[Rob C]

A picture is just communication, and your message needs to be personal to yourself.Jim

So very true, and mostly forgotten. That's one very important reason why seeking opinions from others on aesthetics and emotional responses is such a dead end. Were there any value to it, we'd all be trying to shoot the same thing. Which, of course, was the genesis for Without Prejudice: a little showcase for one's own passing fancies.

Rob C

[PeterAit]

If you are using digital, every image starts out as a color image. It's not like loading up with Tri-X, where the color-to-BW conversion happens in the camera! Then you look at each image and decide - BW or color? A lot has to do with your personal preferences. Some photogs will never consider a BW conversion, while others are dedicated to BW. If you are using LR or PS, it's just a click or 2 to see what the image looks like in BW.