![]() ![]() I can't deny that I do favour a strong contrast scene when I work with black and white, yet one with some values in the highlight and shadows, so I would always encourage photographers to look at the depth of a shadow and the value of a highlight before making a decision. ![]() I am often asked what potential image lends itself to black and white more than colour and what criteria do I use when making a decision as to which medium I should use. In latter years however, I have concentrated on my colour photography, yet would never claim that one is superior over the other, nor would I throw away those precious years in the darkroom where I learned the great fundamentals of photography. ![]() I can claim to have spent very many years in the darkroom and the zone system and the whole notion of tonal values have become second nature to me. I am often heard to say that 'the absence of colour distils the image to its essential qualities' which indeed it does. However since the advent of colour photography, many of the black and white aficionados still claim (unjustifiably in my view) that monochrome is indeed more of a creative artistic endeavour. Quite what more 'arty' means I am not so sure. Mother Photography's first born were black and white, or perhaps brown is a better way to describe the colour of those pioneering early images made two thirds of the way through the 19th century.įrom then on, and especially from the 1960's, black and white has earned a certain reverence and has come to be seen as more 'arty'. ![]()
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