See in Tones

Our eyes see in colour but to be successful in black & white photography it’s important to train them to see the world as tones of grey. A red flower in a green field may look great in colour, but when converted to mono, if those colours reproduce as the same shade of grey the result will be a very dull picture. It takes time to develop an eye for mono. One way to help it along involves taking a photographic grey card out and comparing it with objects you encounter. Ask yourself, would that colour be lighter or darker than the grey card?

The best mono photography exploits the differences in tone between elements in a scene, which can either be photographed ‘straight’ or manipulated either by using on-camera filters, or Photoshop. Great b&w pictures also make good use of shapes, textures, lines and lighting, to compensate for the loss of colour.


Atmosphere

Fog, mist and haze all have the potential to lower subject contrast and create a soft, romantic feel to an image. When it’s misty or foggy out, the world is almost transformed into a naturally monochrome wilderness populated with enchanting tones and an eerie stillness. Bearing this in mind, why not get out and about next time a mist rolls in off the sea or a fog settles for the evening?

Remember that objects and features closer to the lens will tend to show heavier tones than elements that are further away, so bear this in mind when composing your shot.


The Classic Subjects

Paring down the image to a range of simple tones often leads to a purer rendition. The classic subjects for mono treatment include documentary, landscape and portraiture.

Travel photography lends itself to a documentary approach rather than just a record of tourist attractions. Alternatively choose a subject close to where you live, and remember to visit often and shoot plenty so that you can build up a story over time.

Portraits often look stronger in black and white because, without the distraction of colour, the emphasis is on character, expression, and revealing ‘the soul’ of the subject.

When reducing landscapes to monochromatic tones the composition becomes more important than ever. Make the most of your foreground, remember to include a focal point, and use leading lines and graphic shapes where possible. Monochrome can make a brooding feature out of an overcast sky so it’s a good way to go when the weather is against you.