Group 50 Bulletin Board
3 threads - 4 total comments
This page is dedicated to discussions about our theme (Monochrome) that are outside the scope of our monthly images.
Thread Title: Black & White Photography: “Is my picture better in color, or black and white�
Committing to the Black & White Photograph: ⬓Is my picture better in color, or black and white�
⬓I especially urge students of photography to disengage from serious contemplation on how the color original connects to them as a prerequisite for critical analysis of the Black and White converted oneâ¬. L. A. Lewin
Nowadays, and for all practical purposes, every digital image is first rendered as a color image ... I suggest this forced, initial color rendering, is unique in its influential status: we are dictated to interpret the color image first ... even edit the color image in post-production before converting it to a black and white (BW) alternative. This process is much different from shooting a roll of BW film where the photographer is never introduced to color. In this scenario the photographer⬙s interpretation is (unbiased) or not heavily influenced by viewing a color version first; that is, choosing and studying a color image before converting to BW is not part of the equation when shooting BW film. So, the question ... ⬓Is my picture better in color, or black and white� ... is not part of the normal workflow when shooting, developing, and eventually presenting a BW tangible photograph.
Nonetheless, here we are, examining the color (original) first and then making a decision if the image is worthy for rendering in black and white. I argue, this (digital) workflow is interfering with how we learn to appreciate BW compositions for what they reveal on their own merits. It is for this reason I especially urge students of photography to disengage from serious contemplation on how the color original connects to them as a prerequisite for critical analysis of the black and white converted one. Instead, the initial evaluation of your work should be centered only on your BW rendering: this will lessen the tendency to judge our Black & White photography based on preconceptions learned from studying color images. Much like the artist painter who chooses to use only one or two colors in all their work, they never make and present a full-colored version for comparison, similarly, the serious photographer that practices composing work in black & white is fully committed to his or her ideals, visions and philosophy that ultimately directed them to create in this manner ... and comparisons to natural color alternatives have no place in the conversation.
The serious or advanced artist-photographer who centers her art in Black and White imagery does so, not by choosing from an assortment of color originals, but instead, the artist is impervious to the color version: her thoughts are not...⬙will this look better...⬙ but instead moves forward and (digitally converts) the color original to BW. It is not uncommon, too, to convert the color original to B&W and not like it at all. This is no different from the reaction the artist-photographer exhibits viewing his latest roll of B&W film and decides a particular subject is not as engaging as she would have hoped.
In the future, do not ask... ⬓Is my picture better in color, or black and white⬠... if you are an artist-photographer who strives to showcase your creativity through a mostly White to Black tonal gamut, then instead, direct the spectator to your B&W fine art photography for what (it) is. In this sense, we are presenting the work ⬓as isâ¬.
I look forward to hearing like experiences and comments regardless if in support or ones that challenge the proposed work process. In the end, it is all about sharing ideas in though-provoking discourse. Thank you.
Lance A. Lewin Fine Art Photographer/Lecturer
PSA Global Black & White Photography Mentor
PSA South Atlantic Area Membership Director Posted: 09/01/2023 06:16:44
⬓I especially urge students of photography to disengage from serious contemplation on how the color original connects to them as a prerequisite for critical analysis of the Black and White converted oneâ¬. L. A. Lewin
Nowadays, and for all practical purposes, every digital image is first rendered as a color image ... I suggest this forced, initial color rendering, is unique in its influential status: we are dictated to interpret the color image first ... even edit the color image in post-production before converting it to a black and white (BW) alternative. This process is much different from shooting a roll of BW film where the photographer is never introduced to color. In this scenario the photographer⬙s interpretation is (unbiased) or not heavily influenced by viewing a color version first; that is, choosing and studying a color image before converting to BW is not part of the equation when shooting BW film. So, the question ... ⬓Is my picture better in color, or black and white� ... is not part of the normal workflow when shooting, developing, and eventually presenting a BW tangible photograph.
Nonetheless, here we are, examining the color (original) first and then making a decision if the image is worthy for rendering in black and white. I argue, this (digital) workflow is interfering with how we learn to appreciate BW compositions for what they reveal on their own merits. It is for this reason I especially urge students of photography to disengage from serious contemplation on how the color original connects to them as a prerequisite for critical analysis of the black and white converted one. Instead, the initial evaluation of your work should be centered only on your BW rendering: this will lessen the tendency to judge our Black & White photography based on preconceptions learned from studying color images. Much like the artist painter who chooses to use only one or two colors in all their work, they never make and present a full-colored version for comparison, similarly, the serious photographer that practices composing work in black & white is fully committed to his or her ideals, visions and philosophy that ultimately directed them to create in this manner ... and comparisons to natural color alternatives have no place in the conversation.
The serious or advanced artist-photographer who centers her art in Black and White imagery does so, not by choosing from an assortment of color originals, but instead, the artist is impervious to the color version: her thoughts are not...⬙will this look better...⬙ but instead moves forward and (digitally converts) the color original to BW. It is not uncommon, too, to convert the color original to B&W and not like it at all. This is no different from the reaction the artist-photographer exhibits viewing his latest roll of B&W film and decides a particular subject is not as engaging as she would have hoped.
In the future, do not ask... ⬓Is my picture better in color, or black and white⬠... if you are an artist-photographer who strives to showcase your creativity through a mostly White to Black tonal gamut, then instead, direct the spectator to your B&W fine art photography for what (it) is. In this sense, we are presenting the work ⬓as isâ¬.
I look forward to hearing like experiences and comments regardless if in support or ones that challenge the proposed work process. In the end, it is all about sharing ideas in though-provoking discourse. Thank you.
Lance A. Lewin Fine Art Photographer/Lecturer
PSA Global Black & White Photography Mentor
PSA South Atlantic Area Membership Director Posted: 09/01/2023 06:16:44
Update: so I am very clear .... I do mean I suggest we "disconnect emotionally" from the color version, but editing the color version is persuaded! Thank you. Posted: 09/12/2023 11:30:28
Thread Title: Fine Art Photography Article: Compositional Structure
PSA Fine Art Photography Article: Compositional Structure
Hello, everyone! Hope you take the time to read my article in
The March issue of the PSA Journal, which can be found on the
PSA website if you do not currently receive the hard-copy of the
Journal. I very much look forward to your comments.
You can also Follow the Link below. Thank you.
https://psa-photo.org/resource/resmgr/pdf/journal_/2023/2023-03-psa-journal.pdf
Lance A. Lewin
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director
Contact: lance.visualizingart@gmail.com
Posted: 03/19/2023 16:37:53
Hello, everyone! Hope you take the time to read my article in
The March issue of the PSA Journal, which can be found on the
PSA website if you do not currently receive the hard-copy of the
Journal. I very much look forward to your comments.
You can also Follow the Link below. Thank you.
https://psa-photo.org/resource/resmgr/pdf/journal_/2023/2023-03-psa-journal.pdf
Lance A. Lewin
PSA B&W Photography Mentor
PSA South Atlantic Area Membership Director
Contact: lance.visualizingart@gmail.com
Posted: 03/19/2023 16:37:53
Thread Title: Blake Rudis on B&W Processing
https://youtu.be/aSS1LU3yTDY Posted: 01/09/2021 16:37:18