Composition in a Black and White Photograph
I love color photography yet, at the end of the day, some subjects or scenes are simply not well suited to being reproduced in color. Frankly, sometimes color just get in the way. Conversely, professing a preference for black and white is not enough. You need to understand what subject or scenes will look good in black and white and what you need to do in camera and, where applicable, on the desktop to produce the best black and white image you can.
Let's look at some subjects that aren't well suited to being rendered in color.
- teenager displaying the ravages of ache inflamed skin
- older caucasian individual with a little old wine drinker me complexion
How about some scenes that may not photograph all that well in color?
- An interior photograph where the incorrect white balance has been manually set by the photographer (obviously that could be remedied, in camera, with a subsequent image) photographing in JPEG mode
- A scene where shape, texture and/or contrast are central to the success of the image
Made up of All Shapes and Sizes
The above photo is the result of a day happily exploring Bruges in the Flemish speaking area of Belgium. I love Bruges, it's one of the most beautiful cities I've ever had the pleasure to visit and photograph.
The conditions where quite overcast and the day was drawing to an end. The scene contained very little color yet with compositional elements such as light, shape texture, and tone I knew I was on a winner.
Nevertheless, it was a very difficult image to make. It was really tricky getting the right framing and balance (another important element of composition) I was working to achieve. This kind of image really needs to be, dare I say, perfect. Sharpness, framing and Depth of Field (DOF) are critical to its success. Enter my lovely Right Right Stuff TVC-33 tripod and Really Right Stuff BH-55 Ballhead.
The framing was very hard to achieve, particularly as I was standing, on uneven ground, in the middle of a thoroughfare. It wasn't exactly peak hour but, no sooner had I got my composition just about right when someone would walk onto the bridge causing me to have to move my tripod to allow them to get past. This happened numerous times until, finally, I got there, and am very glad to have done so.
You'll notice the amazing amount of sharpness, from foreground right through to the buildings in the background of the image. This was essential for me to showcase the tremendous texture within the structures I was photographing. You can imagine that to achieve such a large depth of field, under such low light, required a very long exposure time. Again, a quality tripod and ball head to the rescue.
I'd say there are a few other examples of how strong composition elevated this image beyond that of a snapshot. Let's explore a little deeper.
Frame Within A Frame
The lovely archway provides a great way to frame the other elements within the scene.
This image is full of shapes. Notice how the shapes that are most dominant, such as those of the archway and bridge, have been accentuated by light. The absence of light causes shadow and when an illuminated area is adjacent to a shaded area shape is enhanced.
Notice how the vertical walls on either side of the bridge, as well as the handrail, led the eye through the frame. This adds significantly to the three-dimensionality of this photo.
In addition to the use of line, the unevenness of the cobbled pathway and the use of bricks throughout the frame make texture the defining compositional element within the image.
Photography is nothing without light and it's the way that light is gently caressing the individual stones that really brings this scene to life.
Whether universal, cultural or personal the presence of metaphor in photographs should never be downplayed. At the very least this image talks about a way forward, through the inevitable trials that life throws up at us all. The light on the bridge encourages the viewer forward, not just visually, but literally.