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Black and white vs. colour photography.

During my first year of A level photography I have become increasingly interested in how photographers can interpret the same subject matter to create such different effects and moods by choosing colour or black and white or even a touch of colour splash. Consideration of viewpoints such as birds eye, worms eye etc. can also affect the mood of the photograph; looking at abstraction within a shot and of course the use of editing and photo manipulation using software such as adobe Photoshop. The human view and neurological processing of colour has fascinated neuroscientists since the invention of colour photography during the early 20th century, as according to the University of Tübingen our brain “influences our perception of it (colours) to such a degree that colours could be called an illusion”.

Black and white images appear to be more dramatic and theatrical than colour. A lack of colour in a photograph often draws more attention to the light and shadows with backlit subjects and abstract shadows given more recognition in black and white images. In our everyday lives we see the world in full colour, so to view the world from a different perspective in black and white offers a much more artistic and dramatic viewpoint. Some of these elements are lost within colour photography.

Colour photography���s main benefit is that it catches the eye and helps inform the viewer of much more than meets the eye. Colours are not only aesthetically pleasing but can tell the viewer more about the picture itself such as a warm colour scheme alluding to an autumn scene, cool colors showing winter, bright greens showing spring and so forth. Colour schemes can also portray moods such as cold tones represent feelings of despair and isolation, while a warmer tone might suggest hope and love. Some of these elements are lost with black and white photography.

Focusing on landscape photography looking at the work of Galen Rowell for colour and Jerry Uelsmann for black and white, both of whom capture the enormity of landscapes in drastically different ways through their use of colour or black and white. 

Artists such as Galen Rowell use colour to his advantage to draw in the viewer to each different aspect of the photography from the contrasting warm orange tones of mountains to the cool blue tones of  skies and lakes. All accentuated with features such as reflections in the water to double colour in the photograph. Galen Rowell was born in California in 1940 becoming a keen climber from a young age, he began to take photographs during his treks to show friends and family the places he had visited , eventually becoming a full-time wilderness  photographer in 1972 focusing on landscapes around the world. He began his first professional assignment with a cover story for national geographic.

Rowell had his own very special technique combining the use of  colour, natural, density filters and an f-stop of f/8 greatly to his advantage to take full control of all factors of his photograph. Combined with the famous philosophy he strongly believed in of “being in the right place at the right time”.

The main interest of my investigation is Rowell’s use of colour to his advantage. 

Rowell uses the rule of thirds perfectly to place points of visual interest in the intersections of the lines to balance the subject of the photo enabling us, to interact with it naturally. For example two organic landforms at either side of a photograph frame it, giving it symmetrical balance and distribute the elements evenly along with the two points in the mid-ground, placed on the top left and right intersections. This is very important as many scientific investigations have proven that when viewing photographs that the majority of people’s eyes normally and naturally focus on one of the intersection points as opposed to the middle point of the image. By considering the rule of thirds, you can make your image more naturally appealing. To view the image rather than working against it. He has managed to do this due to the vantage point from which the picture is being taken.

Contrastingly, David Fokos was born in Baltimore, Maryland in 1960. Fokos’ grandfather gave him his first camera at age 11; by his teens Fokos was developing and printing his own images.

By the late 1990s he was transitioning from his career as an audio design engineer into a full-time fine-art photographer. Fokos believes his artistic skill came from his college study of engineering and Japanese art history, along with self-education coming from 30 years of image making. Since the young age of 11 years old Fokos has shown an innate talent for image-making; instead of the usual family holiday pictures Fokos was already showing a love for landscapes with a good eye for composition, most noted for  taking pictures of the patterned cobble stone streets and towering dark church spires. Fokos stated that as a high school student “the work of Ansel Adams inspired me to photograph the landscape with a view camera”.

David Fokos’ work has been displayed in exhibits across the world , from the  United States ,Russia,Japan and Switzerland amongst more. His work is frequently published and has been featured in  huge companies such as Microsoft and Texaco. Also being featured in the Museum of Fine Art, Houston, the Museum of Photographic Art in San Diego, and the Boise Art Museum, among others.

The main interest of my investigation is Fokos’ use of black and white to his advantage as he believes “ Colour is such a powerful element in an image” But the emotional response Fokos tries to create through his images are not dependent or necessary of colour but rather in the defined lines, light and form; therefore Fokos believes that “colour would only be a distraction in my work” .

In his photographs Fokos captures dramatic and striking images of large, dark imposing rocks etc. Fokos often uses natural and direct vantage points, capturing images head on in a straight forward manor without using unusual angles and distortion; this emphasizes the harsh geometric shapes of angular rock formations with triangular jagged edges and gives his work deep and intense feelings of strength  portrayed in the natural environment. In one particular image a rock formation is the main focus and it is placed in the foreground to attract the most attention, however Fokos has also considered the importance of the background; making it a lighter colour and diverting interest with the prolonged shutter speed of the sky to add a blurred effect giving the photograph a feeling of movement and excitement. 

Fokos also uses the rule of thirds brilliantly by placing two intersections on the main focus of his pictures to attract the most attention to it. Also, he sometimes places the horizon of the sea along one of the intersections, perfectly splitting the photograph, this is known as the golden ratio. The asymmetrical balance of the central focus of the image creates misbalance further adding interest to the composition of his image. In a particular image of a rock on the beach the dark and sharp rock formation and grey sky compares to the light grey almost white colour of the sea and sand which adds a strong contrast and interest to the image. With the harsh lines and sharp points of the rock also starkly in contrast to the smooth and soft texture of the fog covered still sea.

In conclusion, in the comparison of the work of Rowell and Focus I believe monochrome and coloured images both have advantages, dependent on the individual photograph. 

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Kenya: people and places. 22.07.18. Taken while ascending Mount Kenya. The dramatic contours and edges of the rock are exaggerated through the monochrome effect.

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Kenya: people and places. 07.07.18. Taken at a school in Laikipia. The ‘looking through’ perspective and pop of blue colour adds focus to the image. 

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Kenya: people and places. 14 .07.18. I converted this photograph to monochrome to enhance the detail of the face, diverting attention to the foreground not background.

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Kenya: people and places. 10.07.18. Children of the witch doctor of Makueni. Using the ‘rule of thirds’ to draw attention to the focus of the image.

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Kenya: people and places. 24 .07.18. This landscape photograph was taken at the summit of Mount Kenya with contrasting warm and cool tones. 

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Kenya: people and places. 16 .07.18. This candid photograph was taken in Kwale. Leaving the man and bike coloured creates a focus in the monochrome image.

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Kenya: people and places. 07.07.18. This portrait was taken at a rural school in Laikipia, the natural colour palette and hands provide added interest. 

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Human form. 14.10.18. Experimenting with a prolonged shutter speed of 2″ to give a different perspective on human form portraiture. 

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Human form. 14.10.18. This image captures how an average person and house can be shown as abstract and dramatic through monochrome and perspective. 

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Human form. 14.10.18. Again, inspired by Bill Brandt this black and white image is emotionally provoking. 

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Human form. 14.10.18. This image was influenced by photographer Bill Brandt’s abstract human form photography with the simplicity aided the monochrome effect. 

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Human form. 14.10.18. Again taking an alternate view of the average portrait enhancing this through the monochromatic view we don't see everyday. 

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Human form. 14.10.18. In this portrait I tried to take a more abstract and alternative view of the face which isn't often seen. 

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Human form. 14.10.18. I chose to create this portrait in black and white to enhance the focus on the dark eyes.

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Macro lens natural forms. 16.08.18. Using f/1.8 to focus and draw attention to the centre of the photograph with movement from the veins through the image. 

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Macro lens natural forms. 21.08.18. Using strong aperture to draw attention to the detail of the pebble with a strongly blurred shell in the background.