What a difference a couple of weeks make. As April started in the Mid-Atlantic region, freezing temperatures and a couple of inches of snow would have led you to believe that winter would never end. Instead of birds singing in the morning all you could hear was the unmistakable raspy sound of ice scrapers chiseling away windshields before the dreaded morning commute to work got started. Gladly, all that appears to be behind us now and those dreaded ice scrappers have been put away for good. This coming week should also be the peak bloom period for the famous cherry trees lining the Tidal Basin in DC. The annual Cherry Blossom Festival is in full force and the weather could not be more perfect. Time to get out and see the world waking up from its long, winter slumber. See you out there.
Let me start this post by saying that I love black & white photography. Not that I have mastered this medium by any stretch of the imagination, but rather that I have come to realize that there are some scenes out there that come to life when shot on black & white. In some strange way, the removal of color artifacts (or should I say, the substitution of these artifacts by different shades of grey) from the photograph kind of diminishes the judgmental interpretation of the photograph. No longer can someone point out that the red shirt was not that red in the real world, or that blues look over-saturated. When black & white photographs are involved, the observer tends to go through some sort of a mental shift as if being handed a different list of criteria by which to interpret the photograph. Without ever having heard of Ansel Adam’s Zone System, these observers begin to interpret the photographs in terms of those grey variations that lie somewhere in between absolute white and absolute black. What’s more, when black & white photography is involved, the whole notion of photographic composition seems to experience somewhat of a liberation to be analyzed without the distracting effect of color getting in the way.
But to what extent is the resulting photo the product of the photographer’s ability to “see” the scene in black & white prior to capturing it with his or her camera? Is there such a thing as “seeing” in black & white when it comes to photography, or is it all the product of post-capture manipulation with today’s advanced software applications? Frankly, I don’t have an answer to these questions, but I do venture to say that for most folks out there (and this includes your humble blogger here), playing with the software during post is where the action is. We try this or that like a New York fashionista until voilà, we know it when we see it. Having said that, I have no doubt that some talented photographers out there do have this ability uncanny ability to see in black & white. At the very least, in they are able to see in grey variations, à la Ansel Adams. For some, this gift will come natural; for others, no doubt the result of many years of photographic observation and practice. Whatever the case, I am just glad that black & white photography is alive and well and that companies like Leica pay it tribute with the introduction of such wonderful products as the Leica M Monochrome. We can only hope that other companies follow in their footsteps.