{"id":71149,"date":"2017-11-28T07:59:21","date_gmt":"2017-11-28T15:59:21","guid":{"rendered":"http:\/\/erickimphotography.com\/blog\/?page_id=71149"},"modified":"2017-11-29T03:20:41","modified_gmt":"2017-11-29T11:20:41","slug":"black-and-white-photography-theory","status":"publish","type":"page","link":"https:\/\/erickimphotography.com\/blog\/black-and-white-photography-theory\/","title":{"rendered":"Black and White Photography Theory"},"content":{"rendered":"

\"\"<\/p>\n

Figure to ground, grit and grain, and emotion.<\/em><\/p>\n

<\/p>\n

\n

CONQUER THE STREETS.<\/a><\/h2>\n
\"Henri<\/a>
Henri Wrist Strap: PHANTOM BLACK<\/a><\/figcaption><\/figure>\n

Conquer the streets with Henri PHANTOM BLACK<\/strong><\/a>.<\/p>\n

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Figure to Ground: Contrast\/separation between subject and background<\/h2>\n
\"Figure
Figure to ground: White circle against black background.<\/figcaption><\/figure>\n

The first principle of black and white photography: figure to ground.<\/p>\n

\"Black
Black circle against white background. Strong figure to ground.<\/figcaption><\/figure>\n

Basic idea: clear separation between black and white, and white and black.<\/p>\n

Basic figures<\/h3>\n

Some basic figures that illustrate the importance of clear separation between black and white:<\/p>\n

\"As
As a figure to ground example, I drew a curved white object against a black background. This has \u00e2\u20ac\u0153strong\u00e2\u20ac\u009d figure-to-ground.<\/figcaption><\/figure>\n
\"White
White triangle on black background.<\/figcaption><\/figure>\n
\"Black
Black triangle on white background.<\/figcaption><\/figure>\n
\"Black
Black circle against white background. Strong figure to ground.<\/figcaption><\/figure>\n

Black and white as opponent colors<\/h3>\n
\"Opponent
Opponent based color theory. Opposing colors become more intense when placed next to one another.<\/figcaption><\/figure>\n

In color theory<\/a>, the opposing colors create the strongest visual effect.<\/p>\n

Therefore, consider the dramatic contrast or juxtaposition<\/a> between black and white.<\/p>\n

Also, the benefit of black and white in street photography is that it helps you simplify your pictures.<\/p>\n

\"Man
Man in silhouette. Street photograph at Hoan Kiem lake in Hanoi, 2017 \/ ERIC KIM<\/figcaption><\/figure>\n

How does contrast and figure to ground lead your eyes?<\/h3>\n
\"Figure
Figure to ground: Black background<\/figcaption><\/figure>\n
\"Figure
Figure to ground: White box creates a \u00e2\u20ac\u0153strong\u00e2\u20ac\u009d figure to ground against the black background.<\/figcaption><\/figure>\n
\"In
In figure to ground, your eyes always travel to the areas of the highest contrast, then to areas or shapes of less contrast. For example, your eye will first look at the white box (most contrast) then the grey box (less contrast)<\/figcaption><\/figure>\n
\"When
When we introduce a fourth shape (very dark grey lightning bolt in bottom right corner) we can barely see it \u00e2\u20ac\u201d because very dark grey has \u00e2\u20ac\u0153weak\u00e2\u20ac\u009d figure to ground (contrast) against a black background.<\/figcaption><\/figure>\n
\"Inverse
Inverse figure to ground: with a white background, your eyes are first drawn to the darkest colors and shapes.<\/figcaption><\/figure>\n

Case study: Gaussian blur effect<\/h3>\n

To see whether your black and white pictures \u00e2\u20ac\u0153work\u00e2\u20ac\u009d or not, apply the Gaussian blur<\/strong> effect in Photoshop, to see whether you can clearly separate your subject and background.<\/p>\n

For example, here is a silhouette of a woman behind a door which passes our \u00e2\u20ac\u0153figure to ground test\u00e2\u20ac\u009d:<\/p>\n

\"Silhouette
Silhouette of woman behind door. Hanoi, 2017<\/figcaption><\/figure>\n
\"Gaussian
Gaussian blur effect. The woman in the black silhouette pops out from the background.<\/figcaption><\/figure>\n
\"Composition
Composition of the silhouette of the woman outlined in red.<\/figcaption><\/figure>\n
\"Abstract
Abstract of the ‘figure to ground’ relationship of the picture.<\/figcaption><\/figure>\n

The silhouette picture of the man at the lake also works:<\/p>\n

\"Man
Man in silhouette. Street photograph at Hoan Kiem lake in Hanoi, 2017 \/ ERIC KIM<\/figcaption><\/figure>\n
\"Separation
Separation is clear Between the head of the man and the white water. This picture passes our \u00e2\u20ac\u0153figure to ground\u00e2\u20ac\u009d test.<\/figcaption><\/figure>\n
\"\"
Separation of the man outlined in red.<\/figcaption><\/figure>\n
\"See
See the separation between his head and the background.<\/figcaption><\/figure>\n
\"Separation
Separation of the mans head from the black on top of the frame. Strong figure to ground.<\/figcaption><\/figure>\n

Why does gritty, high contrast pictures look better?<\/h2>\n
\"Dark
Dark man in suit. Dark Skies Over Tokyo.<\/figcaption><\/figure>\n

Simple: having more contrast increases the \u00e2\u20ac\u0153figure to ground\u00e2\u20ac\u009d effect. Therefore, the good black and white pictures you make should be able to work when you crank the contrast and black slider to 100.<\/p>\n

Therefore, I recommend download ERIC KIM PRESETS<\/a> for the gritty, high contrast look.<\/p>\n

Use a flash<\/h2>\n
\"Eric
Eric Kim eye, with flash. Shot by Cindy Nguyen<\/figcaption><\/figure>\n

Also to increase figure to ground, use a flash. This will create a higher contrast in your picture, and this create a more visually compelling black and white picture.<\/p>\n

\"\"<\/p>\n

Why grain?<\/h2>\n

\"\"<\/p>\n

My theory: aesthetically, we prefer grain because the irregularity and texture of grain is related to the sense of touch. Humans love textured and \u00e2\u20ac\u0153haptic\u00e2\u20ac\u009d surfaces. This is why shooting gritty textures<\/a> make for good photos.<\/p>\n

\"Kyoto<\/p>\n

When I shoot film<\/a>, I use Kodak Trix and push the film to 1600, which increases the grit and contrast.<\/p>\n

\"\"<\/p>\n

\"eric<\/p>\n

\"eric<\/p>\n

\"\"<\/p>\n

Or if you shoot digital, you can apply a grain filter or preset, or adjust the grain levels in your pictures using Lightroom.<\/p>\n

Nostalgia<\/h2>\n
\"\"
Kettleman City, 2015 #cindyproject<\/figcaption><\/figure>\n

Black and white pictures are also more nostalgic. Why do we like nostalgic pictures? Because we find security in the past. We nostalgize over the \u00e2\u20ac\u0153good old times\u00e2\u20ac\u009d\u00e2\u20ac\u201d perhaps because we don\u00e2\u20ac\u2122t want to lose our personal memories. And memories is what make us human.<\/p>\n

\"\"
Amsterdam, 2015 #cindyproject<\/figcaption><\/figure>\n

Repetition\/rhythm<\/h2>\n
\"Curve
Curve composition and Cindy hand. Saigon, 2017<\/figcaption><\/figure>\n

As a case study, let us analyze this picture of Cindy in Saigon, in front of a hotel at night.<\/p>\n

The reason why the composition works:<\/p>\n

    \n
  1. Eye contact<\/a> from Cindy<\/li>\n
  2. Curve<\/a> in the background (blue line), and curve of Cindy\u00e2\u20ac\u2122s hand<\/li>\n
  3. Repetition\/rhythm of lines in the curve (red and yellow rhythm lines)<\/li>\n
  4. Strong figure to ground (contrast between black and white, because of the flash)<\/li>\n
  5. Dynamic low angle perspective <\/a><\/li>\n<\/ol>\n

    \"\"<\/p>\n

    \"\"<\/p>\n

    \"\"<\/p>\n

    \"\"<\/p>\n

    \"\"<\/p>\n

    \"\"<\/p>\n

    \"\"<\/p>\n

    Takeaways<\/h3>\n

    \"\"<\/p>\n

      \n
    1. When shooting at night, experiment using a flash to create more separation between subject and background<\/li>\n
    2. Integrate dynamic curves in background of the scene<\/li>\n
    3. The more lines, the better (make sure there is separation between the lines. Avoid overlapping lines).<\/li>\n<\/ol>\n

      Master the fundamentals of Dynamic Composition with ERIC KIM ><\/a><\/strong><\/p>\n

      \n

      Shoot black and white in color<\/h2>\n
      \"Abstract.
      Abstract. Amsterdam, 2017<\/figcaption><\/figure>\n

      To challenge yourself in black and white and see in black and white, look for black and white scenes (while shooting color JPEG<\/a> in your camera).<\/p>\n

      Personally I like to shoot abstracts<\/a>, and I practice my composition.<\/p>\n

      If you simplify the scene, you can see the balance of the composition:<\/p>\n

      \"Rorschach
      Rorschach test: What kind of image do you see in this abstract picture?<\/figcaption><\/figure>\n

      Assignment: Only shoot black and white objects in color<\/h3>\n
      \"Closed
      Closed sign. Only black and white in the picture. Shot in color JPEG on RICOH GR II<\/figcaption><\/figure>\n

      For an entire week, only shoot black and white subjects and backgrounds (in color mode in your camera). This will train you to better visualize black and white.<\/p>\n

      It is easy to just shoot black and white mode on your camera, and simplify all the scenes you see in the real world.<\/p>\n

      Shooting monochrome in color is more fun, and more challenging.<\/strong><\/p>\n

      Add color to monochromatic pictures<\/h2>\n

      \"Tokyo<\/p>\n

      Understand black and white imagery better by adding filters in Photoshop or layers in image processing applications.<\/p>\n

      \"Yellow
      Yellow background color, and hard light filter on tokyo man.<\/figcaption><\/figure>\n

      For example, I applied filters like \u00e2\u20ac\u0153hard light\u00e2\u20ac\u009d, \u00e2\u20ac\u0153overlay\u00e2\u20ac\u009d, \u00e2\u20ac\u0153difference\u00e2\u20ac\u009d in ProCreate App on iPad, to better visualize and understand my black and white images.<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"Dark<\/p>\n

      Conclusion<\/h2>\n

      \"DARK<\/p>\n

      With black and white and monochrome, think outside the box. There have already been decades of classic black and white photography.<\/p>\n

      \"Dark<\/p>\n

      How can we drive the aesthetic of black and white photography forward?<\/p>\n

      \"DARK<\/p>\n

      My suggestion: experiment, have fun, and play.<\/strong><\/p>\n

      All theory is just theory. More important than Theory: treating photography as your own visual playground, to figure out things for yourself.<\/p>\n

      Even now, I\u00e2\u20ac\u2122m still trying to understand what makes a compelling black and white picture. I\u00e2\u20ac\u2122ve found the biggest insights from outside<\/em> of the art of photography. The suprematist artists are good to study:<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      \"\"<\/p>\n

      Black and white photography masters<\/h2>\n
      \"(c)
      Devil dog. (c) Josef Koudelka \/ Magnum Photos. FRANCE. Hauts-de-Seine. Parc de Sceaux. 1987.<\/figcaption><\/figure>\n

      In my opinion, the black and white masters you should study include:<\/p>\n

        \n
      1. Josef Koudelka<\/a><\/li>\n
      2. Henri Cartier-Bresson<\/a><\/li>\n
      3. Sebasti\u00c3\u00a3o Salgado<\/a><\/li>\n
      4. Richard Avedon<\/a><\/li>\n
      5. Anders Petersen<\/a><\/li>\n<\/ol>\n

        Learn from them, steal from them<\/a>, but make your own monochromatic, black bliss.<\/p>\n

        And when you\u00e2\u20ac\u2122re done with them, kill your masters<\/a>.<\/p>\n

        BE BOLD,
        \nERIC<\/p>\n

        ERIC KIM EXPERIENCE ><\/a><\/strong><\/p>\n

        \n

        LEARN FROM THE MASTERS<\/a><\/h2>\n

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        HAPTIC INDUSTRIES<\/strong><\/a>: Creative Tools to Empower You.<\/p>\n

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        The story of HAPTIC<\/a><\/strong><\/p>\n

        \n

        STREET NOTES.<\/a><\/h2>\n
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        GRAIN IS BEAUTIFUL.<\/a><\/h2>\n

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        FILM NOTES<\/strong>: Bring Back the Old School<\/a>.<\/p>\n

        \n

        START HERE<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

        Figure to ground, grit and grain, and emotion.<\/p>\n","protected":false},"author":1,"featured_media":71249,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","footnotes":""},"class_list":["post-71149","page","type-page","status-publish","has-post-thumbnail","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/erickimphotography.com\/blog\/wp-json\/wp\/v2\/pages\/71149","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/erickimphotography.com\/blog\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/erickimphotography.com\/blog\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/erickimphotography.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/erickimphotography.com\/blog\/wp-json\/wp\/v2\/comments?post=71149"}],"version-history":[{"count":7,"href":"https:\/\/erickimphotography.com\/blog\/wp-json\/wp\/v2\/pages\/71149\/revisions"}],"predecessor-version":[{"id":71273,"href":"https:\/\/erickimphotography.com\/blog\/wp-json\/wp\/v2\/pages\/71149\/revisions\/71273"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/erickimphotography.com\/blog\/wp-json\/wp\/v2\/media\/71249"}],"wp:attachment":[{"href":"https:\/\/erickimphotography.com\/blog\/wp-json\/wp\/v2\/media?parent=71149"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}