Black and White Portraiture: Module Two
Preparing for the Black and White Shoot
Getting in the right mindset for black and white means thinking about values. No, not moral or ethical values – luminance values.
To create values in the black and white image, we look to enhance or decrease contrast in the luminance values of the subject. Try to think in tonal values instead of colors and bring a visualization to the work.
Visualization means we see the image as it is a finished piece before we begin to shoot it. I do this with nearly all of my images – seeing them as prints or finished artworks before – or as – I take the photo.
Let’s look at a couple of images by two contemporary black and white photographers.
PETER LINDBERGH is known for shooting models without makeup in order to show authentic beauty, and a realistic approach to the making of photographs. He often uses a very soft pallet for his images, keeping the skin tones a bit darker than what other contemporary photographers choose. Using natural light, and a solid understanding of black and white presentation, his work is both moving and subtle in its presentation of tonal values.
LINDBERGH often uses a full amount of mid tones in his work. Here the fence, model, and wardrobe all work toward the middle of the luminance range with a deep contrast found only in the hair and jumper. The tonal quality of the skin is in the mid-range and slightly below. This is a strong film influence, something that digital photographers may wish to think about as they make imagery.
PATRICK DEMARCHELIER is one of the best known fashion photographers in the world. His approach to black and white is more contrasty than LINDBERGH.
Notice the deep contrasts that DEMARCHELIER uses in this portrait in New York City. The window provides the light and the model works within that light source to present an image that projects as much emotion as it does technical craftsmanship. Utilizing the power of black and white, color has no part to play here. This is an image devoted to the full range of grayscale, with the deep, mysterious blacks covering nearly half of the image.
DEMARCHELIER brings that same high contrast feel to this portrait as well. Notice the deep blacks in the hair and shadows, and how they help the bright tones of the face stand out even brighter. This is an image of contours, of shapes and design, texture and light. Black and white takes it one step further in presenting an image that pulls us in by using the dramatic effects of monochrome.
In this photograph of Inaudi, I knew I wanted to make it black and white so I tailored my light to give me highlights and shadows.
The tonality is wide, but yet it has a very midrange feel to it overall. To give the image a bit more “pop” I increased the contrast a bit, and also added grain for a film-like feel. Visualizing the tones in black and white helped me think about the lighting a bit different than I would for a color image of the same pose. I wanted edge, shape, shadow, texture, and contrast. In color, it is a lot of flesh tone. In black and white it is more interesting.
BRITTANY IN THE WOODS
I knew this shot was going to be black and white when I saw the environment we were going to shoot in. The trees were not green, nor were they an interesting color at all. What they did have is a wonderful feeling of general creepiness that would be offset by Brittany’s beauty.
LIGHTING: Canon Speedlight in a small softbox to camera left. Exposure to open the shadows, but let the bright ambient of the background burn into the shot. I did not want to see the green grass and other park visitors in the shot behind.
WARDROBE: Because the shot was in an area that was full of midtones, I had her wear a very contrasty black and white patterned dress. No shoes added to the mystique.
Processing for "Brittany In The Woods"
BRI ON THE PIER
The overcast day made the contrast very soft, so I had Bri wear a white dress to pull her out from the soft, midtone world. I knew a black and white shot would be more punchy, and I wanted the image to have a bit of a timeless look to it.
LIGHTING: Bare Canon speedlight from slightly off of camera left.
WARDROBE: White dress and shoes to help push the contrast. I knew I would have to watch skin tones as well, as I didn’t want the image to have a muddy look.
COMPOSITION AND POSING: I liked her being in the center of the pier so I could use the leading lines to augment the graphic design of the shot. The overcast day lent itself to melancholy, so I had Bri pose in a very theatrical way to play against the formal lines of the pier and the depressing sky.
Processing for "Bri On The Pier"
ABBY IN FUR COAT
I loved this little part of the town where Abby and I were shooting. I knew I wanted to incorporate that scene, and the setting sun creating the flare was a big point of the composition. However, her maroon skirt and black jacket simply looked too drab in the space. I decided black and white would be better.
I also decided to make the sun flare seem like it was cascading through the trees and lighting her up from behind. We couldn’t find the ideal situation, so I planned for the Pshop at the time of exposure.
Black and white allowed the tones of the black fur coat and maroon dress to pop out more than they did in color. I worked with her posing on that corner as we tried different approaches. I would set her in a position and then have her slowly go from one pose to the next.
I never let the model stop moving… and I maintain control over the image.
Processing for "Abby in the Fur Coat"
ASSIGNMENT MODULE TWO:
Plan a portrait for black and white (or monochrome) from location to wardrobe. Upload two images, one as a straight out of camera color image, and then the black and white version you were shooting for. Be prepared to talk about the shot you did and why you chose what you chose for the black and white image.
ADDITIONAL RESOURCE VIDEOS FOR THIS MODULE
https://www.youtube.com/watch?v=TPBO9paDGmA
https://www.youtube.com/watch?v=01-fCQ1VIbQ
