Better Black and White photography (Part one)

By Douwe Dijkstra | 30 October 2024

I was first introduced to photography at the age of twelve or so when I came across my grandfather’s camera, an Agfa Clack. I was instantly intrigued.

Ever since, photography has been an important part of my life. As a kid, I loved taking snaps on family holidays. The graphic designer in me also started to emerge as I loved putting photo albums together. Later, as an art school student, I learned to develop film in the dark room. And recently, after discovering the iPhone, street photography has become my passion.

Over the years, I’ve been invited to present my work at camera clubs in and around Sydney. I simply love sharing my journey. It’s my way of giving back to the photography community in Australia who have welcomed me with open arms.

On these nights, I give people an insight into how I take photos and my more intuitive than technical approach. I share what interests me, how I look through my lens and what catches my eye.

At the end of every presentation, people can join me on a street photography walk around the city. The challenge I set attendees is to shoot in black and white.

I love shooting in the late afternoon when the sun sits low on the horizon. This scene was shot inside the new concourse at Sydney’s Central Station. At a particular time of the year, at a certain time of the day, the sun will shine through an opening in the roof to light up the scene. Shooting from above, I was able to capture the striking silhouettes and long shadows. And I was very lucky, a bird flew into the scene, which added an extra dimension. Apple iPhone X. 1/2800s @ f1.8, ISO 20.

Most who join me are land or seascape photographers and are comfortable shooting in colour. Shooting in mono takes them out of their comfort zone and often presents a new challenge.

So, I simply ask them to change their camera settings to mono so when they look through the lens their world is completely black and white.

There’s no beautiful colour to focus on or to wow the viewer with, and they are now forced to focus simply on capturing beautiful light. This forces the photographer to approach and best shoot the subject in a creative way and make decisions on what composition is most suitable.

These are the core elements that can help you get better at shooting in black and white, and in this article, I want to show you how you can create your own powerful mono images.

The Blue Mosque, Istanbul. Here, I had to be a bit brazen and block the entrance for a few seconds on a very, very busy day. I got some angry looks when I briefly blocked the path, but my effort paid off – I came away with a beautiful, layered composition. Apple iPhone 15 Plus. 1/170s @ f2.4, ISO 25.

Beautiful light

At its essence, photography is all about capturing beautiful light. Used well, it can create awesome tones, strong contrast, bright highlights, dark shadows, and striking silhouettes.

However, on cloudy overcast days images can look quite flat and dull, as they’re often lacking highlights and contrast and aren’t as visually exciting as images caught on bright sunny days.

However, shooting on rainy days can be fun. Puddles can make for awesome reflection images. Storm clouds can make for moody backdrops, and winds can cause umbrellageddon!

The lesson is all weather types create opportunities for mono images, you just need to adapt. So, even if the weather is bad, grab the opportunity, there’s lots to photograph!

This scene was shot inside one of the exciting spaces inside the Museum of Old and New Art – MONA in Hobart. What caught my eye was the contrast between the heavy gray concrete walls and light white floor with black trim. In addition, I loved the contrast between the geometric shapes and the human element. The museum attendant wearing a white coat is essential for the person to stand out, as a duller gray would have disappeared into the background. Apple iPhone 15 Plus. 1/125s @ f1.6, ISO 40.

Creative captures

There are so many ways to shoot a scene, so it’s important to find out how to best approach and shoot yours.

Firstly, think about where you are in relation to the scene. Are you watching from a safe distance and shooting the wider scene? Or are you in and amongst it and your subject is right in front of you?

It’s also worth thinking about your angle – are you shooting from a low angle or is it better to capture the subject from a higher one?

As for composition, the Rule of Thirds is a proven method, but think outside the box. For example, don’t be afraid of negative space. A simple glorious bright highlight can totally shine in a sea of black that is dominating the frame. Just be creative and challenge yourself.

My challenge for example is to shoot both the Opera House and Harbour Bridge in the one frame in a creative and unique way. Over the years that has become more and more difficult as I’ve walked around those beautiful Sydney icons a million times.

More than once after a visit I’ve been disappointed and headed home empty handed. But sometimes I’m lucky. You never know, I just keep trying, I follow my instinct, something unique will happen. I’m sure I’ll find a new angle, exciting composition or a new reflection.

One day I might find the Harbour Bridge totally obscured by thick fog or I’ll find a tourist doing a handstand on the Opera House steps. I’ll be patient and trust that my eye will spot something new, exciting and creative.

Layered compositions

Using depth of field is a good way of creating a layered composition and adding context and narrative to your image.

By adding foreground attention to your frame, it will not only anchor the composition, but it will also tell a richer story. It will put your subject in a wider context.

With putting an element in the foreground, you can also create a leading line. It can be an actual line or curve that starts, for example, in the bottom left corner of your frame and ends at the top. Or it could be stacked elements. The key is to direct the viewer’s eye to follow that line in your composition and read the story.

Look out for part two next week.