{"id":137643,"date":"2020-06-06T12:04:24","date_gmt":"2020-06-06T11:04:24","guid":{"rendered":"https:\/\/other.kelsey.host\/amateurphotographer\/?p=137643"},"modified":"2022-04-29T10:18:07","modified_gmt":"2022-04-29T09:18:07","slug":"black-and-white-street-photography","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/expert_advice\/black-and-white-street-photography\/","title":{"rendered":"Black and white street photography: Tips and techniques from the experts"},"content":{"rendered":"

Street photography is difficult enough as it is, without having to think about shooting in black & white (or converting images in software), so why bother? The answer, of course, is that most classic street and documentary photography was taken in black & white \u2013 think of masters of the craft, like Eug\u00e8ne Atget, Henri Cartier-Bresson, Vivian Maier, Daido Moriyama and many more. Sure, there is plenty of great colour street photography too, but there is something about the absence of colour that helps to focus the viewer\u2019s attention on the subject and essential elements of the composition.<\/p>\n

Successful black and white street photography is not just about losing the colour, however: you need to learn to think and see in black & white, taking account of texture, contrast, and, of course, the crucial interplay of light and shadow. In this feature we get tips from Brian Lloyd Duckett, a street photography workshop leader and the author of the best-selling 52 Assignments: Street Photography, published by Ammonite Press. Edmond Terakopian meanwhile is a regular AP contributor and former British Press Awards Photographer of the Year. See terakopian.com<\/a>.<\/p>\n

Black and white street photography tips and techniques<\/h2>\n

Think in mono<\/strong><\/p>\n

\u2018Black & white photography is much more than a colour image without the colour,\u2019 Edmond Terakopian explains. \u2018Composition, the use of light and even the exposure are different for a good monochrome shot. Most of the time, when I\u2019m looking at a scene, I already know it\u2019s going to be in black & white and take this into account when setting my camera.\u2019 If you are wondering how to learn to see in black & white, maybe check out some of your favourite street photographers and really think about why they decided to shoot a particular scene without colour?<\/p>\n

Don\u2019t worry so much\u00a0about clich\u00e9s<\/strong><\/p>\n

Terakopian is a firm believer in there are no clich\u00e9s, so don\u2019t get hung up on this. \u2018Who knows, your clich\u00e9d shot of x, y or z, may become the defining image. My advice is not to stop making pictures that have been done before. That\u2019s not to say copy, but if you like Cartier-Bresson\u2019s work and you feel it, then shoot like that. Keep shooting, sharpening your eye, mind, soul and camera skills. Your own style will eventually and organically come through.\u2019 So in other words don\u2019t let anxiety ever get in the way.<\/p>\n

Think negative and positive<\/strong><\/p>\n\t\t

\n\t\t\t\"Black\t\t\t

Photo: Brian Lloyd Duckett<\/p>\n\t\t<\/div>\n\t\t\n

In this image by Brian Duckett, the large light areas (negative space) make the woman\u2019s head (positive space) really stand out, and are a crucial component of the composition. \u2018You use negative space to impose a sense of scale, making your subject more or less significant,\u2019 he explains. \u2018Seek out viewpoints that isolate your subject by contrasting it with its surroundings.\u2019<\/p>\n

Don\u2019t rush around<\/strong><\/p>\n\t\t

\n\t\t\t\"don't\t\t\t

Photo: Edmond Terakopian<\/p>\n\t\t<\/div>\n\t\t\n

\u2018I think my first mistakes, which apply to street photography generally, were twofold,\u2019 Terakopian observes. \u2018One was the nervousness of causing offence to others and the other was always rushing around and hunting for an image, often unsuccessfully, as opposed to finding the scene and the light, then waiting for the elements to come to me.\u2019 So, as with many other genres, patience is crucial in black & white street photography. Finding a location is one thing, but you often also have to wait for the right subject to come along, and the right light.<\/p>\n

Always have something\u00a0with you<\/strong><\/p>\n

Terakopian\u2019s biggest tip is to always have a camera with you. \u2018Smartphones are fine, but nothing beats a real camera. Sometimes though, a smartphone is the best tool for the job and when I\u2019m shooting with my iPhone, I tend to shoot raw using the Halide app and then process on Lightroom Mobile.\u2019 This is a good reason to upgrade your smartphone to one capable of taking high-quality images which can work in mono: the latest Google Pixels and iPhones are stand-out examples, as is the Samsung Galaxy Note10+.<\/p>\n

Great black & white portraits<\/strong><\/p>\n\t\t

\n\t\t\t\"great\t\t\t

Photo: Brian Lloyd Duckett<\/p>\n\t\t<\/div>\n\t\t\n

\u2018Street photography is not just about shooting candid shots when nobody is looking,\u2019 notes Brian Duckett, who recommends setting yourself a street portrait
\nproject. \u2018Try to shoot to a specific theme, such as people with a certain look, people in a specific location, people with dogs, motorbikes, doing a specific job\u2026 the possibilities are endless.\u2019<\/p>\n

How \u2018real\u2019 do you want to be?<\/strong><\/p>\n

While long exposures and motion blur are popular techniques in street photography \u2013 a classic example being the bicycle rider in Hy\u00e8res by Cartier- Bresson \u2013 they may be less appropriate for a more documentary style. \u2018I do use tripods and love my Uniqball, but never on my street photography,\u2019 says Terakopian. \u2018For me, this genre of photography has to be more real; more daily life and of the moment.\u2019 This is not to say more artistic effects are \u2018wrong\u2019 \u2013 it entirely depends on your approach. Without a clearly defined process, you will always struggle.<\/p>\n

Small is beautiful<\/strong><\/p>\n

As with all kinds of street photography, smaller cameras tend to work best. \u2018But for me it\u2019s because\u00a0they\u2019re lighter and therefore not as physically taxing,\u2019 says Terakopian. \u2018An entire day of walking around with a heavy camera or a camera bag full of kit isn\u2019t conducive to street photography. I think the way one moves and behaves can\u00a0either draw attention or make us blend into a scene. So it\u2019s nothing to do with the\u00a0camera, unless of course we go to the extremes of carrying two or three DSLRs\u00a0with huge zooms and\u00a0a super telephoto!\u2019<\/p>\n

Don\u2019t let rain stop play<\/strong><\/p>\n\t\t

\n\t\t\t\"Rain\t\t\t

\u2018Love Your Job\u2019 one of Edmond Terakopian\u2019s best-loved images. Photo: Edmond Terakopian<\/p>\n\t\t<\/div>\n\t\t\n

One of Terakopian\u2019s most successful and popular monochrome images \u2018Love Your Job\u2019 (above) was taken in heavy rain. \u2018I was rushing to the car park after the Society of Wedding and Portrait Photographers show and saw the light from an advertising board, which was backlighting the rain. I found some shelter and waited for my picture. The adverts were on a loop and just as an advert reading \u201cLove Your Job\u201d came on, a businessman walked into frame, on this dull and dreary day.\u2019 While murky, drab weather might not feel very inspiring, it can suit your subject and intent perfectly.<\/p>\n

Black and white street photography composition<\/strong><\/p>\n\t\t

\n\t\t\t\"black\t\t\t

As well as perfect timing, this image\u2019s portrait format works perfectly. Photo: Edmond Terakopian<\/p>\n\t\t<\/div>\n\t\t\n

\u2018I\u2019ve found that with experience, composition becomes more of an instinct, but my workflow for years was to look at the entire frame, not just where my subject is,\u2019 Terakopian explains. \u2018Check the corners as well as the middle. Make use of shapes and lines going into corners or the sides of the frame. Compose a frame within your frame, which then awaits your protagonist to walk into.\u2019<\/p>\n

Shoot in raw<\/strong><\/p>\n\t\t

\n\t\t\t\"shoot\t\t\t

Shooting in raw often gives maximum leeway for working up the shadows. Photo: Edmond Terakopian<\/p>\n\t\t<\/div>\n\t\t\n

\u2018Shooting a black & white JPEG is fine, but the raw file will give you much more highlight and shadow detail, which will result in a better end result,\u2019 Terakopian adds. \u2018So, I always shoot raw, process in Lightroom and then finish the monochrome treatment in my two favourite plug-ins; Exposure Software\u2019s Exposure X5 or DxO Nik Collection\u2019s Silver Efex Pro. Each has their strengths, so I make my decisions depending on what my vision is for that particular image.\u2019 See our Silver Efex Pro guide on page 36.<\/p>\n

Shadow play<\/strong><\/p>\n

\u2018To develop your \u201cshadow skills\u201d, head out in bright weather,\u2019 says Brian Duckett. \u2018Look for uncluttered areas (e.g. modern business areas) and plan ahead. Pre-visualise the images and think about the intensity and direction of light, and the best vantage point. Work out your options for exposure and shoot a wide variety of subjects as you practise getting the composition just right. Try shooting in manual mode and exposing for the highlights. This will intensify the shadows…\u2019<\/p>\n

Strong and dominant<\/strong><\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Photo: Brian Lloyd Duckett<\/p>\n\t\t<\/div>\n\t\t\n

A lot of great black & white street photography incorporates punchy, high-contrast images made up of bright whites and intense blacks. \u2018The strong light and dark tones, combined with a strong diagonal and the dominant block of unpainted wall, make this shot a winner,\u2019 says Brian Duckett.<\/p>\n

Keep learning from the masters<\/strong><\/p>\n\t\t

\n\t\t\t\"learn\t\t\t

Photo: Edmond Terakopian<\/p>\n\t\t<\/div>\n\t\t\n

\u2018My first lesson in monochrome was to get piles and piles of books on photographers whose\u00a0work I loved,\u2019 says Terakopian. \u2018Everything from photojournalists\u00a0like Sebasti\u00e3o Salgado to fashion photographers like Richard Avedon. I\u2019ve never been one for still-life shots of flowers, but Mapplethorpe\u2019s work was also hugely educational. Black & white is primarily about shape and light. My advice is to just keep looking. The harder and more intensely you look, the more you see. Then it\u2019s a question of timing and capturing the moment and juxtaposition.\u2019<\/p>\n

Don\u2019t try to \u2018hide\u2019 in black & white<\/strong><\/p>\n

Whether you are shooting in colour or black & white, it\u2019s all about finding great light; light that complements your subject and creative intent. While masters like Trent Parke can get away with using very hard sunlight and very strong shadow, make sure your skills are good enough to ride this particular tiger. The same goes with trying to conceal softness in black & white, or lack of shadow detail due to clumsy exposure: an experienced viewer will soon see through your cynical ploy.<\/p>\n

Do some ghost hunting<\/strong><\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Photo: Brian Lloyd Duckett<\/p>\n\t\t<\/div>\n\t\t\n

For Brian Duckett, slow shutter speeds and motion blur can help create some impressive street shots. It also gets you into\u00a0the habit of finding suitable backgrounds for your subjects to \u2018blur\u2019 against, and this kind of background hunting comes in useful for street photography generally. Image and lens stabilisation is now so good with modern cameras that you no longer need to use a tripod, sometimes even with shutter speeds as slow as a second.<\/p>\n

You\u2019re so square<\/strong><\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Photo: Brian Lloyd Duckett<\/p>\n\t\t<\/div>\n\t\t\n

Some images just cry out for a 1:1 black & white format, so be mindful of this when you are out shooting so you can compose accordingly and avoid heavy-handed cropping later. \u2018In this shot of climbers, the pattern of the netting helped make the decision to crop to a square,\u2019 says Duckett. Michael Kenna is another master of the square format with black & white, so check out his work too.<\/p>\n

Popular locations are fine too<\/strong><\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

It\u2019s not so much about the location as about the light. Photo: Edmond Terakopian<\/p>\n\t\t<\/div>\n\t\t\n

As an example, Terakopian cites his popular shot of a little boy running into reflected lines of light at the Tate Modern. \u2018It\u2019s one of these clich\u00e9d locations, but as I mentioned before, this should never stop us exploring and making our own images. I was very fortunate that this image picked up several awards and nominations. I made the shot on a Lumix G9 with a Leica DG 50-200mm f\/2.8-4.0 lens.\u2019<\/p>\n

Be careful at night<\/strong><\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Night shots can be very evocative, but be careful out there. Photo: Brian Lloyd Duckett<\/p>\n\t\t<\/div>\n\t\t\n

\u2018Night shots need to look dark, but your camera\u2019s light meter can easily overcompensate, leaving you with images that are too light,\u2019 says Duckett. \u2018So use exposure to dial things down.\u2019 Another good tip is to wear darker clothes so you blend into the shadows better, and don\u2019t attract the subject\u2019s attention. But don\u2019t look shifty or suspicious or you could also attract the wrong kind of attention.<\/p>\n

C\u2019mon bring (a bit of) the noise<\/strong><\/p>\n

While you should not try to use mono to hide poor exposure or focusing, Terakopian has no issue with a little bit of noise. \u2018The cameras I choose work beautifully at up to the ISO 10,000 mark, producing accurate colours, which are essential for making a full tonal range in black & white. My black & white conversions generally have some grain added, which can cover any distracting noise.\u2019<\/p>\n

Mix prime and zoom lenses<\/strong><\/p>\n

\u2018I generally prefer prime lenses in the range of 35mm to 50mm, although will happily shoot with a zoom,\u2019 counsels Terakopian. \u2018For my Micro Four Thirds Lumix bodies, I love the Leica DG 15mm Summilux, which gives a 30mm field of view, as well as the Lumix 25mm f\/1.7. For zooms, I like the Leica DG 12-60mm f\/2.8-4.0 or the Leica DG 10-25mm Vario Summilux f\/1.7. On my Panasonic Lumix S1 and S1R, the Lumix S Pro 50mm f\/1.4 is king. It renders so beautifully, is fast to focus and I\u2019ve found the face and eye detection works wonders \u2013 a good tip for street shooters looking to upgrade.\u2019<\/p>\n

\n

Read more:<\/strong><\/p>\n

Street photography and the law<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Effective black and white street photography isn\u2019t just about losing colour. Two top street and documentary shooters share their wisdom<\/p>\n","protected":false},"author":1,"featured_media":139016,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[375,39,36],"tags":[1329,494],"product-category":[],"class_list":["post-137643","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-expert_advice","category-photo-news","category-technique","tag-black-and-white","tag-street-photography"],"yoast_head":"\nBlack and white street photography - Amateur Photographer<\/title>\n<meta name=\"description\" content=\"Effective black and white street photography isn\u2019t just about losing colour. 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