Black-and-white photography evokes a sense of seriousness that may be translated to products and projects. Learn more about its effects in photos hereBlack-and-white photography evokes a sense of seriousness that may be translated to products and projects.
“Monochrome” is a fancy term for black-and-white. When someone mentions that they want a monochrome palette for their campaign, it means that they don’t want any other color involved.
One can begin to experiment with the different intensities of black and the different kinds of white, and they can find out that there is so much room for creativity with that sudden limitation of choices. A monochrome palette may enhance the look of an e-commerce product image. Editing it afterward becomes a simpler process.
So what is monochromatic photography suitable for? It can be anything from profile pictures, modeling headshots, landscapes, wedding pictorials, and jewelry. It depends on the mood a photographer is aiming for and the emotions they want to evoke from the viewer.
Here is a list of what one should think about when they choose black-and-white images for the next project.
Brightness and Contrast
Colors are the first thing people usually see in a picture, dictating whether they would like to look at it. In a good monochromatic image, lighting does that job. The power of a black-and-white photo hinges on its lighting, from the way it brings out the contrast between background and foreground and how it pulls the eyes through the lines emphasized on the picture.
Too much unnecessary brightness makes the picture dull, for instance, and little contrast, if done unintentionally, holds little attention. Lighting also brings out different sensations and emotions. For example, foggy lights evoke a sense of mystery and intrigue. Subdued blacks and whites, when put together, give a somber look apt for memorial photos or relaxing cityscapes.
Every picture has lines, even if they’re barely seen. For instance, the curves of a flower, when placed at the center of the image, pulls the direction of one’s gaze in a circular motion. Vertical lines pull the gaze upwards, then down, while horizontal lines give the picture the illusion of having a wider space.
Now, add lines over two sets of lines, and the effect becomes three-dimensional. Looking at a picture, a viewer can feel like they can step in and walk along the subway or grab the cup of coffee being advertised. The way objects are positioned also determines what will be the focus of the whole picture, even if it’s in the background.
Black and whites are not entirely neutral. Look at the different kinds of white, and you will see a bit of every color in it. The same goes for black. Some blacks are almost brown or are closely related to gray. Without colors, the hues and shades become stand-ins that temporarily complete the image in the viewer’s mind before they can try to imagine it in color. They determine the mood, atmosphere, and action of the picture.
Black-and-white photography gives a sleek, clean simplicity that vibrancy cannot provide. It pulls the viewer in and evokes a kind of sentimentality and seriousness in them. Maybe that seriousness can be translated into the type of things one sells or expresses.