[Leica] B&W / Color

[Jim Brick <jim@brick.org>]

Back when I started in photography, I was in Junior Hi, 8th grade, 13 years
old, 1951. The science teacher, Guy Cochran, started a photography club,
and taught us how to develop film. No reels, the yo-yo method. We made
contact prints using a print frame and goose neck lamp. My camera was a 120
folding camera. Sometime that year I bought an old Federal enlarger and set
it up in my bedroom closet on a card table. At some point in the next
couple of years, I bought a Rolleicord. My uncle, in Baker Oregon, owned
the local drug store which had a photo department. I got it at cost. I took
pictures for the High School yearbook. Everything until now was B&W. While
in HS, I used some Ektachrome (E2) and processed it myself at home (E2
kit). It turned out great and I still have the 2-1/4 slides. Somewhat
faded, but there. I went to Oregon State College engineering school. I
belonged to the photo club and took pictures for the year book. Except for
the Ektachrome while in HS, everything was still B&W. After OSC (OSU now) I
went to Brooks Institute of Photography.

At Brooks, in 1960, you start with only a view camera, incident meter, and
B&W film. Super XX. You learn everything there is to know about
compression, expansion, gamma, dynamic range, etc, etc, etc... All work
(assignments) is printed and mounted on matt board, every week, for
critique. All B&W. Minimum 8x10, max 16x20. Normally work was printed
11x14. About the second year into Brooks, I learned both type-C printing
and Dye Transfer. Over the past thirty years, I've printed a lot of B&W,
Type-C, and Cibachromes.

I had to give some history to show that I've paid my dues in B&W.

The bottom line to this story... B&W photography is immensely more
difficult than color. To make negatives that contain the proper dynamic
range, you must calculate the proper exposure (not necessary the gray card
value - as is the normal case with color). Processing method is dependent
upon the brightness ratio of the scene and where in the brightness range
you put the exposure. And what you envision the result looking like. You
also should record the brightness range to determine the proper development
procedure. THEN!!! you have to print it. Which paper grade, which paper,
which developer, how to dodge, how to burn, etc, etc, etc... The negative
scale may not match he paper you want. Or any paper. There are decisions at
every step, from the vision, to the dried print, that can make or break
your result. And the final print is simply black, white, and whatever mid
gray tones you have managed to keep or want. The result must have impact,
contrast, dynamic range, form, composition, and all the things that quite
often don't matter when you use color. This is difficult to do well. It's
even more difficult with roll film because you have to process the whole
roll the same way.

Many of my large Cibachromes are simply photographs of nice landscapes.
People really like them. They are straight prints of transparencies. No
mask, nothing. They would be extremely difficult to do in B&W. Trees,
hills, sky? Not exactly thrilling. Dark blue sky, lighter blue ocean water,
whitish sand, yellow-white rocks and cliffs in color, work. Not necessarily
in B&W. Unless the lighting or some other dramatic effect is present. Color
works when there is only color. B&W takes a lot of work, special lighting,
something to make an impact. Not just a pleasant scene.


Maybe I'm just dumber than the average photographer??? But good color just
happens. Good B&W is a hellova lot of work! And even after one hellova lot
of sweat and work, the result might still be only mediocre.

Take two cameras, one with color, the other with B&W. Take the exact same
photographs with both. Print both color and B&W prints (8x10 or better).
Typically, more color photographs work than B&W, simply because of the
color. After taking the photograph, most of the color work is done. The B&W
work has just begun.

Jim

PS... Of course there are exceptions to everything. What I've covered above
is what I consider to be the norm. You can indeed have a difficult time
with color. But on the average, it is easier to garner good results with
color, than B&W.

PPS... Look at Ansel Adams prints. These were "created" in the darkroom.
Blood, sweat, and tears (sounds like a band :) went into the print. The
actual photographing of the scene was typically but an instant in the weeks
and months required to make the first acceptable gallery quality print.
After once made, the process was recorded and subsequent prints were much
easier.