Episode 54 - Black and White Photography is the best form of photography

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live from the captain's backyard yeah well you know things have uh things have

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happened here in East Tennessee and uh so as a result of those

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happenings things are also now different full transparency I'm a

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little I'm a little bummed that we didn't take it up to the playhouse yeah

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well um the playhouse is made for like less than 5 year olds I mean not 35 year

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olds I'm still five at heart yeah your body is not and then we would had to try

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to fit two cameras somewhere crunched up in there uh yeah just you know would

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have been a look for sure a statically off the charts I don't think we've ever attempted a playhouse podcast episode

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don't yeah well I don't know if it was the look we were going for but it's certainly not the look that we chose to do this time so I'm uh maybe in the

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future I was going to say I'm not I'm not totally taking it off the plate I I think that with proper planning

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proper planning I believe it could still happen we could be in the captain's Playhouse well you know maybe at some

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point we'll get to be back in the uh and our normal Duds but uh back in the library back in the library yeah so

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until then good morning until yeah good morning uh if you know anything about what has transpired

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here in the area uh the region in the region basically uh Appalachia yeah

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which is that's how you say it by the way Appalachia any other pronunciation of it is not correct um we we're not

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normally accustomed to preparing for hurricanes no no not in the mountains um

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but Helen Helen did some damage lot a lot a lot of damage and as a result of

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that we've had a great outpouring of Love support help and Aid uh from the

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community it's been incredible it's been incredible really all that to say the reason why we're not at the church now

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is because the church is currently a uh a local community a drop point yep drop

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point for resources and Aid yeah for those in need so because oh Helen she was mean yes very much so very much

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basically uh I think our County prior to Helen had either nine or 10 bridges that

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crossed uh the noich Chucky river which is which is our local River um I think

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as of today standing two uh yeah there's like three two to three yeah yeah um and

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even less are drivable so yeah we are currently displaced which is the reason why you may hear a bird chirp you may

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hear my chicken cluck hey we're in nature hear the leaves rustle but we are outside right now we're going to be one

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with the outdoors today I'm actually digging it I'm digging it it's I think it be I think it'll be I think it'll be fun I think it'll be fun I'm going to

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venture out and say this uh it feels like fall y'all oh it definitely feels like fall especially sitting out here in

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the shade I had to had to grab out the long sleeve t-shirt yeah busted out the long tea the for the

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brand tea here the mine's unbranded you're unbranded you're for high today the loom uh but yeah so that's why we uh

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change of scenery uh audio may sound just a little different but enjoy it enjoy the nature you know part of me is

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like gosh we just need to quit right now because of what's going on in life uh part of me feels guilty for you know

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carrying on some sort of normaly uh when there are people who are so far from anything even

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remotely close to normal but also we felt obligated to to continue pushing so

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again that's why we're here here we are hopefully it's worth it hopefully it's worth it we we got a fun one we've toyed around with this episode for a while now

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we we've we it's brought up or it's it's came up multiple times uh during

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conversation and like oh we should probably do a full episode on that we should probably do a full episode on and we never and then we never do but today

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that's what we're do so today we going to talk about why black

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and white photography may be the best oh form of

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Photography if not it's at least the most pure form of Photography or I can make cases for it that's pretty bold

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that's pretty bold yeah we'll talk about that here in a minute but first let's thank our sponsor sweet sponsor of

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today's episode of faith and Frames is none other than us Jared and Garrett here here at motion Creative Media and

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our Blue Collar L folks if you are looking for a drag and drop plug-and playay filter for your iPhone footage

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what you think there's a link down in the description below yep Jared thanks for sponsoring this episode hey appreciate it appreciate you yeah hey I

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appreciate you thanks for doing that meet and taters get us the meet and taters we're talking all things black and white and why it may may or may not

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be the best the boldest the beautifullest the bigest yeah form of

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Photography well so when I first started out in photography um I'll be honest with you I did not shoot black and white

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photography um unless like it was it was almost

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solely at least initially it was almost solely a crutch yeah uh safety net if I

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had a scene for or in my control out of my control elements in my control

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whatever that I just could not get the colors to work out black and white can save the day

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yeah and black and white can save the day regardless it can save the day regardless but the reason why I say it

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saved the day was because it removed the distracting colors and and a lot of times when I first started shooting I

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was uh I know I know some of my first paid work was uh wedding so you're in receptions I also early on got paid to

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shoot some concert phot you're with multicolored stageing all those things

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so it's really difficult sometimes to achieve proper skin tones if that's something that you're after all those

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things and it can also just be extremely distracting to see all these vibrant colors especially if it's not pointing

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to your subject yeah well in comes black and white black and white can remove

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those distractions and you're simply left with luminance values at that point so yeah and and well I mean and you've

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mentioned this on episodes before you know specifically like in in the area that we live in Greens yeah greens can

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go nuclear and I think that's a very distracting thing whether you're in a couple session if you're in an outdoor

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wedding uh the greens here in our area are very difficult sometimes to mitigate

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y uh which is why I think black and white can come in handy as that safety net I'm not saying that we use black and

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white all the time as a safety net but there are times where I may have a composition that I love yep like you

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said color wise I cannot get it where I want it yeah um and black and white saves the day for me on that so I think

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it's a great way to remove distracting colors um it may even be distracting

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subjects that are a color like I mentioned this off camera if I'm shooting Street and there's a big ugly

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orange construction sign in my scene that I don't really feel is pertinent to the scene or important to my subject I

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may want to remove that right um and I can do that with black and white it removes those distractions and removes things that take away from our subject

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matter oh yeah well I mean again that's initially it was a uh it was a like a

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life raft yeah uh for me and that's when I started to discover like well I started to learn the the thought

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processes to oh well why does this look good in black and white when I could not get it to look good in color well again

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it comes down to all those things that we just mentioned it's the distractions that you're removing it's um it's it's

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the the funky colors that you just cannot get to play nicely here in East Tennessee especially you literally end

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up with luminates uh you know you've got your your scale from your dark all the way to your highlights and that's it um

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so yeah it's it's a it's a great equalizer uh when it comes to uh well

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just Photography in general you're literally left with luminance values and so that's why I I even find myself a lot

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of times one of my favorite recipes to shoot uh on my little Fuji especially if I'm just out bopping around with jpegs

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is a is a Kodak Trix 400 recipe like I enjoy um I enjoy shooting that recipe

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even even if I'm not shooting uh jpegs which this is kind of cool maybe people know this maybe people don't but like

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even if you're shooting raw you can monitor that you can monitor in monochrome right you can monitor adob or

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adobe Canon calls it monochrome uh different uh manufacturers going to call it different things but you can you can

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monitor your scene in black and white which I think helps a lot it does help a lot it it can definitely help if you're

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uh struggling with your colors um you literally see the scene in black and white now note that the sensor is still

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going to capture in color like it's capturing the raw data right you're still going to have all that all that and post production it's going to be

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there um but at least for exposure uh and for for all those other things that

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we've mentioned composition yeah it's really helpful in some cases to literally just see the luminance values

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in front of you yeah so speaking of luminance values uh this is something that many beginners may not understand

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like when we talk tones when we talk luminance values typically we're talking highlight midtones shadows and and these

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are things that again with black and white you're really able to hone in on can we give like a a 30,000 foot view of

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what those tones actually are and and how they act uh in black and white because I think in color we don't always

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realize you know what what those levels are yeah well so I mean again you're literally left with only the luminance

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values with black and white because you're removing those color distractions and all those elements uh present with

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color photography so you're forced to use light yeah as as

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uh totally drew a blank there hope well you're using light as your as your it's

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it's a a replacement for color so if we talk about the actual different uh the

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different scales or I'm going to call them the stairs of luminance values you have Pure White yeah which are things

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that are literally Pure White there's no information there you have highlights things like the sky things like you know

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bright leaves in you're seing or or anything that's close to White you have

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your midtones a lot of the times in photography skin falls close to your midton typically what you're you're

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looking for with midtones uh with your skin you have shadows which would be like the shadow side of the face it's

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not facing our key light or not facing the sun we have our shirts right now are in Shadow right then you have blacks

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which again is pure black there's no information there um so that's basically the five stair steps true of lum value

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so with black and white photography those are things that you're able to hone in on a whole lot more and this is

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maybe a little too detailed but like even in Lightroom if you're hovering over certain places in your image it's

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going to tell you the number of what that luminance value is right um it's going to tell you if it's a highlight if

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it's close to 100 probably getting close to White that's going to be a highlight oh yeah if you're in your midtones which

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is your 50 to 70s and all this is on the histogram if you're looking at light and again that may be too little too

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granular but the thing that I love about black and white photography in relation to tones is I'm able to hone in and dial

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in where I want my tones to sit yeah so if I take a picture of you and I realize that your face is a little too dark

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right I can lighten that up okay and I can get it closer to that midtone tone uh that I want it to be right that's

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true and one thing too like I think it's kind of helpful with black and white photography I think it gives you a

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little more flexibility in uh in those white to highlight regions like your

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skies like for instance and and I don't really understand the science necessarily

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behind this but a blown sky on a black and white

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photo because you don't have any color introduced to it like it's acceptable you know like it's it's okay it's it

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doesn't even like jump out at you as like oh well that's blown but in a color photo that exact same composition exact

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same settings it's like m you lost your Sky you know you know why

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because you expected color to be there you expected that Sky to have

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color to it because if I'm looking at the sky right now I see color well that's fair so I mean this is just my

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you know my brain coming into play here is like well duh it makes more sense in black and white because I expect it to

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be white in a black and white image right I don't expect that tone or that color to not exist in a color photo

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that's fair that's fair maybe that's the science behind it it's scar it's ridiculous brain yeah well you know there that's a uh there's definitely a

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thought there I I definitely do think that you're onto something there um but again it's just it it allows you to play

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within the confines of those luminance values those tone values um and again I

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think it can really help with uh with with getting the exposure of the subject

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that you want like if it is a skin of a subject uh in front of your your camera

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you're going to want that to be properly exposed yeah which you can raise those values in post you can lower those

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values in post but like you know it's easier if you get it right in camera um but as a result of that you may lose

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this guy but again in a black and white photo it's just wide anyway so well yeah and again this may be a little too

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granular but if we think about pleasing tones in photography um the term that

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gets thrown out a lot of the times in photo and in video is like a a salt and peppered scene on a salt and peppered

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scene I want to see highlights to Shadows to whites to Black I want to see

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those things basically checkered across my image sure um so that that big white Sky could be the Checker that I need to

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my darker shadows in the image so again it's my my brain coming in here and that may not make sense to a lot of people

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but that's fair um those things are actual pleasing rules or we'll call them

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suggestions yeah in photography um which is why I think again with black and white really focusing in and honing in

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on your tones what they are and and how they act in different scenarios I think it's very important I think that's

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something that black and white brings to the table that is a little harder for color yeah ID agree with that ID agree

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with that I don't know what the next topic is well so with tones uh we mentioned how

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they act in different scenarios the the third thing that I want to mention with

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black and white photography why I think it may be uh a better form of

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Photography at times um is the light we're able to focus in on lighting

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that's true hard tones versus soft tones do you want to give us a little explanation on what hard lighting is

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what soft lighting is yeah so I guess easiest thing I could think of is like you know if you go outside one day and

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it's cloudy uh overcast well the sun's still up there yeah the sucker still up there burning yeah didn't go it's it's

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it's lighting the Earth uh where you're at however it is being greatly diffused Yeah by whatever scientific matter uh

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atmosphere yeah whatever cloud is clouds very it is very uh diffused and

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ultimately ends up with a very soft light falling upon the Earth you remove

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those clouds and it's a great sunny day like today where there's I don't think a single cloud in the sky nope it's blue

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out here it is very harsh because the sun is not being diffused prior to it

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hitting whatever is on the earth well I mean we can give a live example right now I'm looking at your face and the

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part of your face that is under the shade of this tree has nice pleasing soft light on it however if I'm looking

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at your hand and your right cheek um you have a slash of light on your face which

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is much harder there's a hard Edge between that light and the shadow um which again it is a playground that you

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get to decide what you want to play in if you're a soft light preferenced photographer you may only want to shoot

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in overcast days yeah if you like those harsh slashes of light I know you're a big fan of this when you're out shooting

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Street you wait for those hard slashes of light so you're going out in the morning times maybe later in the

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afternoon because you want those big beautiful streaks of hard edged light yeah I think I think it's just again it

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comes down to preference uh now for portrait work it's it's typically nicer uh it's more pleasing on skin if it is a

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softer light which is why like if you see strobes in studio there'll be this massive soft box withus or they'll be

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bouncing it you know those there's all these methods that they're using to soften the light so that it isn't harsh

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on the skin that's not to say that you can't take really good photos in harsh light right um it just kind of comes

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down to what you prefer now one thing with black and white photography that I think you that I think black and white

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allows you to do that color does not a lot of times if you're going to keep that very

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uh bright highlight if you're going to keep that highlight that slash of light in order to do that you're going to

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massively shift color Hues yeah uh yeah especially as you're underexposing

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things if you're underexposing things so that you can retain that detail in that very bright spot and use black as your

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negative space or whatever uh it can very greatly shift your color Hues which

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can make things really difficult on the color side however black and white again we've there's no shifts there's no shifts literally oh I'm simply

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preserving that luminance value yeah and so you can end up with some very very

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very dramatic uh scenes compositions uh ways to like help frame

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your subject yeah uh even in camera I was going to say and one thing that I love about black and white specifically

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in harsh lighting um when we think of like most photographers favorite times to go shoot are golden hour yeah in the

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evening or in the morning time cuz that's when you're going to get your most pleasing beautiful light with black and white that's kind of off the table

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and I have a very specific example of this we were at the beach and I had the roif flex out and it was literally like

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11:45 between 11:45 and like 1: p.m. I was just walking around the beach asking people if I could take their portrait

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and I remember taking a portrait of this guy uh he looked funny cuz he he was smoking uh smoking a uh I guess it was a

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Black and Mild he had some like Navy tattoos so he looked apart he looked AP I was like I need to get this guy's portrait he's looking pretty tough right

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now I walked up to him asking if I could and we did but I was able to shoot that

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boy like totally front lit which is against my whole anti typically when I'm

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out shooting I I typically like to backl things but I was like you know what shooting through a red filter which is a whole another discussion shooting in the

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middle of the day and I'm on black and white I think I can cheat this and it'll look good yeah and it did right I shot him totally front lit and I was able to

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do that because I was shooting black and white right um so when we when we talk about light values it was a very harsh

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lit scene yeah but it kind of matched the subject matter this dude was a tougher looking dude he he looked a

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little harsh I think too from a consumable standpoint uh and I didn't

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necessarily mean to get into this but from a consumable standpoint when I see old documentary reporter images well

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they were shooting black and white film a lot of them were shooting actually TRS yeah uh in a lot of cases it was a very popular reporter film stuff from what I

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have researched but a lot of photos were black and white yep and if you're

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literally just looking back at those photos in history you're not stuck on color like

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color is not anything that your brain can use to distract you from the image like you you you you're basically forced

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to analyze what the photographer captured strictly in luminance values

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yeah um and we keep talking about that but that's what I love about black and white it removes all those distracting

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colors plus two I it's kind of fun to think about like uh if you see an old

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photo specifically if you see an old photo from your region you're like okay well I know our kinds of trees I know

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what our grass looks like so you can kind of even imagine it in color kind of

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cool uh it's kind of a fun uh exercise you can say ah gosh I wonder I I wonder I wonder what their

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fall looked like that year you know like all those things that you just get to to to play around with in your mind you get

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to paint in your brain so I don't know even on from a consumable standpoint I think it's a little more thought-provoking to see black and white

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image like I like that and that that actually moves us into like I'm going to call it our last talking point but black

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and white photography is absolutely Timeless yeah I I know we talk about uh I think a couple episodes ago

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we talked about editing Styles and making your edit something that's Timeless something that will stay in the test of time you know don't don't hop on

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to Trends but there is nothing absolutely nothing and I will die on this heel there's absolutely nothing

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more Timeless in photography than a black and white image yeah I mean honestly the only things I've seen people do uh Trend wise with black and

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white is uh you know lifting your blacks to give it a bit of a faded look fil look yeah but I mean even that comes and

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goes but at the end of the day still you're still left with simply the composition the

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light that's that's that's all that's present in that black and white image uh I think really too though and it's it's

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one thing that I love to do recently in the last couple years of my photography I have learned the power of masking

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within Lightroom and within Photoshop specifically I used to maybe throw one

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or two masks on my images yeah you'll throw like a vignette I will call it a day I will now very few of my images

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color or black and white either one will have less than like six yeah I have so much more freedom in my

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mind to to to completely add so many masks um uh and manipulate this image

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with black and white than I do with color and I think that because if you start adjusting luminance values on a

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color you're also inflicting Hue shifts as well you're inflicting Hue shifts and and I think really and truthfully it's a

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whole lot easier to recognize that there's a mask there in a color image right but you see these great imag kind

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giving away your trick as a magician and perhaps maybe we could throw up a few of these images from like Allan schaer okay

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yeah the Sha Master the man uses negative space speciic black yeah I mean pure black yeah so so

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so well Alan's the man he is he's very Engish he only shoots black and white he has a Leica that only shoots black and

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white yeah he's got the monochrome so the M10 monochrome he's really good at it but my point is is I personally feel

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as though I have more freedom to adjust multiple masks and create

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completely black yeah spots yeah and and pieces of that image

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versus that same image color I wouldn't I wouldn't do that because again it just it just doesn't feel right well in a

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color image if you're going all the way to Black it it really I'm going to say funkies that's a word I think it might

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be a word now that's a word uh it really funkies that image um you know if I let

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it if I let a color Hue go all the way to black but it's got colors beside it it just doesn't make a lot of sense well

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you just don't see that right you just don't see that nature and and sure I mean if you're editing you know

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obviously you've you're the uh you're the artist do what you want you're the artist you can do whatever you want to but you know if you have any interest in

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it being even still like real to life or believable you just can't do that but

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again with black and white I do I don't know I think it's feasible that you could still do that though like you can

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make it pure black yeah uh and and remove

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objects that are distracting visually uh anything that can help lead your uh

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viewers eyes to your subject uh I don't know you just I feel like you have a little more uh tools at your disposal

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there uh in postprocessing well you do and and and I'm going to circle back around real quick to the to the Timeless

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nature of black and white photography if we think about some of the most famous

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images uh that we grew up seeing in history books I think one that instantly comes to my mind is uh the Sailor uh the

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Navy sailor and his girlfriend or wife kissing in Time Square okay like images like that immediately come to mind right

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um images of like JFK yeah back in the day those those instantly come to mind

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and there's a lot of great color photos out there as well that that invoke a feeling of nostalgia but I can

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immediately like I said I immediately rattled off images right there because they were in black and white yeah I

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think one that you and I talk about a lot of time is is the Muhammad Ali yeah uh image standing over the duty just

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knocked out standing over the do they just knocked out like those are Timeless images and and I think at least in my

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opinion they stand out because they were not in color yeah um they were more they were more uh imposing I guess you could

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say yeah you don't you're not left to think oh well that was shot ultramax or

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that was shot portra or that was shot Fuji or even today you're like oh that was clearly shot on a Sony that was

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Canon it doesn't impart those other characteristics that are unique to camera camera manufacturers or even

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unique to uh photographers editing Styles and I do love photo or I love color photos but we're talking about

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black and white today and it is timeless because again you've got ranges you've

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literally got ranges from zero to 100 and that's it you've got you've got light values yeah that is it and it makes me I actually feel I feel that

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Nostalgia when I see a black and white image even an image that I shot yesterday yeah in black and white for

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some reason and maybe I'm the only one on the earth that feels this way but for some reason I feel no algic yeah when I look

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at a black and white image I took some images um going back to the the

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hurricane that we've experienced in the area I took some images uh a little over a week ago as we were transporting

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supplies uh of the temporary road that the good old boys shout out to the good

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old boys by the way with excavators and and dozers and and bobcats because them boys can build roads yeah um but I took

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an image of a temporary road that they had built and actually it's probably pretty permanent right now um and I did

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it in black and white yeah and I did it in black and white again for that

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documentary Timeless mentality and truth be told the sunset that evening was

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gorgeous right I have the raw file and the sunset was gorgeous and I was very tempted to leave it color yeah uh but

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for the sake of that Nostalgia for the sake of what I call documentary photography I went black and white and

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I'm glad I did because I look at that image and I know that I can look at that image again in 30 years yeah and I will

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be flushed and flooded with those Timeless emotions of I know exactly what

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we were going through yeah that's fair whenever I took that photo yeah versus if I would have kept it color I could

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have said gosh that's a really pretty sunset on that bridge that day yeah it could it could distract from distracts

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from the story ultimately what you're trying to show yeah the story was we as a community were coming together to try

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to rec cover yeah and and distribute supplies and help one another and that's

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a whole another can of worms itself of how proud I am of of this region um but

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I can look at that image and say gosh I know exactly the place we were at as a community when I shot that yeah for sure

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I think that's something again that only black and white photography can invoke is that that Timeless feeling of

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nostalgia absolutely I would I would agree with that wholeheartedly uh I don't I I would agree with you that what

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which you shot it raw so I did shoot it raw you've got flexibility I can I can still bump out a color at it probably won't but I can you you can edit five

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more images of that or five more versions of that if you want to but I think you made the right call with black

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and white because again Trends come and go heck my colors even have have changed

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my my colors are constantly changing I'm constantly refining and changing and tweaking the way that I want this color

28:53

to to render and sometimes I'm flat out board and I just want to try something new so so so so take that photo for

28:58

example like if you were to look back at that photo 5 years from now I'll go out on a limb and say if we're still here

29:04

and we're still doing this photo thing your color editing style is already going to be different probably yeah so

29:09

you might look back at it and be like can't believe I did that but again you

29:15

removed it all yeah because you went with black and white got to which is so so so Timeless for sure it's freeing

29:20

it's a freeing feeling knowing that I don't have to wonder what if now I will say this am I going to go by like a

29:26

monochrome uh budget doesn't allow it but also be no I'm dumb enough to I'm

29:33

dumb enough to do that um but again right currently right now budget says no

29:39

Eastman Credit Union would not like that I don't I don't necessarily love the thought

29:47

of specific like right out of the gate shutter fires it's only ever going to be black and white yeah but you're that way

29:53

sometimes too with like I know you you're not a huge fan of like fixed focal length cameras you don't like

30:00

being boxed in I don't like yeah that's true uh you don't like being boxed in when it comes to photography well when I

30:05

was looking around for a little Fuji uh I think at that time the X100 V it may have even been the one

30:12

before that F possibly was the hot ticket and I was like oh that'd be nice cuz it is pocketable all those things

30:19

but I was like a shoot but it's fixed focal length yeah yeah you don't like being boxed in fix focal length I don't

30:24

know I'd like to have the option of changing lenses uh which is why me personally

30:30

even if I'm monitoring in monochrome I'm still shooting raw yeah cuz I would like to give myself the flexibility in the

30:37

future of maybe going back and changing I'm I'm going to put it down today October the 10th 2024 Garrett Benjamin

30:45

wear is absolutely dumb enough to buy a monochrome camera maybe not a like a monochrome hopefully Rico puts out one

30:50

soon oh that'd be cool um yeah I would love a little gr monochrome but I'm dumb enough to go only monochrome and it may

30:56

actually help my squirreling burn at times to only have one option now I do like shooting black and white film

31:02

yeah it's actually one of my favorites to shoot right now I'm only shooting black and white because it's easy to develop and it's cheap that's true it's

31:09

a good point just saying just saying uh Jared on that note yeah um on just

31:15

saying I'm just saying there are some things that our audience can do for us that would be greatly appreciated if

31:20

they've gotten value out of this episode or if they haven't let us know those things too yeah share it with somebody

31:26

who uh uh you think May get something out of it as well yeah another photographer friend or uh you know

31:32

somebody who maybe they're maybe they only ever maybe they hate black and white images

31:37

perhaps uh we can maybe sway that opinion just a smidge uh they're wrong

31:43

but yeah we'll help them yeah we'll help them actually you can do whatever you want to you want to I don't care I'm just trying to make a case for black and

31:50

white images same um other than that yeah just leave us reviews uh we read all of those

31:56

reviews we also all the comments so think of the comment as uh I don't know

32:02

a direct message to to these two idiots cuz I want to know why you do or do not prefer black and white photography put

32:08

that down in the comments below yeah guarantee you I'll say this though I guarantee you any wedding photographer that watches this is going to be like oh

32:14

yeah it saved my butt a bunch of times in reception or live event Wedding live event like we all know that have shot

32:21

those and save her butt quite a few times it can save your buttt and it's it's well again not to rehash the whole

32:29

episode but you can't control what the stage is doing lighting wise and if it makes your subject like

32:37

Barney because it's purple I don't know maybe maybe flip that sucker to black

32:43

and white you can't control the stage but as the violin

32:48

virtuoso you can play that solo I don't know how that pertains to

32:53

what we're talking about but anyways thanks for watching we'll catch you guys in the next one here comes the hard part

32:58

oh no I hav done it oh he done it that wasn't very hard see you guys