Black and white photography not only has not lost its popularity, but is also a powerful artistic technique that allows you to obtain results that are inaccessible to color photography.

1. Color or black and white?

Before converting a photo to black and white, it makes sense to think about the necessity of this action. Converting to black and white can kill the charm of a picture if it lies precisely in color or make the photo more interesting if color obscures the beauty of tonal transitions.

When we remove color, only tonal transitions of one color (gray) remain in the image. If the photo becomes more harmonious after converting it to black and white, it is worth making it monochrome, if not, it is better for it to remain in color. Here is an example of a photo that looks better in color than in black and white:

As a rule, photographs that you bring back from travel and that should convey the flavor of the country you visited should not be taken in black and white.

But sometimes color gets in the way, the color spots don’t harmonize with each other, and the photo looks too colorful. In this case, it may make sense to make the photo monochrome. In any case, do not rush to delete colorful pictures. They may well benefit from going black and white.

Monochrome photography forces you to concentrate on the main thing, makes it possible to show lines and shapes, the play of light and shadow, structure and rhythm.

If you're going to shoot monochrome photos, look for subjects with tonal rather than color contrast. Pay attention to the brightness of objects, because... Monochrome photography is a juxtaposition of light and shadow. When photographing an object, look not at its color, but at its texture, shape, lines, tone.

2. Exposition

If you're shooting with a digital camera, shoot in color and be sure to watch your exposure. The exposure needs to be set very precisely so that the picture has smooth tonal transitions and is not too light or dark (unless you are shooting in low or high key).

Every B&W photo should have pure blacks and pure whites, as well as a wide range of gray tones, with NOT the same level of brightness. Some tones will be darker and others brighter. But gray tones should not dominate, otherwise the photo will look flat. It is also important that most of the gray tones do not fade into white. Correct exposure will make the photo unique.

Read your camera's manual and metering system. The result you get will depend on this.

Please note that using matrix metering, you will not get a three-dimensional and dynamic frame in black and white, since it gives a uniform exposure. If you set center-weighted metering, the contrast and brightness of the image will increase, and spot metering will give your photos sharp transitions from light to shadow. When shooting silhouettes, you need to measure the exposure based on the light areas of the frame, otherwise the frame will be too light and lacking in contrast.

3. Shooting in RAW and JPEG

Monochronous photos should be shot in RAW format, since a RAW file stores much more information than a JPEG. If you're saving card space or have other reasons to shoot in JPEG, shoot in color. You should not take monochrome pictures with a camera, because... a color frame, in turn, carries more information than a black and white frame.

4. ISO

If the photo is noisy, it will be even more noticeable in the B&W version. Therefore, try to shoot with the lowest ISO values ​​possible. If you want to add a film effect, you can do so later in post-production.

5. Technical equipment

You don't need any special equipment to take B&W photos. B&W can be shot with both a compact and an entry-level DSLR. With a DSLR camera you can better control the results. It's always a good idea to have a tripod and a remote control. The issue of using filters is very controversial. In general, you can use polarizing and neutral density filters, as well as ultraviolet filters. They can enhance the contrast of the image. A polarizing filter will give the sky more density and allow you to enhance or remove glare. But, if you use filters, it is important to consider one rule - the effect of the filter should not prevail over the content of the photo. You will find a huge number of filters in graphic editors.

6. Light

Everything here is the same as in color photography. At different times of the day you will experience different lighting and light patterns. The same plot will be perceived and look differently at different times of the day.

7. Composition

Composition in B&W photography is even more important than in color photography. It would seem that it is enough to take a good color photograph and the job is done. But it's not that simple. If you frame the frame incorrectly or choose the wrong subject, the picture may not turn out as the objects in the picture
will merge with each other. This is due to the fact that in a color image there is color and brightness contrast, but in a black and white image there is only a brightness contrast.

Here's an example:

In the color version you see the contrast between the squares, and in the black and white version they merge with each other. Interestingly, contrasting colors in a B&W photo will look almost the same. Green and red, for example, are contrasting colors, and in a black and white photograph they will almost merge with each other.

In the picture, objects and objects can merge into one gray mass, and even by raising the contrast, you will not save the image.

Those. the first thing that is important is the choice of the right subject and the correct arrangement of objects in the frame.

All classical compositional rules apply here too. Don't forget about the foreground, the rule of thirds, perspective. The presence of diagonal lines will increase the tension of the photograph. Look for rhythms. When there is no color in a photograph, something else needs to grab the viewer's attention. Watch the shapes, they are an important part of the black and white world. Create contrast and conflict in the frame. Use contrasts, such as highlights and shadows.

Look for textures, patterns, interesting graphic forms, without forgetting laconicism. Do not overload the photo with unnecessary objects and details. Experiment by changing the angle and angle of shooting.

The most important thing is to learn to see the world in black and white.

Attached are some example pictures for your inspiration. In the following articles we will tell you how to correctly convert a color image to black and white in a graphics editor.

Features of black and white photographs
Great photographers begin training their students with the intricacies of black and white photography. This is due to the fact that in such photographs the composition is very important, so all the flaws are clearly visible. To make sure of this, you need to “decolorize” an ordinary “everyday” photo in a regular graphics editor; you can be more than sure that most of the photo will be covered with gray spots. If you look at a color photo with a red flower on a green lawn, then it will be bright and festive. But if it is a black and white photograph, the green and red colors will merge and you may not see anything. The difference between black and white and color photography is not only that color is missing. Thanks to monochrome photographs, you can reveal the essence of things more deeply, while focusing on the most interesting and most important. Black and white photography allows you to highlight shapes and lines, emphasizing rhythm, light and shade and structure. In the foreground of monochrome photographs are impressions and emotions. It is for this reason that black and white photographs have a completely different approach, so for the monochrome version you need to see the colors of the world around you in your own way.

So, when is it better to give preference to black and white photographs? In most cases, this is a nude, a portrait; reportage and genre subjects also look very good in black and white photography. But this does not mean that still life and landscape will not look good in black and white.

A good color photograph most likely should not be converted to black and white. It is the successfully found color solution that makes it attractive, and if you remove the color, then the photo will only lose. For example, photographs that you brought back from travels to exotic countries should play with color and convey local flavor. Although several interesting black and white photographs will only decorate your photo album, their semantic content should be completely different.

It may also happen that the color component does not fit into the overall design and overloads the photo, different color spots do not harmonize, they are too colorful. In this case, it makes sense to take the photo in black and white. Therefore, do not rush to delete an unsuccessful color photo - it is possible that in black and white, after some processing in a graphics editor, it will become much better.

So, in order to get a good monochrome photograph, you can go in two ways. The first option: take a regular color photo, which is converted into black and white in a graphics editor. The second way: set your camera to black and white photography mode. In the first case, you leave yourself the opportunity to return to the original color option. In addition, you have at your disposal the powerful tools of modern graphic editors that give flexible control over the process. What photographers used to do in the “dark room”, developing film, experimenting with developers, and printing photographs, you can now get by working with the program. In the second case, in the graphic editor you only “extend” the image to the desired result.

Composition
First of all, you must determine for yourself what you want to emphasize, highlight in the photograph, and select the means to achieve expressiveness accordingly. Think about whether you need to enhance sharpness and contrast in order to show a courageous face in the photo or an old abandoned ship worn out by time, rain and heat, or, conversely, to soften a gentle portrait of a woman or child, to show a “paradise” landscape in the photo.

When you are thinking about a future black and white photograph, abstract from the rich and bright colors - a monochrome photograph will not convey them anyway; moreover, they can merge.

It is desirable that the picture retains a rich range of halftones. The range of a successful photograph is from black to pure white. Tonality and contrast are the main starting points on which the success of your work depends. But it should be noted that in black and white photographs, dark areas will look almost dark, so try to construct the plot in such a way as to avoid large “black holes”.

If you look around with an attentive eye, you can take an original and high-quality black and white photograph almost everywhere. Contrasting textures, relief and attractive shapes, patterns, rhythmic, repeating details of the scene make the photograph more advantageous. When looking for interesting and contrasting graphic forms, remember the golden rule: the simpler the better. The picture should not be overloaded with unnecessary details.

A selection of black and white photographs

For me, black and white photography is one of the most interesting and inspiring areas of creativity, it is what people call a hobby or passion. It is rough and refined, naturalistic and unusual, powerful and sophisticated, mysterious and open, emotional and calm, simple and complex, it contains all shades from black to white. Black and white images are linked to the origins of photography, but what was once just a way to capture images has evolved into something deeper over time.

Practice, practice and more practice

Experienced black and white photographers may see the world as colorless. They train their minds to perceive contrast and tones while ignoring distracting colors. This is not a skill that you can acquire in a short time, it is something that will come to you with experience. I can't say that I'm good at black and white, but I can spot some scenes and objects that require black and white.

One way to prepare your brain is through conscious effort, or in other words, practice. Trevor Carpenter gave us a great example with his October Challenge. He decided to limit himself to only black and white photography for a month. This allowed him to experiment in this medium and learn from his own work. Summarizing his project, he said: “I have noticed, especially in recent days, that when I take or think about a photograph, I sense in advance the potential impact of a composition in black and white.”

Focus on contrast

Black and white photography is black, white and all the tones in between. The human eye, by its nature, is designed in such a way that it perceives two things - the intensity of light and color. When we remove colors, our eye becomes more sensitive to light intensity. A person perceives areas of contrast, thanks to this he can distinguish one thing from another.

When shooting in black and white, your main goal will be to frame your subject through the shades of gray. Use contrast to show your viewers what is important and what is not. Look for scenes that themselves contain high contrast, this will help your black and white shots stand out more from the start.

When processing black and white photos, using Photoshop features such as levels, curves, and layer blending will give you a wide range of options for achieving the final image. You can also use the dodge and burn technique, which is an effective technique for increasing contrast. This technique works well because it allows you to focus on processing certain elements of the image without affecting surrounding areas.

Focus on texture

In reality, texture is nothing more than a manifestation of contrast, but it is perceived completely differently. If you think about it, texture is a constant or variable pattern of shadows and light of varying degrees of intensity. Black and white photography largely depends on texture.

Colors add an extra layer to a human-perceived image and therefore mask the most subtle textures. Look for areas with interesting textures where the surface can be photographed in a way that highlights the specificity of the surface and brings out the contrast.

The decisions you make during processing can also have a significant impact on the texture. When processing a black and white photo, you have the opportunity to extract texture from a flat surface thanks to the technique you choose. In digital photography, blue and red channels tend to contain more noise than green channels, so tools like the channel mixer and black and white adjustment layer in Photoshop will allow you to bring out the textures contained in your photo.

Shoot in color

This mostly applies to digital photography. If your camera gives you the choice of taking color or black-and-white photos, never choose black-and-white mode. In reality, the camera first takes a color photo and then converts it to black and white.

Photo processing software can make the translation much better, and you will have more flexibility in producing the final image. It's incredible how different photos can be when you edit them yourself, so it's best not to limit yourself before the image even comes out of the camera.

The only exception to this rule is if you are using the camera's black and white mode to get an idea of ​​how the scene might look in the final black and white photo. This trick can help you find good black-and-white scenes faster, but after you find them, return the camera to color shooting mode and take another shot.

Use color filters

In order to change the shades of photographs, photographers who shoot black and white film use filters. Have you ever seen black and white photos with dark skies and snow-white clouds? This is not the result of natural conditions; for this, color filters are used to achieve the desired effect. Using color filters like this with a digital camera is perfectly acceptable, it's not necessary, but it can give you some benefits.

Software like Photoshop allows us to apply filters without altering the original image. Thanks to the program, the same results can be achieved when converting from color to black and white images. Those using Photoshop CS3 will notice that the black and white adjustment menu gives you the ability to customize and apply several filters.

So if you decide to practice a little black and white photography, you should definitely think about these things before and after shooting. Anyone can take a black and white photo, but you will need a little more skill and knowledge to create a good black and white photograph.

Mastering Levels and Curves

Fine-tuning the conversion of a color photo to black and white is not the only way to control chiaroscuro—the distribution of light, mid, and dark tones in an image.

After conversion, you can use adjustment layers such as Levels or Curves to adjust the contrast and tonal distribution of your final grayscale image. The Curves adjustment layer is not available in Photoshop Elements; here you can only apply Levels.

Applying Curves

The Curves adjustment layer allows you to make more subtle tonal adjustments than the Levels adjustment layer. In the latter, only three points are available to control the distribution of tones. You can lighten or darken only dark, mid and light tones. While with Curves you can control any tone, any part of the histogram.

When adjusting the Curves adjustment layer, you can place a dot anywhere along the diagonal line. Then move it down if you want to darken the selected tone, or up if you want to lighten it. Also, you can place a dot without moving it up and down to fix the tone.

Curves are characterized by the widest application. At first, using them effectively may be difficult. So you might find it easier to start with the tonal adjustment templates, which are available from the drop-down list at the top of the adjustment layer's settings panel.

Templates provide ready-made tone curve shapes and can be useful in most tone correction applications. One common shape is the S-curve. It increases the contrast of a photo and also serves to lighten or darken the entire image.

Enhance Contrast

One of the most common tasks at the black-and-white image processing stage is contrast enhancement. The templates here are not flexible, so they are just a good starting point. Once you use the template, you can adjust it to suit your needs. Move existing points on the tone curve, add new ones.

To increase the contrast of your photo, select the Medium Contrast template from the drop-down list. The diagonal line will take the form of a "soft" S-shaped curve, and the contrast of the image will increase slightly. To deepen the shadows, select a point in the lower left part of the tone curve by left-clicking on the point and move the point down, for example, using the navigation keys on the keyboard. To brighten the highlight areas of the image more, select a point located at the top right of the tone curve and move the point up.

Selective correction

Local tone correction has been carried out since the birth of photography and is used as an expressive tool.

Unlike the period when only individual specialists or enterprises were involved in printing photographs and, accordingly, their preparation, now you can make local tone correction of your photographs without additional time and effort.

Applying Layer Masks to Curves or Levels adjustment layers is the easiest way to correct large areas of an image, such as the sky. This way you can process part of the image while leaving other parts untouched.

Adjust correction parameters (for example, set the shape of the tone curve). Then take the Brush tool, set the opacity to about 25% and paint over the adjustment layer mask with black paint. Under dark areas of the mask, the adjustment layer will have little or no effect on the image if the areas are painted 100% black.

Applying Levels

Bright hues

Light tones are controlled by the white slider located on the right side of the histogram. The most common correction is to move the slider to the left towards the right edge of the chart. If you continue to the left, there will be a loss of detail in the highlight areas of the photo. In other words, you will artificially create overexposure.

Dark colors

The leftmost, black, slider will help you adjust the lightness of the dark areas of the photo. Move it to the right - towards the left end of the graph - to deepen the shadows. If you want to make your photo more graphic, move the slider slightly to the right beyond the right edge of the graph.

Midtones

In addition to controlling the lightness of highlights and shadows, Levels allows you to adjust midtones using the gray triangle initially located in the center of the histogram. To lighten the midtones, move the triangle to the left; to darken, move it to the right.

Features of using Levels and Curves

Curves have more flexibility than Levels, so it's easy to get carried away with adjusting the light and shade using the Curves adjustment layer. Remember that if at some point a fragment of the tone curve is close to the horizontal line, the image will look unnaturally “flat” and lacking in contrast.

A Note on Photoshop Elements Features

Program versions 9 and later allow limited control over the shape of the tone curve. The corresponding tool is called “Color Curves” here. To use it, select “Enhance” -> “Adjust Color” -> “Adjust Color Curves” from the main menu. You won't be able to set a point anywhere on the tone curve; the program gives you the ability to control different segments of the curve using four sliders. They are responsible for dark (Shadows), quarter and three quarters simultaneously (Midtone Contrast), midtones (Midtone Brightness) and light tones (Highlights).

Mastering the Dodge and Burn tools

The Dodge tool and Burn tool are successors to classic analog techniques. These tools allow you to increase exposure - lighten (dodging) - or decrease exposure - darken (burning) - arbitrary areas of the image.

A similar effect can be achieved using local tonal correction using the “Curves” and “Levels” adjustment layers described earlier. Here you simply paint with a “dodge” or “darken” on the original image, without resorting to using additional layers and masks for them.

It's best to create a copy of the layer containing the original image (Background layer) and use the Dodge and Burn tools to paint over the copy layer.

This technique simplifies the assessment of the lightening-darkening effect by turning off and on the visibility of the copy layer and allows you to return to the original image at any time if you are not satisfied with the result.

The main mistake when using the tools in question is the overabundance of the effect. As a result, the fact of lightening and darkening is striking, and the result is uneven.

To get a uniform and visually pleasing effect, set the Exposure parameter to within 3-5%. Use small, gradual “strokes” to apply the effect to individual areas of the image. Another way to keep an image looking natural when using the Dodge and Burn tools is to use a soft-edged brush (set the Brush Hardness to something low).

Dodge tool

You can choose the tones of the image - dark, medium or light - that will be brightened. Lightening the light tones will increase the contrast between the dark and light tones. Lightening dark tones, on the contrary, will weaken the contrast.

Burn tool

Has the opposite effect to the Dodge tool. You can also choose target tones: light, medium or dark. Darkening dark tones will enhance the contrast between light and dark tones in a given area. Darkening light colors, on the contrary, will reduce contrast.

Practice. Step by step guide

Step 1. Select the right tool

Once you have created a copy layer of the original photo, select the desired tool (Dodge or Burn) from the Tools palette.

Step #2. Adjust the light colors

Set the properties of the selected tool to “Highlights”. Use the Dodge tool to paint over the lighter areas of the image if you want to enhance the contrast. Conversely, paint with the Burn tool if you want to reduce the contrast.

Step #3. Adjust dark tones

Set the properties of the selected tool to “Dark Tones” (Shadows). Use the Dodge tool to paint over dark areas of the image if you want to reduce the contrast. Conversely, paint with the Burn tool if you want to enhance the contrast.

Toning black and white photos

Color toning of black and white photographs has its roots in processing photographs in a dark room. Most often, the photograph was given color by subjecting it to chemical processing in order to prevent the loss of contrast during the aging process. However, color toning was used as a means of expression. In a digital darkroom, shading is not technically necessary, it just reflects your aesthetic preferences.

One color tinting

With Photoshop, you can “colorize” a black and white image in a variety of ways. The easiest way is to create a “Hue\Saturation” adjustment layer. Check the box next to the Colorize option, then move the slider labeled Hue to give the image the color you want. Move the Saturation slider to change the purity of the color.

Cross-process toning. Step by step guide

Step 1. Create a Gradient Adjustment Layer

Select “Gradient Map” from the list of adjustment layers. In the dialog box that appears, left-click on the “Gradient” parameter. In the newly appeared Gradient Editor window, select one of the proposed templates called “Violet, Orange”. Confirm the layer settings by successively clicking the “OK” buttons in both windows.

Step #2. Adjust the strength of the effect

The photo looks slightly psychedelic at this point, you may need to tone down the effect a bit. Select Overlay from the Blending Mode drop-down list at the top of the Layers panel. Additionally, try reducing the Opacity of the adjustment layer to 50% to start with.

All photos by Chris Ruther(Chris Rutter).

There is no greater classic than black and white street photography. Old street photographs bring to life the nostalgic images of Andre Kertesz, Henri Cartier-Bresson, Robert Doisneau and many others.

Why black and white street photography?

Of course, in the past, when photography first began to develop, it was exclusively monochrome. Therefore, when we think of street photography (in the classical sense), black and white shots come to mind. When color photography appeared, it was used for most amateur photographs and was not perceived as “serious art”, unlike black and white.

These are different times. Modern digital cameras produce impressive image quality, and post-processing can work wonders. However, black and white photography still has a special charm. It attracts with its simplicity, minimalism and lack of distractions and clutter. B&W photography is out of fashion - aesthetics is timeless.

The monochrome of the frames gives us the opportunity to focus on the essence of the scene - color can simply distract the viewer. We bring you some tips and suggestions from renowned street photographer Eric Kim for shooting black and white street photography.

See the world in monochrome

Downtown LA, 2011. By Eric Kim

It's worth looking for, for example, the following:

• contrast between lights and darkness
• shapes and lines
• expressions of emotions (on the face, as well as through body language)
• eye contact
• minimalism
• nostalgic elements.

Obviously, we don't see the world in black and white, it's worth training your eyes for that.

Wedding, 2016 #cindyproject. By Eric Kim

Assignment: shoot only monochrome footage for a year.

If you're shooting with a digital camera, shoot JPEG JPEG+RAW (with the monochrome mode preset). If you shoot on film, just use black and white.

By putting yourself in this creative frame, you will begin to see your surroundings in black and white and begin to pre-visualize future monochrome shots. Try not to switch between black and white and color photographs during this year of study. Otherwise, you will never hone your “monochrome” vision.

Another tip: If you're shooting JPEG+RAW, be sure to preset the shooting mode to black and white when importing photos to your computer.

Simplify

Tokyo, 2011. By Eric Kim

Always try to simplify a black and white shot. Aim to make the scene as uncomplicated as possible, with a simple composition. Try to use single objects (at least to start with).

When you're getting ready to shoot outdoors, start with the background. A good starting point might be an all-white, gray or black background. Then wait for suitable objects to appear in the frame.

Learn to ignore the colors people are wearing. Instead, ask yourself, "What would this color look like if it were turned monochrome?" This will help you see the world according to different brightnesses and shades of gray rather than colors.

Task: get rid of unnecessary things.

For a month, try removing everything unnecessary from your photos.

When analyzing the images you want to capture, think about what you can extract from the image, not what you can add. And as you create your composition, ask yourself: “Does this element really need to be in my frame?” Try to distill the images down and leave only their essence in the frame.

That is, we can say that less, in this case, is more. Or remember the motto: “less, but better.”

Take risks

Downtown LA, 2015. By Eric Kim

No one can accurately imagine a monochrome image in advance. If a photo is taken on film, the photographer has less control over how the final image will look. Shooting digitally and RAW, on the other hand, gives you tons of control over the final look of your monochrome image. If shooting a black and white JPEG, the photographer will have the same limitation as shooting with film.

Challenge: Take risks.

Shoot against the light. Try experimenting with exposure compensation in black and white. Try +1, +2, -1, -2 exposure compensation and study the results.

Explore the works of the masters of black and white photography

Assignment: Study the creativity of the masters.

Melrose, 2016 #ricohgrii. By Eric Kim

Analyze the pictures and see how the photographers build the composition. In addition, try to figure out what “works” in the pictures and what doesn’t. How did the photographer work with light? What emotions or gestures are present in the frame?

Portugal, 2015. By Eric Kim

Focus on emotions

Monochrome images appear quieter, more still, sometimes darker and nostalgic. They contain reflections on the past.

Photographing something sad in black and white is a cliché to avoid. However, you can go a more interesting route - try photographing happiness in monochrome. Also try to photograph despair. Shoot a wide range of emotions, and not just the direct association with monochrome.

Paris, 2015. By Eric Kim

Challenge: Evoke certain moods through your photographs.

Think about how black and white makes you feel and try to literally capture them. And as an additional task, also try to evoke the opposite emotion in a black and white photograph. This will help you get out of your comfort zone.

Garden Grove, 2016. By Eric Kim

Lighten and darken

NYC, 2016. By Eric Kim

The left side of the frame is darkened in the photo, thus paying more attention to the model's eyes, face and hair)

One thing that photographers have been doing for decades is using the Dodge and Burn technique in their photographs (lightening and darkening certain parts of the frame).

Previously, this was done in a dark room, but now we can do all the manipulations using a photo editor. Many new photographers believe that the method of darkening and brightening parts of the frame is a kind of “cheating”. Not at all. It all depends on your artistic vision.

Darken parts of the frame that you find distracting and lighten the more interesting areas. The viewer's eyes will be drawn to the area of ​​the frame with the highest contrast. Keep this in mind.

Assignment: Do post-processing for no more than a minute.

Often, the more time you spend post-processing monochrome images, the worse they will look.

For example, you can shoot RAW+JPEG, but also apply standard black and white presets to the images (when importing). Then you can make minor adjustments to the photo: adjust exposure, contrast, shadows, highlights.

Downtown LA, 2016 #ricohgrii. By Eric Kim

Use flash

Flash will add intensity to your images. Quality photography requires good contrast and dramatic light. If you're shooting in the shadows, your black and white photos will likely lack contrast and won't be aesthetically interesting.

Task: photograph all objects with and without flash.

Use flash in all black and white photographs for a week. Shoot with or without flash, then analyze both images. See how flash affects photos in terms of aesthetics, emotional impact and intensity.

Shoot with dramatic light

Try to shoot in good lighting (“golden time” - sunrise and sunset). On the technical side, if you're shooting in aperture priority or program mode, set exposure compensation to -1 or -2.

Task: follow the light.

Seoul, 2009. By Eric Kim

Whenever you shoot, always try to chase the light. Look for small rays of light, be patient. Wait for the right person to enter the frame.

Better yet, try to wait until sunset to take the photo - then you'll get dramatic long shadows. Or, if you're really brave, wake up early in the morning before the sun rises.

Provincetown, 2014. By Eric Kim

Conclusion

There is no "right" or "wrong" about street photography - whether you choose to shoot in black and white or color.

Downtown LA, 2015. By Eric Kim

For most new street photographers, it's best to work on black and white images. For what? This allows you to learn to navigate the basic principles, and not be distracted by color.

Black and white photographs are soulful, but without emotion photography is dead. Learn to make your photos immortal.