I've always had an appreciation of monochromatic imagery
in both movies and stills. Black and white photographs have
that distinctive touch of romanticism and nostalgia that makes
them basically timeless.
The absence of color forces a viewer to focus on the contrast,
textures, and tones present in the image, which often results
in photographs that evoke a deep sense of emotion and storytelling.
This is a classic example of a single moment in time—never
to be seen again—that's been captured so evocatively. If it
had been shot in colour, you probably wouldn't look twice at it.
The image above makes use of a common feature in black and
white images; that of chiaroscuro—literally Italian for "light-dark".
And this image from the 1949 movie "The Third Man" shows its
use—throughout the film—by master Australian cinematographer
Robert Krasker.
in both movies and stills. Black and white photographs have
that distinctive touch of romanticism and nostalgia that makes
them basically timeless.
The absence of color forces a viewer to focus on the contrast,
textures, and tones present in the image, which often results
in photographs that evoke a deep sense of emotion and storytelling.
This is a classic example of a single moment in time—never
to be seen again—that's been captured so evocatively. If it
had been shot in colour, you probably wouldn't look twice at it.
The image above makes use of a common feature in black and
white images; that of chiaroscuro—literally Italian for "light-dark".
And this image from the 1949 movie "The Third Man" shows its
use—throughout the film—by master Australian cinematographer
Robert Krasker.
I'm a creationist; I believe that man created God.