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| ] The Tetons and the Snake River (1942)]] | |||
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| '''Black and white photography''' is a form of ] that captures scenes or subjects with a grayscale of brightness, without recording any natural colors. The resulting images, often referred to as ], display a range of shades of gray, from black to white. This style of photography predates ] and has remained a significant, timeless and versatile artistic and documentary medium for over a century.<ref>{{Cite journal |last=Gernsheim |first=Helmut |year=1977 |title=W. H. Fox Talbot and the history of photography |journal=Endeavour |volume=1 |issue=1 |pages=18–22|doi=10.1016/0160-9327(77)90005-9 }}</ref><ref name=":0">{{Cite book |last=Rosenblum |first=Naomi |title=A world history of photography |publisher=Abbeville Press |year=1997 |edition=3rd |location=New York |pages=144}}</ref> | |||
| == History == | |||
| ] photography dates back to the early days of photography in the 19th century. The first successful form of photography, known as daguerreotype,<ref>{{Cite journal |last=Graure |first=Cristian |year=2014 |title="Argint şi soare". Originile fotografiei prin evoluții tehnice între 1800 şi 1900 |trans-title=“Silver and sunshine”. The Origins of Photography by means of Processes between 1800 and 1900 |journal=Analele Banatului XXII 2014}}</ref><ref name=":2">{{Cite journal |last=Edom |first=Clifton C. |year=1947 |title=Photo-Propaganda: The History of Its Development |url=https://doi.org/10.1177/107769904702400305 |journal=Journalism Quarterly |volume=24 |issue=3 |pages=221–238|doi=10.1177/107769904702400305 }}</ref> produced monochromatic images.<ref>{{Cite journal |last1=Zavagno |first1=D. |last2=Massironi |first2=M. |year=2006 |title=Colours in Black and White: The Depiction of Lightness and Brightness in Achromatic Engravings before the Invention of Photography |url=https://doi.org/10.1068/p5346 |journal=Perception |volume=35 |issue=1 |pages=91–100|doi=10.1068/p5346 |pmid=16491711 }}</ref> Throughout the 20th century, black and white photography flourished as the primary form of photographic expression, used extensively in journalism, ],<ref>{{Cite journal |last=Hamber |first=A. |year=1990 |title=The Use of Photography by Nineteenth Century Art Historians |url=https://doi.org/10.1080/01973762.1990.9658907 |journal=Visual Resources |volume=7 |issue=2–3 |pages=135–161|doi=10.1080/01973762.1990.9658907 }}</ref> and ]. | |||
| After the advent of cheap and accessible color photography technologies for the mass public, including ], the share of black and white photography began to decline rapidly,<ref>{{Cite encyclopedia |year=2007 |title=Introduction to Photographic Equipment, Processes, and Definitions of the 19th Century |encyclopedia=Digital Imaging, Theory and Applications, History, and Science |publisher=Focal Press |url=https://doi.org/10.1016/B978-0-240-80740-9.50013-1 |last=Osterman |first=Mark |editor-last=Peres |editor-first=Michael R. |pages=36–123 |doi=10.1016/B978-0-240-80740-9.50013-1 |isbn=9780240807409}}</ref><ref name=":1" /> by the end of the 1970s being less than half in the world.<ref name=":2" /> In the ], this process was slower due to the low availability and high cost of color photosensitive materials, as well as their more complex chemical ]. | |||
| However, by the end of the 1990s in the ] countries, due to the spread of machine processing of photographic materials, the ratio also became not in favor of black-and-white photography. The spread of ] further reinforced this trend, due to the simplicity and improved color reproduction. | |||
| In the ], most countries began to see an increased interest in black and white photography, due to the specific expressiveness of photographs devoid of color.<ref name=":3">{{Cite journal |last=Grainge |first=Paul |year=1999 |title=TIME's Past in the Present: Nostalgia and the Black and White Image |url=http://www.jstor.org/stable/27556682 |journal=Journal of American Studies |publisher=Cambridge University Press on behalf of the British Association for American Studies Stable |volume=33 |issue=3 |pages=383–392 |doi=10.1017/S0021875899006155 |jstor=27556682 |access-date=2015-06-29}}</ref><ref>{{Cite journal |last1=Costello |first1=Diarmuid |last2=Iversen |first2=Margaret |year=2012 |title=Introduction: Photography between Art History and Philosophy |url=https://www.journals.uchicago.edu/doi/10.1086/667419 |journal=Critical Inquiry |volume=38 |issue=4 |pages=679–693|doi=10.1086/667419 }}</ref><ref>{{Cite book |last=Хеджкоу |first=Д. |title=Фотография. Энциклопедия |publisher=Росмэн |year=2004 |isbn=0751301108 |pages=52}}</ref> | |||
| == Techniques == | |||
| There are various techniques for creating black and white photographs, both traditional and modern. Traditional methods involve using black and white film, which is processed using chemical techniques in a darkroom. Silverless monochrome photographic film, suitable for processing by the high-speed C-41 process, has become available, offering alternatives to traditional silver-based processes. Additionally, digital technology allows for the conversion of color photographs into monochrome by adjusting tonality and color components. | |||
| One of the most important disadvantages of black-and-white photography is considered to be the increased consumption of ], even when it is fully ] from processing solutions. The reason is that in the ], the black-and-white image consists of metallic silver, whereas the colored image consists only of ]. Through laboratory processing, the silver from colored ] is bleached and can be almost completely recovered from solutions.<ref name=":4">{{Cite journal |last1=Collings |first1=T. J. |last2=Young |first2=F. J. |year=1976 |title=Improvements in some tests and techniques in photograph conservation |url=https://doi.org/10.1179/sic.1976.014 |journal=Studies in Conservation |volume=21 |issue=2 |pages=79–84|doi=10.1179/sic.1976.014 }}</ref><ref>{{Cite journal |last=Hamilton |first=J.F. |year=1988 |title=The silver halide photographic process |url=https://doi.org/10.1080/00018738800101399 |journal=Advances in Physics |volume=37 |issue=4 |pages=359–441|doi=10.1080/00018738800101399 |bibcode=1988AdPhy..37..359H }}</ref> For black-and-white photographic materials, the regeneration rate is no more than 70%.<ref>{{Cite journal |last=Horn |first=Richard R. |date=1991-08-01 |title=History and status of black and white photographic processing chemicals as effluents |url=https://doi.org/10.1117/12.46335 |journal=Printing Technologies for Images, Gray Scale, and Color|volume=1458 |page=69 |doi=10.1117/12.46335 |bibcode=1991SPIE.1458...69H }}</ref><ref>{{Cite encyclopedia |year=1981 |title=Фотокинотехника |encyclopedia=Советская энциклопедия |location=Moscow |last=Иофис |first=Е. А. |page=273}}</ref> | |||
| ] allows for more abstracted images, emotionally interpreting everyday reality. The effect can be enhanced by ] in ] tones or cool shades. Special printing techniques such as ] may be used. | |||
| == Infrared Photography == | |||
| ] is a specialized technique within black and white photography. By using infrared-sensitive film or digital sensors, photographers can capture unique images where green vegetation appears almost white, while the sky appears almost black.<ref>{{Cite journal |last=McCree |first=K.J. |year=1968 |title=Infrared-sensitive colour film for spectral measurements under plant canopies |url=https://doi.org/10.1016/0002-1571(68)90003-4 |journal=Agricultural Meteorology |volume=5 |issue=3 |pages=203–208 |doi=10.1016/0002-1571(68)90003-4 |bibcode=1968AgMet...5..203M |issn=0002-1571}}</ref> This technique adds another dimension to the expressive possibilities of black and white photography. The effect can be produced either ] using infrachromatic photographic materials, or digitally by removing the protective screen of the ]. | |||
| == Characteristics == | |||
| Black and white photography offers a unique aesthetic that emphasizes contrast, texture, and composition.<ref name=":1">{{Cite conference |last=Hunt |first=R. |date=1996-01-01 |title=Why is Black-and-White so Important in Color? |url=https://doi.org/10.2352/CIC.1996.4.1.art00015 |conference=Proc. IS&T 4th Color and Imaging Conf. |pages=54–57|doi=10.2352/CIC.1996.4.1.art00015 }}</ref> Without the distraction of color, viewers can focus more on the shapes, lines, and emotions conveyed in the image. Monochrome imagery allows for abstract interpretations of reality, evoking emotions and conveying mood in powerful ways.<ref name=":1" /> | |||
| == Applications == | |||
| Black and white photography finds applications in various fields, including fine art,<ref>{{Cite book |last=Arnheim |first=R. |title=Art and Visual Perception: A Psychology of the Creative Eye |publisher=University of California Press |year=1983 |location=Los Angeles, CA}}</ref> journalism, documentary, and commercial photography.<ref name=":0" /><ref name=":3" /> In the digital age, black and white imagery is also widely used on the internet for various purposes, including illustrating articles, creating stylistic effects, and evoking nostalgia. Black and white photographs as illustrations and stylistics are also used digitally by some Internet resources of various subjects - artistic, historical, analytical-news, etc. due to the association of black and white technology with the past time, documentary newspaper photographs, etc. | |||
| == Preservation == | |||
| One more advantage of black and white photography, particularly silver-based prints, is its durability. Well-processed and thoroughly washed bromosilver photographic prints can last for centuries, making them valuable for archival purposes.<ref name=":4" /> In contrast, many color photographic processes produce images that fade over time, highlighting the long-term stability of black and white prints. | |||
| The most common color photo processes are ], ], and especially ] — yield an image composed of rapidly fading ]. The same is true for color photographs produced digitally on most ] or ]. At the same time, the preservation of a well-processed and thoroughly washed bromosilver photographic print can reach several centuries, as evidenced by storage experience. An exception is ] of both color and black-and-white photographs, which gives images with durability comparable to oil ]. However, due to technological complexity, the cost of a single pigment print exceeds $1,000.<ref>{{Cite journal |last1=Wilhelm |first1=Henry |last2=Brower |first2=Carol |year=1990 |title=Color Prints Forever |journal=Popular Photography |pages=46–49 |issn=1542-0337}}</ref> | |||
| ==See also== | |||
| ⚫ | |||
| * ] | |||
| * ] | |||
| * ] | |||
| == References == | |||
| <references /> | |||
| == Bibliography == | |||
| * {{Cite book |last=Хеджкоу |first=Джон |title=Фотография. Энциклопедия |publisher=РОСМЭН-ИЗДАТ |year=2004 |isbn=5-8451-0990-6 |location=Moscow}} | |||
| * {{Cite journal |last1=Wilhelm |first1=Henry |last2=Brower |first2=Carol |year=1990 |title=Color Prints Forever |url=https://books.google.com/books?id=MEyIeC8vgV4C&q=color+prints+forever%3F&pg=PA46 |journal=Popular Photography |pages=46–49 |issn=1542-0337}} | |||
| * {{Cite book |last=Rosenblum |first=Naomi |title=A World History of Photography |year=1984|s2cid=193861728 }} | |||
| ==External links== | |||
| * {{Cite web |title=Black+White Photography |url=https://www.blackandwhitephotographymag.co.uk/ |publisher=GMC Publications Ltd}} | |||
| {{Photography}} | |||
| {{color topics}} | |||
| ] | |||
| ] | |||
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