Spring is the most colourful of seasons so how can we best capture its wonders in monochrome? The colours of spring are special to us as we transition from the muted, often monochromatic tones of winter to a vibrant explosion of life and renewal. So what happens if we remove those colours from our photos?
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I wonder whether images ‘choose’ photographers? I think in a way they do, in the sense that any keen photographer will put themselves in the best position for potential pictures to choose them. They know where to go, where (and importantly) how to look.
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The first colour many of us think of when we hear the word ‘night’ might well be black. But as Van Gogh famously reminded us, there are many more colours to be seen then too. And he made his remark before the advent of our brightly lit cities, where many colours are more evident at night than black!
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I am writing this at the end of March and spring seems definitely to have arrived in London. Street trees are in blossom, birds are more active and more vocal, and our garden is awakening. But my ‘story’ starts back in the tail-end of winter, February.
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Neil Gaiman once said, 'Picking five favourite books is like picking the five body parts you'd most like not to lose.' If you replace the word ‘books’ in that quote with ‘photographs’ you will know exactly how I feel. I have a similar reaction when people ask me which are my top three / five / ten places I’ve visited.
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A good portrait photograph is shaped by the connection between two people, photographer and subject. Without that connection the image is at best less interesting, at worst lifeless. When we look at an interesting portrait we discover something about the person portrayed: their life, their character. But we only do so if the photographer has discovered this and brought it out in their image.
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Without the distraction of colours, the focus shifts more to the subject’s face and expression. The eyes in particular seem to stand out more, and consequently as a viewer you often feel more connected to the person. And the absence of colour results in an emphasis on shape and form, often making the people seem more significant than their surroundings.
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Perhaps because Britain is a relatively small island, many of us are drawn to the sea. After all, we nearly all live within a few hours drive of the coast. We grew up with seaside holidays, day trips to the beach. We are known as a ‘nation of seafarers’, based on those days when ‘Britannia ruled the waves’.
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I remember many a snowy January as a child, including some very bad ones. And well into my adult years snow was a regular occurrence. But in recent years we’ve seen it less and less, although northern England still gets its fair share. This January it probably got more than its fair share, as storms hit the UK, but in London we saw only a dusting of snow first thing one morning, gone almost as soon as it got light.
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Wherever we travel in the world we find cities building and rebuilding themselves. From Pyongyang in North Korea to Seattle on the west coast of the US and also back at home in London, there is no dearth of modern architecture to love or loathe.
