A Spider’s Pearls
monochrome
printed in black and white, in large sizes only
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Zebra Design
monochrome
printed in black and white, in large sizes only
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Pelican Preacher
monochrome
printed in black and white, in large sizes only
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Traffic
Densest motorised traffic in a Tokyo suburb.
monochrome
printed in black and white, in large sizes only
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MANILA JEEPNEY
monochrome
printed in black and white, in large sizes only
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Tokyo lady and her dogs
monochrome
printed in black and white, in large sizes only
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Flower garlands
A young Thai woman preparing flower garlands.
monochrome
printed in black and white, in large sizes only
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In the year of the horse
One of the famous bronze horses of the Wat Suthat Thepwararam Temple in Bangkok.
monochrome
printed in black and white, in large sizes only
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Mangroves on Baku
Mangroves in Sarawak.
monochrome
printed in black and white, in large sizes only
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Once upon a time in analog photography days, advanced photographers thought that it was a sin to go out into the world with two cameras, one loaded with monochrome film and the other for color. Before the digital revolution one had to choose. There was a good reason for this, and there still is a good reason to decide on one or the other when you leave home. The eye for monochrome trains differently from the eye for color. The great American landscape photography tradition used to be entirely black-and-white. Ansel Adams never published anything in color. His assistant and worthy successor John Sexton, a friend of mine, only uses color for unserious – not to be published – pictures.
The same with another friend, the late Ed van der Elsken, a master with 35mm, who stayed with me at various times in Tokyo. I can think of many more whose work is great because it has been done, thankfully, in black-and-white.
But I have become a sinner. That became possible because of the digital sensors. I even find it sometimes difficult to choose. Traditional Street photography was almost always done in black-and-white. Another kind that I think of as ‘street corners of the world’, as well as the work of a number of photographers inspired by the composition, color, and the play of light in Edward Hopper paintings, can only be in color. But even some of my flower compositions can only be in black-and-white before I am satisfied.
Brislecone pine 8×10 Monochrome
monochrome
printed in black and white, in large sizes only
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Artis flamingos
monochrome
printed in black and white, in large sizes only
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Evade and escape
monochrome
printed in black and white, in large sizes only
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Helleborus ballet
monochrome
printed in black and white, in large sizes only
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