A Quote by Nobuyoshi Araki
Photography has always been associated with death. Reality is colorful, yet early photography always took the color out of reality and made it black-and-white. Color is life; black-and-white is death. There was a ghost hidden in the invention of photography.
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In the '70s, in Britain, if you were going to do serious photography, you were obliged to work in black-and-white. Color was the palette of commercial photography and snapshot photography.
Only in black and white can I see the design and textures. I don't consider color photography art. Black and white is an interpretation. Color is a duplication.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
Black and white means photography to me. It's much easier to take a good color photograph, but you can get more drama into a black and white one.
I believe that the essence of photography is black and white. Color is but a deviance.
White is the color of decomposition. White is also no color. White is nothing. In photography, the paper is white, next comes the light, which is also white, then the shadow is created, the apparition.
One very important difference between color and monochromatic photography is this: in black and white you suggest; in color you state. Much can be implied by suggestion, but statement demands certainty... absolute certainty.
In black and white there are more colors than color photography, because you are not blocked by any colors so you can use your experiences, your knowledge, and your fantasy, to put colors into black and white.
Color tends to corrupt photography and absolute color corrupts it absolutely. Consider the way color film usually renders blue sky, green foliage, lipstick red, and the kiddies' playsuit. These are four simple words which must be whispered: color photography is vulgar.
I did not move into developing or processing color. I stayed with black and white. I still think to this day that I prefer to work in black and white if it has to do with poetry or anything other than specific reality. I have worked in color when I thought it was the appropriate way to express the thought that I was working on
I did not move into developing or processing color. I stayed with black and white. I still think to this day that I prefer to work in black and white if it has to do with poetry or anything other than specific reality. I have worked in color when I thought it was the appropriate way to express the thought that I was working on.
I prefer black and white and portrait photography. I like old, you know, interesting faces, so I think black and white brings out the contrast.
Nowadays, people shoot digitally and it's all in color, but you press a button and it all goes to black and white. But it's not lit for black and white. So, it's a tricky thing. If you're going do black and white, you better remember to separate things with light, because color ain't gonna be there.
In fact, I probably learned more about photography from studying black-and-white photography in those magazines [Look Magazine and LIFE Magazine] than I did from watching movies here. That's the truth.
...one sees differently with color photography than black-and-white... in short, visualization must be modified by the specific nature of the equipment and materials being used.
In the history of photography, we have many masterpieces in terms of black and white books. You have Bresson's 'Decisive Moment,' Frank's 'The Americans'... many masterpieces. But there is nothing to this caliber in color. Well, I think I'll waltz with my muse and hope that I might be able to produce something on this order in color.
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