Ayup! Until recently, I always removed pure black and pure white from my monochrome images. Why? I think I once heard a photographer say that’s what you should do. This was flipped on its head when I heard another photographer say the complete opposite: that black and white photos should include the full spectrum. Yikes! Which is right?
It turns out it’s all down to personal preference. It may also depend on the look you want to achieve. Most high-contrast photos, for example, would likely benefit from a certain amount of pure black and pure white. A more subtle look, on the other hand, might make use of the many grey tones in between the two extreme ends.
Disclaimer: For the purpose of this article, when I refer to monochrome, I’m talking about the black and white variety.
Monochrome photographs do not require pure (absolute) black and white values. Nevertheless, absolute darks and whites can create a more dynamic appearing image. It depends on what your narrative, idea, and concept is for the resulting photograph.
An Argument For Both Sides
Most photographers seem to think one way or the other. I actually like both approaches in equal measure. It fully depends on the image itself, as well as the mood I want to convey.
The way I shoot normally results in lots of pure black and the occasional smidgen of pure white. While I can recover most of it (excluding any fully blown highlights), I usually leave at least some in. Often I’ll increase or decrease them based on how much detail I want to reveal.
The mystery of an area engulfed in undiluted shadow can have a surprisingly powerful effect in a photo. At the same time, lifting the blacks and shadows creates a calming ambience. That matte look that replicates the aesthetic of vintage, low-contrast cinema and still film stocks. What’s not to love?
Nothing about black and white photography requires regions of pure black in order to look good (or pure white, for that matter). It is a bit of a myth that you need the complete range from deep shadows to crisp highlights before a black and white photo is optimal.
Instead, just do what looks the best to you, but keep an eye out for the shadows in your frame. They often have a stronger pull in black and white than in color, and your composition may need to change accordingly.
How to Control Pure Blacks & Whites
The best way to monitor your tones and highlights is with a clipping indicator. A histogram shows the same data, but a visual gauge on the photo itself is much easier to work with.
This feature is available in Affinity, although it’s hidden inside the Develop module. In Photomator, it doesn’t exist (come on, Apple), and in Lightroom, it’s the left and right arrows above your histogram. Hover over the left one to see any pure blacks (shown in blue) in your photo, and the right one for any pure whites (shown in red).
It Depends…
Do pure black and pure white belong in monochrome photos? You guessed it; it depends. Another myth that every photographer has a different answer to.
The most important consideration is intention. If you’ve got areas of pure black and pure white in your final image, know why. Conversely, if you’ve removed any clipped shadows or highlights, can you explain your reason for doing so?
To me, the latter is calmer, more controlled, and more precise, while the former is more reckless and artistic. Again, everyone will have their own take on the two approaches. What’s yours?