Monochrome Moods
Black and white photography, at its best.
Monochrome Moods is black and white photography at its best — it plays between the contrasts of light and dark, finds the farthest edges between them, and puts them in one image. Not only stripping a photo to its essence, but finding a new truth.
Only the photographs that work better without colour show up in Monochrome Moods. The frame holds itself up — by form, by light, by contrast, by the weight of what's in it — and colour would be in the way.
The work runs heavy on architecture and industrial register. Modernist glass facades from below where the grid becomes the photograph. Brutalist concrete — stairs, walls, the texture of poured surfaces. Old facades against dramatic sky, civic and institutional buildings read as graphic form, factories and cranes at the working edges of cities. Landscape and water make it in too — coast, polder, fog over a field — but black and white tends to reward subjects that already think in form. The Netherlands is a country built in brick and reclaimed land, with civic buildings as graphic anchors and weather doing dramatic work on a flat horizon. The collection draws on all of it.
Light does heavy lifting here. Stark sun for the deepest blacks, heavy overcast for the flattest tonal range, fog and weather for the dramatic register, a sky doing graphic work behind a facade. Black and white rewards conditions that already think in it — high contrast or even contrast, never decorative middle.
Camera is a Nikon D3500. Prime and wide-angle both, used however the subject calls for it. Full kit on My Gear.
Monochrome Moods is photography at its strongest in black and white. The frame stands without colour because it never needed it.