[摄影师的视界——迈克尔弗里曼摄影构图与设计].The.Photographers.Eye.-.Michael.Freeman09.pdf

BLACK AND WHITE he black-and-white photographic image that it makes less attempt than color at being occupies a unique place in art. It is not literal. In visual terms, black and white allows that black and white is in any way new to more expression in the modulation of tone, in art—drawing, charcoal sketches, woodcuts, conveying texture, the modeling of form, and and etching have been executed without color defining shape. What is no longer true, however, throughout history—but that in photography is the former argument of committed black-and- it was the norm, initially entirely for technical white photographers that it allows the greatest reasons. More interesting still is that when freedom in darkroom interpretation. This was the the technical limitations were swept away by case, but now digital post-production and archival the invention of color film, black and white desktop inkjet printing have made full expressive remained embedded as the medium of choice interpretation in color photography a reality. for many photographers. This continues today. Black and white, incidentally, has also benefitted In the popular view, photography is more from digital post-production in that the three realistic than any other graphic art because the channels—red, green, and blue—can be mixed in camera takes its images directly, optically from any proportion for an even greater control over reality. By