Long Live Black and White

We photographers are constantly looking for inspiration to improve in the art of image-making.

Today it is easy to jump on YouTube and see what our peers are doing around the world. Whether it is studio or street photography, there is always something for everyone.

But some of us still prefer that so-called “old and outdated” material: books. In them we can fully appreciate the great masters like Henri Cartier-Bresson, Ansel Adams, Juan Rulfo, Daidō Moriyama, Robert Doisneau and many others.

These books are exquisite, filled with impeccable black-and-white photographs that are always inspiring. It is impossible to leaf through them without feeling two things: a bit of impostor syndrome and, at the same time, an enormous urge to go out and shoot without fear.

That said, I will not lie: many of us also want our photos to look “cinematic” (whatever that means). That is why some of us also turn to cinema, learning from framing and composition, though it can be tricky… unless you happen to own a Hasselblad X-Pan and shoot panoramic by default.

The other day I stumbled on a new source of inspiration, and I have been making the most of it.

Enter Classic Cinema

As a film enthusiast, I am always searching for great stories. It is difficult to find them in Hollywood’s current offerings, full of weak remakes.

So a couple of weeks ago I started exploring movies from the first half of the 20th century.

I can say with confidence that I have enjoyed them like never before, for several reasons.

LOTS OF BLACK AND WHITE

I love shooting in black and white. Most of my film shots are in this style. Watching classic films shot on the emulsions we all love (many of them now gone) is pure joy. Fine grain, deep blacks, impeccable lighting… it is all there. And if the movie happens to be noir, then it is bliss. The other day I watched one set in rainy 1950s Paris. The contrast of shadows and lights felt like negatives coming alive in the darkroom.

ALMOST SQUARE FORMAT

Now that I am shooting 6×6 with my new Yashica Mat, classic cinema has become an unexpected teacher. Back then the aspect ratio was 1.33, almost square. Not the same as looking through the big ground glass of a TLR, but it gives great ideas about composing within a tighter frame.

PERFECT LENGTH

Modern life has changed my tolerance for long movies. These days I think only a masterpiece should run more than two hours. In the past, stories were usually around ninety minutes. That means you can watch a whole film and still have time to head out for a photo walk.

Conclusions (for now)

In cinema from the last century, I found everything I was looking for: good stories, solid acting, unique proportions, plenty of black and white, and the perfect length.

If you dive into this world, you will discover films and cinematographers who were pioneers and legends. Over the last few weeks I have watched films from Mexico, the United States, England, France, Italy, Russia, and Japan. Each with their character, their film stocks, and their own way of showing what the world looked like by day and by night.

If your first thought is that watching movies from a hundred years ago sounds boring, let me tell you I thought the same. But all it took was one great story, and within five minutes I was hooked.

Give it a chance. There are plenty of gems waiting not only to entertain you, but also to inspire your photography.

And if you do not work in black and white, just move forward to the 60s and 70s, when color took over. You will find plenty of Kodak and plenty of composition lessons there too.

Classic cinema does not just entertain. It is an open workshop of light, framing, and storytelling for any photographer willing to look beyond the YouTube algorithm.