Detail in highlight and shadow – black and the photographer
From a photographer’s standpoint, the relationship with black is nuanced and highly affected by both the subject matter and printed output. Photographer and filmmaker,
Clive Booth is a Canon Ambassador and contributor to Nick Knight’s fashion website,
SHOWstudio. His love of print means that he views black as a spectrum and every variation in the spectrum holds equal value. “Yes, you’re looking for pure black in print – to be as black as you possibly can, whether it’s colour or black and white,” he explains. “Then, of course, what you’re looking for are the levels of black. I work a lot with Sir Don McCullin and if you look at Don’s printing, he likes his shadows to be really crisp. A lot of photographers like levels of detail and so Canon have produced ways of doing that with variable blacks and greys.”
Remembering that black is only as dark as it’s perceived reflected light, it’s a big challenge to create that perfect combination of ink and surface that does justice to work like Clive’s or Don’s. An absolute black like 3.0 or Vantablack would look entirely out of place in most photographic work. “Black is vitally important for photographers, but there is a limit to how black that black can be,” says Clive. “In print, we’re basically looking to control the black, which is why we add grey inks. It gives us a lovely smooth tonal range, which is so important in black and white printmaking. The dark areas are super black, but when you come through that tonal range, it’s smooth with no gradation.”
But why? The reason is simple
Among this mass of black, the challenge has always been to discover a way of representing what already exists, whether that’s a black hole, or a gentle shadow in dappled sunlight. The necessity to recreate something as abstract – and almost philosophical – as black in the quest for pushing the boundaries of both art and science speaks to the fact that humans are natural explorers, with a desire to both see the world and then present that uniqueness of vision to others. Whether photographer, artist or scientist, all colour is entirely as our eyes and brains process it and is simply our perceived reflection of what’s in front of us. Stuart Semple sums this abstraction up beautifully:
“We're actually not playing with colour. We're playing with light.”
And with this knowledge, every version of black is as useful, valid and necessary as the image it is trying to portray.