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SilverPrint.ca

Making art the ol' fashioned way, on film and paper
  • Home
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  • 35
  • 120
  • 4x5 (LF film)
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So … While I say that this site is devoted to analog photography only, I am well aware of the inherent irony that to present these pics on the web requires them to be digital.

There is no way around that; the WWW is digitally native…

All I can say is that all the pics here are shot on film, hand developed, printed in an enlarger or by contact, and then scanned on my Epson V700 with no further digital alterations, tweaks or enhancements… It’s the best I can do …

Osprey Falls, Wells Gray Park. Kentmere 400 with Pentax 17 (half-frame 35mm)…

The Strange Honesty of Black and White

July 08, 2025

One of the strange gifts of black and white photography is that no one ever asks, "Is that how it really looked?"

With colour—especially digital—this question is always lurking. The saturation, the warmth of the light, the shadows, the contrast: every part of a digital image can be pushed and pulled. You can make a grey morning glow like a golden hour. You can turn a dull sky blue. You can erase blemishes, adjust curves, and clone out anything you don’t like. And people know this. That’s the problem. We’ve trained ourselves to question what we see. Is it real, or is it PhotoShop?

Black and white sidesteps that whole conversation. It doesn’t pretend to be a faithful record of the way things looked. There is no colour. The honesty of black and white is in its abstraction. It doesn’t claim to be real—it just is. Light, tone, shape, texture. A world reduced to its bones.

That reduction opens up options. You don’t need the golden light of sunrise to shoot a black and white landscape. You don’t need the lush green of spring to shoot a field. You don’t even need a subject that “looks good” in colour. With black and white, it’s all about how it feels.

That feeling runs deep. Photography started in black and white. For a long time, it was the only option. And when colour came along, it was rightly celebrated—imagine seeing the world suddenly rendered in Kodachrome after a lifetime of greys. But colour film still had rules. Each emulsion had a distinct look. The results were shaped by the film you used, not endlessly alterable.

Digital changed that. It removed the limits. Anything became possible. And with that, we lost something: the constraints that used to anchor our choices, and the trust that used to anchor our images.

So here we are, in a strange moment. Black and white—always abstract, never literal—may now carry more truth than colour. It doesn’t try to convince you that it looked that way. It just shows you what the photographer saw, or felt, or wanted to say.

That’s one of the joys of shooting black and white film. No questions asked.

Prev / Next
  • July 2025
    • Jul 8, 2025 The Strange Honesty of Black and White Jul 8, 2025
  • June 2025
    • Jun 25, 2025 Defiance ... Jun 25, 2025
    • Jun 23, 2025 Lilies and Sagebrush... Jun 23, 2025
    • Jun 20, 2025 Ektar 100 Colour Film in B&W Developer ...?? Jun 20, 2025
    • Jun 14, 2025 What Story Does This Image Tell...? Jun 14, 2025
    • Jun 13, 2025 Wildflowers and Wildlife ... Jun 13, 2025
    • Jun 12, 2025 AI Makes Analog Feel Even More Necessary Jun 12, 2025
    • Jun 9, 2025 Alt Processes -- Playing With the 'Dark Arts' Jun 9, 2025
    • Jun 9, 2025 Another Waterfall Jun 9, 2025
    • Jun 7, 2025 The Power of Water Jun 7, 2025
    • Jun 7, 2025 The Obstacle is the Way Jun 7, 2025
    • Jun 7, 2025 Grey Goose on the Rocks Jun 7, 2025