Black and white photography strips away distractions, leaving you with only the basics—form, shadow, and light—to shape your images. Mastering this simplicity helps you understand composition on a deeper level.
Coming to you from Faizal Westcott, this insightful video explores how removing color changes the way you approach photography, not just visually but also creatively. Westcott argues that color isn't inherently distracting; rather, both color and monochrome offer unique ways to express emotion and direct attention. By deliberately shooting in black and white, you become attuned to subtle contrasts and textures you might usually overlook. Westcott emphasizes that this practice doesn't just mean applying a filter after the fact—it's about training yourself to see in tones rather than hues. This approach isn't about nostalgia or style alone; it's about developing your ability to spot compelling visuals within scenes that might otherwise seem mundane.
Historically, street photography owes much of its identity to black and white images. Westcott highlights iconic photographers like Henri Cartier-Bresson, Robert Frank, and Vivian Maier, whose work illustrates how monochrome can capture the decisive moments hidden within the chaos of urban life. Interestingly, the video points out that for these artists, monochrome wasn't always an artistic preference—it was the practical standard dictated by the technology and culture of their time. Despite these constraints, black and white became a powerful tool to isolate emotional intensity, allowing scenes to speak more directly. Understanding this context enriches your appreciation for why monochrome remains influential in street photography today.
Westcott offers a practical example from his experience photographing Manhattan’s vibrant Chinatown. The overwhelming burst of colors often feels visually noisy, making it hard to focus on a clear subject. Switching his camera—the Fujifilm X100F set to the Acros film simulation—into black and white mode helps him cut through the clutter. He describes how scenes once chaotic become clear and compelling, transformed by tonal contrasts that emphasize motion and depth. This demonstrates how black and white isn’t about loss but rather about intentional focus. Westcott’s practice illustrates how experimenting with monochrome encourages deeper observation, revealing dynamic elements like rhythm and movement often overshadowed by colorful distractions.
Westcott also draws inspiration from cinematographer Roger Deakins, whose still photography offers a master class in using black and white as more than just aesthetic—it becomes a storytelling device. Deakins’s images, documented in his book Byways, teach you how carefully managed contrasts can set mood, deepen narratives, and enhance visual clarity. Studying these examples could help you understand how the principles Deakins employs in film can directly apply to your photographic practice. Check out the video above for the full rundown from Westcott.
Love Faizal's work and love this video. The example of the crowded street is such a good one. For me, the color version is busy and details are distracting. In switching to black-and-white, suddenly it becomes geometric, and the composition suddenly falls into place.