TECHNIQUE BLACK & WHITE
lighting, contrast and texture to convey the depth and subtleties of skin, which requires a precise balance. Too much contrast, for example, can make skin appear harsh or unnatural, while too little can flatten the image. Nevertheless, it can be highly flattering and enhance an actor’s performance. Levy stresses that black & white is kind to faces. “Even though we had such wonderful actors on Frances Ha – including Greta Gerwig, Adam Driver and Mickey Sumner – it’s a very aesthetically forgiving medium,” he tells us. “Now that’s not why we chose it, but it’s another technical aspect of working in black & white.” But Levy warns that you have to be careful when shooting in black & white because it is instantly very pretty. “You can’t trust pretty, it’s not enough,” he
camera assistant, he gained experience working alongside renowned DOPs such as Harris Savides, ASC and Darius Khondji, AFC, ASC. “I studied Ansel Adams’ camera books and the zone system he designed,” he says. “It’s a great way to learn the craft and consider how to look at the world scientifically in black & white.” He adds how unusual it is for feature films, especially in the mainstream, to be shot in black & white. “It immediately sets a film apart aesthetically and makes people more likely to talk about its photography. I felt lucky at the time to shoot Frances Ha – it’s very rare that you get an opportunity to do it and I haven’t gotten to since. Hopefully I’ll get to do another one.” For Grau, it’s the most forgiving style of cinematography. “The difference between film and digital narrows when there is no colour, so digital is closer than ever to film in black & white,” he says. “It makes sense that a lot of filmmakers fell in love with black & white. Some of the movies we love the most are shot that way. It sends the imagination to a whole other level than colour.” Papamichael, who started his career shooting black & white shorts, would love to return to the medium. “I come from stills originally. Prior to shooting my first shorts, I always had two Nikon F2 cameras on me. One always had a black & white film, and one always had Ektachrome loaded,” he concludes. “I would love it if someone told me I will only shoot black & white movies for the rest of my career. I’d be very happy.”
says. “There are a lot of mediocre movies that are pretty, and a lot of incredible films I love and admire that are not. I tend to be more drawn to things that are not conventionally pretty, as long as the film itself is good. I want to approach the work thoughtfully, without overthinking it.” Papamichael agrees that there is something about lighting faces in black & white and letting things fall off in the background. “It puts more focus on the performances and emotions,” he says. “It’s often said that black & white is an actor’s best friend. There is something about letting the audience focus on the subtleties of the performance without
the distraction of colours.” MONOCHROME MAGIC
Levy recalls studying black & white photography early in his career. As a
SECRET TRICKS Passing (top) and Nebraska (bottom) were originally shot in colour
16
DEFINITIONMAGAZINE.COM
Powered by FlippingBook