Recognising a good subject in photography requires experience. This experience does not come from theoretical knowledge alone, but above all from doing – and from consciously accepting mistakes. Anyone who takes photographs must be prepared to take pictures that don't turn out well. In digital photography in particular, this freedom is greater than ever: failed attempts no longer cost film, and unsuccessful shots can be deleted, analysed and left behind.
But before technology and image editing come into play, there is a much more fundamental step: thinking differently. It is not the subject itself that is decisive, but the way we see it. Exercises such as thinking in black and white or deliberately working through an image in different ways help enormously. They train the eye for shapes, contrasts, moods and visual statements.
I would like to illustrate this process using a single motif. The same image has been deliberately interpreted in several ways – each elaboration places a different emphasis and tells a slightly different story.
The image in colour
The colour version most closely corresponds to our natural perception. Colours provide orientation, emotion and context. They can be supportive, but they can also be distracting. In this version, the motif is shown as it was found – honest, direct and unadulterated. The challenge here is to use colours consciously without allowing them to dominate the message of the image.
Old colour reversal film style
Editing in the style of classic Ektachrome film gives the image a nostalgic feel. Typical features include cool colours, strong contrasts and a slightly altered colour palette. Agfachrome produced a similar effect, except that Agfa had a warmer tone. This tone deliberately distances itself from reality and evokes memories, emotions and associations. The image appears less documentary and more narrative and timeless.
Black and white
In the black-and-white version, the motif is reduced to its essential components. Colour is completely eliminated, and form, light and contrast come to the fore. This reduction forces the viewer – and also the photographer – to look more closely. Lines, structures and tonal values now determine the effect of the image. This often reveals particularly clearly whether a motif really works.
Black and white with sepia toning
Sepia toning combines the clarity of black and white photography with a touch of warmth and nostalgia.
It takes away some of the severity of the image and gives it a calmer, almost melancholic mood. This effect is particularly suitable for subjects that deal with time, memory or transience. Toning comes in two forms: brown toning (sepia) and blue toning (selenium). It was also a step before hand colouring. This was necessary because black-and-white images usually have very high contrasts, which means that the protein glaze colour cannot unfold its effect. While sepia toning creates warmth, selenium toning has a cool and distant effect.
Conclusion
Consciously working on an image in different variations is more than just playing with filters. It is an exercise in seeing, thinking and deciding. Each variation changes the message of the image – sometimes subtly, sometimes significantly. Those who engage in this process not only develop their personal style, but above all learn to perceive motifs more consciously and interpret them photographically.
