Black and white photography: How to take monochrome prints

But it allows the photographer to concentrate on shape, detail and structure without being distracted by the colour.

Members of the Potters Bar & District Photographic Society (the Society) have an annual competition that is dedicated to monochrome prints.

However, this selection is from individual members’ collections and they explain about the photographs in their own words.

TONY MEAD

Corrosion and Decay

Corrosion and Decay taken by Tony Mead at Corfe Castle Station. (Image: Tony Mead)

Taken some years ago at Corfe Castle Station of railway waggons in a bad state of repair before enthusiasts got the trains up and running again. Looked OK in colour but felt mono and some filter work gave it more contrast.

Ever Decreasing Circles

Ever Decreasing Circles taken by Potters Bar and District Photographic Society member Tony Mead. (Image: Tony Mead)

Found these buildings in Canary Wharf and I needed some mono prints and as these had very little colour to begin with they were ideal. Finding large circles in buildings was not easy.

Chrome Delight

Chrome Delight taken by Tony Mead at a car show in Knebworth. (Image: Tony Mead)

Got to see this at a car show in Knebworth. The car enthusiasts there spend endless money to make their pride and joy to look better than anybody else’s. This image is ideal for mono.

Trio of Ports

Trio of Ports taken by Tony Mead at a car show in Knebworth. (Image: Tony Mead)

Spotted these at the same car show as the previous one, but was a different car. Once again seemingly a lot of money was spent on the engine for this effect, and for a photographer like me, hard to resist.

FIONA ADAMSON

Shell-Haus contours captured in Berlin by Fiona Adamson. (Image: Fiona Adamson)

My selection of mono images show my love of architecture.

Buildings lend themselves nicely to black and white conversion and I enjoy trying to find patterns and symmetry when composing and taking my shot.

Underneath the Valencia Opera House by Fiona Adamson. (Image: Fiona Adamson.)

Both these images were taken with a clear blue sky behind the building, and this allows with processing to give a nice black background.

If the sky has clouds, I will take the shot using a long exposure (2-8 minutes) which will give lovely streaks in the sky and can make the image more dramatic.

The locations are Shell-Haus in Berlin and Valencia Opera House.

GEOFF LAUDER

A sepia photograph of winter by the lakes in Welwyn Garden City by Geoff Lauder. (Image: Geoff Lauder)

Shown in sepia to give a bleak feel with mist and starkness of winter trees. Taken at the Sailing Lake in Welwyn Garden City.

An office building in Berlin, photo taken by Geoff Lauder. (Image: Geoff Lauder)

An interesting city office building in Berlin having outstanding angles against a dark overcast sky.

A multiple exposure black and white photograph of tourists with Tower Bridge in London as a backdrop taken by Geoff Lauder. (Image: Geoff Lauder)

A multiple exposure, taken before lockdown, on a lovely summer's day with crowds of tourists. I wanted to illustrate a busy happy scene.

YVE PAIGE

The Eye of a Zebra by Yve Paige. (Image: Yve Paige)

Tiger, Tiger by Yve Paige. (Image: Yve Paige.)

For the first two, I was looking for a good contrast for black and white photos, the zebra was an easy choice, but I think the tiger worked really well too.

Kenney Jones of Small Faces by Yve Paige. (Image: Yve Paige)

The third photo of drummer, I was back stage and I used monochrome as the colours of the lights were too distracting.

Gherkin by Yve Paige. (Image: Yve Paige)

The last two photos of the Gherkin I was interested in the reflections in the glass giving lots of contrast.

A photograph of The Gherkin in London by Yve Paige. (Image: Yve Paige)

The Society meets on Monday evenings and is happy to see any new members, whatever their photography skills, from 7.30pm in the Alexander Wilding Suite in the Wyllyotts Centre, Darkes Lane, Potters Bar.