Why I Shoot in JPG Black and White: A Radical and Definitive Choice
Here I explain my reasons
In a world where post-processing offers endless possibilities, I choose to limit myself, not as a restriction, but as a way to deepen my craft and stay true to my vision as a black and white photographer. There is no turning back possibility. And I accept completely the challenge. By doing this is just like to use film rolls, of course black and white film.
Seeing in Black and White: When I photograph, I need to think in black and white. This mindset isn’t something to decide after the shot; it’s integral to the way I see and interpret the world around me.
A Radical Commitment: Shooting directly in JPG Black and White is a radical choice. It means there’s no going back to color—no room for second-guessing or adjustments later. The decision is final, and I embrace it fully.
Total Immersion: By committing to black and white at the moment of capture, I’m fully immersed in the monochromatic world. This approach shapes how I see light, shadows, and contrasts, making my entire street photography experience different.
No Safety Net: Shooting in RAW allows for post-processing flexibility, but that’s not what I’m after. By choosing JPG, I eliminate the safety net and focus entirely on getting the shot right in-camera, every time. When I upload the photos in Lightroom are already in black and white, I just need some music and starting my post processing workflow.
Purity of Intent: My decision to shoot in JPG Black and White reflects the purity of my intent. There’s no “fixing it in post” or reconsidering my choices. It’s about capturing the essence of the moment as I envision it, with no compromises.
A Different Approach: This method forces me to approach the street differently. Every frame is composed with black and white in mind, from the way I perceive light to the way I frame my subjects. It’s a complete shift in how I engage with my environment.
Definitive Artistry: By committing to JPG Black and White, I make a definitive statement with my work. It’s not just about the final image; it’s about the entire creative process, from seeing to capturing, that is uniquely monochromatic.
By choosing to shoot exclusively in JPG Black and White, I’m not just making a technical decision—I’m committing to a way of seeing and interpreting the world that is unfiltered and unwavering. This approach demands that I be fully present in each moment, that I trust my instincts and vision, and that I embrace the raw, unaltered truth of my subjects. There’s no room for hesitation or retreat; the choice is final, and in that finality, I find freedom. This is not just a method—it’s a philosophy, one that defines my work and sets it apart. In a world full of possibilities, I choose the power of limitation, knowing that it brings out the most authentic, powerful, and timeless expression of my photography.
