Colour v Black & White

Black and White vs Colour Film. How to Choose What to Shoot and When

One of the most common questions we hear in the lab is simple, but loaded.

"Should I shoot this in black and white or colour?"

There is no single correct answer, but there is a useful way of thinking about it. One that takes the pressure off and helps you make better choices in the moment.

Here is our honest take.

Shoot black and white when the light is good. Shoot colour when there is colour worth photographing.

That idea alone will improve most people's photography.

Let's unpack why.

What Black and White Film Is Really About

Black and white photography is not about nostalgia. It is not about being serious. It is not about pretending you are a documentary photographer from the 1960s.

Black and white is about light, shape, contrast, and texture.

When you remove colour from a scene, everything else becomes more important. Directional light. Shadow detail. Highlights. The relationship between dark and light areas. Lines and form. If the light is flat or dull, black and white will usually feel flat and dull too.

Good black and white photography almost always starts with good light.

Think about situations where black and white shines:

- Strong sunlight creating deep shadows - Side light hitting faces or buildings - Overcast but contrasty light - Hard light on texture like brick, skin, fabric, or pavement - Simple scenes with clear shapes

This is why black and white film works so well in winter, early mornings, late afternoons, and on bright but crisp days. The light is doing the work for you.

If the light is boring, black and white will not magically save it.

Why Colour Film Needs Colour to Work

Colour film is often treated as the default. But colour photography is not just black and white plus colour. It has its own rules.

Colour works best when colour is actually part of the subject.

If there is nothing interesting happening colour-wise, colour film can feel pointless. Muted scenes with beige walls, grey skies, dull clothing, and flat light often look better stripped back to black and white.

Colour film comes alive when:

- There are strong or contrasting colours - Colour tells part of the story - The environment is visually busy or vibrant - Skin tones, signage, food, or clothing matter - The mood relies on warmth or atmosphere

Think markets, seaside towns, festivals, pubs, street signs, summer light, neon, painted walls, fairgrounds. These scenes lose something important when you remove colour.

If you find yourself saying "I like the colours here", that is usually your cue to load colour film.

Light First, Then Colour

A useful way to decide is to ask two quick questions before you shoot:

Is the light interesting? Is the colour interesting?

If the answer to the first question is yes and the second is no, black and white is often the stronger choice.

If the answer to the second question is yes, colour usually makes more sense, even if the light is not perfect.

If both are good, either will work. At that point it comes down to intent.

Common Myths That Trip People Up

"Black and white is more artistic." No. It is just different. Bad black and white is still bad photography.

"Colour is easier." Not really. Colour adds another layer you need to control.

"You can always convert later." Technically true, but shooting with intent almost always produces better results.

"Street photography should be black and white." Plenty of the best street photographers shoot colour. Parr proved that decades ago.

Film Choices Matter Too

Different films lean into these ideas in different ways.

Black and white films with strong contrast reward good light. Lower contrast stocks need careful lighting to avoid looking flat.

Colour films vary wildly in how they render colour. Some exaggerate it. Some soften it. Choosing colour film without colour in the scene is like choosing the wrong tool for the job.

At the lab we often see rolls where the film choice does not match the conditions. That is part of learning. Everyone does it.

The goal is not perfection. It is awareness.

There Are No Rules, But There Are Patterns

Plenty of people shoot black and white in dull light and make it work. Plenty shoot colour in flat conditions and love the results. Photography is subjective and always will be.

But patterns exist for a reason.

If you are unsure, overwhelmed, or second guessing yourself, this simple framework helps:

Good light. Black and white. Good colour. Colour film.

Everything else comes with time.

Final Thoughts

The more you shoot, the more instinctive this decision becomes. Eventually you will load a roll without thinking too hard about it because you already know what kind of day it is.

Until then, slow down. Look at the light. Look at the colours. Let the scene tell you what it wants to be.

And remember, whatever you shoot, we will take care of it when it comes through the lab.