Is everyone getting ready for #MonochromeMarch? For a whole month let's flood the Fediverse with lovely black and white photographs and art! It needs to be new work made in March - no raiding your archives please - but that's the only 'rule'. Oh, and you absolutely have to have fun creating! Boosts appreciated. #photography#BlackAndWhite#monochrome.
In July 2022, I had to sell my beloved Fujifilm camera and lenses 😭 What was supposed to be a maximum of 6 months using an iPhone instead, turned into 3 years.
Loads of fun 🙌🏻 My most viewed/downloaded shots on Unsplash are all from this period. This was also the first shot manipulated in post to be symmetrical AF 🪞
He sits atop the chimney across the street every day to let me know he's there. When he sees me getting things ready (opening my window and putting out the special platform I have for him) he leaves the chimney and comes to wait on this pole right outside the house.
He's still ridiculously cautious, though. And ungrateful. And messy. I guess I have a teenager.
A monochrome photo of a large crow perched alertly atop a weathered metal utility post. The crow features the characteristic all-black, iridescent plumage and a stout, slightly curved beak. Its intense focus is captured against a blurred, minimalist background.
A long wooden fence casts a striking shadow across a grassy field, leading towards a large, sprawling tree. The black and white tones emphasize the contrast between the textured grass and smooth wood.
This black and white photo of Sarah D. & L. Kirk McKay, Jr. Archives Center is taken at an angle that almost gives the architectural design a look of a mountain peak rising to touch the heavens. Built in the early 2000’s the look and aesthetic is meant to compliment the other 12 Frank Lloyd Wright buildings located on Florida Southern College. The campus at Florida Southern College in Lakeland, Florida has the largest collection of Frank Lloyd Wright architecture buildings in North America. Is has 12 original buildings that were constructed between 1941 and 1958
Pink Rose Close-up is a watercolor painting in portrait format painted by the artist Karen Kaspar. The painting shows the inside of a rose blossom in bright shades of pink and rose. The painting is monochrome in pink and pink shades, interrupted by the white of the paper background. The centre of the blossom is curling up like a spiral. The result is almost an abstract image of a spiral.
A black and white image of a beach scene featuring a wigwam-like structure made of sticks and dried leaves, positioned near the shoreline. The background shows gentle waves and a distant mountain under a clear sky.
Dark, moody clouds fill the sky, viewed from a rocky shoreline across a large inland bay. A boat launching ramp at far right has some safety signs behind a parked vehicle. A single bird is silhouetted against the sky near the centre. Monochrome image.
A raw, high‑contrast frame that hits with emotion. A woman’s face fills the shot, eyes shut tight, mouth wide open in a scream that refuses to settle into one meaning. It could be pain, it could be anger, it could be something tangled between the two. Light carves out the tension in her cheeks and the pull of her brow, giving every line a sense of strain.
Her hair is long, thick, curly, pushed outward in a wild, uncontained motion, as if caught in the middle of a sudden burst of feeling. Each curl catches the light differently, creating sharp, shifting highlights.
The background is dark and rough, a textured surface that adds to the unease. The whole image feels charged, unresolved. It doesn’t explain itself. It leaves you standing in the space between sound and silence, with questions that don’t settle.
Long shadows of trees extend across a lawn in the early morning before sunrise, The result of artificial light. In the foreground are shadows from trees out of frame behind from where the picture is taken. Tall evergreens in the background cast forward shadows from a light source behind them which is also sending out rays through the branched and mist which hangs in the atmosphere.
This black-and-white photograph captures an old, narrow wooden shutter door deeply set into a thick, ancient stone wall. The door consists of tall vertical planks of weathered wood, their grain still visible beneath years of sun, rain, and time, giving the surface a gently uneven texture full of small cracks and soft wear. Across the right side stretches a beautiful hand-forged iron strap hinge shaped like a slender tree branch or climbing vine. The dark iron contrasts sharply with the lighter wood and pale stone. Centered on the door hangs a simple iron ring knocker, its circular ring resting against a small decorative backplate. A small, modern padlock—the only clearly recent object—secures everything, threaded through a hasp and staple near the edge. The surrounding wall is built from irregular blocks of limestone or sandstone, each stone varying in size and shape, held together by thick, weathered mortar lines that have softened and receded over centuries. A plain stone lintel rests above the recessed doorway, its edges smoothed by long use. The whole scene carries a hushed, sculptural stillness. Strong tonal contrasts between the bright rough stone, the darker aged wood, and the deep black of the iron create a composition that feels both intimate and enduring, as though the door has guarded its threshold for hundreds of quiet years.
Mural by Keith Haring (completed March 4, 1986) on the façade of the former depot of the "Stedelijk Museum Amsterdam" / cold storage facility of the Central Market Halls ("Centrale Markthallen"), Amsterdam, Netherlands, June 1986
Black and white photograph of a wallpainting by artist Keith Haring on a brick wall of the façade of the former depot of the "Stedelijk Museum Amsterdam" once a cold storage facility of the Central Market Halls in Amsterdam, Netherlands, June 1986. Keith Haring completed the mural looking like a sea monster or dinosaur with a characteristic Keith Haring figure on his back with white paint and brush in one day: March 4, 1986. Haring signed the piece with three Andreas crosses (from the city flag of Amsterdam) and KH86.