It's interesting. The moments and places that lend themselves to be almost naturally black and white. An overcast, dreary, rainy day while you stand below a towering structure composed of black steel with cascading angles that create endless shadows throughout each and every hour of the day.
I'm just as guilty as the next for subjecting endless photos to black and white when facing a dry spell of originality. More often than not it's the best way to capture a mood. Something about the duality of blacks and whites playing off each other and all the shades in between can say a lot more than a whole palette can. Saying more with less I suppose.
The reflections reinforce that notion. Mirroring right back what you were already thinking. It's kinda nice when you don't have to think too hard and the subject of your photo/s is so grand in scale that your manipulation and interpretation feels limited.
So you run with it. You drop the saturation all the way and kick your levels curve around like a tin can. It's not like the building was asking to show off its hues anyway. Contrast may be my favorite slider and adjustment. It's usually one of my first to change in post.
This is the Truist (formerly BB&T) building in downtown Charleston, West Virginia. At one point the security guard came out to smoke a clove and we talked about cool views in the area. Scott told me there's a great view of our capital from the roof. He told me if I show up on particular days after 11PM he'd take me up there to see for myself. My partner said it sounds romantic and that he might be trying to get a kiss. I wondered if I should bring my chapstick.
Song is the the first 26 seconds of WHY? "Song of the Sad Assassin" run through a cathedral and car radio filter.
