Why You Might Be Wrong About Color vs. Black-and-White Photography—Lessons from Helen Levitt’s Spider Girl
Why You Might Be Wrong About Color vs. Black-and-White Photography—Lessons from Helen Levitt’s Spider Girl
Throughout the history of photography, one topic has always sparked debate.
Color or Black and White?
Is it a matter of personal preference?
Both have their champions. Joel Meyerowitz famously carried two Leica cameras—one loaded with color film and the other with black-and-white. Eventually, he decided that color was his true love. Elliott Erwitt, on the other hand, stayed loyal to black-and-white for both his commercial and personal work.
Now enters Helen Levitt.
Her photograph Spider Girl marks a turning point. It shows an interesting point in her transition from black-and-white to color. But this isn’t the first color photo she ever took. Let’s rewind.
How did it all begin?
Helen Levitt started her photography journey in the 1930s in Brooklyn, New York. She began as a commercial portrait retoucher but found her true passion in street photography. Henri Cartier-Bresson inspired her. His use of the 35mm Leica camera changed how she saw the world.
She turned her lens to the streets of New York, focusing on children at play. Their chalk drawings, games, and raw creativity fascinated her. Her early work was in black-and-white, influenced by the candid style of photographers like Walker Evans. By the late 1930s, Levitt had already established herself as a keen observer of urban life.
Recognition followed.
By the 1940s, Levitt’s talent was undeniable. Her first solo exhibition at MoMA in 1943 showcased her emotional depth. Later, Guggenheim Fellowships in 1959 and 1960 allowed her to explore color photography, marking a new chapter in her career
Then tragedy struck.
In 1970, someone broke into her apartment. They stole all her color negatives and prints. Years of work—gone. This was a huge loss, but it didn’t stop her. She kept creating. In 1974, her new color work was shown at MoMA in a unique slide projection. Some of these surviving images and later works were featured in her 2005 book Slide Show: The Color Photographs of Helen Levitt.
Which brings us to Spider Girl.
This photo takes us back to a subject Levitt loved: children playing outside. The world around her had changed, but she still found magical moments.
Color is what makes this photo stand out. The green car grabs your attention. It gives the scene energy and vibrancy. In black-and-white, it might have been overlooked.
Why does it work?
The Girl’s Pose – Playful and Curious. She crouches low, arms stretched out like a spider. It’s a playful, creative pose that makes you wonder—what is she doing? Is she pretending to be a spider, reaching for something, or just lost in her own world? Levitt had a gift for catching moments like this, where a single gesture tells a story. But the true hero is the color.
Color ties everything together. The girl’s white sleeve echoes the tire’s whitewall, while the blue car in the background adds depth. These subtle details create balance—connections that might be lost in black-and-white.
Levitt once said, “Children used to be outside. Now the streets are empty. People are indoors looking at television or something.” This photo feels like a memory of those earlier times, even though it’s in color.
In this single moment, Levitt captures not just a playful child, but a glimpse into a world that feels both nostalgic and timeless.
Or if you feel this might be overanalysing the picture too much you can simply say the picture “works” because it is old and has some nice cars in it.
The debate continues.
Photographers still argue about what’s better: color or black-and-white.
Black-and-white simplifies. It strips away distractions. Shapes, tones, textures, and composition become the focus. It’s timeless, dramatic, and introspective. Without color, viewers see the core of a scene.
Color is vibrant. It feels real, like the world we see every day. It adds emotion and layers of meaning. It can tell richer, more dynamic stories. But using color well takes skill. You need to understand balance and theory.
Both have their place.
Black-and-white is classic. Color is modern. The choice depends on what the photographer wants to say. Helen Levitt mastered both, using them to tell stories in unique ways.
In the end, it’s not about which is better. It’s about which serves the story you want to tell.
The lesson is simple.
Photography isn’t about picking a side. It’s about using the medium—color or black-and-white—to tell your story. Levitt’s work reminds us to see the world more carefully and to share that vision with others.
All that said, I’m personally picking color! So, what about you—are you Team Black-and-White or Team Color?
This story was inspired by “Street Photography: A History in 100 Iconic Images”
“Street Photography: A History in 100 Iconic Images” by David Gibson (Website, Instagram) is a comprehensive and visually captivating exploration of street photography’s evolution. This book, published by Prestel on May 28, 2019, provides a curated journey through 100 significant photographs that highlight the genre’s diversity and impact. David Gibson, a respected figure in street photography and a founding member of the In-Public collective, has meticulously selected images that span from pre-war gelatin silver prints to modern digital captures. The collection includes works by renowned photographers such as Henri Cartier-Bresson, Joel Meyerowitz, Gordon Parks, and Garry Winogrand, as well as contributions from lesser-known yet equally significant artists. This diverse selection showcases the genre’s ability to capture both the ordinary and extraordinary moments of daily life.
Each photograph in the book is presented on a double-page spread, accompanied by insightful text that provides context and background on the photographer and the image. Gibson’s introduction offers a thoughtful overview of the history and enduring appeal of street photography, reflecting on its evolution and its role in documenting the human experience. The book’s scope is truly global, featuring images from various parts of the world, from New York’s Central Park to a mountain city in Mongolia. It addresses the challenges of representing such a wide array of work, including the underrepresentation of women and international photographers, striving to present a balanced and inclusive view of street photography.
“Street Photography: A History in 100 Iconic Images” is a must-have for photography enthusiasts, offering both inspiration and a comprehensive understanding of this dynamic and ever-evolving genre.
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