18 Award-Winning Black And White Photos From The 2024 ReFocus Awards

Why Black-And-White Still Wins in 2024

The best black-and-white photos don’t feel “old-timey.” They feel clear. When you remove color, your viewer stops
scanning for the bright red jacket and starts reading the image like a map: where the highlights point, where the shadows pool,
where the lines lead, and what the textures whisper. In other words, monochrome turns “stuff in a frame” into design.

That’s also why the reFocus winners look so different from one another. Some lean into graphic minimalism. Others lean into emotion,
story, or surrealism. But they share a common DNA: deliberate choices about contrast, tonal range,
and visual hierarchythe unsexy fundamentals that magically become sexy the moment they work.

And yes, the awards matter because they offer a clean benchmark. If you want your work to level up, studying top contest winners is like
doing push-ups next to someone who can do pull-ups with one finger. Humbling? Sure. Useful? Absolutely.

The 18 Award-Winning Photos (and What They Teach Us)

Below are 18 recognized winners from the 2024 reFocus Awards Black & White Photo Contestoverall podium images and category winners.
Since you may be reading this without the photographs in front of you, each entry includes a quick “why it works” breakdown and a takeaway
you can borrow for your next shoot.

1. Overall Winner (Professional, 1st Place): “The Right to Know” Roberta Vagliani

   A strong photojournalism image doesn’t just show a placeit shows a moment of attention. This winning frame lands because of
   its patient timing and the way gaze becomes the story: one look can turn a scene into a narrative. The composition lets the environment
   breathe while still pulling you toward the human spark inside it.

   Try this: When photographing real life, don’t chase actionwait for connection (eye contact, gesture, a turn of the head).

2. Overall Winner (Professional, 2nd Place): “Mirror” Szymon Brodziak

   Conceptual black-and-white lives or dies by control. “Mirror” works because it feels engineered but not sterilereflection becomes a
   visual riddle, and the tonal transitions keep the image elegant instead of loud. It’s proof that “simple” can still be cinematic when
   the lighting is intentional.

   Try this: Build a concept around one visual device (reflection, repetition, silhouette), then light it so the idea reads in one second.

3. Overall Winner (Professional, 3rd Place): “Half Brothers” Kyriakos Kaziras

   Wildlife in black-and-white is tricky because fur and feathers can turn into gray mush. This image avoids that by using crisp tonal
   separation and a clean subject relationshiptwo animals, one bond, and enough clarity that you can feel the tension and tenderness at once.

   Try this: For wildlife, expose for texture. If you can’t “feel” the fur in your highlights and shadows, keep working the light.

4. Aerial Category Winner: “Crosswalk” Yongseok Chun

   From above, people become punctuation marks. The win here is graphic storytelling: geometry, rhythm, and tiny human motion playing against
   a bold pattern. It’s a reminder that scale can create dramaespecially when the scene reads like a minimalist poster.

   Try this: In aerial work, hunt for repeating shapes and one “rule breaker” (a lone figure, a different stride, a diagonal line).

5. Fine Art Category Winner: “Morning Light” David Zlotky

   Light does most of the talking in fine art monochrome, and this photo speaks in paragraphs. The mood is built from soft gradients and
   careful shadow placement, the kind of tonality that makes you slow down. It’s not “what” you’re seeingit’s how the light describes it.

   Try this: Shoot when light is directional but gentle (window light, early morning). Then edit for smooth transitions, not maximum punch.

6. Nature Category Winner: “Romance in the Cottonwoods” Michael Paul

   Nature photography often leans on color to impress. This one doesn’t need it. The image succeeds because it uses atmospheredepth, negative
   space, and a subject pair that reads emotionally even as silhouettes. It’s both documentary and poetic, which is a hard combo to pull off.

   Try this: Let weather help you. Fog, snow, or haze can simplify backgrounds and make your subject feel sculpted.

7. Film/Analog Category Winner: “No Land For Old Man” Heikki Leis

   Analog winners often carry a tactile quality: grain, texture, and a kind of honest imperfection. This image stands out by leaning into that
   character instead of fighting it. The vibe feels timelesslike it was found, not manufactured.

   Try this: If you shoot film (or emulate it), commit: embrace texture and tone, and don’t over-polish the soul out of it.

8. Minimalism Category Winner: “Curves” Renee Giffroy

   Minimalism in black-and-white is basically a stress test: does your composition still work when there’s nowhere to hide? “Curves” wins by
   turning a small subject into a big designshape first, detail second. It’s calm, confident, and beautifully restrained.

   Try this: Reduce your frame to one dominant shape and one supporting texture. If you can’t describe it in a sentence, it’s not minimal yet.

9. Architecture Category Winner: “The Moment Before” Daryl Getman

   Architecture photos can feel cold. This one feels human because it catches a fleeting, story-rich moment inside a structured space. The geometry
   acts like a stage set, and the light turns ordinary surfaces into drama. It’s proof that buildings are interesting when people happen inside them.

   Try this: Don’t only photograph structuresphotograph life interacting with structure. Wait for movement, not emptiness.

10. Event Category Winner: “A Bite Of The Big Apple” Salvatore Corso

    Event photography usually screams “look at me.” This image wins because it whispers. It plays with scalehumans against the bigness of a city
    and uses contrast to keep the story readable even with lots happening. The result feels cinematic, not chaotic.

    Try this: At events, step back. A wider story frame (context + subject) can be more memorable than another close-up smile.

11. People Category Winner: “Urban Maloya” Jean-Marc Grenier

    Great people photography shows community, not just individuals. This photo’s strength is rhythmfaces, bodies, and movement forming a collective
    energy. In monochrome, that energy becomes even clearer because you’re not distracted by wardrobe colors or background clutter.

    Try this: Photograph gatherings like you’re photographing music: look for tempo (repetition), crescendos (gesture), and pauses (stillness).

12. Portrait Category Winner: “African Tribal Portraits” Susan Greeff

    A winning portrait doesn’t just show a faceit shows presence. This image uses contrast and texture to emphasize expression and identity, and it
    stays respectful by letting the subject’s gaze do the heavy lifting. Black-and-white makes every detail feel intentional.

    Try this: For portraits, sculpt with light. Side light can reveal texture; softer light can protect highlights and keep skin tones elegant in grayscale.

13. Street Category Winner: “Take Five Everyone!” Pat Corlin

    Street winners often feel like a punchline with heart. This one works because it catches a candid pausea slice of city life that’s both ordinary
    and oddly theatrical. The composition holds together, and the expressions sell the story without needing a caption.

    Try this: In street photography, anticipate the “between” momentsbreaks, glances, and transitions are where character leaks out.

14. Landscapes Category Winner: “Wave Washing On Iceberg, Antarctica” Jeff Schewe

    Landscapes can go flat in monochrome if the tones bunch up. This image avoids that with clear separation between elementswater, ice, and sky
    and a sense of motion that makes you feel the cold and the force. It’s a masterclass in contrast that still looks natural.

    Try this: When editing monochrome landscapes, protect midtones. Too much contrast can crush detail and turn “dramatic” into “muddy.”

15. Still Life Category Winner: “Magnolia Leaves” David B Moore

    Still life in black-and-white is basically texture appreciation hour. This image earns the award by making ordinary leaves feel like sculpture:
    edges, surfaces, and tonal shifts become the subject. It’s quiet, but it stickslike a good song you didn’t realize you were humming.

    Try this: Use raking light (light skimming across a surface) to reveal texture. Then keep your background simple enough to stay invisible.

16. Domestic Animals Category Winner: “The Waltz Of Irons” Marie Soliman

    Animal photography isn’t only about “cute.” This image feels like choreographymotion, tradition, and animals woven together into a single beat.
    In black-and-white, the action reads as shape and energy rather than a blur of colors, which makes the moment feel more powerful.

    Try this: Photograph animals in context. Behavior plus environment often tells a richer story than a tight crop on the face.

17. Fashion & Beauty Category Winner: “Emersion” Szymon Brodziak

    Fashion images can be loud; this one is controlled and sleek. It uses monochrome to focus on form, styling, and mood, and it proves that beauty
    photography doesn’t need color to feel luxurious. The tones feel intentionallike every shade of gray was hired for a role.

    Try this: In fashion B&W, prioritize clean highlights on skin and fabric. If the highlights blow out, the “luxury” turns into “oops.”

18. Travel Category Winner: “Aboard” Simona Bonanno

    Travel photography often chases postcard views. This image goes for something better: human anonymity, atmosphere, and story. Black-and-white
    turns the scene into a narrative about movement and identitywhere you are matters less than what it feels like to be there.

    Try this: On trips, photograph transitionsstations, queues, corridors, windows. Travel is mostly “in-between,” and that’s where mood lives.

How to Shoot (and Edit) Like a ReFocus Winner

You don’t need Antarctica, a helicopter, or a cheetah connection to improve your black-and-white work. You need a repeatable process.
Steal these habits from how the winning images “think.”

1) Pre-visualize in grayscale

Before you press the shutter, ask: “If this were black-and-white, what’s the subject made oflight or shadow?” If the answer is “uh… vibes,”
you might be building a color photo that won’t translate.

2) Make contrast intentional, not accidental

Strong monochrome often has a full tonal rangebut not necessarily everywhere. Use contrast as a spotlight: brighten what matters, deepen what distracts,
and keep the midtones alive so the image doesn’t become a crunchy meme.

3) Use texture as your “color”

In black-and-white, texture replaces hue. Brick, skin, fog, fur, fabricthese are your palette. Side light is your best friend here because it reveals detail.

4) Build composition with lines and negative space

Many winners rely on geometry: crosswalk stripes, architectural frames, shoreline curves. When color is gone, composition becomes the loudest voice in the room.
Give it something smart to say.

5) Edit for mood, then refine for clarity

Start with the emotion: moody, airy, gritty, elegant. Then fine-tune: protect highlights, lift blocked shadows only where needed, and use selective dodge/burn
to guide attention. A great monochrome edit feels invisiblelike the photo always wanted to look that way.

6) Print (or at least view big)

Monochrome photos can look “fine” on a phone and fall apart on a larger screen. Zoom in. View full-screen. If the tones collapse or the subject disappears,
the fix isn’t more clarityit’s better tonal design.

Conclusion

The 2024 reFocus Awards Black & White winners prove one thing over and over: monochrome isn’t a filterit’s a language. The strongest images speak it fluently.
Whether the frame is a classroom moment, a pattern from above, a wave against ice, or a quiet still life of leaves, the winning formula is the same:
clear light, honest texture, strong structure, and human feeling.

If you want to take one lesson from this gallery, make it this: strip your next photo down to what it’s really about. Then build the tones so the viewer can’t miss it.
That’s how you make a black-and-white image that doesn’t just look “cool”it looks inevitable.

Experience Notes (): What Happens When You Study 18 Gold-Winning Monochromes

Spend an hour studying award-winning black-and-white photos and something weird happens: you start “seeing” in a different operating system.
On a normal day, your eyes are greedyblue sky, red signs, green leaves, neon everything. But after a deep dive into images like the reFocus winners,
your brain stops chasing color and starts chasing relationships. Light against dark. Smooth against rough. Stillness against motion.
It’s like your attention gets a haircut and suddenly you can hear the song.

A lot of photographers describe this shift as learning to notice what they used to ignore. Shadows become shapes instead of “missing light.”
Empty space becomes a tool instead of “wasted frame.” Texture becomes emotionalwrinkles feel like history, fog feels like mystery,
and harsh sunlight feels like tension. Even mundane places start offering opportunities. A stairwell becomes a geometry puzzle.
A rainy sidewalk becomes a mirror factory. A window becomes a portrait studio with free lighting (thank you, sun).

Then comes the second surprise: you start respecting patience. Many award-winning photos don’t scream “I got lucky.”
They whisper “I waited.” The best street frames often happen during the pause, not the peaksomeone mid-laugh, mid-rest, mid-thought.
Wildlife winners often feel calm because the photographer didn’t rush the moment; they let the scene arrange itself.
Photojournalism winners prove that a single glance can carry the entire narrative if you’re willing to stay still long enough for it to happen.

Editing changes too. When you’re used to color, it’s tempting to crank contrast and call it drama. But after studying gold-winning monochromes,
you notice how refined the best tonality is. The highlights are controlled. The shadows are deep but readable. Midtones aren’t an afterthought
they’re the glue that makes the image feel real. Instead of thinking “more contrast,” you start thinking “better contrast distribution.”
Instead of thinking “sharp,” you think “clear.” It’s a subtle shift, but it’s the difference between a photo that looks processed and a photo that looks intentional.

Most of all, studying winners gives you permission to be selective. Not every scene deserves black-and-white. Some scenes need color to tell the truth.
But when a scene is built on shape, texture, light, and storymonochrome doesn’t remove something; it reveals something. And the more you practice,
the more you’ll feel it in your gut before you even raise the camera: “This one wants to be black-and-white.”
That instincttrained by looking carefully at images like theseis one of the most valuable “experiences” a photographer can gain.

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