A first for myself as cinematographer: shooting a film digitally, intending for it to be delivered monochromatically. This prompted a reimagining of both my on-set behaviour and prior planning, as well as my post-production workflow. I had to disassociate from hardened habits relating to colour theory and chroma relations, and became open to a space where the behaviour of light, and the compositions themselves became the only way to evoke the emotion required by the scene. I cannot pretend I did this alone; John Alton’s book, ‘Painting With Light’ served as a benchmark for my understanding of the black and white craft.