Early photographers were bedeviled by the slowness of their sensitized materials. Though exposure times were eventually shortened to workable lengths, early studios used neck braces and confining chairs to keep their subjects still while the exposure was being made.
The desire to show and share work is common to most photographers. Taking the work out of the drawer or hard drive and putting it onto paper can be a key phase in the development of a photographer. It is both a challenge and a way to build confidence, as it forces the artist to face the concept and underlying principle of his or her work. And, it can be fun.
If you were a detective you would look for motive as a prime clue as to who did the deed, but how many times have you really thought about your own motivation for making photographs? The mystery all photographers eventually attempt to solve is: just motivates me to make pictures and to process images in my own unique way? Kind of like trying to figure out the meaning of life, I guess, and using your photography to help you answer a small part of that question.
While black and white digital photography is based on the conversion of a color (RGB) image to monochrome via software, those who remain adherents of film photography have an entirely different route to obtaining a black and white image.
The reaction to a human face is inherently stronger than to any inanimate object or arrangement. The expression, body language, placement and lighting often overcome the processing and/or printing technique, or at the least dictate much of the approach.
When a photographer deals with the emotions generated by black-and-white prints, and the methodology of creating and defining those emotions and how they are generated, he or she begins to deal with developing a sense of the aesthetics of the monochrome image.