The Impact of Monism on Photography and Reality
For years, it has been assumed that photography is all about taking photos in the most realistic way possible. That idea has been challenged by photography arguments. Baruch Spinoza's monism, a bold assertion that everything and anything is interconnected and that no real distinction exists between the mind and body, thought and matter, gives us perhaps a different approach to black-and-white photography. It can be argued that stripping everything down to its essential parts is the most refreshing thing you can do to saturate the world. I remember the first time I viewed black-and-white photography as more than just an aesthetic. A face, shadow, structure: all of which looked sharper and deeper thought without the use of images. It goes without saying that it was not only stylistic but also a philosophical awakening. It is overwhelming to think how much an image transcends beyond its perceived outer mask.
The Reduction of Dualism: Seeing Past Colour
Spinoza rejected the idea that the body and mind are two separate things at odds with each other. Instead, he believed that they were two sides of the same coin. Imagine, for example, what happens when we strip the colour out of a photograph. Suddenly, light and shadow are no longer the opposite of one another. They are equals that coexist within a single frame. Consider this: A colour photograph of a city street is informative. Red lights, blue signs, and green trees provide information as symbols to a reader. But how about a black-and-white photograph? It captures the essence of a place devoid of colours. Colour serves as a distraction that oversimplifies reality while taking away the only thing that colour serves as a distraction; the colours invite us to appreciate the true essence of the other forms of reality, which are space, contrast, and shape. That is the beauty in it. The image does not possess a vibrant colour palette to tell a story; rather, it takes every viewer to another level of imagination through their senses, allowing one to think about the outline, design, and the prominent relation between light and darkness instead of just colours.
The Ethics of Visual Clarity: Toward a More Rational Perception
Understanding phenomena deeply frees us. The more we comprehend the interdependence in nature, the closer we are to reality. That is what black-and-white photographs do to vision; they strip away all the noise. Colours have an amazing ability to trigger emotions and memories as well. However, it is a seducer. It can also lead your eye away from the really important aspects of a picture. On the other hand, black-and-white photography compels us to peer into the depths of the image to discern its real meaning. In these photographs, there is no disorienting emotional code. Instead, there is only form, light, meaning and rationality.
Memory, Time, and Their Everlasting Nature
Spinoza held a rather unique view of eternity, not as an endless expanse of time but rather as a method of viewing without being ensnared in past, present, or future. If that point appears vague, simply consider the process of black-and-white photography. A colour photograph instantly marks itself with a date. The tone, hues, and the way light interacts with the environment all denote an era when the picture was taken. Black and white? It's without limits. When you examine an old monochrome snapshot, it doesn't seem just like a piece from history but rather like something that is still alive and present. That is the reason why black and white photographs are so deeply intertwined with one's memories; not only do they remind one of the past, but they also encompass it, making it feel tangible and real.
Towards a Unified Vision
Spinoza has been quoted as opposing colour photography, not due to dislike of colour but because he saw it as an unnecessary decoration that takes away from the beauty of oneness. In its nature, black-and-white photography is not about the absence of something. Rather, it is focused on revealing the true beauty of the essence. As photographers or observers, we are always captivated with colour because it comes naturally. But if we take a step back and focus on the essential aspects: light, shadow, shape, and structure, we start moving towards something more fundamental. For me, great photography is about understanding the world as it is without any deviations and distractions: a single unified form.
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