Equality in Disharmony
In philosophy and art, balance is often described as the most elusive yet dominant attribute. Balance can be seen in the calm focus of a martial artist practicing, in the subtle notes of taste in tea that is artfully brewed, and even in the beautiful silence that comes from a well-composed photograph. However, achieving balance in life? Not so simple. The control of extremes is called the Doctrine of the Mean (The Golden Mean, Zhongyong) in Confucianism. It's a must in the pursuit of self-harmony. Balance lifts you instead of restraining you. Isn't that the very definition of harmony in black-and-white photography? In today's world of glowing devices demanding attention with flooding colors, black-and-white photography is like a breath of fresh air. It strips away distractions and forces you to concentrate on the interplay of shadow and light, shape, and emotions sculpted in shades of grey. You are encouraged to peel yourself away from radiant colors and begin observing the world closely. If balance represents virtue in Zhongyong, then black-and-white photography captures that philosophy perfectly.
The Middle Way in Composition
There are those images: either too much contrast, turning everything black, or too flat, making the entire image feel lifeless. That's the result of too much balance. Confucius was always against excess, which is the same way the best black-and-white photography attempts to depict. When properly processed, monochrome photography lives in the mid-tones. The magic does not reside in the extremes; rather, it is the blended relationships that separate the extremes. Just think about the depiction of an early morning street scene: the mist that soothes sharp edges, the people neither reduced to sharp outlines nor engulfed by grey fog. The magic lies not in any form of calibration but within this phlegmatic place where you neither concentrate nor ignore. And it goes beyond street and landscape photography; even in portraits, less is always more.
The Power Beyond The Obvious
When I was younger, I always thought that color photographs were the best because life is colorful. But the more I played with black-and-white photography, the more I realized restraint possesses power. This is not about deprivation; it is about having intent. What do you subtract color from? Emotion, light, shape, and texture. Take a black-and-white picture of hands: folded in rest, wrinkled, calloused. In color, the first thing you notice might be the skin tone. But in black and white, you see how light plays with the lines and creases. This is where the Middle Path and black-and-white photography collide.
The True Essence of Embracing Imperfection
Life is not a walk in the park. Black-and-white photography does not masquerade the essence of what makes life beautiful. A touch of grain, a bit of blur; it gives the image a sense of character. That is why film photography is still appealing. Those imperfections tell us something. In Confucian Balance, harmony means seeking wholeness, and wholeness often lies within one's imperfections. A shadow cast just right, the edges of a figure mid-motion but soft; this is where the magic lies.
The Enduring Essence of Black and White Photography
Black-and-white photography is more relevant today than any other form of photography and will continue to be. Pictures taken centuries ago are still alive in a different sense. The Harmony of Confucius teaches a philosophy that has lasted for over 2000 years: not out of nostalgia but because it addresses how we function and perceive meaning in our lives. Black-and-white photography disengages us from distractions, enabling a necessary connection to the essence of life. In a world where everything is exaggerated, is this not a relief? Indeed, it is.
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