Whatever it takes to get the image to reach that level is what that photographer needs to do. And for me, I just have such a love of the tactile and sensuous quality of a black and white silver gelatin print.
By dismantling the narrow politics of racial identity and selective self-interest, by going beyond ‘black’ and ‘white,’ we may construct new values, new institutions and new visions of an America beyond traditional racial categories and racial oppression.
When I was saying, ‘White people go to hell,’ I never had trouble finding a publisher. But when I say, ‘Black and white unite and fight, destroy capitalism,’ then you suddenly become unreasonable.
Light is meaningful only in relation to darkness, and truth presupposes error. It is these mingled opposites which people our life, which make it pungent, intoxicating. We only exist in terms of this conflict, in the zone where black and white clash.
I support any procedure that allows photographers to express themselves, whether that involves color, black and white, platinum, palladium and digital technology.
Freedom would be not to choose between black and white but to abjure such prescribed choices.
I grew up in Ohio, where civil-rights accomplishments had already begun to accelerate before Martin Luther King appeared. In hindsight, we know that many people, black and white, were instrumental in changing the Jim Crow status quo on all levels.
I’d like to be played as a child by Natalie Wood. I’d have some romantic scenes as Audrey Hepburn and have gritty black-and-white scenes as Patricia Neal.