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Black and white photography promises seriousness without risk, coherence without effort, and intention without proof. In an era where color is technically trivial and visually unforgiving, monochrome offers shelter. It removes variables, postpones judgment, and replaces unresolved structure with borrowed authority. It is like dimming the lights in a messy room: the objects do not move, but the problems stop being visible. If an image cannot survive color, was monochrome ever a choice?
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