Extremes exist because of the middle

In Black&White photography the extremes of the deep, fall into, black shadow and the blast of bright, paper white brilliance can only achieve their embracing status when defined by the vast grayness that lies between them. It is how the photographer travels between these extremes, positioning and harnessing the multitudes of gray values that defines the message of the image.
The beauty and the intent of the image relies minimally on those two extremes, but are most assuredly dependent on them for their polar stances. Without them the message is muddy and uninteresting – yet readable. Without the delicate and necessary layering of grays between extremes, the message more often than not is lost. Even the graphic use of just black and white (of which I have experimented) is limited to a simple bold statement that is sometimes not easily grasped by the majority of viewers, but very entertaining in its obfuscation.

Just to drive the point home:
The stability of our country, our world, is dependent on a vast middle class that seeks to protect their own, yet oftentimes feels the need to protect others because they understand they themselves as being the ‘others’. The extremes exist because we need to define the edges of what can be, we need to see the endpoints to adjudge the whole, to maintain the message.

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