I thought I had saved Lawrence's post about black & white photography vis-a-vis color hoping to comment on it. But apparently I didn't. So anything I attribute to Lawrence may well be the product of my imagination (it usually is -- whether I have his quotes in front of me or not) and not representative of Lawrence's beliefs at all. Lawrence made a comment to the effect that some photographer's prefer shooting in black and white because (he suspects) it adds a tone of grittiness to photos of poverty, photos that Lawrence believes are mostly propagandistic of liberal socio-economic views. That could all be true. But it would certainly give short shrift to the aesthetic values of black and white photography. I find it interesting that Lawrence would associate grittiness with black and white photos of poverty and the down and out -- "grittiness" to me has meant something more along the lines of the John Wayne world of "True Grit" -- a kind of testosteronal machoism "bring it on, World". Maybe what Lawrence really means isn't grit but drabness -- the kind of drabness much like USSR architecture. But even if that's so, it seems an extreme stretch to call any of Ansel Adams photos either drab or gritty. Or Bresson's. Or Dorethea Lange's even though she specialized in photojournalism of the down and out during the Great Depression. I generally prefer black and white photos to color, not only because that's the photography I grew up with and feel most at home with. My father was a photo hobbyist with a very good eye. I would join him in the dark room sometimes -- that was a magic time of my life, seeing the white paper blossom with an image as I gently agitated the developer tray, learning to know when it was "done", then to the stopper tray, then the fixer tray, then the wash sink, then to the drying board. I loved it -- loved every step of it. Color photography never had that hands-on aspects. Very few photographers did their on color film developing. I disagree with Lawrence's basic tenet that black and white photography is still around as a photographic gimmick to elicit sympathy for liberal social causes through a visually enhanced portrayal of abjectness. I believe that color photography is fascistic : ) It demands that you see the world as it presents it. Whereas black and white photography offers a world open to interpretation. It invites emotional involvement. Mike Geary