{'fraction_non_alphanumeric': 0.02372034956304619, 'fraction_numerical': 0.0, 'mean_word_length': 4.569444444444445, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Colore e fotografia


 
 
Do black-and-white and colour photography really represent two different and complementary expressive languages? Or is one merely a mirror of the other, in that we 'see' colours even where they are apparently not present? Our brain reconstructs them even in their absence: cones and rods in the retina operate simultaneously and not alternately, and visual memories influence the decoding of shades of grey in a chromatic key. 
Black and white are nothing more than the two (unreachable) extremes of a continuum and are therefore fully part of our coloured world. All the various, unnamable as they are in fact indiscriminate, hues contain the so-called achromatics that delimit, both perceptually and psychologically, the space of colour and our way of relating to it. 
 
 
