"About photography? But I know to use that kodak, the gift della Sua osservantissima e venerabilissima Santità." "And you do it very well. You are one of the few men now alive who perceive the right moment for pressing the button. Understand?" "I see with eyes." "But there is something beside seeing with eyes. There is a mind which ponders and selects." "Too much of honour." "No. No honour at all: a stated fact. Well now: think of negatives. They are dense in places: clear in places; and, in other places, more or less dense. Understand? Under the negative you put a certain paper; and expose it to light. Light goes through the clear places and stains the paper black: it partly goes through the more or less dense places; and stains the paper grey in various gradations of tint. It fails to go through the dense places and leaves the paper white. There is your photograph, a little black a little white and many different greys. Understand?" "Yes, Santità." "Your photograph is an image of the form, the contours, the modelling, the morbidezza, of the object before your lens. It lacks one thing. It has not colour. The process has tralated colour into monochrome. Do you see that?" "Yes, Santità." "Now white means a blend of all colours; and black means the absence of all colours. Then grey should mean some colours, of this quality or that, of this quantity or that, according to the clarity or the density of the grey. Understand?" "Yes, Santità." "Your negative is black and white and many greys." "Yes, Santità." "Then understand that all colours lie hidden in the black and white and greys of the negative. In the black, lie all colours: it produces the positive white. In the white lie no colours: it produces the positive black. In the various greys, lie various colours--why are you jumping about? Keep still and listen, wriggling lizard that you are! What do you want to do?" "To liberate those poor colours."