In 1946 the great American photographer Edward Weston, when being proffered the opportunity of capturing Point Lobos in Kodachromes, then a new invention, readily declined. He suspected that the intrusion of colours in a photograph would mar the peculiar beauty that only monochrome could achieve. Later, however, Weston confronted his undue reservations: “The prejudice against colour comes from not thinking of colour as form . You can say things with colour that can’t be said in black and white.” The notion of colour as form turns colour into an entity independent of the object to which it assumes an ontological subservience. In this new way of seeing we can say that an orange is regarded not as a fruit coloured with orange but a fruit that entails a contiguous existence of the colour orange. “Those of us who began photographing in monochrome spent years trying to avoid subject matter exciting because of its colour […] we must now seek subject matter because of its colour.” Weston