The Snapshot Collective: Spring Corner, New York, Melanie Einzig (2000)
A double-denim man walks into frame with a cockatoo perched on his shoulder. A Rottweiler skulks on the sidewalk, its eyes fixated to the right. A couple embrace for what seems like an eternity. Amidst them all, a lone character seemingly exhausted by life slumps dejectedly, the peak of his hat poin
Home. David Seymour (1948)
There is something fundamentally chilling about photographic context. With just a few words, a short conversation or fleeting caption, a snapshot can transcend far beyond what we ever imagined it was capable of representing. Consider the two pictures above, by David Seymour. It is quite extraordin
Wonder, Full of Grace. Holly Andres (2009)
With their rich colour palettes and Hitchcock-esque, frankly histrionic lighting, Holly Andres’ carefully arranged images linger somewhere between tangible reality and make-believe motion picture. Citing her photography as “a journey into the nature of memory and female introspection&#
Francis Bacon, Primrose Hill. Bill Brandt (1963)
To a pedantic and dogmatic doctrinaire of photography, almost everything about Bill Brandt’s fêted snapshot is wrong. Categorically, indubitably wrong. Consider, for a moment, the warped composition of the picture. The central, yet uncomfortably off-kilter lamppost awkwardly brushes the very
Navy bandsman Graham Jackson (1945)
There is, of course, no such thing as a ‘Perfect Photograph’, nor is there any way of truly judging such a subjective medium. And yet, if there was ever a portrait which uses the ostensible ‘Golden Ratio’ so perfectly, it’s Ed Clark’s melancholy snapshot of Navy bandsman Graham Ja
