“If the photographer could not move his subject, he could move his camera. To see the subject clearly – often to see it at all – he had to abandon a normal vantage point, and shoot his picture from above, or below, or from too close, or too far away, or from the back side, inverting the order of things’ importance, or with the nominal subject of his picture half hidden.
From his photographs, he learned that the appearance of the world was richer and less simple than his mind would have guessed.
He discovered that his pictures could reveal not only the clarity but the obscurity of things, and the these mysterious and evasive images could also, in their own terms, seem ordered and meaningful”.
John Szarkowski: The Photographers Eye, The Museum of Modern Art, New York 2009.
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