CHAPTER 3
PROCESS
I think it’s obvious that in any good photograph the mind, eye, and camera are all connected in some way.
“Instead of photographing what I saw, I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed,” said Bill Brandt.
Brandt experimented with photographing the nude in the 1930s and early 1940s, but made a decisive breakthrough in 1944 when he acquired a mahogany and brass camera with a wide-angle lens. He enthusiastically acknowledged a debt to the wide-angle, deep-focus cinematography of Orson Welles’ Citizen Kane (1941). The camera, a 1931 Kodak used by the police for crime scene records, allowed him to see, he said, “like a ...
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