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Unlike the static, classically composed portraits produced by her mentor Walker Evans, twentieth-century New York photographer Helen Levitt's photographs seem candid and spontaneous. Whereas Evans' subjects look directly into the camera, so that photographer and subject conspire in the making of a portrait, Levitt's subjects seem caught unawares. As a “street” photographer, before the term's invention, Levitt has claimed to have attempted to capture life as she found it. But there is a paradox to her technique. Her off-the-cuff aesthetic seemingly guarantees objectivity, since she was recording street scenes she happened upon, yet her photographs could be said to be highly subjective, to be reflections of Levitt's own distinctive preoccupations and ways of seeing. Unlike Evans' images, Levitt's are solely the products of the photographer without the conscious participation of their subjects. The repetitions evident in Levitt's choices of subjects, for example, her many photographs of children in masks and disguises, reveal more about Levitt herself than about those subjects.

According to the passage, which of the following appears to ensure the objectivity of Levitt's photographs?

A.She took photographs in public places rather than in a studio.
B.She was not personally acquainted with the subjects of her photographs.
C.She did not arrange the scenes or pose the subjects she photographed.
D.She avoided using classical principles of composition.
E.She was guided by her subjects' preoccupations rather than by her own.

C显示答案

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