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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.

The passage suggests which of the following about street photography?

A.It characteristically depicts groups of people rather than individual subjects.
B.It tends to depict a narrow and repetitious range of subject matter.
C.It creates the impression of spontaneity but often actually involves scenes contrived by the photographer.
D.Its early practitioners were not accorded much recognition for their aesthetic achievements.
E.It had not been named as such when Levitt began practicing this kind of photography.

E显示答案

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