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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.