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The 1965 Selma photograph with no faces in it: why James Karales' camera turned away from the hero shot and focused on the sky
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James Karales' contribution to that archive, now touring as part of Presence: The Photography Collection of Judy Glickman Lauder, does something dramatically different.
Rather than focus on faces, Karales stepped back, dropped low and let a vast, roiling thunderhead swallow two-thirds of the frame.
The importance of structureWhat makes the picture work is entirely down to structure.
Karales shot from a low angle, almost at ground level, which does two things at once.
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