Opinion
SUMMARY
Scroll through the coverage of the historic 1965 Selma to Montgomery civil rightsmarch and you'll find plenty of close, urgent pictures. James Karales' contribution to that archive, now touring as part of Presence: The Photography Collection of Judy Glickman Lauder, does something dramatically different. By exposing for the sky rather than the crowd, Karales strips away individual identity and turns the marchers into a single mass; a movement rather than a collection of people. Karales was doing it with a 35mm camera and no idea if the shot would work until the black-and-white film came back from the lab.
TAKEAWAYS
Scroll through the coverage of the historic 1965 Selma to Montgomery civil rightsmarch and you'll find plenty of close, urgent pictures.
James Karales' contribution to that archive, now touring as part of Presence: The Photography Collection of Judy Glickman Lauder, does something dramatically different.
By exposing for the sky rather than the crowd, Karales strips away individual identity and turns the marchers into a single mass; a movement rather than a collection of people.
Karales was doing it with a 35mm camera and no idea if the shot would work until the black-and-white film came back from the lab.