by Nancy Locke.
Much like a painting, a photograph has the ability to move, engage and inspire viewers. It could be a black-and-white Ansel Adams landscape of a snow-capped mountain reflected in a lake, with a sharpness and tonal range that bring out the natural beauty of its subject.
Or it could Edward Weston’s close-up photograph of a bell pepper, an image possessing a sensuous abstraction that both surprises and intrigues.
Or a Robert Doisneau photograph of a man and woman kissing near the Paris city hall in 1950, a picture has come to symbolize romance, postwar Paris and spontaneous displays of affection.
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