In the 19th and early 20th centuries, photographic technology required long exposure times. The earliest photographic portraits required subjects to remain still for up to several minutes. Over time, increasingly portable cameras and more light-sensitive film enabled photographers to capture images of people quickly and discreetly, resulting in views of people in candid moments of daily life. This new flexibility allowed photographers to sometimes challenge viewers’ notions of what is posed and what is unposed.
One who uses a camera or other means to produce photographs.
Images by amateur photographers of everyday life and subjects, commonly in the form of snapshots. The term is often used to distinguish everyday photography from fine art photography.
The visual or narrative focus of a work of art.
The way a figure is positioned.
A representation of a particular individual.
A spoken, written, or visual account of an event or a series of connected events.
The action of exposing a photographic film to light or other radiation.
1-minute portraits taken by MoMA Learning users. To add your portrait to the MoMA Learning Flickr group, upload your images to Flickr.com and tag them “MoMA Learning 1-minute portrait”. Check this page often to see a constantly changing slideshow of recent submissions.
Questions & Activities
Explore Vernacular Photos
Research. The Peter J. Cohen collection at MoMA comprises several hundred vernacular photographs spanning the 20th century, offering a glimpse into the history of amateur photography.
Browse images from the Cohen collection at MoMA. Select three images of people: one that seems posed, one that seems unposed, and one you are not entirely sure about.
Reflect. For each of the three photographs write a response explaining your determination, addressing the following: Why do you think people were posed? Who do you think directed the posing—the people portrayed or the photographer? Why do you think the people are unposed? Why did the photographer decide to choose to photograph people candidly? What in the picture made you unsure about whether or not the people were posing?
You’re on Candid Camera!
Explore. Think about moments in your own life when you posed for a photograph and other times when you were photographed unposed. Find a few examples of each, either on Facebook or in a family album, and consider what the circumstances were.
Reflect. How are the images similar? How are they different? Summarize your thoughts in a brief (1-3 paragraph essay) below.
What was it like posing for an early photographic portrait? Recreate the experience by timing yourself sitting completely still for one minute. Have someone photograph you at the end of that time.
Reflect. Look at the photograph. What does your facial expression and body language convey? How did it feel to be that still for that long?
Share. To add your portrait to the MoMA Learning Flickr group, upload your images to Flickr.com and tag them “MoMA Learning 1-minute portrait”. Check this page often to see a constantly changing slideshow of recent submissions.
Before he became a photographer, Walker Evans wanted to be a writer. Many of his photographs are rich with narrative potential.
Explore. Pick one image from the Subway Portrait series and write a short story in which you imagine the inner life of the person depicted. Where might this person be traveling to or from? What do they do for work? What is their home life like? What are they thinking about at the moment the photograph was taken?
Write. Craft a brief, one-page narrative about your chosen subway rider.
Read this New York Times article on the legal battle over the diCorcia Heads series.
Do you support Philip-Lorca diCorcia or Erno Nussenzweig? Write a short paper explaining your position. Articulate your ideas about the legality, ethics, and artistic license of this case and the right to take, sell, and display photographs taken without the knowledge of the subject.
Callahan vs. diCorcia
Explore. In 1950 and 1961, photographer Harry Callahan took candid headshots of women on the busy streets of Chicago. Click each thumbnail to view a larger image:
He used 35 mm film—the fastest film speed available at the time—with his telephoto lens set at four feet.
Reflect. Pick one image from Philip-Lorca diCorcia’s Heads series and compare it to one of Callahan’s photographs from 50 years before. How are they similar? How are they different?