Donald Davidson c. 1920

This is a photograph of Donald Davidson, by Alfred Stieglitz, printed in a nuanced sepia tone. Look at how Stieglitz coaxes a full tonal range out of this monochrome palette, from the dark shadows of the suit to the light reflecting off the sitter's forehead. Stieglitz understood that photography, just like painting, is a process of layering and manipulating materials. Here, the surface is soft and velvety, with a depth that invites you in. Check out the way his hair is out of place and the shadow of the ring on his finger. There is a kind of softness to the gaze in the face that gives the piece its emotive power. It's this attention to the subtle gradations of light and shadow that elevates this portrait beyond a mere likeness. Painters like Gerhard Richter have also explored the relationship between photography and art, using blurred or distressed images to create a sense of ambiguity and distance. Ultimately, art is about asking questions, not providing answers, and this photograph is no exception.