Untitled [Kentucky, Men Fixing Cars] c. 1966

William Gedney made this photograph, Untitled [Kentucky, Men Fixing Cars], at an undetermined date, using, presumably, a camera and film. The grey scale here is so affecting, I think, because it is not just about recording what is there, but about using tone to suggest so much more. Look at the way the light falls on the bodies of the young men, for instance, highlighting their bare chests and arms, while their faces are cast in shadow. It’s like Gedney is using light and shade to create a sense of intimacy and introspection. In this way, photography is not about ‘taking’ a picture, but ‘making’ one. The way Gedney captures the textures of the scene is incredible. The rough bark of the tree, the worn surface of the car, the soft skin of the young men, it’s all there in such detail. This reminds me of work by someone like Emmet Gowin, another photographer who found beauty and depth in the everyday. With Gedney, as with Gowin, there’s a sense of quiet observation, a willingness to let the image speak for itself.