Chicago 1950

Harry Callahan made this photograph, called Chicago, sometime in the middle of the 20th century. You know, photography, like painting, is about light, but also about dark – how the balance between the two creates form. In this image the subtle gradations of tone across the woman's face are really something. Light seems to sculpt her features, catching the curve of her cheekbone, and the soft fur of her collar. The way Callahan uses light is almost painterly, so sensitive to texture and shape. Look at the dark shadow under her chin and how it throws her features into relief; it's a really intimate moment. You can’t help but think of Alfred Stieglitz’s portraits of Georgia O’Keeffe – that same sense of quiet observation and respect for the subject. Ultimately, this image isn't just about capturing a likeness; it's about exploring the emotional space between the photographer and the person he's photographing.