/* Style Definitions */
mso-padding-alt:0in 5.4pt 0in 5.4pt;
And despite being in color this bears none of Hamilton’s idyllic, dreamy soft focus.
The large-format aspect ratio points to Sturges despite the fact that he works almost exclusively in B&W.
Also, I am pretty familiar with his work and I cannot recall an instance where the subject whose eyes were wide open was this close to the camera without staring directly into the lens.
Further, although Sturges favors vertical compositions to echo the people standing within his frames, this vertical orientation is skillfully contrapuntal, delicately diminishing the horizontal force of the pose by balancing the negative space in the doorway against the blue wooden slats.
All in all, this contains altogether more calculation than I expect from Sturges’ knee-jerk fine art-photographer-as-gilded-voyeur routine.
But it’s the un-self-conscious mien of the model—who, although nude, appears not as a sexualized object so much as a spectrum of being that includes the possibility of sexuality. Such presence in both one’s own skin and a moment has a definite parallel with Sally Mann’s wonderful Immediate Family.