Henry Parker
André Kertész took photographs of New York City that looked nothing like what most people expected. His images showed more than tall buildings and crowded streets. They revealed strange shadows, quiet corners, and odd shapes. Kertész captured the city in a way that made it feel both distant and deeply personal.
Kertész came to the United States in 1936. He had already built a strong name for himself in Europe. But in America, he had to start again. At that time, many editors wanted clear, simple photos for news stories. Kertész offered something else—photographs that felt like dreams. His work often confused viewers because it didn’t tell a straight story. Instead, it made them stop and look closer.
His use of light set him apart. In one photo, a staircase’s shadow stretches across the wall like a ribbon. In another, sunlight reflects off a rooftop puddle, turning a gray building into a glowing shape. These details weren’t accidents. Kertész waited for the right light, sometimes for hours. He wanted his photos to say something without using a single word.
He also liked odd angles. Kertész often tilted the camera or shot from above. This gave a strange feeling to normal scenes. A man reading a newspaper might seem lost in a world of shapes and shadows. A skyline shot from below might feel like it’s leaning forward. These choices didn’t follow the rules most photographers used then. But they made his images unforgettable.
Even in a busy city like New York, Kertész found quiet. He photographed people alone on rooftops, pigeons in the snow, or chairs stacked near a window. His photos made a loud city feel still. Each image seemed to hold a secret.
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