Whatever the camera records is a disclosure—whether it is imperceptible,
fleeting parts of movement, an order that natural vision is incapable of
perceiving or a “heightened reality” (Moholy-Nagy’s phrase), or simply the
elliptical way of seeing. What Stieglitz describes as his “patient waiting for
the moment of equilibrium” makes the same assumption about the essential
hiddenness of the real as Robert Frank’s waiting for the moment of revealing
disequilibrium, to catch reality off-guard, in what he calls the “in-between
moments.”
