Rebecca, New York City,

1922

Strand made more than one hundred portraits of his wife, Rebecca, between 1920 and 1932. Here, the close range of Strand’s photograph and Rebecca’s closed eyes transform her face into abstracted topography composed of contours and planes. In this era, the long exposure time for a photograph often led to physical fatigue on the part of the sitter and the use of braces to keep the head steady. To avoid the sense of strain that frequently resulted from this practice, Strand photographed his wife from above while she lay in bed, leading to images that combine the contemplation of her abstracted visage with a sense of intimacy and naturalism.