...like a girl
Angelica, Brussels, 1982 (Jeff Widener) 

Angelica, Brussels, 1982 (Jeff Widener) 

The Great Escape, Florida, 2006 (Jeff Widener)

The Great Escape, Florida, 2006 (Jeff Widener)

Girl Holding Kitten, London, 1960 (Bruce Davidson) 


Bruce Davidson’s Best Shot
“I found this young woman quite by accident, as I was walking the London streets. I came upon a group of teenagers, and struck up a conversation. They took me into a cave, and then some kind of huge dancehall. I think it was on an island. It was getting late, and I needed to move on the next morning, so I didn’t stay very long. 
But I isolated this girl to photograph, holding that kitten, which was probably a stray she had found on the street, and carrying that bedroll wrapped around her body. There was a great deal of mystery to her. I didn’t know where she had come from, and I didn’t get her name, but there was something about that face - the hopefulness, positivity and openness to life - it was the new face of Britain.
The picture was taken with a normal 50mm lens, with a wide aperture. I used the Ilford film, called HPS - hyper-sensitive film - which I loved, although it is probably no longer made. I loved that grainy texture; she has the feeling of a statue.
I still feel close to this picture. I wonder what that young girl is doing now. She must be lurking around London someplace, or she may not be alive, you never know.”  (Guardian UK, 2007)



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Girl Holding Kitten, London, 1960 (Bruce Davidson)

Bruce Davidson’s Best Shot

I found this young woman quite by accident, as I was walking the London streets. I came upon a group of teenagers, and struck up a conversation. They took me into a cave, and then some kind of huge dancehall. I think it was on an island. It was getting late, and I needed to move on the next morning, so I didn’t stay very long.

But I isolated this girl to photograph, holding that kitten, which was probably a stray she had found on the street, and carrying that bedroll wrapped around her body. There was a great deal of mystery to her. I didn’t know where she had come from, and I didn’t get her name, but there was something about that face - the hopefulness, positivity and openness to life - it was the new face of Britain.

The picture was taken with a normal 50mm lens, with a wide aperture. I used the Ilford film, called HPS - hyper-sensitive film - which I loved, although it is probably no longer made. I loved that grainy texture; she has the feeling of a statue.

I still feel close to this picture. I wonder what that young girl is doing now. She must be lurking around London someplace, or she may not be alive, you never know.”  (Guardian UK, 2007)

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[Untitled: Two Girls], nd (1950-80), Miroslav Tichy 

[Untitled: Two Girls], nd (1950-80), Miroslav Tichy 

Sur le chemin de l’école, par série l’Ecole des Quatre Saisons, 1960 (Marcelle Vallet) 

Sur le chemin de l’école, par série l’Ecole des Quatre Saisons, 1960 (Marcelle Vallet) 

Petite Fille, Petit Arbre, 1981 (Sabine Weiss)

Petite Fille, Petit Arbre, 1981 (Sabine Weiss)

Girl in Striped Shirt, Matlock Bath, 1976 (Paul Hill)

Girl in Striped Shirt, Matlock Bath, 1976 (Paul Hill)

Image of Woman, ca. 1960 (Norman Hall)










From an album of one hundred and fourteen gelatin silver prints of women by various photographers. Norman Hall was a journalist and Editor of Photography Magazine and Photography Year Book in the 1950s and early 1960s. He then became Pictures Editor of The Times until the mid 1970s. 

Image of Woman, ca. 1960 (Norman Hall)

From an album of one hundred and fourteen gelatin silver prints of women by various photographers. Norman Hall was a journalist and Editor of Photography Magazine and Photography Year Book in the 1950s and early 1960s. He then became Pictures Editor of The Times until the mid 1970s. 

Medusa, Early Morning in Chelsea, 1950s (Thurston Hopkins)

Medusa, Early Morning in Chelsea, 1950s (Thurston Hopkins)

Hurt, 1972 (Joseph Szabo)

Hurt, 1972 (Joseph Szabo)