Joel Meyorowitz

I suddenly realized that photography was something you did physically, and there was movement to it. You didn’t have to direct your models to stop, to hold that pose, or to move their heads a little bit to the right or left: all that was unnecessary.  Robert was barely speaking to these girls: just moving around them; and every time I heard the click of the Leica it seemed almost like a seizure in time, and I couldn’t get it out of my mind. I learned that life has these little clicks in it: and you can keep moving; and as I was watching the models, I started trying to anticipate when the clicks would come, and he and I were in sync a number of times. As the shutter went off it seemed, for an infinitesimal part of a second, as if life had set itself, and then started moving again. Leaving there two hours later I couldn’t get it out of my mind; and walking out into the street, I kept seeing moments frozen in time: people sticking out a hand for a taxi, or pausing momentarily to look into a shop window, suddenly seemed framed, and infinitesimally frozen for the camera. Innocent everyday non-incidents, became stop time moments; and by the time I got off the bus at 53rd Street I was so hooked that I went upstairs and quit my job. I went straight to Harry and said “I’m going to quit this job and go out to make photographs.” - Meyorowitz quoted from http://toomuchchocolate.org/?p=147

 

These street photographs are incredibly eerie but beautiful representations of moments that would not otherwise have been captured 

The selection of 'pool' photographs I have looked at seem to me in particular to demonstrate this moving moment described by Meyorowitz here