What I find fascinating with Brandt is that he new how far he could push it in the darkroom, but, in many cases, the idea never seemed to make the image prettier or to give it more mood, but, paradoxically, to make it more "real".
You don't get the feeling that this is an "artistic interpretation" or that he wanted to make the scene "dramatic" or "expressive". You get the feeling that this is what he really saw. He's a lot like W. Eugene Smith in that way.
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