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Subjektive Fotografie and SequencingIn 1951 an exhibition entitled Subjektive Fotografie marked the beginning of a movement away from reportage in Europe. In the three essays introducing the book that accompanied the show, familiar claims were made for the expressive possibilities of manipulated photography, but these claims now evidenced the intense frustration of having been on the defensive for several decades. Otto Steinert begins his introductory article:Like the exhibition, the book bears the title Subjective Photography, as this term, in contradistinction to “applied” utilitarian and documentary photography, emphasizes succinctly and clearly the creative impulse of the individual photographer.1
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