Harold Feinstein may have admired the work of W. Eugene Smith and Henri Cartier-Bresson, but he was not a photographer who would stand back and observe, unnoticed by his subjects. In fact, in nearly every image, Feinstein’s proximity to his subject is clear. It is this physical closeness, an extension of Feinstein’s profound connection to his subjects, that sets his work apart from other street photographers from the same period. Whether standing over a group of teenagers lying on a Coney Island beach, photographing a couple on the boulevard, or capturing the immutable gaze of a young child, intimacy and...
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