“In the days of slow films and slow lenses, photographs described a time segment of several seconds or more. If the subject moved, images resulted that had never been seen before: dogs with two heads and a sheaf of tails, faces without features, transparent men, spreading their diluted substance half across the plate. The fact that these pictures were considered (at best) as partial failures is less interesting than the fact that they were produced in quantity … It is surprising that the prevalence of these radical images has not been of interest to art historians.”

John Szarkowski, The Photographer’s Eye