[Kate Keown]

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In spring and summer 1866, having purchased a new, larger camera capable of making twelve-by-fifteen-inch negatives, Cameron produced a series of twelve \u201clife-sized heads,\u201d including this angelic study of tender sorrow somewhat in the style of Botticelli. Throughout her work, poetic truth was valued above photographic truthfulness. She conveyed a sense of life and breath and of honest emotion through careful lighting, her models\u2019 slight movement during long exposures, a shallow depth of field, and softness of focus. \u201cMy first successes in my out-of-focus pictures were a fluke,\u201d Cameron wrote. \u201cThat is to say, that when focusing and coming to something which, to my eye, was very beautiful, I stopped there instead of screwing on the lens to the more definite focus which all other photographers insist on.\u201d In so doing, she gave the feeling of both flesh and spirit without, in Rejlander\u2019s words, \u201can exaggerated idea of the bark of the skin.\u201d

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