But these young photographers are not paralyzed by self-awareness, and they know how to forget, especially if there is something they respond to. This may be what separates them from previous generations of photographers and why readers of American Photo and serious museum-goers may find their work challenging. Just because someone else has made a great picture (or a bad one) of something doesn't mean it can't be shot by someone else. I was surprised by this recently when I noticed the prevalence of images of swans on the Internet. It's a hackneyed subject, and yet emerging photographers Corey Olsen, Sebastiano Arpaia, Bridget Collins, and others have all shot more or less the same picture. And yet each one found something slightly different. They all saw something there that eludes cliché, or perhaps flirts with but doesn't fall into it. Likewise the portrait, which, having granted to its subjects maximum visual autonomy (thanks to the Düsseldorfers), is now free to discover other aspects of human appearance, including the often hilarious play of expressions. In the portrait galleries of Molly Matalon, Sam Clarke, Caroline Tompkins, and others, ideology and psychology have been replaced by simple affection. That may seem a modest goal—hardly Cartier-Bresson's decisive moment—but it is a sentiment the world could use more of.