The pictures I love express the intention of dance. It looks like something is about to happen. It's never mid-action. The photographs where the dancer is in the air, for instance, have no tension. You always miss the apex. Speed exists only in relation to something else. It's not just about having a full-figure shot, like Fred Astaire insisted on. For instance, in The Flintstones, when a figure is traveling, it's rock, rock, tree, rock, rock, tree, to show that it's moving. That's all you need. And that's why dance photography doesn't work a lot of the time and why those super-static shots of George Platt Lynes work so great. It's the framing and the contrapposto. The candor, the snapshot aspect, isn't important. That's one reason I like Annie's work. It's formal. Decided.