Following the blurring of his first photographs Brodovitch might have turned to any vaiety of flash techniques, including Dr. Harold Edgerton’s recently introduced electronic flash, as did Barbara Morgan and Gjon Mili in their own dance photographs at this same time. But Brodovitch has no interest in arresting motion; he knew that the animal vitality and the suggestive power of the dancers’ movements were at the very heart of ballet’s unique stage atmosphere. In a leap of imagination, he suddenly saw the “mistakes” of his first photographs not as irredeemable defects, but as intriguing new possibilities. instead of eliminating them, he determined to push them even further.
“Brodovitch on Ballet” American Photographer (December 1981).