Criticism of the 1920s heralded the arrival of "The New Photographer", which was a typically European phenomenon
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This photographic avant-garde, often politically located on the far-left, was embodied by Moholy-Nagy, Umbo, El Lissitzky and Rodtchenko.
Like Constructivism and Bauhaus, which it was close to, it broke away from the former rules and norms of the "good photography" of professional photographers.
The New Vision was intricately linked to the urban culture it came from, in which high-angle shots, low-angle shots, deliberately imbalanced images, unfamiliar shots, distortion and other treasures glorified the dynamism and modernity of machines and cities.
Experimental in nature, it focused on camera-free images (photograms), photomontages, collages and overprinting. Anything that could revitalize human vision via photography "educated the eye by optical mechanics".
But this experimental utopia did not manage to withstand the major crisis of the 1930s and the rise of totalitarianism regimes, which imposed, both in Germany and the U.S., the return of "good photography", realism and academism.
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