The two photos that drew me in the most, aesthetically and contextually, were “Dust Storm” and “Boy in Mid Flight.”
In “Dust Storm,” the cluster of red orange in contrast to the faded sand immediately captivates you. It’s right in the center, taking up a third of the entire photo. The patterns on their clothes, their white jewelry–it all almost looks like a photo that could be in a fashion magazine. Then, in the less vibrant background, which does not make it less beautiful, there are haunting trees that seem to create an arch around the group of women. Altogether, the photo is absolutely beautiful.
Although, after reading the caption, you discover that what is happening is a rather common occurrence, it is hard to deny the photo’s beauty and sense of magic–a common thread in all of McCurry’s work.
In the “rhythms of every life,” McCurry captures what Henri Cartier-Bresson would call the decisive moments, and which he himself calls “unguarded moments.” Although they call it very different things, the work of both these photographers document the enchantment of everyday life. They both embody the true essence of street photography, waiting patiently in the ordinary to find the split second moments of marvel . Rather than thinking so critically in their processes, they do what feels right; by staying emotionally aware and un-jaded, they perceive life more deliberately and are able to capture the highlights in life.
In this way, they not only experience life in a more thorough, deeper way, they take photos that allow viewers to step into the almost familiar, yet very magical image.
This photo also holds so much mystery and narrative. You can’t see any of the women’s faces as they huddle in the middle of the desert. After reading the caption, you learn this was in the midst of the dust storm. The storm forced the women, barely able to stand, to cluster together to protect themselves. Through this one shot of their motion, McCurry created a bold image of solidarity that is hard to take yours eyes off of.
This sense of mystery and narrative is also found in “Boy in Mid Flight.” Where is the boy headed? Where is this little alley? Where does it lead to? The photo just reeks of adventure and arouses so much curiosity. It brings you back to childhood, reminding you of those games of pretend that were so real back then, when backyards were rainforest and living rooms, pools of lava. 
Visually, the photo is also absolutely stunning. Following the rule of thirds and also boasting his high contrast, vibrant style, this photo is, simply put, fun. First and foremost, the colors are captivating. The blue catches your eye first, revealing the adorable shot of a young boy, mid-leap. Then the yellow, immediately to the right, and the red handprints to the left seem to tie the photo all together. Three primary colors in one shot.
In contrast to Cartier-Bresson’s black and white photography, McCurry’s photos proudly share the colors of India. If Cartier-Bresson is the master of black and white photography (which stemmed from a bit of snobbery against color), then McCurry is the master of color. At times, McCurry’s colors seem to outshine the regality the black and white photos, in the way they do not mute what is there, what is going on, no matter how loud the shot may be.
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