Almost all of Seeley’s coastal work depicts waves crashing against rocks, but paired with the soft focus, the entire image takes on a quality almost as if the photograph itself is being overcome by the rushing water. I chose this image out of the rest because it was the only one that pulled the frame back, giving it a much more picturesque quality.
This image immediately stood out to me due to the fact that it was the only double-exposure in the entire collection. While it’s possible this was simply a happy accident, the quality of lights and darks suggests to me that Seeley was experimenting with the concept and was quite successful in this attempt.
To me, this image is almost an optical illusion. When I first scanned it, I misidentified the bottom half as a negative of a building. It took me a moment before I realized that it was water, and that it was in fact a positive print. In my opinion, that makes this one of the best examples of pictorialism in the collection, as well as one of the most visually intriguing.
There are not many portraits in this collection, unsurprisingly, but of the few, this is my favorite. It has a very relaxed feeling, almost as if Seeley pulled out his camera and asked the model to hold the pose he was already in.