He turned down Steichen’s invitation to participate in the historic exhibition The Family of Man (1955)…Unlike many of his contemporaries in the New York School who — like the Group f/64 “purists” on the opposite coast — abjured any post-exposure manipulation of the image in the darkroom, Feinstein saw photomontage as a process unique to and inherent in photography as a medium. Considering himself a visual poet, not a documentarian, he accepted photomontage into his toolkit, mastered it (one of his best-loved images involves combining eight separate negatives), wrote explanations of his techniques, and in general took it for granted as one of the necessary skills of the serious interpretive printmaker in photography.http://www.nearbycafe.com/artandphoto/photocritic/2015/07/02/harold-feinstein-1931-2015-a-farewell/
