Arbus liked photographing the blind 'because they can't fake their expressions. They don't know what their expressions are, so there is no mask'.

[…] Arbus said that she wished she could have photographed 'the suicides on the faces of Marilyn Monroe and Hemingway. 'It was there. Suicide was there', she claimed.

Everywhere Kertesz looked he saw reflections of his own situation. A walk in the snow became a form of solace and an expression of the sadness from which it was intended to provide relief. Snow turns the city into a wilderness; parks become as vast as the central plain – the puszta – of Hungary. Dwarfed by the scale of their undertaking, Kertesz's overcoated men inch their way through the snow.

Geoff Dyer, The Ongoing Moment