The video mentioned that most photography at the time of Lartigue’s childhood focused on emulating paintings and “art” moments, in contrast to most of Lartigue’s work. This prompted me to look more into what kinds of critique and backlash his new style brought upon him from critics at the time. What surprised me is that there was no such retaliation, mainly because he was not extremely well-known for most of his life, working with sports magazines and painting for livelihood. It seems odd that 120 album’s worth of “fast” and “exiting” photographs, as they have often been described, could go undiscovered until Lartigue was almost seventy, although in a way it may have been somewhat lucky for him. By that time, his style of photography was already well in use, so there was no criticism to be had on the theme, and his photos not only had value as pictures, but also being some of the originals in the craft. An interesting twist is that his photos were published in the same issue of Time that commemorated JFK’s life, an issue that had massive readership, and despite this they still became the most talked-about feature in that issue. This was what launched him into the mainstream with virtually no backlash.