From the hair to the lighting to the angles, Benny Horne's portrait of Samantha Gradoville for Exit is breathtaking. Despite the grungy realism of the settings, the artfully off-kilter image is as ethereal as it is seemingly spontaneous. In the first frame, the grimy apartment buildings, reflected in the chipped windows, are the perfect backdrop to the golden light reflected on her face and hands. In the second, the billowy silhouette of her dress juxtaposes flawlessly with the wooden framework, while the shadow of the metal bar balances the boldness of her expression with shadowy obscurity. The rest of the series was regrettably repetitive, which is why I refrained from including all of it (the rest can be found here). But although I usually prefer Mert and Marcus's hyper-definition, these two images stood out as a testament to the raw beauty of candid-style photography.