From The New Yorker:
The arresting photograph that was chosen out of the hundreds, possibly thousands, of pictures Dukovic took of Yuja at the piano and, later, in the first-floor showroom, posed full figure in front of a piano with its lid up, represents her as no concertgoer has ever seen her. The wild disorder of the hair has never been seen in a concert hall. (Yuja’s hair tends to stay in place throughout the most rousing of her performances.) And the foreshortened, oversized hand is an obvious deviation from the consensus we call reality. Will Yuja cringe when she looks at the photograph? Or will she see it as expressive of her impudent, defiant nature and find in it, almost hear in it, an echo of her incomparable musicality?