PORTRAIT

“From the inception of the portrait pho-tograph, photographers have been con-cerened to express in the single image an assumed ‘inner’ being. Thus, ‘character revelation is the essence of a good por-traiture.’” -Graham Clarke

We grow up in front of the camera, from ultra sounds to baby photos to school pictures and all the way up into our senior years. The photographic portrait has become so commonplace, that we have lost our appreciation for the art of portrait photography. Our portraits are taken extremely often, whether it is for an identi-fication card, a snapshot or at a formal event. The digital camera makes photogra-phy accessible to almost anyone to obtain a photo of him or herself at any price or quality. Very unlike the original portrait, which was primarily for wealthy people who could afford to hire a professional to capture a photo of them.

When a photo is taken of us, we will inevitably be represented in the way that the photographer, whether they are a professional or a friend, sees us. This im-age is more likely to be a true representation of who we are as a person than if we had taken the photo ourselves. When we, as humans, try to take our own portrait we become caught up in our own narcissism and try to portray the version of ourselves that we would like to be mixed with how we believe others see us. Neither of these personas are our true identity. When getting our photo taken, we attempt to flaunt out ‘good side’ or pleasant features, which results in an untrue representation of ourselves.

Photos provided by Benoit Déry

A single photograph cannot be true representation of a per-son because it only shows a fraction of a second of one day. In addition, this single photograph can be easily altered at the time of its inception as well as afterwards. For example, using differ-ent focal lengths can exaggerate or reduce certain features, and taking the photo from different vantage points can have the same effect. If the camera is lower than the subject it effectively makes them seem bigger, and the inverse will make them seem small-er. Also, a longer focal length will visually compress the sub-ject. It will make their face appear flatter than they really are; and conversely, a shorter focal length will exaggerate the propor-tions, making the nose appear bigger and the eye sockets deeper. Finally, simple technical choices can have a huge influence over how the viewer will perceive that person, such as using black and white film over color simply because a monochromatic photo does not have the same effect as a color one. Black and white pictures are an abstraction of the world in the sense that it simplifies real-ity.

With the advent of digital photography, pixel manipulation has become more accessible, and in recent years commonplace. No longer is a photograph the image that was originally focused on the film plate. Today’s software is so advanced that not only can parts of a person’s body or face be altered in terms of size and shape, but can even be replaced altogether. This is often the case of celebrity portraits, where the subject’s face will be pasted over another model’s younger body.

“A photographic portrait is a picture of someone who knows he is being photographed.” -Richard Avedon

Personal Exploits

I have been interested in photography since a very young age, but it has only been in the past three or four years that I have tuned into the world of portrait photogra-phy. Never was I more aware of the fact that I did not have any decent photos of myself than the time I joined Face-book. The site is marketed as a communications tool enabling people to reconnect or stay in touch with friends and family members, but what it has actually become is a place where people must showcase exactly who they are. Therefore, photos of one’s self is a key component. I began taking self-portraits at the end of 2008, and would set up lights or backgrounds against one of my bedroom walls. I would set the camera on self-timer and place it on a table or chair before jumping in front of it to pose. The pictures were never good enough for me. I believed that I looked too fat in one photo or my face was at a bad angle. Although my friends and family liked the photos, I did not enjoy them. I couldn’t adequately judge how I looked in the photos because they were not how I wanted to be seen. I gave up taking self-portraits and stuck to photographing objects and places. In 2010 I took a course in digital photography, where we learned about how to take photos and about famous por-trait photographers like Irving Penn and Richard Avedon. I suddenly began to understand the art behind portrait pho-tography, and the various techniques used by these famous photographers in obtaining a good portrait. Through various sessions in the studio, I started to see improvement in my portraits of others. I also found that my fellow classmates were able to get the types of photos of myself, that I was never able to a year before. This helped me better under-stand how overly conscious I was of myself when I tried to take a self-portrait. The photos that my peers took of me, and I took of them, were more true to how I wanted to be seen and how I felt about who I am. Simple techniques like engaging a person in conversation and playing music put the person at ease, which made them open up to me more. This also allowed me to take their photograph from differ-ent angles and positions. Although portrait photography is only a hobby of mine, I find that using these techniques aids in achieving the professional portrait look from ay amateur photographer.

To the world Emery is vivacious and outgoing.

On the inside, he is timid and quiet. He has a gentle, yet funny soul. I wanted to capture the Emery that people rarely see.

This photo is a snapshot. It was captured on a hot summer night after a long afternoon of swimming. The subject is at ease with the camera and isn’t concerned with how she looks at the moment.

Although this photo is taken outside of the studio, it is still considered formal. It was set up, but the subject is aware of the camera and is focusing too much on her facial expressions.

ANNIE CROLL

“A successful portrait catches a moment of stillness within the daily flow of things, when the inside of a person has a chance to come through”

-Inge Morath