THE PORTRAIT ASSIGNMENT

Please vote and comment on which of the following Photographs best exemplify the issues concerning the PORTRAIT assignment.

TINA

MICHELLE

MEGAN

GRACE

DANA

CATHY

BART

5. Consider the term “spatial hierarchy” – what does that mean?

Post your photographic example here.

3. Vantage point is the key to Flatness – it can solve the picture more than compose one.

Post your Photographic example here:

Spatial Hierarchy

This photo illustrates spatial hierarchy. The viewer's eye is drawn to the skier, then the slope he's on, then the mountains in the background, and finally the sky.

Flatness

This photograph illustrates flatness. The photographer could have been closer to capture only the rock, but chose this vantage point to include the trees.

Work for Tuesday 11-18-08

Flatness









Spatial hierarchy

"I know that the accident of my being a photographer has made my life possible" Richard Avedon

Portraiture has never grabbed my attention like it did when I saw Richard Avedon's work. While no one can fill the void left after Avedon's death, we can all study his work to gain a better understanding of the relationship between a photographer and his subject.

I have avoided portraiture in all aspects of my passion for photography, and now I finally realize what I have missed. Superstitions led me to believe that landscapes were at the pinnacle of great photography: they don't talk back, they are very patient, and you usually don't have to ask their permission for anything. Our recent immersion in Richard Avedon's portraiture makes me reconsider my aversion to putting the lens in someone's face. Understanding now, what a portrait is all about, I can boldly pursue subjects that fascinate me.

If every portrait is truly a self portrait of the photographer, as Avedon suggested, I should take portraits with the same confidence with which I look in mirror. What I see may surprise or disgust me, but as I look more carefully, I shall see what many often miss.

Avdedon's simple methods are admirable and prove that what often is hidden from chaos of the public eye can be revealed in the clean environment of a photo shoot.

Richard Avedon, His Holiness the Dalai Lama and the Monks, 1998

In 1979, Richard Avedon was commissioned by the Amon Carter Museum to photograph the people of the American west. Instead of photographing the high rollers whom he was normally attracted to, he photographed normal people - miners, cowboys, drifters, and so on. Avedon photographed these people in an unusual setting for them - a white background. He used an 8x10 view camera and tried to provoke people into showing him a different side of their personality that wasn't normally captured. He developed these 125 photographs into a large format that distinguished him from other photographers. From his six year project, he produced a book and traveling exhibit, In the American West. The exhibit was both praised and criticized for showing these people in a different light, a light normally reserved for celebrities and politicians.

Richard Avedon Response

Richard Avedon was an original photographer who saw his entire life through a unique lens. Avedon’s career touched the lives of many people, both those that were and still are able to see his photography and those with whom he worked directly in his photographs. As Avedon was fascinated by the world, he had a general interest in people that allowed him to portray his subjects accurately (as “all photographs are accurate. None of them is the truth”) and beautifully in his photos. It is said that Avedon was not only a photographer, he was an active participant in his works, inspiring his subjects to be alive. One of the aspects of Richard Avedon’s photography that intrigues me is his interest in the complexity of the human face which allowed for interesting and artistic photographs of many of his subjects.

It is often said that Richard Avedon’s subjects were never in control. Avedon took it upon himself in his often brief photography sessions to show through his lens what the subjects revealed about themselves in terms of his given guidelines. The complexity of the human face only adds to this artistic value. The more texture a face has, the more interesting it seems to be to Avedon. This can be seen in his portrait photographs, one in particular (I cannot remember what it is called) really highlights the wrinkles in an elderly mans face. This image is incredible… it is extremely detailed, but not too dark. It is as if Avedon was able to burn only the fine lines of wrinkles, still allowing it to look natural.

Another aspect of Avedon’s photography that really interests me is the movement in most of his fashion photos. The movement adds an element of surprise to his photos. Whenever a woman is wearing a beautiful dress, the dress is always in motion. There are fantastic images of women with their hair flying about as well. The motion that is implied in each of Avedon’s photos allows for another level of excitement as well. It is amazing how detailed his photos still remain despite the fast motion of the subject.

Richard Avedon is an inspiration to photographers everywhere. His plain subjects always reveal something about themselves through the expression on their faces, body posture, etc. Richard Avedon is able to add to this with his camera angles, lighting and distance between him and his subjects. After seeing Avedon’s work and listening to a lecture about him, I am excited to apply these new ideas to my own photography.

PLEASE POST AVEDON RESPONSES HERE

Have these posted by Thursday's class.