The Photographer II
It has come to my attention that photographers are rarely found on the opposite side of the camera; as the sitter for a project rather than for use as a document. As the media increases, we have developed a need for more information on those around us, including knowing the identity of someone.
With the initial idea from the series Behind Photographers by Tim Mantoani with other inspiration gained from the Sky1 Arts series Capture, I have aimed to capture the identity of amateur photographers, such as my peers. Photographs have been captured in sharp detail, particularly in the eyes; the key to seeing and the making of a photograph, while exploring who the photographer is within a single photograph. It can be noted that key influences have included the close up headshots of Thomas Ruff and Martin Schoeller. The start of the project began by looking at the use of using the photographers as the sitter with their camera as a literal nod towards their identity as a photographer, taking different approaches and understanding the limits of the Mamiya 67 Medium Format camera, to then overcome any obstacles such as the view finder on top. The idea expanded to the simple, single portrait of the photographer without any props, subsequently removing the distracting idea that the camera is the only thing that defines the photographer.
Only a fraction of the reality and personality can be achieved within a single image. With perseverance and experimentation of props and expressions expressed by the sitter, the ability to capture a raw portrait of a fellow photographer has been enabled. The dull, detached stare of the subject, in recognition of the camera, allows for the eyes to be a window to the soul; the start of seeing the true identity of the subject. A journey of the unknown has been undertaken for this final image. With limited possibilities of expressing the identity of a person, particularly in a direct portrait which defines the image in which they appear, revealing the character of the sitter becomes a challenge, working with the still image and no words. The portrait is one which forces the viewer to ‘read a book by its cover’, yet the ideas upon the identity become monotonous.
Representation 