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Photographers for portraiture
- 2. Irving Penn Corner portraits: created an environment to see how subjects reacted.
- 3. Julia Margaret Cameron Closely cropped portraits have influenced contemporary photographers Started photography at 48. unconventional in their intimacy and visual outcome of created blur. This was achieved through both long exposures, where the subject moved and by leaving the lens intentionally out of focus.
- 4. Richard Avedon Truman Capote Lee Friedlander Butcher Earned his reputation as a fashion photographer, his greatest achievement has been his reinvention of the genre of photographic portraiture. there is barely a trace of the theatrical expressiveness or the his ability to express the essence of his subject using little else in the frame. extravagant gestures that avedon elicits from the actors, avedon’s pictures continue to bring us a closer, more intimate view of the singers or writers who sit for him. these portraits are great and the famous. expressive nevertheless. their hard physical labour, the the portraits are often well lit and in front of white backdrops, with no props or harshness of their everyday lives, their struggle for survival, extraneous details to distract from their person - from the essential specificity has etched their features and their souls as a river gouges of face, gaze, dress, and gesture. when printed, the images regularly contain the dark outline of the film in which the image was framed. out a canyon. their faces become landscapes, and their bodies territories, on which they carry their garments around with them.
- 6. Nan Goldin Started documenting Gay and transsexual communities in NYC In 1990s began to document AIDS epidemic as she lost many of her close friends Continues to document marginalised groups within society. Uses herself and her circumstances as subject matter
- 7. David Bailey
- 8. Sian Bonnell
- 10. Cindy Sherman manipulates her own body by means of make-up, clothes and artificial body parts, and stages herself as various figures that she invents or re-invents, after which she photographs herself in her studio.
- 11. Richard Billingham the door to family life, usually closed, was kicked wide open.
- 12. Arnulf Rainer
- 13. Barry Lewis
- 15. Bill Brandt
- 16. Brassai
- 17. David LaChapelle
- 18. Duane Michals
- 19. Don McCullin
- 20. Elliot Erwitt
- 21. Erwin Blumenfeld
Hinweis der Redaktion
- ortraits although avedon first earned his reputation as a fashion photographer, his greatest achievement has been his reinvention of the genre of photographic portraiture. his ability to express the essence of his subject. avedon’s pictures continue to bring us a closer, more intimate view of the great and the famous. the portraits are often well lit and in front of white backdrops, with no props or extraneous details to distract from their person - from the essential specificity of face, gaze, dress, and gesture. when printed, the images regularly contain the dark outline of the film in which the image was framed. avedon's photographs confront us with miners, unemployed people, drifters, farmers, cowboys, and convicts, often at life-size or over. most of those photographed try to give as little of themselves away as possible. they appear to show no feelings beyond scepticism and reserve. in the bar, or at the rodeo, or wherever avedon has found them they may have been emotionally involved, cheerful, uninhibited, stressed or sad: but in front of his camera, they appear totally inward. there is barely a trace of the theatrical expressiveness or the extravagant gestures that avedon elicits from the actors, singers or writers who sit for him. these portraits are expressive nevertheless. their hard physical labour, the harshness of their everyday lives, their struggle for survival, has etched their features and their souls as a river gouges out a canyon. their faces become landscapes, and their bodies territories, on which they carry their garments around with them.
- Here Friedlander focuses on the role of his own physical presence in his images. He writes: “At first, my presence in my photos was fascinating and disturbing. But as time passed and I was more a part of other ideas in my photos, I was able to add a giggle to those feelings.” Here readers can witness this progression as Friedlander appears in the form of his shadow, or reflected in windows and mirrors, and only occasionally fully visible through his own camera. In some photos he visibly struggles with the notion of self-portraiture, desultorily shooting himself in household mirrors and other reflective surfaces. Soon, though, he begins to toy with the pictures, almost teasingly inserting his shadow into them to amusing and provocative effect--elongated and trailing a group of women seen only from the knees down; cast and bent over a chair as if seated in it; mirroring the silhouette of someone walking down the street ahead of him; or falling on the desert ground, a large bush standing in for hair. These uncanny self-portraits evoke a surprisingly full landscape of the artist's life and mind.
- Worked within a set of parameters Uncomfortable – away from home setting Everyday props associated with cleaning – feminine Morph from woman on the edge to a demented automaton – ‘domestic goddess’ Pink – clichéd, yet an unattractive boilersuit – notoriously manly. Contrasting with the shoes. Interesting tension.
- manipulates her own body by means of make-up, clothes and artificial body parts, and stages herself as various figures that she invents or re-invents, after which she photographs herself in her studio.