As a portrait photographer, my approach to capturing portraits has evolved significantly over the years. In my early days, I was captivated by the notion of revealing the “soul,” the “essence,” and the “inward character” of the person I was photographing. It was an enchanting and almost zen-like philosophy, but I quickly realized it wasn’t a practical strategy.
Richard Avedon, a legendary portraitist, once said, “My photographs don’t go below the surface. They don’t go below anything. They’re readings of the surface. I have great faith in surfaces. A good one is full of clues.” This quote resonated deeply with me and marked a turning point in my understanding of portraiture. The role of a portrait photographer, I now believe, is to photograph surfaces. Period.
There are moments when a subject may offer glimpses beyond the surface, revealing a bit of their thoughts and emotions. However, portrait photography is less about capturing these elusive inward realities and more about focusing on the external, surface realities-the things we can see.
Another significant shift in my portrait work is the realization that my portraits, whether right or wrong, good or bad, often reflect more about me, the photographer, than the person I am photographing. This may seem self-centered, but it’s a truth I’ve come to accept. Portrait photography is, in many ways, an interplay between the photographer and the subject, where both parties contribute to the final image.
But more often than not, and as odd as this may sound, in portrait work, the final image is often more about the photographer than the subject.
This whole notion of discovering the “soul” or “truth” of the person we are photographing is, in my view, misguided. It sets up false expectations. I have no idea what a person is thinking or feeling when I photograph them. I can only see the facial expressions and body postures they choose to present to me. Similarly, the subject has no idea what I am thinking or feeling.
Photography is about photographing surfaces-posture, eye gaze, emotions, teeth, hair, cheeks, forehead, shoulders, body shape and length, hands, joints, and waistlines.
Another great photographer, Diane Arbus, once said, “A photograph is a secret about a secret. The more it tells you, the less you know.” This quote underscores the mystery and surface-level interaction inherent in portrait photography. It’s about the external clues, the visual cues that hint at deeper stories without fully revealing them.
When I approach someone for a portrait, my primary concern is what they look like to the lens. The surface, the outward appearance, is what I focus on. It’s the expressions, the lines, the contours, and the play of light and shadow that tell the story.
In conclusion, portrait photographers should embrace the surface. Our work is more about our interpretation and interaction with the subject than an attempt to uncover some hidden truth. As Arnold Newman aptly put it, “We do not take pictures with our cameras but with our hearts and minds.” This sentiment captures the essence of my philosophy: a good portrait is a reflection of the photographer’s vision as much as it is of the subject’s appearance.
Click.
Jack.
