The Portrait is basically about bringing the other in front of the camera. This is because there is a conversation between the photographer and the object, where both present concrete ideas and express themselves directly in the final result of the photograph. It is a very complex and rigid space of expression, without a doubt it has a formula and a way of working so that it can be clearly understood that this photograph is a Portrait, the register of someone else either from the categories of Editorials, Fashion, Experimental or Self-portrait
The pose is fundamental to distinguish a documentary photograph from a Portrait. This does not mean that portrait photographs do not pass through the sensitivity of the author or from his experience, this is what the four Posts of today are all about, the diverse forms where the Portrait is used as a means of photographic expression.
"After Gustavo did the paperwork, we were sitting on a bench at the end of the corridor, which has a gloomy atmosphere, especially at that time of the afternoon. The place eagerly asked me to take pictures. I borrowed the camera from Gustavo and began to photograph. I took pictures of him sitting on the stool and in the gloomy corridor."
Edgar's photographs pose something very primary to photography: they start from a need. Although the story that this Post leaves us is simply a way to alleviate a feeling, the photographs get, within all their spontaneity, a seriousness of the one who takes things seriously, above all the learning. And I feel that in Edgar and Gustavo there was a learning of this experience, both managed to meet as a model (improvised) and photographer (also improvised), to reflect the heavy day they had but above all to reflect their friendship.
"Here is the intention of this post, to share from my perspective how chromosaturation works in people who have let themselves be portrayed by me in these places, where you can also interact not only with the figure but also with the background, perhaps creating works with complementary colors."
Samid presents in this Post a much more conventional view of the Portrait as we all conceive and understand it: The focus is on the person and their appearance. The interesting thing is in his experimentation with the space of great luminous and chromatic intensity, precisely chromosaturated. The shadow is almost forbidden in the editorial portrait, the elements with which Samid works are fundamental so that a conventional portrait can enter the category of beautiful, here it is an expressive resource and of experimentation, a search of the author that manages to attract the glance to the only thing of his portraits.
I mentioned that within the Portrait, the posture is fundamental but it is also the presence of the object-person and its aspect. The Self-Portrait comes to play a little with those concepts. The idea of opening this Portrait Photo Gallery is because very professional results of photography are achieved and although I hope that in another opportunity of time to only talk about self-portrait, I had to include Tefie in this brief selection because he has decided here to theorize photography and also perform a practical exercise, starting from the premise "Non-binary Identity"_ of the photographer Claude Cahun of which he presents his history and artistic intentions.
Then the body and appearance is not just that. There is already a search beyond just catching someone's face or the common manners, there is the idea of transforming it.
"Ambiguity is part of the mystery and depth of her photographs, Cahun always played between the feminine, masculine and androgynous, making her self-portraits a sort of indefinite gender. In reality, the artist questioned the idea of identity, "being"; for her it had more to do with the mutable, with that which demands to be renewed. Likewise, the genre is nothing more than a mask that can be removed or worn whenever necessary."
Disfiguring the image, transforming it and transforming oneself is the task of the self-portrait. From this exploration emerge the artist's truths and the confrontations with who he is and what his work is, I believe that it is an indispensable step for any photographer and today we have Tefie to remind us of it.
United by coincidence, practice or study these three photographers achieved a beautiful work and three different visions of the Portrait and each one must choose which is his favorite. It is very easy for the photographer to give himself to the world of the conventional Portrait, since it is one of the most profitable spaces in the medium, but even if it is in this way you can always look for ways to experiment and make a difference from our artistic work.
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