Documentary Portraiture --
To make a documentary portrait of an individual that has impact is not as easy as
some people might think. Numerous factors have to be taken into account, and
Chambers conveys this textually and visually in the following lesson.
"Of course, the first thing that needs to be mastered is exposure in order to provide a
fine print for viewing. My rule of thumb is to overexpose one f-stop, and underdevelop
thirty to forty-five seconds. This approach will render a negative that is similar in
nature to the Zone System.
Putting exposure aside, since I'm mainly interested in helping you capture a portrait
that has impact, let's take a look at four images from my 'Dyer Street Portraiture'
series: These images would probably fit the 'street shot' category, but they are
staged in the sense that the subjects are posed in relation to their surroundings. A
20mm lens (extreme wide angle) is used to 'condense' the view, and show the
backdrop/background. The subjects' posture and expression come across as
natural, but their 'look' is manipulated through constant encouragement. They're not
smiling, and in my opinion, a documentary portrait should not include this kind of
expression. As soon as a subject smiles for the camera, he or she breaks character.
This action dilutes the nature of the image, and it becomes nothing more than a
standard studio portrait."
DSP-1 shows a young woman wearing headphones, and tuned-out to her
surroundings, oblivious to what's going on around her and possibly to the portrait
session as well. She is Hispanic, and stands in front of a wall advertisement in
Spanish. Her portrait is staged in front of this advertisement to enhance the ethnicity
of the image. She's positioned right to allow the backdrop/background to come
through with this ethnic message. The words in the advertisement 'race' across (left to
right) the image to provide excitation. This image is not just a portrait, but also a
visual statement about ethnicity and oblivion.
DSP-2 shows an old man in his failing nightclub. His business has dropped-off, and
he feels isolated. His portrait is staged indoors, and he's positioned right-foreground
to show the emptiness of his club behind him. He sits alone at a table that should be
filled with customers, and his hands-posture conveys reflection and contemplation.
This image is not just a portrait, but also a visual statement about isolation and
DSP-3 shows a young man in front of his 'Headstand' shop. He's positioned
low-center -foreground to allow the shop sign (above) to overpower the image, and
convey the 1960s -1970s era. His posture, expression and attitude are in direct
relation to the word, 'Head' in 'Headstand'. He's making a stand as well, and the
advertisement signs to his left and right convey sales to perpetuate a bygone era.
This image is not just a portrait, but also a visual statement about attitude and
DSP-4 shows a young man in a blood bank. He's positioned left-foreground to show
the advertisement sign, 'This man is a paid blood donor.' He's down-and-out selling
his blood to survive, and his circumstance is in direct relation to the sign. His posture
and expression convey a sense of concomitant pride and humility. This image is not
just a portrait, but also a visual statement about survival.
"A portrait is just a portrait, but a documentary portrait makes a connection between
the subject and his or her surroundings. And this connection conveys a visual
statement about the social condition."
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