Self Portraits: what do you get out of them?

[Sam Hames]

 

[Asher Kelman]

Sam,

I wish I knew how to approach your picture. Obviously, it's meant to be some shock to our senses, but to what end I cannot fathom. Surely this is not a self-portrait. Maybe you are saying that you are kosher as you have cloven hoofs. Otherwise, I'm flummoxed!

Asher

 

[Michael Nagel]

I have also some difficulties to grasp this one as an individual portrait. I could imagine this as part of a series.

I started taking self-portraits, not as a real project, but more as a sidetrack to the photos I take in general. I add one recent to show my approach of this subject - I hope you don't mind.

Oeillet​

Do you intend to expand this?

Best regards,
Michael

 

[Tom Dinning]

Hi Sam.
A self portrait can be many things to many people. You may want to show us what you look like. This shot doesn't do that. You may want people to see how you see yourself. Not literally as this shot might suggest but in a fiurative way. One would struggle with that as well. Although the shot may seem enigmatic it shows little about the person other than they wear jeans and strange socks. there are many self portraits that do not show the persons face but there is usually enough information provided by the environment or caricature that identifies the person to those who know and even enough for those who don't to get a gist of the character of the person.
Cheers
Tom

 

[Tom Dinning]

I have also some difficulties to grasp this one as an individual portrait. I could imagine this as part of a series.

I started taking self-portraits, not as a real project, but more as a sidetrack to the photos I take in general. I add one recent to show my approach of this subject - I hope you don't mind.

Oeillet​

Do you intend to expand this?

Best regards,
Michael

You have probably made the same error in judgement, Michael. There is no visible relationship which can be determined between the structure in the foreground and the barely recognizable figure behind the glass. We don't have to have a clear and distinct image of the persons face but we do need to be able to identify in some way who the person might be or at least a taste of their character. I don't think anyone could do that from such a picture.

 

[Asher Kelman]

Michael,

The idea of just a part of a picture is workable for a portrait when that is in a context of that person we already know well and then this is that trigger which brings to mind as aspect of that personality we all recognize. Since both of you are as infamous as myself, more is needed.

Your idea of a series might work well. Can you point out any portraitist who worked using a series of pictures that way? I think it would be instructive.

Asher

 

[Asher Kelman]

There are approaches to non-idealized portraits that relate the person in everyday life to their world and environment by a series of photographs.

Read this interesting PDF article by Sergei Tret'Iakov, "From the Photo-Series to Extended Photo-Observation".


We are not asked to do anything more than build up a feeling and empathy for the subjects true life situation rather than present idealized representations.

Asher

 

[Sam Hames]

Thanks for all the responses so far - they've been very instructive and pointed out a mistake that has detracted from what I was trying to do here - I think I'll clarify what I mean a bit later when I have something better executed.

The thoughts that went into my head:
1. I don't particularly care about my own appearance - and I don't think my own face/body will give you any clearer indication of who I am.
2. I make very few choices about what I wear. The shoes are one specific, distinctive choice. Mostly I wear happens to be a combination of whatever is on top of the drawer.
3. Definitely was aiming for a little bit of jarring action there - if you include a face, you end up with most your brain focusing on that. I don't want you to ignore the elephant in the room. Maybe too blunt in this case though.

There is more work for me to do on this. It may become part of a series. It may just be a single photo.

 

[Tom Dinning]

Thanks for all the responses so far - they've been very instructive and pointed out a mistake that has detracted from what I was trying to do here - I think I'll clarify what I mean a bit later when I have something better executed.

The thoughts that went into my head:
1. I don't particularly care about my own appearance - and I don't think my own face/body will give you any clearer indication of who I am.
2. I make very few choices about what I wear. The shoes are one specific, distinctive choice. Mostly I wear happens to be a combination of whatever is on top of the drawer.
3. Definitely was aiming for a little bit of jarring action there - if you include a face, you end up with most your brain focusing on that. I don't want you to ignore the elephant in the room. Maybe too blunt in this case though.

There is more work for me to do on this. It may become part of a series. It may just be a single photo.

Just some point to consider in your next step, Sam

1. Try concetrating on what you do care about instead of what you don't. In a sense, not caring is a 'style'. Trust me, I've been working on it all my life and have it perfected. So let your image show us what your 'not caring' style looks like and how it manifests itself on you in particular. We don't know you so we still need a bit more information to recognise you in a crowd.

2. Sounds like you make very strong choices about what you wear and you have good reasons for doing it. Its also like most blokes I know including myself. How I would love to see a portrait of you behind a stach of crumpled clothes while you choose the very top items. Then we would know what you are like.

3. Don't be too concerned about the face being our centre of attention. We can't help ourselves. Its probably innate. But it doesn't have to be the whole face or even a clear picture. Imagine a portrait of Roy Orbison with just the glasses, or John Lennon. Think of the familiar people around you and find a feature that distinguishes them from everyone else. Ask them what it is about you that works for them.
Have a look at some protraits that work. My favourite is Jane Bown's stuff. Its OK to talk about the elephant in the room as long as its not sitting on you.

Here are some simple examples that might clarify my comments.
The first one is definitely not, by any stretch of the imagination, a portrait.


_DSC2767 by tom.dinning, on Flickr

This one definitely is..


20110728_0826 by tom.dinning, on Flickr

Its up to you to know which direction you go. Ultimately, its up to us to decide if we get it.

 

[Sam Hames]

It only took me 8 months...

 

[Asher Kelman]

It only took me 8 months...

.......... to say, "Me? I don't give a flying ****!!" and it works!

Now, Sam, the next one in this series better not take more than 2 weeks, LOL!

Asher

 

[Asher Kelman]

Let's get back to the original question. what makes your self-portrait any less valid that that of this Korean artist?

Ahn Jun's self-portraits are a high art
Skipping along a skyscraper or posing on a parapet,
Ahn Jun goes to astonishing lengths
– or heights – for the perfect shot​

See more of her daring pictures, here in the U.K. Newpaper, The Guardian. Story here.

 

[Rachel Foster]

My favorite self-portrait, I think, reveals one aspect of me I most like: It's impish. This shot leads you to believe there is more there than really exists. I love to tease, but only in a harmless, playful way.

Rachel: Self-portrait​

I bet you looked twice.

 

[Tom Dinning]

Self-portraits are good exercises in photographic discipline for those who like to live life in the fast lane. Taking the methodical, purposeful approach does get the brain working and the techniques refined.
Its a chance to experiment as well, with yourself as much as the poses and gear.
It also puts your head in two places at one; one to figure out what the photographer wants, and the other to figure out how to get the client to do what you want. If an arguement ensues, you can always walk out.
What I have come to realise is that getting a good portrait isn't about getting into the persons head but letting them get into yours. They can act out anything they want and you can record it. Like acting, really.

_DSC4083 by tom.dinning, on Flickr





_DSC9225 by tom.dinning, on Flickr​

I like your impish look, Rachael.

 

[Asher Kelman]

Self-portraits are good exercises in photographic discipline .........

_DSC4083 by tom.dinning, on Flickr​

Tom,

I believe I've seen this before and enjoyed it then and it still holds my attention! There are no distractions of color or unneeded detail. Both the photographer and subject each actively craft their separate contributions. That's the subject and feeling of it. As a result, the two together deliver a picture, telling such a lot about you. But what comes next?

Asher

 

[Tom Dinning]

Tom,

I believe I've seen this before and enjoyed it then and it still holds my attention! There are no distractions of color or unneeded detail. Both the photographer and subject each actively craft their separate contributions. That's the subject and feeling of it. As a result, the two together deliver a picture, telling such a lot about you. But what comes next?

Asher​

If you have seen it before, it was from someone else. I took this yesterday in response to the thread.
Still, I often think about the next step. There's something religious about looking into a lens from the other side. You can't see the face of the photographer but you know it's up to him/her to be kind and humanitarian with your looks; to create something out of nothing worth looking at.​

 

[Rachel Foster]

I like both of those very much.

 

[Asher Kelman]

If you have seen it before, it was from someone else. I took this yesterday in response to the thread.

Maybe what I remember is my feelings of watching my late father in law doing portraits. There's such a familiarity and feeling of a hard truthfulness about your picture.

Still, I often think about the next step. There's something religious about looking into a lens from the other side. You can't see the face of the photographer but you know it's up to him/her to be kind and humanitarian with your looks; to create something out of nothing worth looking at.

You've conceptualized well and delivered well! I hope you might consider other uses of this dual consideration for subject and photographer. I'm really thrilled to see this work and so appreciative you did it for all of us too!

Asher

 

[Charlotte Thompson]

How I See the Me_