Soul, redux: or, interpretations reflect the audience

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Sophie, the mime: the image resonates and means something to me because I have an emotional connection to the subject, to the setting, and I know the narrative story on either side of the frame. It may resonate with you because you happen to like children, or because the facial emotion is a strong an unambiguous one, or you like monochrome documentary portraiture, or for some other reason. But if it were executed differently, you may feel different about it – but not necessarily or consciously know why. It is up to the photographer to control the unconscious influences in such a way that at least their intended communication is fulfilled, but not in a way that draws attention to itself (and thus breaks that illusion).

After the huge amount of very interesting and thoughtful discussion that ensued in the comments – thank you for your thoughts, everybody – and a few days of settling time, I couldn’t leave the previous article on soul hanging inconclusively. There are few very interesting observations made, higher conclusions that one can draw from the responses here, and further logical leaps from contemplation of one’s own work and raison d’être. Firstly, a clarification though: I’m not looking for a magic formula to ‘inject soul’ into my own work, and I’ll explain why later. I was and am simply seeking to understand why certain images move certain people in a certain way – and if there’s anything one can use there to make a stronger image, given the choice, and providing of course it fits one’s own idea.

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Let me start off by saying I’m probably the wrong person to write about this topic, but that’s also precisely why I need to. My critics are always fond of saying my images are too cold, too precise, too unemotional, too lacking in soul. There are no right or wrong absolutes when comes to art and photography, only subjective preferences; this of course means that there’s probably a nugget of something legitimate in there. I’ve spent some time contemplating what this last bit might actually mean: what is soul in an image? Why do some images have it, and others don’t? I will also say that whatever I put forth after this point is pure conjecture on my part (more so since I apparently don’t know what soul is), and I’m sure there are as many definitions as there are photographers. So, feel free to add your two cents in the comments…

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Portraiture, part two: candids, reportage, street, and the ‘happiness barometer’

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In part one we looked at why images of people fascinate us, and the nature of portraiture. However, this only covers half of the possibilities for ‘images of people’: instances where the subject is a conscious and cooperative part of the process. What about the other possibility: where the subject is not aware the photographer, or only aware of them in the most fleeting of moments before any conscious self-image or rapport can be built?

The images in this article are all candid: unposed, unplanned, and with subject unaware. Even if it appears they may be looking at the camera in certain situations, it is a result of conscious timing, observation of something behind me, and/or a particular moment rather than catching a long stare. None of them showed any acknowledgement of my presence before or after the shot was taken, which was actually quite surprising in some situations. They saw me, but my presence didn’t register.

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Thoughts on portraiture

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Today’s article is the first of two parts focusing on portraiture and human subjects as the focus of an image. It is not something I’m normally associated with because I rarely choose to show my work here; it doesn’t mean I don’t engage in it for personal reasons (which are usually not shared, obviously) or professional ones (I do have clients whose mainstay subjects are primarily human). Whilst curating images for a recent assignment, I had a couple of little personal epiphanies which I’d like to share with you all.

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Street photography, soul and ethics, revisited – a personal view

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Man, or the idea of man?

Not to flog a dead horse, but I want to pick up from where the one of the earlier articles hinted and left off: the topic of ‘soul’ in street photography, and what that means in terms the increasingly grey ethical area for photographers. There are also legal implications involved, and we’ll discuss those in passing – individual territories have different regulations, so it’s really in your best interests to check before shooting.

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