Motivation? For those who photograph people

[Cheryl Jacobs]

Here's something to ponder, and a potentially interesting discussion.

For those who photograph people of any genre (portraits, events, nudes, fashion, commercial, whatever) why do you choose to photograph who and how you do? What is your motivation? What do you love about it, and what do you not love? Are there things you'd like to learn or improve? New things you'd like to try? Obstacles you've overcome or still want to overcome?

What is it that drives you, and why do you do what you do?

- CJ

 

[cliveh]

When you take a shot with a person in it, it takes on a whole new meaning. People move and have personality. Most of the shots by HCB contain people. It’s easy to photograph static subjects, but a shot containing a person or people is a million times more difficult to get right in terms of composition and moment.

 

[gone]

Well, some faces just beg to be photographed. Still, in the right light w/ the right expression, it can go really well w/ anyone. There really is an important interplay between the taker and the taken, so to speak. Keeping things relaxed and loose is the key. I also like to photograph other animals besides humans for portraits. Not the usual fluff crap. Many other living beings have all the same characteristics and issues that we do. They feel fear, jealousy, love, hunger, desire, curiosity, etc. You can see it if you really look. Sorry, that's wrong. Looking is the problem, you have to see. If I get one shot out of a hundred that works though, it's a fortunate occurrence. Seeing is not that easy, and I seldom get there.

 

[pdeeh]

It’s easy to photograph static subjects

if only this were true

 

[cliveh]

if only this were true

In relation to movement and people it is true.

 

[Ken Nadvornick]

What is it that drives you, and why do you do what you do?

When I photograph people, especially strangers, I do it because I love to hear their stories. That's the biggest reason. I love the long, and often detailed, conversations that take place before the camera is even raised. Everybody has a unique and very often eye-opening story.

To offer someone your time to listen to theirs is to pay them the highest possible level of respect. The release of the shutter is usually the final act in the encounter, not the initial act. More of a thank you by and from me than anything else.

For me the story behind the picture of someone is as important, if not more so, than the resulting solitary photograph. When combined, the story and the picture form a unique insight into that one single data point from the set of all data points to which we all belong.

I am not a member of the club that says a photograph should stand wordlessly on its own like some religious relic. I don't understand that point of view. Or way of working. Or way of thinking. I believe the combination of words together with photographs can be a highly symbiotic and endlessly powerful form of communication.

Talking with someone at great length before even raising a camera is quite possibly the most powerful form of composition.

Here's a simple (there was a url link here which no longer exists).

I spent over an hour with this gentleman before making this one solitary negative at the end of our conversation. It was my one and only encounter with him ever.

And given his amazing story as he quietly related it over that hour, his self-effacing posture and especially his humble eyes in this photograph are just riveting.

At least they are to me...

Ken

 

[snapguy]

novice

I have noticed, over the last 50-plus years, that many novice photographers take photos of stuff that does not move much -- sunsets, building, mountains, trees. Some are deathly afraid to take photos of things that might move, turn, groan and grunt and maybe punch the photographer's lights out.
As for motivation, a million reasons. As I move around I see photographs begging to be taken. I just have to move over there, focus my camera, set the f-stop and shutter speed and take it.
And -- what, you'll pay me to photograph the Olympics? I'll pack my bag and be on my way....when they want to pay you to have fun how can you say no?

 

[cliveh]

EE

 

[Bill Burk]

Often, when I think of what motivates my photography, I conclude that I do it for love.

I may be able to explain further, but for now I'll leave it at that since the explanations that come to mind right now are clumsy.

 

[Christopher Walrath]

Honestly, and it may seem odd, I avoid people photography. I love people. I got it honest, from my father. For example, I was in the emergency room a couple weeks ago with my sister in law. We are in the waiting area and, being born and raised in Ohio, when I see an older gentleman wearing a Cleveland Browns ballcap I see conversation. We talked for over an hour. And we really talked about more than superficial things. It truly is a great gift to be able to interact with people.

However, I cannot bring myself to photograph people. Sure, I assisted my mother with a wedding photography business for a few years and photographed people and made some rather amazing portraits and caught some fantastic moments. But I was doing that FOR her. I tried a couple weddings on my own. And though I was technically proficient, and I cannot tell you why, I felt very awkward with a camera between myself and the subjects. Perhaps as a result of not truly getting to know them first. I may never know.

Yes, I can walk into a room of strangers and leave with at least two new friends. And yes, I can make splendid portraits and candids of human subjects. I sure as hell feel uncomfortable in doing so.

 

[frank]

IMO, people are by far the most interesting subject matter.

Additionally, people are capable of responding to their image.

 

[Christopher Walrath]

And, Frank, that is the thing I do not understand about myself. People are interesting to me. Hell, I have been selling auto parts for 23 years. You don't keep a job like that without being a people person to the least extent. And yet, I am uncomfortable behind the lens taking a portrait or a candid. Odd...

 

[frank]

And, Frank, that is the thing I do not understand about myself. People are interesting to me. Hell, I have been selling auto parts for 23 years. You don't keep a job like that without being a people person to the least extent. And yet, I am uncomfortable behind the lens taking a portrait or a candid. Odd...

It is most intimidating to begin. A person can judge you as you fumble with camera settings, something a tree can't do. But once you get over the hump and do it several times, confidence builds and you can overcome insecurities. With great effort comes great reward. (This is one reason I love film over digital.)

 

[Christopher Walrath]

Yeah, it has been a long time but the 'wondering what people think while I fumble' thing kind of fits. Might have to think on that a bit...

 

[frank]

Yeah, it has been a long time but the 'wondering what people think while I fumble' thing kind of fits. Might have to think on that a bit...

There's always 2015. Happy new year, Chris.

 

[Christopher Walrath]

You too, Frank. Thanks.

 

[Truzi]

And, Frank, that is the thing I do not understand about myself. People are interesting to me. Hell, I have been selling auto parts for 23 years. You don't keep a job like that without being a people person to the least extent. And yet, I am uncomfortable behind the lens taking a portrait or a candid. Odd...

I'd rather interact with people than take photos of them - perhaps that is it for you as well.

 

[MattKing]

I used to do a lot more people photography than I do now.

When you are working with someone, and the communication is good, and they are interested in making the best possible result, it can be lots of fun.

Of course, sometimes the best portraits happen when the subject is pissed off at you (Karsh's Winston Churchill and Jane Bown's Samuel Beckett come to mind).

This may sound strange, but I think some of the best portraitists are cinematographers.

This photo was a lot of fun to do - some people are just made for hats!

 

[frank]

An old photographer buddy. M3 with Summarit 50mm.

 

[SchwinnParamount]

Cheryl,
I've admired your stuff for years now. My own portrait photos are usually always family members who didn't have a great reason to be anywhere other than in front of my camera. The few non-family member pictures I did worked really really well. In these cases, the subject didn't know they would be subjects until I raised the camera to my eye.

 

[Arklatexian]

I used to do a lot more people photography than I do now.

When you are working with someone, and the communication is good, and they are interested in making the best possible result, it can be lots of fun.

Of course, sometimes the best portraits happen when the subject is pissed off at you (Karsh's Winston Churchill and Jane Bown's Samuel Beckett come to mind).

This may sound strange, but I think some of the best portraitists are cinematographers.

This photo was a lot of fun to do - some people are just made for hats!

This is probably a little off the subject but Karsh is one of my photo favorites. I enjoy sitting and looking at a Karsh image (I have some of his books) and try to work out the lighting that he used by looking at the shadows and highlights. I don't think that I have succeded yet but it is fun and I know that I have learned a few things from this exercise......Regards

 

[dpurdy]

For most photographers other humans are the most interesting subject. It is odd to me. It is a species vanity thing to a degree but it is also to do with the fact that taking pictures of other people is in a way taking photos of yourself. I am human, that person is human, I could be like that person. Taking a photo of that person will tell me something about myself.
I take photos of people if I am hired to do it or if they are family members. Otherwise I don't. Several years ago I made a lot of sales taking photos of nude women... in the name of art. That is really another species vanity thing.
To me the main miracle to photograph is not humanity. It is the force of life and nature... which can be expressed in humanity. However as soon as a photo becomes a photo of a person it becomes a photo of humanity rather than the miracle of energy, synchronicity and change.

anyway that is my thought
Dennis

 

[removed account4]

Here's something to ponder, and a potentially interesting discussion.

For those who photograph people of any genre (portraits, events, nudes, fashion, commercial, whatever) why do you choose to photograph who and how you do? What is your motivation? What do you love about it, and what do you not love? Are there things you'd like to learn or improve? New things you'd like to try? Obstacles you've overcome or still want to overcome?

What is it that drives you, and why do you do what you do?

- CJ

hi cheryl

i am rather shy and using a camera helps me get over my shyness,
i hate talking to people, strangers &c and making their portraits
helps me get over that ...
i've been photographing strangers, and people at work since i was
wet behind the ears in a college photography course. it was
studs terkel's working that got me motivated to do it.
i began wandering around with a camera
and photographing strangers, people at late night eateries ( 2am ) diners at mid day
people at work making occupational environmental portraits ... and eventually i did the same
sort of thing for a newspaper and on commission
i love not being myself, shy, introverted, and i love the feeling of bringing ( or emailing ) a portrait i took
back to the person and them saying thanks and allowing me to use it in my portfolio.
once i brought a photograph back to a woman i met sitting on her porch ... ann, and she had no idea
who was in the print. i still drive by where she used to live, and think about our meeting all the time ( its been almost 30 years )
i've done it in 35mm, 6x6, 4x5, and 5x7 and i am getting motivated to do it with an 8x10 camera next
the reason why i want to do it is i kind of like talking to strangers and learning who they are and what makes them tick,
and what sort of job / work they do.

 

[cowanw]

This will sound morbid, but I think everybody should have a portrait showing them at their lifetime best to put in front of the coffin at the end.

 

[benjiboy]

This will sound morbid, but I think everybody should have a portrait showing them at their lifetime best to put in front of the coffin at the end.

It's being so cheerful that keeps you going