Judith Joy Ross is indeed a superb example about why one would photograph total strangers. E.g. this youtube interview is soo good:
Another good source of inspiration is Judith Joy Ross.
‘My subjects feel special – most of the time’: Judith Joy Ross on her sensual portraits
Hailed by some as the world’s greatest living portrait photographer, the American artist forges connections with people you might not normally noticewww.theguardian.com
When I was young, I struggled to approach strangers and engage in small talk, but when I was in college, working on an oral history project, I overcame that problem (not entirely, though), and now, many years later, I enjoy talking to people I just met and taking their portraits. I always ask permission.
This one is from a recent 120 roll, digitized with my phone.
How do you break the ice?
I think lots of folks take on a certain area of photography simply because it poses a set of challenges which entail learning certain skills and mastering them.
I think where the difficulty comes in it for me is I wouldn't have a problem hanging a picture of a car or a landscape on my wall, but I would never hang a portrait of someone I don't know.
Funnily enough, while it may seem strange to hang a single portrait of someone you don't know, it is easy to hang a few.
Valid point. If its part of a theme - a project, then yes, it would work.
A fun approach is to have a chair rail based display system, and re-usable mats and frames.
Have a corner where the portraits/people photos/street photos with people are constantly in flux - a visitor one month is likely to see something different if they come back the next.
You walk up to them, say hi, and start talking about them.
Whatever you do, you don't present yourself as a photographer. You present yourself as an interested person, who loves to photograph people you engage with. The camera doesn't come close to your eyes until after you've reached agreement about photographing the subject.
With this very interesting person, we talked first about fish, and fish markets, and light.
View attachment 325293
A fun approach is to have a chair rail based display system, and re-usable mats and frames.
Have a corner where the portraits/people photos/street photos with people are constantly in flux - a visitor one month is likely to see something different if they come back the next.
You could do a photo book of portraits. Then keep it on your coffee table for visitors to thumb through. You could title the book, "Portraits of Strangers I Wouldn't Hang on My Walls."
I totally agree.
I think where the difficulty comes in it for me is I wouldn't have a problem hanging a picture of a car or a landscape on my wall, but I would never hang a portrait of someone I don't know.
That being said, I wouldn't and don't have an issue posting a portrait of someone to Instagram or Flickr.
When I had an office, for 40 years, I combined my work with my hobby, portraiture, by collecting and displaying on the walls of my office, well over 100 portraits dating from 1841 to 1955. Most of my clients liked and discussed their favorites. one ninty year old lady was very partial to a 1939 Hurrell portrait of Brian Ahearn. It still stirred her all these years later.I totally agree.
I think where the difficulty comes in it for me is I wouldn't have a problem hanging a picture of a car or a landscape on my wall, but I would never hang a portrait of someone I don't know.
Good question! My situation is unique since I can only "walk" using a walker or crutches (if I feel adventurous) and, as weird as it sounds, that is often a conversation starter. I got used to it over the past twenty years. Some people ask if they can pray for me, some are curious about my leg, some comment that they themselves have had a leg fracture or that their friend or family member did. Whenever I am outside photographing, my camera is always visible and, when I approach someone, I do briefly tell them that I am out taking pictures for whatever project I might be working on. I am always polite and always ask permission. I also give out my card and offer to send them a print if they want one. Some people do. The man in that picture was walking without a coat on on a pretty chilly day. He said he couldn't wait to move to Hawaii, and so that's where the conversation headed. A few years ago, I used to carry an Instax camera and would give out an instant snap, but now it's just too much weight for me to carry so I just have my film camera with me. My approach, which I had learned from Studs Terkel years ago, is to just listen and try to ask engaging questions.How do you break the ice?
You walk up to them, say hi, and start talking about them.
Whatever you do, you don't present yourself as a photographer. You present yourself as an interested person, who loves to photograph people you engage with. The camera doesn't come close to your eyes until after you've reached agreement about photographing the subject.
With this very interesting person, we talked first about fish, and fish markets, and light.
View attachment 325293
Nothing deceptive at all.So you really want to photograph them not discuss things with them. So you bring up other subjects as a diversion to fool them at first. Seems deceptive. I'd rather just sneak a shot or skip it. This is why I have problems doing it. I guess I'm just not interested in other people. I'd rather photograph squirrels or trees. They've got nothing to say. Don't argue. And I can use a tripod.
So you really want to photograph them not discuss things with them. So you bring up other subjects as a diversion to fool them at first. Seems deceptive. I'd rather just sneak a shot or skip it. This is why I have problems doing it. I guess I'm just not interested in other people. I'd rather photograph squirrels or trees. They've got nothing to say. Don't argue. And I can use a tripod.
Exactly. I published a monograph of 100 portraits and 36 pages of essays on portraiture. A book is a great way to order and present work.
I do not see the problem. It only takes wall space, a nail and picture hanger if the print is matted and framed. If the face is interesting, people like portraits.
My wife has a couple of pictures hanging with the original photos of the people that came with the purchase of the frame. I told her I'd give her one of mine to substitute, but she says she likes the person.
I had a Richard Avedon poster of Natassha Kinski and the Serpent hanging on the wall behind my desk way back when it was pretty risque. It would distract my guests as their eyes kept darting up to see the snake, or the girl, whatever. It helped me in negotiations. (That's not my poster or picture, but mine was very similarly framed.)When I had an office, for 40 years, I combined my work with my hobby, portraiture, by collecting and displaying on the walls of my office, well over 100 portraits dating from 1841 to 1955. Most of my clients liked and discussed their favorites. one ninty year old lady was very partial to a 1939 Hurrell portrait of Brian Ahearn. It still stirred her all these years later.
My first project upon retirement was to write a book, Eleventyone Portraits, to make them at least available to the photographic world. Identifying and learning about an otherwise anonymous portrait is fun.
For me, making a great portrait is very satisfying.
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