Nothing deceptive at all.
You engage with them because you are interested in them.
You photograph them because you like doing that, and because you know that interesting people result in interesting photographs.
But you don't engage with them just for the purposes of photographing them.
And sometimes you don't end up making a photograph - which is fine.
And if you don't enjoy engaging with people, that is fine too. But portraiture isn't the same as "people" photography - it requires engagement. And It is more fun!
I've done lots of photography where I was tasked with making photos of people - journalism, weddings, portraits, meet and greets, even a few publicity photos - and that definitely helps build some of the technical skills, which is useful. It is great when the photographic technicalities are instinctive.
Adjusting ones spouse can be problematical.
You gotta know thyself. I'm not a people person at least for portraits. Just talking to take a picture doesn't interest me. If I tried to strike up a conversation, I'm not interested unless they;re doing something that interests me. Portraits are pretty much for family and friends.
I'm more of a street picture taker who's interested in the oddball, interactions among the subjects, juxtaposition, or that the picture and subject are saying something to me. Then I snap.
That's great. Is there a way to see some of the book, let's say on BLurb if you published it there?
Double Exposures: Essays in Portraiture by Sanders McNew | Blurb Books
The French photographer Henri Cartier-Bresson once observed: "If, in making a portrait, you hope to capture the inner silence of your subject, you must try to put your camera between the skin of a person and her shirt." New York photographer Sanders McNew presents a series of portraits of naked...www.blurb.com
I should add that a number of the portraits are NSFW so proceed at your own risk.
Having done some professional portraiture, I have engaged the subject not necessarily because I have specific interest in them as an individual, but because getting them to talk about themselvesNothing deceptive at all.
You engage with them because you are interested in them.
You photograph them because you like doing that, and because you know that interesting people result in interesting photographs.
But you don't engage with them just for the purposes of photographing them.
And sometimes you don't end up making a photograph - which is fine.
And if you don't enjoy engaging with people, that is fine too. But portraiture isn't the same as "people" photography - it requires engagement. And It is more fun!
I've done lots of photography where I was tasked with making photos of people - journalism, weddings, portraits, meet and greets, even a few publicity photos - and that definitely helps build some of the technical skills, which is useful. It is great when the photographic technicalities are instinctive.
Excellent essay and photos. Obviously a labor of love.
Double Exposures: Essays in Portraiture by Sanders McNew | Blurb Books
The French photographer Henri Cartier-Bresson once observed: "If, in making a portrait, you hope to capture the inner silence of your subject, you must try to put your camera between the skin of a person and her shirt." New York photographer Sanders McNew presents a series of portraits of naked...www.blurb.com
I should add that a number of the portraits are NSFW so proceed at your own risk.
I have so many questions....
But I'll start with statements. I love these bodies of work, the pairing down to the most basic primitive level - in a lot of ways, it does take away preconceptions of who they are, what they do. Personally, I would have liked to seen some more older sitters/models, but hey, its your project and its your vision. (I'd also have males, but that again is my own personal opinion).
Regardless, I love this and I am grateful that you have posted
I have had a similar idea, but looking at peoples passions away from their work life. The portraits would be of the subjects dressed as per their passion, but in a formal portrait setting as per above.
My questions: How did you source/get contact with your sitters? Did you have to work hard to convince them to sit as nudes? Did you compensate them for their time?
A few years ago, I watched a doco on a photographer who did nudes of normal people in both NY and Las Vegas - I recall he had to work extremely hard to get some subjects. It looked like an arduous task, but like yours, the results were well worth it.
(OK, I didn't have many questions after all)
It's interesting to look back on the book as I turn 65, but I could not produce it today.
Why do you feel that you wouldn't be able to produce it today?
During high school and college, I took photos of friends and they were not necessarily formal portraits. During the 40 year h.s. reunion gathering, one guy walked up to me with his wife, and reminded me of a photo I took of them, and pointed out that it was their favorite photo. Some time later, a long time friend and his wife reminded me of a photo taken by me of them while in college, and it was their absolute favorite photo. Two special reasons why taking portraits can be personally fulfilling...because it can be so impactful in the lives of others.
It was a great project, and I am proud of it. But there are all sorts of reasons why I couldn't do it today. I don't live in NYC now -- being in a large urban area makes finding sitters much easier. I'm not working much these days; film is a lot more expensive now. Social mores have shifted. It would be interesting to reconsider how I might shoot the series in 2023.
But I have other subjects calling for me. I left photography shortly after finishing work on the book, in part because I felt I had exhausted my subject, and I needed time to replenish my artistic sensibilities. Then I moved to Appalachia for family, and discovered that I had landed, quite by accident, amid the glories of the Pisgah Forest, not ten miles from the Appalachian Trail. So now I've picked up my cameras again, years later, to photograph my new home in Madison County, NC. Which, sometimes, includes portraits of the locals.
It was a great project, and I am proud of it. But there are all sorts of reasons why I couldn't do it today. I don't live in NYC now -- being in a large urban area makes finding sitters much easier. I'm not working much these days; film is a lot more expensive now. Social mores have shifted. It would be interesting to reconsider how I might shoot the series in 2023.
But I have other subjects calling for me. I left photography shortly after finishing work on the book, in part because I felt I had exhausted my subject, and I needed time to replenish my artistic sensibilities. Then I moved to Appalachia for family, and discovered that I had landed, quite by accident, amid the glories of the Pisgah Forest, not ten miles from the Appalachian Trail. So now I've picked up my cameras again, years later, to photograph my new home in Madison County, NC. Which, sometimes, includes portraits of the locals.
I don't get paid for it but edit some portrait groups like this one on flickr. Does that count?
I'm personally not a fan of headshots, they always feel like someone's smothering any life the moment has with a pillow.
There are many kinds of portraits.
Us: Orderly Family Portrait by What Photos Look Like
So precious!My Dad was half decent at it.
His photo of my mother, somewhere between 1947 and 1951, on old, very faded Kodachrome:
View attachment 325276
This was before they were married, and a few years before I was born.
Great interview indeed! She's genuine and funny.Judith Joy Ross is indeed a superb example about why one would photograph total strangers. E.g. this youtube interview is soo good:
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