The other end of the lens this week, with a presentation by Paul Walker, who has been a model at the club on several occasions, and his experiences as a model over the last five years. Paul has gathered about 20,000 images over that time from the photographers he has worked with, including present and former members of the club and his is an interesting perspective.
From the off Paul framed his presentation within the context of mutual collaboration, certainly within the idea put forward here before (it escapes my memory by whom, unfortunately) that we do not take someone’s photograph, they give us their photograph, or as Jean-Luc Godard put it “When you photograph a face …. you photograph the soul behind it”.
It may not be a scientific fact, but after a while of taking pictures of people, there are certainly those who the camera takes to more than others. In part that is to do with symmetry and features but it is mainly about the connection either side of the film plane. Paul talked about the photograph as a collaboration, having an idea and communicating it.
Certainly, there are two people in every photograph (at least) the subject and the viewer and it is the viewer that we work to engage. We, the photographers, are the unseen intermediaries, we are the mentors and the coaches as much as the producers and directors, we take and shape the light, we work with the subject to make the image.
“If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.” – Eve Arnold.
But the emotion, the feelings, the communication all comes from the subject. It is their story, we merely light and frame and take the image, a little slice of time and circumstance that never happened before or since and being unique to that time, but we need to do it empathetically.
Of course, there are the techniques of lighting and posing and exposure to apply but Paul’s commentary on his favourite shots underlined photographer David Alan Harvey’s advice “Don’t shoot what it looks like. Shoot what it feels like,” and that has to come from both sides of the lens coming together.
Certainly, there are differences in posing men, posing women, posing children, and using natural or artificial light and any number of different styles (High Key, Low Key, Noir, to name but three). Small differences between shots are worth recording and studying. And discussing with our model. Let’s face it, an experienced model probably has more experience of doing these things than we do and though they may not be au fait with the technical side of the camera they know about how to work with light from their end.
And if it is all about communication then there needs to be a dialog of some sorts, allowing photographer and model to play to our strengths. To do that we need to be mindful of the atmosphere we are in and the one we are trying to create – pointless in being somber and funereal when trying to create a party atmosphere and vice versa, pointless not shooting what it feels like but shooting what we think it looks like. And always be polite. Be respectful.
And yes, it helps enormously if both sides have an idea of what point we are trying to get to, so time spent in reconnaissance, as Napoleon Bonaparte was apt to say, is never wasted. And it is better to stay positive when things aren’t going to plan, doom and gloom will kill the vibe and as the photographer, we are the key to keeping the momentum going.
It is a collaboration and our thanks to Paul for providing an informative and stimulating evening in giving the far side of the lense’s perspective.