talking about photography 6

The subject of the portrait can be aware or unaware that they are being photographed.  In this way, the relationship between the subject and the photographer is affected.  In the portrait where the subject is aware, an emotion can be projected by the subject. The subject is forced to concentrate his/her self in the moment of the photograph.  

In a situation when the subject is unaware they are being photographed, the photographer is able to capture an emotion that

A portrait is a still of an expression. It captures a moment or something that in reality is not still so that the portrait pauses time in a sense and is able to depict an instance of an emotion or movement that otherwise would have been missed. A portrait is a freeze frame and sometimes there is a discrepancy between the portrait and our perception of ourselves. We think that we look a certain way and a portrait captures a second in time of a person's appearance and expression so to see a one second frozen image of yourself, you look different in every picture. We judge the images and say that we look bad or good in them because we are comparing them to the perception that we have of how we look.

Going beyond the relationship between photographer and subject, portraits speak to the similarities between us all. Visuals transcend the boundaries of language and space, speaking to any witness in any number of ways. There is something purely human about portraits, something that goes further than catching a moment. Portraits capture a feeling, an essence of familiarity that can be understood by all. HS

The subject of the portrait does not need to be in the portrait itself.  It can be a representation of the subject, of a feeling, or of an idea. I never appear in my self portraits, but they still feel like they are an extension of myself. SW

everyone is focused.  distracted from life.  caught up in the moment only processed by the film.  the photographer is intense, and shuts the rest of the world out.  the laughing girls are not heard.  the wind in the trees is silent.  the insecurities hidden.  only a face remains.  and in the results this can be seen. exposing the photographers true intentions.  Becca

There are an unlimited amount of portrait compositions that push the boundaries of expressing the character of the individual, in some cases more effectively than a traditional "mugshot" or "passport photo" stereotypical portraiture composition. The second photo posted exemplifies this concept of breaking the boundaries of the stereotypical portrait composition- allowing for the possibility of unlimited composition and ways to express the inner feelings of the individual being photographed. This concept coincides with the notion that there is more to an individual than their outer, surface appearance and that a better description of the individual can come from looking at that individuals inner characteristics. And that there is never necessarily the "best" photographic set up to capture the description of the individual because a moment in time couldn't possibly be enough to sum up the meaning of a human- but capturing the feel of the person comes closer to explaining that person.  -Brynn

In my view, unaware subjects create more significant and powerful pictures. I like them more because people are natural and by looking at them you can capture their gestures. Corinna Rombi

There is a seductive look upon the first portrait posted in my opinion. The face is not centered in the middle of the photo creating uneven symmetry of the photo.  Under the second picture there which is a group shot the students gather around to photograph the model.  This is the class in its habitat learning and experiencing the world of photography and all that it has to offer.
- MM

Without Expression

Yes, there's a man I know
With no expression
He's got none at all
Yes, there's a man that I know
With no expression, darling
He's got none at all

Well, some people are inbound with infatuation
And some others spill depression as the law
From one's mother getting at no imagination
So beware then, maybe sin is at your door

(Federica Nuzzolese) 

Your face in the hidden space,

a little notion of sustained emotion.

Your look protruding  gently and deep ,

trying hard with a secret to keep.

A scarce motion pertained in a single devotion.

No trap.

Just another step and a concealed clap.   - Kirila


A stolen moment of unawareness, a simple and honest existence of unspoiled being. Notice the world while staying unnoticed, see the forces influencing the subject and being the silent admirer who fuses with the ever changing outside.
-Tamara S