Angier, Roswell, 1st edn

Train your gaze

Angier, R. (2007) Train your gaze: a practical and theoretical introduction to portrait photography. Lausanne: Ava Publishing.


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QuotesContentsIndex


Quotes

text


Contents

How to Get the Most Out of This Book

INTRODUCTION

1 ABOUT LOOKING

2 SELF-PORTRAIT/NO FACE

3 PEOPLE at the MARGIN: The EDGE ofthe FRAME

4 BEHAVIOR in the MOMENT: PICTURING EVENTFULNESS

5 YOU SPY: VOYEURISM and SURVEILLANCE

6 PORTRAIT, MIRROR, MASQUERADE

7 CO N F RO NT AT I O N : LOO K I N G THROUGH the B U L L’ S E Y E

8 OUT of FOCUS: The DISAPPEARING SUBJECT

9 DARKNESS

10 FLASH!

11 FIGURES in a LANDSCAPE: TABLEAUX

12 COMMENTARY: DIGITAL PERSONAE

APPENDICES

Cameras and Camera Controls
Some Differences Between Film and Digital Image Formation

Exposure and Metering
The Gray Scale, Color Film, and Digital Files

Using Flash

Acknowledgments

Critical Bibliography

Index


Index A-C

35mm cameras 158, 207, 208

A

age ro2-3, 193-5

Agee, James 37-8, 41, ro5

Alpern, Merry 60, 61-2, 64, 73, 143

ambient light/flash mix 155, 163, 214-15

analog photographs 191, 207

Apagya, Philip Kwame n3-14, 116, 117

Arbus, Diane ro6, n2-13, 151, 163

authorship 25-6, 68

automatic flash units 212

Avedon, Richard 4, 5-8, 55, ro6, n3

Aziz, Anthony 192-3, 193

B

backgrounds n3-14, 123, 157

Barney, Tina 177-81, 178-9, 187

Barth, Uta 126-9, 127

Barthes, Roland 5, 25-6, 68, 191-2

Bayard, Hippolyte 12, 13, 15

Baylis, Diane 62-4, 63

beauty 192-5

Becher, Bernd and Hilla 68, ro7

Bell, Clive 33

Bellocq, E.J. 16-17, 17

Bentham, Jeremy 67-8

Billingham, Richard 128, 129

black identity 96; see also ethnic identity

blind people 138-40, 174, 175

blurring; see out-of-focus photography

body 12, 16-17 20, 192-203

bounce flash 214

Brassai 134, 142, 158, 171

brightness range 2ro-n

Brown, Lucian and Mary 155-7, 155, 163

Bubriski, Kevin 70-1, 70

built-in flash units 212

bull’s eye photography roo-17

Burke, Bill 161, 162, 163

Burson, Nancy 193-5, 194-5, 197

Butler, Judith 80-1, 83

C

ea ble release n7

Callahan, Harry 68, 69-70, 69

cameras 101, 142-3, 158, 207-8; see also digital cameras

Cameron, Julia Margaret 7-8, 7, 13, 79-80, ro7, 125, 129

cartes de visite 13

Cartier-Bresson, Henri 33-6, 34-5, 73

center-weighted averaging meters 209

cinematic narratives 55-6, 166; see also film stills

Claesson, Leif 41, 42-3, 45

Cohen, Mark 150-2, 150-1, 167

commercial photography 17

composition ro2

confrontation roo-17

controls, cameras 207-8

Cook, Dennis 49

Coplans, John 20, 21

Cottingham, Keith 196, 197

Crawford, William 142-3

Crewdson, Gregory 55, 163, 164-5, 166

critical distance 180-1

Cucher, Sammy r92-3, 193


D-H

D

daguerreotypes 6, 78, 79; confrontation ro3; light 134, 142-3; self-portraits 13, 15

darkness 132-45, 152

‘decisive moment’ 33, 35

dedicated flash units 212

depth of field 121

DiCorcia, Philip-Lorca 69, 166

Diderot, Denis 172, 177, 186

digital cameras 71, 190-205, 207-8; exposure issues 2rr; flash use 133, 215; frame 31

Dijkstra, Rineke 68, 110-11, n2-13, rr7, 155

direct flash 214

documentary photography 36-44

Dominguez, Stephen 137-8, 138

Duchamp, Marcel 78, 83, 84

Duchenne de Boulogne, G.B. 14, 15

E

emotion 15

eroticism 64, 66

ethnic identity 23, 25-6, 83-7, 96

Evans, Walker 25, 174; bull’s eye photography ro5-6, rr3; marginalized people 36-8, 40, 41; voyeurism/surveillance 61, 67, 68-70, 73, 75

exposure 134, 136, 167, 209-rr

F

fstop calculations 158

faces 12-27

family snapshots 177-86

Farm Security Administration 38, 174

femininity 7-9, 20, 26, 95

see also gender

figures in landscapes 170-87

fill light 145, 161, 214-15

film stills 186

see also cinematic narratives

film types 134, 207

flash photography 133, 148-67, 212-15

flash-to-subject distance 157

focus 31, n7, 120-9

foreground n3, 123, 127

Foucault, Michel 68

framing 30-57, ro2, rr7

Frank, Robert 30, 33, 78, 122, 123, 174

flash photography 152, 156

news photographs 50-2, 52, 54-5

Friedlander, Lee 16, 18-20, 18-19

friends and family 177-86

G

Gardner, John 137

gaze, interpretation 5

gender 22, 80-1, 83-7

see also femininity

Gericault, Theodore 202, 203

Gibson, Ralph 64-5, 65

Gilden, Bruce 158, 159-60, 161

Goldin, Nan 90, 91, 180

gray scale 209

guide numbers 212

H

hand-held light meters 133, 209-n

Hare, Chauncey 152-4, 153

Harris, Lyle Ashton 86-7, 86

Herrigel, Eugen 101-2

history painting 175, 187, 202-3

homelessness 41-5

Hopper, Edward 72


I-P

I

ID photos 107

identity 20, 22-3, 25-6, 79, 83-7, 96

in-camera metering systems 209

incident light 210

interline transfer 208

J

K

KeHa, Seydou n3, n4, 115

Klein, William 120, 121, 123-4, 190, 191-2

L

Lacan, Jacques 89, 93

landscapes 170-87

Lange, Dorothea 36, 38, 39, 174

Lee, Nikki S. 84, 85, 90

lens aperture 157-8

Levine, Sherrie 25

Levitt, I-Jelen 50, 52, 53, 54-5

light 132-45, 148-67, 212-15; see also metering

looking 4-9

low-light situations 132-45

M

‘M’ synchronization 213

McLuhan, Marshall 124

Man Ray 25, 83, 84, 93-4, 95

Manet, Edouard 80-1, So, 83, 176, 177

manual flash units 212

marginalized people 30-45

Mark, Mary Ellen 138-40, 139

masks/masquerades 13, 83-4, 96

metering 133, 209-n

Michelangelo Buonarroti 197

Mikhailov, Boris 41-4, 44, 45

mirroring process 78, 85-7, 89

mono-lights 212

Mori, Mariko 85-6, 85

Morimura, Yasumasa 81-2, 83-4

Morrisroe, Mark 87-8, 89-90

multi-segment meters· 209

N

narcissism 87, 89

Neshat, Shirin 23, 24, 25, 26

news photographs 48-57, 149

Newton, Helmut 66

night photography 134, 152

Nixon, Nicholas 139, 140, 154, 155

Norfleet, Barbara 156, 180-2, 181

O

‘open flash’ method 158, 161, 163, 167

Opie, Catherine 22-3, 90, 92, 93, 95

orthochromatic film 205

out-of-focus photography 120-9

overall fill light 145

P

Perales, R. 50

photographer’s presence 1

Photo-Secession movement 124

Pictorialism 109, 195

Polaroid film 137, 163

pornography 62, 197-8

portraits

definitions 1, 13

syntax 187

Poussin, Nicolas 175, 176, 177


Q-Z

Q

R

Raderscheidt, Anton 104, 105

Raphael 203,204,205

reciprocity failure 144, 145

reflected light 18, 210

Rejlander, Oscar 204, 205

Renger-Patzsch, Albert 68

Rexroth, Nancy 125-6, 126

rhymes 33, 45, 54

Richards, Eugene 32, 33, 36

Richter, Gerhard 107-n, 108-9

Riis, Jacob 30, 31-3, 36, 142, 148, 149-50, 155

Rimbaud, Arthur 84

Rosier, Martha 41

Rossel, Daniela 66-7, 66

Rousseau, Henri 16, 17

Ruff, Thomas 68, 106-9, 1n-13, 197-8

rule of thirds 173

S

Sander, August 103-7, 104, n2-14, 170, 171, 197

Schneider, Gary 132, 133-4, 135, 136-7, 142-4

second curtain synchronization 213

Seeing With Photography (SWP) 137

Sekula, Alan 41

selective subject illumination 145

self-portraits 12-27, 89

settings n7

sex/sexuality 61-2, 81, 83, 85, 93, 95

shadows 18-19

sharpness 123, 124

Sherman, Cindy 7, 8-9, 9, 15, 55, 186

shutter speed 157-8

Simpson, Lorna 95, 96

single lens reflex cameras 31

slave units 212

Smith, W. Eugene 149

Solnit, Rebecca 138

Sontag, Susan 41, 48, 199

Spence, Jo 20, 22

spot meters 209

Sternfeld, Joel 172-4, 173, 175, 187

Stieglitz, Alfred 124-5, 125

street photography 33-6, 73-4, 149, 166, 171-2

Streuli, Beat 73-4, 73

subject n7

Sultan, Larry 182-4

supplementary lighting 148-67

Surrealism 33, 95

surveillance 67-75

SWP see Seeing With Photography

synchronization speeds 213

syntax of photography r 42-3, 187

T

tableaux 170-87

telephoto lenses 62, 73, ro6

television images 124

text 95, 96, 184-5

time frames 17 4

U

Ut, Huynh ‘Nick’ 48, 49

V

‘victim’ photography 41, 45

voyeurism 61-7, 72-3, 75

W

Wall, Jeff 54, 55-6, 174-7, 190, 19 8, 199-203. 200-01, 205

Weegee 50-1, 51, 54-6, 149, 155, 163

Westerbeck, Colin 33-4, 36

Williams, Linda 62, 72

Winogrand, Garry 27, 36, 37, 48. 73

Witkin, Joel Peter 140-1, 141, 143, 145

working range, flash units 213-14

XYZ

‘X’ synchronization 213

Yamanaka, Manabu 100, 101-3. u3

Yokomizo, Shizuka 71, 72-3

Zone System 209

zoom units 212