Train your gaze
Angier, R. (2007) Train your gaze: a practical and theoretical introduction to portrait photography. Lausanne: Ava Publishing.
A – B – C – D – E – F – G – H – I – J – K – L – M – N – O – P – Q – R – S – T – U – V – W – XYZ
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
