Train your gaze
Angier, R. (2015) Train your gaze. (2nd edn.) London: Bloomsbury.
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Contents
PREFACE 6
ACKNOWLEDGMENTS
CHAPTER 1 ABOUT LOOKING 8
CREATING SILENCE 9
THE LOOK IN THEIR EYES 11
WHAT LIES BENEATH 14
ASSIGNMENT 117
CHAPTER 2 PORTRAIT/SELF-PORTRAIT, FACE/NO FACE 18
SHOW SOME EMOTION 19
SHADOWS AND FRAMES WITHIN FRAMES 25
THE VIEW FROM BEHIND 29
THE WELL OF NARCISSUS 34
ASSIGNMENT 2 37
CHAPTER 3 AT THE MARGIN: THE EDGES OF THE FRAME 38
COMPOSITION AS GESTURE 40
MARGINALIZED PEOPLE: NOTES ON DOCUMENTARY PHO TOGRAPHY 46
ASSIGNMENT 3 59
CHAPTER 4 TREMORS OF NARRATIVE: PORTRAITS AND EVENTFULNESS 60
PRIVATE NARRATIVES 63
ON THE S TREET: BEYOND THE NEWSWORTHY EVENT 68
CONS TRUCTED S TORIES 73
ASSIGNMENT 4 77
CHAPTER 5 YOU SPY: VOYEURISM AND SURVEILLANCE 78
VOYEURISM 79
SURVEILLANCE 82
ASSIGNMENT 5 93
CHAPTER 6 PORTRAIT, MIRROR. MASQUERADE 94
CARTES DE VISITE AND CONTEMPORARY SOCIAL MEDIA 96
INCARNATION: BEYOND THE AVATAR 100
MASQUERADE: ALTERNATIVES TO THE AUTHENTIC SELF 104
MIRROR AND MASK 119
ASSIGNMENT 6 133
CHAPTER 7 CONFRONTATION: LOOKING THROUGH THE BULL’S EYE 134
DEAD TO RIGHTS: ZEN ARCHERY, THE MAN IN THE BOWLER HAT, AND THE
MUG SHOT 135
PASSING THROUGH/ STANDING STILL 150
BACKGROUNDS AND BACKDROPS 154
ASSIGNMENT 7 159
CHAPTER 8 BLUR: THE DISAPPEARING SUBJECT 160
THE SECRET IN THEIR EYES 164
OUT OF FOCUS 168
THE ARRIVAL OF METAPHOR 172
ASSIGNMENT 8177
CHAPTER 9 FLASH 178
SHINING A LIGHT ON THE REAL WORLD 180
THE BUSINESS OF PORTRAITURE: A MIDCENTURY EXAMPLE 189
MOTION STUDIES 192
A LIGHTING CEREMONY 195
ASSIGNMENT 9 199
CHAPTER 10 FIGURES IN A LANDSCAPE 200
PRELIMINARY: EXILE’S RETURN 201
TABLEAUX VIVANTS 204
REAL-LIFE TABLEAUX AND HISTORY PAINTING 208
DARKNESS VISIBLE 217
CAMERA BEHAVIOR AND ALTERED IMAGES 220
FAMILY SCENARIOS 221
ASSIGNMENT 10 235
CHAPTER 11 DIGITAL PERSONAE 236
DIGITAL BODIES 239
SIMULATIONS: DOCUMENTARY, IDEALIZED CHILD
FAMILY ALBUM 250
INVENTED MOMENTS , FABRICATED HISTORY :2S6
ASSIGNMENT 11 266
BIBLIOGRAPHY 268
INDEX 269
PICTURE CREDITS 272
Index A-C
A
Africa, 50-52, 154–157
Albino subject, 109, 110-111, 112
Alienation, 70
”Allie Mae Burroughs,Wife of a Cotton Sharecropper”, 49, 51, 142-143
Alpern, Merry, 79-81
Altered images, 217-221, 240-244, 246-249
The Alllericans, 68, 70
Apagya, Philip Kwame, 154, 156-157
Arbus, Diane, 143-144
Archetypes, 13, 14, 139, 140, 150
Avatars, 98-100
Avedon, Richard, 9-10, 144
Avenue Patrice Lumumba, 50-52
Aziz, Anthony, 239-242
B
Back, view of the, 29-33, 121-123, 124–126
Backgrounds and backdrops, 154–157
“Bad Goods”, 73-75
The Ballad of Sexual Dependency, 119-120
Barney, Tina, 222-225, 228
Barthes, Roland, 237-239
Bayard, Hippolyte, 20
Behind, view from, 29-33
“Behind the Gare St. Lazare, 1932”, 43–44
Bellocq, E.J., 20-22
Beneath the surface, 14–16
Berkeley, Tanyth, 109-112
“Blind Man in His Garden”, 210-211
Blurred subjects, 161-163, 168-171, 172
“Boxers”, 11-12
“Brian with the Flintstones, NYC, 1981”, 119-120
Bubriski, Kevin, 86, 88-89
Burke, Bill, 192-194
Burson, Nancy, 242-244, 245, 246
C
Callahan, Harry, 84–86
Camera-related behavior, 220
Cameras, cheap, 173-175
Cameron,Julia Margaret, 11, 14, 19
Carte de visite portraits, 96-99
Cartier-Bresson, Henri, 42–45
Chance meetings with subjects, 150-153
Chicago, 1950, 84–85
“Cincinnati. Ohio, 1971·, 185-186
“City Hall Offiecs. Lubumbashi, DR, Congo” 51-53
Claesson, Leir. 53-55
Cohen, Mark. 180-84
Collaboration with subjects 224
Commercial phot
Compositions, framing 39-45
Concealed camera photography 82-84
Confrontational images, 10, 135-153
Connell, Kelli, 250-251
Constructed stories. -3–
Cool young men, -1–z
Cottingham, Keith, 244, 246-48
C-prints, 116-117
Crisis photography, 50
Cucher, Sammy, 239-2-t2
Czechoslovakia, 201-203
D-H
D
Daguerreotypes, 10, 19, 95
“Dead Troops Talk”, 25–262
“Dear Stranger” series, 89-91
Decisive moment, 42
Detail, unforeseen, 238
Diana plastic camera, 173-1-5
Digital images, 239-249
“Dirty Windows”, 79-81
Distance between viewer and subject. 210-211
Dobai, Sarah, 64, 66
Documentary photography, 46-r
“The Dollhouse”, 224–225
“Domestic Workers Waiting for the Bus”, 208-209
“Door”, 67
Double Life, 250-251
“Doublonnage (Marcel)”, 106, 108-109
“The Drummer”, 252-254
Duchene de Boulogne, Guillaume- Benjamin-Amand, 20-22
“Dyke”, 121-122
E
Emotion expressing, 20
Evans, Walker, 49, 51, 82-86, 142-143
Event, photographic, 61-62
Events, inner, 68-70
Exile’s return, 201-203
Experience produced by photography, 237-238,239
Eyes of subjects, 11-12, 164–168, 252-254
F
Fabricated e,·ems, 262- 263
Facebook.96, 98-99, 100
Facial alterations. 242-245
Facial expression. 20-22
Family groups, 221-225
Father as subject, photographer’s, 228-230
Femininity, 14-16
“Fictitious Portrait (Triple)”, 244, 246-247,248
“Fiddlin’ Bill Livers”, 192-194
First Peoples, Canadian, 73-75, 212-216
Flash photography, 179-188; effect on subject behavior, 180-1 84; indoors, 185-186; without effect on subject behavior, 195-198
“Flipside, 1991”, 124-126
Focus, 161-163, 168-172
Foreground, 154, 161
Frame, Allen, 63-65
Frames, 25, 27
Framing compositions, 39-45, 46
Frank, Robert, 68-71, 162-163
Friedlander, Lee, 25-26
G
Gaze of subjects, 11-12, 161-162, 252-254
Gestures, 41-42
Goldin, Nan, 119-120
“Grace in the Drawing Room”, 110-111, 112
Great Depression, 46-47
Grzeszykowska, Aneta, 254-255
H
Hanzlova, Jitka, 201-203
Hare. Chauncey, 184–186
“Harold Horn, Knocked over Milk Wagon with Stolen Car”, 68-69
Harris, Lyle Ashton, 113-115
Hidden camera photography, 82-84
“Hilary and Josh, Punta Del Este, Uruguay”, 63-64
“The Hispanic Project (2)”, 112-113
Hitchhiker, 151
Homeless people, 53–55
Homes, subject in, 184–186
Homosexualit:y, 32-33, 107, 113, 116, 121-122
Human body alterations, 217-219, 239-243
I-P
I
ID photos, 27-28, 144–146
Identity, 104–118; belonging and, 201; constructed, 104; ethnic and cultural, 112-113; gender and sexual orientation, 106-109, 113-117, 121-123; racial, 113-115, 124–126
Incarnation, 100-103
Indians, British Columbia, 73-75, 212-216
“Industrialization-from Remodelling Photo History, 1982”, 29-32
J
Jacobson, Bill, 168-171
K
“Kiss of Peace”, 11, 14
Klein, William, 161-162
L
Landscapes, 172-173; and portraiture, 204–206, 208-210
Lange, Dorothea, 46–47
“Leda”, 217-219
Lee, Nikki S., 112-113,1 19
Lesbians, 32-33, 121-122, 250–251
Levitt, Helen, 70–72
Lighting, supplementary, 179
Lockhart, Sharon, 206-207
“Lunch Break Installation, Duane Hanson”, 206-207
Lux, Loretta, 251-254, 255
“Lynn, 1994”,240-241
M
“Madison, Wisconsin, 1966”, 25-26
Manet, Edouard, 105-106, 107, 215-216
Manipulation, photographic, 61
Margianalized people, 40–42, 46-57
Martina, Eiko, and Mathias, Berlin”, 63-65
Masks; avatars as, 99; invisible, 142; as symbols, 12’1-126
Melancholy, 169
Metaphor, 14, 172-175
Metering, camera, 135
Migrant Mother, Nipomo, California”, 46-47
Mikhailov, Boris, 54–5 7
“Mimic”, 256-257
Moments; constructed, 73-76; invented, 262-263; transient, 150-151
Moore, David, 187-188
Moral critique, 50
Morimura,Yasumasa, 106-108
Morrisroe, Mark, 116-118
Mother as subject, photographers,
174,230-232
Mothers with children, 14, 46–47, 68-70, 153
Motion studies, 192-195
“Movie Premiere, Hollywood”, 162-163
N
“Nan and Brian in Bed, NYC”, 119-121
Narcissus reflection, 34–35, 115
Narratives, private, 63-67
Native Americans, 73-75, 212-216
“New York City, 1966”, 26-27
News stories, 61–62, 68–69
“Noire et blanche, 1926”, 124
Norfleet, Barbara, 224, 226-228
“Nursing Home Resident”, 41–42
O
“Olympia” (Manet), 105-106, 107
Opie, Catherine, 32-33, 121-122
P
“Page, Arizona”, 209-210
“Painter (Anton Raderscheidt)”, 140-141
Paintings; mimicked, 106-107, 110-112, 212-216,262-263; photo-based, 146-149
Parents as subjects, 227-232
Passing through locations, 150-153
Photojournalists, 50
Photoshop, 247, 250-252
Pict11res Jrot11 HoJ1Je, 228
Pictures from the Real !Vorld, 187-188
“Police Station Lodgers”, 40-41
Pornography, 79-81
Portraits, definition and history of, 19-20
Predatory photographer, 85
“Private House, New Providence Island, the Bahamas”, 227
Private narratives, 63–67
Prostitutes, 20-22, 128-129
Protest portraits, 101-103
Proximity to subjects, 182-183, 187-188,227
Psychological intentions, 14
Q-Z
Q
–
R
“Ramsey, Lake Oswego”, 117-118
Ray, Man, 123-124
Reactions, subject, 85, 87
Reality and photography, 237
Rexroth, Nancy, 173–175
Richard, Eugene, 41–42
Richter, Gerhard, 146-149
Riis,Jacob, 40–41, 180-181
Roadside America, 209-210
Ross,JudithJoy, 100-103
Ruff, Thomas, 144–146, 247
S
Sander, August, 11-12, 139-142, 204–206,253
Schneider, Gary, 164–168
“Self-Portrait as a Drowned Man”, 20
“Self-Portrait/Cutting”, 32-33
Self-portraits; avatars, 100; carte de visite, 96-97; masquerading, 104–109, 112-1; women’s bodies, 29-35, 121-123
Self-selected portraits, 96-100
Setting for portraits, 201
“Seville, 1933”, 44–45
Sexual images, 20–22, 79-81
Sexual outsiders, 109-111
Sexual role-play ing fiction, 119-1
Shadows, 25-26
Sherman, Cindy, 14–16
Silence in photography, 9-10
Simpson, Lorna, 124–126
Simulated photography, 256-262
Social media, 96, 98-100
Spectator-photographer, 73-76
Spence, Jo, 29-32
“Spill”, 64, 66
Staged photography, 256-257
Steiglitz, Alfred, 172-173
Steinmetz, Mark, 151-153
Sternfeld,Joel, 150-151, 208-21 !
Stories, constructed, 73-76
Stories, news, 61–62, 68-69
Stories, private, 63-67
“The Storyteller, 1986”, 212-216, 221
“Stranger” series, 89-91
Street photographs, 43-45, 70-72, 84–85, 180-184,256-262
Subjects; collaboration with, 224; one’s parents as, 227-232; proximity to, 182-183, 187-188, 227
Subjects, relations between, 227-228
Subway photos, 82-87
Sultan, Larry, 227-232
“Sunday New York Times”, 222-223
Surrealism, 43, 123, 126
Surveillance, 82, 90
“Sweet Raspberry/Spanish Madonna”, 116-117
T
Tableau vivant, 204–206
Telephoto lens usage, 84–85
Tillim, Guy, 50-52
Tokyo subway, 87
Tomatsu, Shomei, 126-131
Transitional moments, 63, 65
“Travel and See”, 156-157
“Traveler’s Aid” from New York Times, 62
Triangle, constructed, 73-74
“Typists, Likasi, DR Congo”, 52-53
U
Ukraine, 54–57
Unforeseen detail, 238
V
Village setting, 201-203
Von Zwehl, Bettina, 195-198
Voyeurism, 79-81
W
Wall,Jeff, 73—75,211-216,221, 256-262, 271
War, 257-262
Weegee (Arthur Fellig), 68-69, 73, 179
Witkin, Joel-Peter, 217-221
Wolf, ‘>Iichael, 84–87
Woman and Small Radio”, 182-1 83
Women, 11, 14–16; elderly, 137-139; female body, 36, 123, 137-139; prostirutes, 20-22
Woodman, Francesca, 34–35
Working poor people, 184–189
World Trade Center site, 86, 88-89
XYZ
Yamanaka, ;\[anabu, 137-139
Yokomizo, Shizuka, 89-91
“Young Farmers”, 204–206
“A Young Man Gathering Shopping Carts”, 150-151
Zen archery·, 135-136
