Angier, Roswell, 2nd edn.

Train your gaze

Angier, R. (2015) Train your gaze. (2nd edn.) London: Bloomsbury.


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QuotesContentsIndex


Quotes

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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