Art Critique and Community: Vol. 5 Portraits

by Anna Cox | Jul 24, 2013 | Art & Critique

The most difficult thing for me is the portrait. You have to try to put your camera between the skin of a person and his shirt- Henri Cartier-Bresson

Welcome to our fifth volume of the Art Critique and Community feature here at We Are Juxt. This month we are looking at portraiture as our genre and have two talented artists to share. We hope you enjoy the insights of the panelists. Next month we will be looking at the genre of still life.

Portrait by Pat St-Hilaire, The Choreographer 

Portrait by Sue Fagg, She said Yes

Combined Critiques written by Paul Marsh

Description. Presented for critique are two separate images, from separate cameras, of two different people. Both are edited on the iPhone by the photographer, and while different in composition, they share a common style. The second image, of the man with the glasses, is warm monochrome, and the first image, of the man with the black hat, has more hints of color. The second image is more casual and spontaneous and the first is more posed and directed. The photographer sent along descriptions of both images and the moments captured to help bring context to each image.

Analysis. The photographer here used very strong lighting and blank backgrounds to capture the subjects and to isolate them completely from the photograph’s larger environment. This keeps distractions minimal and helps the viewer to focus entirely on the subject. The strong lighting emphasizes graphic shapes and the overall minimal use of color in both images helps break down the scenes into more simplicity. By focusing on only part of the facial features of the man with the glasses, we can see the weatheredness of time, and follow his gaze both forward into a shorter future and backward into a much longer history. He seems very intense in thought and a strong but simple smile suggests that it’s a pleasant moment for him. Even though we cannot make eye connection, we can still connect and dig into our memories and ponder life just as he is doing here.

The other image of a dancer contrasts this by having the composition zoomed out a little more, hiding the eyes and including the hands. There’s a sense of dynamic energy and tension captured with the man as a dancer holding his hat, preventing it from flying away as he works his magic perhaps as part of a well-practiced dance routine. There are fewer hints as to the age of the subject and he appears far more anonymous. But it doesn’t mean he isn’t without his own personal style, which the photographer captured well here.

By using strong lighting, both images are tied together in their graphic quality. In the image of the dancer, the hands are highlighted and stand out greatly. In the image of the man with the glasses, the eyes, nose mustache and mouth are all highlighted. This emphasis helps tell the story of each image.

Interpretation. It’s very easy to see the man with the glasses is deep in a moment of thought and remembrance, and we viewers are longing with him to know the story. The image title “She Said Yes” along with the description provide the context of the situation, with the photographer sitting next to the gentleman as he remembers the moment he asked his wife to marry him, which was right in this very spot. As a big Simon & Garfunkel fan, I can’t help but be transported into perhaps a similar moment described in Paul Simon’s “Old Friends” lyrics. “Old friends, memory brushes the same years, silently sharing the same fears…” Perhaps younger viewers are fast-forwarded into the future sitting next to him, and we’re joining him in reminiscing younger days. Or perhaps we are indeed remaining in today and this man is providing us with sage counsel and gently reminding us of the importance of the present, especially with those we love.

The image of the choreographer/dancer gives me the sense of angst and energy, with the self-expression of movement very clearly established. It reminds me of the struggle most artists face trying to find their place in life and in their careers. No matter the medium of expression, there is a constant struggle in the world of performing artists. With the tension I feel in the way he’s covering his head with the hat and holding it close, it’s almost as if he’s trying to find a way to escape from the noise and pressure of that battle.  The anonymity of the subject (though a name was provided in the description) could also represent the struggle artists face in making a name for themselves in order to find their way into a community, whether a small-town performing group on the side, or the massive industry that is Hollywood. I wonder if there was music playing while this image was made, and if so, what song.  I don’t listen to too much hip-hop but I can almost hear something from that genre of music.

Judgment. Both images are very strong compositionally. With portraits, viewers tend to want to connect with the subjects and get to know the people in them at least in some snapshot of time in which the photo is made. It’s quite easy in both images to do just that. The descriptions help provide context, but the images stand alone strongly without them. I’m not sure that the painterly/textured processing of the second image with the dancer is necessary, since the details that help define the individualistic fashion of the dancer might help to figure out his style a little better. But at the same time, it does provide a more hip/modern quality to the image. Both images work very well and I enjoyed seeing a glimpse inside each of the subjects presented. BRB – gotta go flip my Simon & Garfunkel album and then stop at the record store to find a good LP with some modern dancin’ vinyl grooves…

Critique Written by Todd Leban

“She Said Yes”

In this monochromatic image, I see a man wearing glasses, in profile view, gazing into the distance. His expression is not happy or sad, but content. The setting is unclear. The tight crop around the face, and the depth of field have blurred any surrounding detail. The light source, which appears to be natural light, is coming from the right side, creating shadows on the areas of the face closest to the viewer.

Overall, this is an intriguing image, and not an everyday type of capture. The photographer had a good eye in spotting the subject and asking to take the shot. Without that encounter, we may never have known the importance of the place where the man sat. I thoroughly enjoy when an image has a story behind it that draws the viewer in with empathy.

The perspective of this portrait is refreshing. We are forced to engage the subject from a different viewpoint that is less direct, but still quite intimate. The detail present in the image highlights the years of life experience of the figure, and presents us with an expression that hints at introspection, or observation. The texture of the gentleman and his sweater are in great contrast from the dark, smooth negative space in the background to the right. Initially, as with most portraits, I looked at the eye first, but then was drawn vertically through the image, following the highlights on the face from top to bottom

I would like to see a comparison image with the saturation pulled completely out. I detect a hint of green and yellow still present. Lowering the saturation would have allowed for an adjustment in contrast, heightening the lights and darks, and pushing the figure even further into the foreground.

Critique Written by Sam Smotherman

“She Said Yes”

What struck me first about this portrait is the choice of a profile and the lower angle of the shot. Not what you typically expect when you think of portatiuture or typically get: look straight at the camera, slightly tilt your head, to the right, no my right, ok hold still – snap.

We are told that he is thinking of her, of someone who’s memory he’s carried with him for years. The years that he wears on his face as clearly as the bold knit sweater keeping him warm. One quality of a great picture, which is especially true of portraits, is the ability of the photograph to pose lingering questions. Questions asked but not answered but yet we care enough about the subject to want them answered. And so we speculate, we propose and guess. Like a chain slipping off the cog of a bike no matter how much we want an  answer none will emerge how ever hard we peddle. We want to know who she is, is the memory painful, or is it as pleasant as the light falling across his face?

The words we have direct us to the a small point of light, like a ships navigator of old, finding the small point of light, which then gives the negative space meaning. I am talking abut the small point of light in his eye, the North Star in this picture, for which we can then chart to any port or answer we chose. One could even make a case that the actual subject in this picture is not the man but the woman of whom he’s thinking. That small glint of light is her memory and symbolizes her power over him all of these years.

**Both of the pictures I was asked to critique were excellent examples of what can make a great portrait but not what typically does. Neither of these had the clinical poses or the often shot “nights out with friends” picture. These were both clever and well thought out or if not thought out well chosen. Both are good examples of what can and does make a good portrait.

What Sue had to say about her image:

Taken with a Canon Powershot S51S, for the Flickr 100 Strangers group, and edited on the iPhone.
I sat on a bench next to him, and he was lost in thought.  I asked if I could take his picture.  He said “Yes”… Then went on “we used to meet here, so long ago, even though she shouldn’t. It was here she said ‘Yes’…”
I wanted to catch some of that wistfulness, and the ‘something’ that he are me feel.

Critique Written by Todd Leban

Portrait of Choreographer

In this image is a man in a coat, with his head down, who is holding his hat. The background is smooth, but there is considerable texture throughout the subject. There are vertical and diagonal lines created by the clothing and the figures arms. The use of contrast in the dark clothing and background, highlight the hands and lower portion of the man’s face.

This is a nontraditional portrait based on the pose of the figure. We are not greeted directly by an expression, and are left guessing whether or not the man is happy, sad, frustrated, etc. The traditional use of a blank background provides an area of negative space, that draws our focus to the dancer. There is a noticeable painterly effect on the clothing and the background. However, the face, hands and hat, are seemingly untouched.

It is unclear to me what the intent of the portrait is. I haven’t learned much about the figure. The tilting down of the head doesn’t connect with me, not only for the obvious reason, but also because the expression is so static.

Is it the man who is important here, or is it the symbolism of the hands and hat that we are supposed to notice? Are these the most essential elements in the man’s profession? Is the hat a part of his dance attire, or just an everyday piece? To me, the way the photographer played around with the effect here, is what makes it an interesting image. I am left wondering more about these elements, rather than what the figure represents. It is almost as if the figure is interchangeable.

Critique Written by Sam Smotherman
Not a classic portrait at all.

Most of the subjects face is blocked by the brim of his hat. I’m not sure if this was the subject posing or was caught the moment of putting the hat on. Either way the suggestion of movement or action is not typical in portraits. However, having said that, this portrait works well for me.

There are a couple of things a good picture (portrait) will do. One is answer questions and the other is to invite the viewer into the photo. For me the latter is what this picture does so well. We have very little information to go on but my interest was piqued by this photo.

What I enjoy the most is the use of suggestion. The subject in a black jacket in front of a black background putting on a black hat creates a lot of interesting negative space. The highlights on the hat and on the shoulder of the jacket provides us the thinest of boarders between the man and his surroundings. A small line of red also suggests a division between the man and his jacket. A tiny disk of black reflecting some light – becoming grey.  And the loudest clue we get is a slab of grey showing a zipper of possibly another jacket but it adds to the puzzle. And while his hands are the most we see of his body they act more like a halo of light and are more of an accent to the photograph instead of a focal point. None of the details are over the top. We are given small clues along the way to guide us to our conclusions.

To me these small clues suggest a man of style. He’s just about finished and all that is needed before he leaves is to add the last piece of clothing – his hat and that’s what we are seeing. A man occupied with perfecting the last detail of his ensemble and using both hands to get the fit just right.

The anticipation of his next move leads us to the end of the story. We are waiting, with baited breath, for him to remove his hands and lift his head. We want him to stare right at us with the confidence we know he had based on the attention to detail in his wardrobe.
The photo leaves us wanting and this is what ultimately drew me in.

What makes this picture work is the same reason an etching works. Its what’s taken away that creates the intrest. I like to use literary themas to help me catagorzie pictures and to me this one has mystery written all over it. What is hard about this type of photography is when you start taking away or limiting the information is not removing too much. And what is harder is to draw the viewer in with the details you have left for them. This photography really excels with the subtractive nature.

I would encourage others to try to describe  what makes this picture so strong and to apply that in their own work.   It is a challenge to remove as much information as possible and yet keep what is important within the picture.

What Pat had to say about his image:

Angelo Ameur is a choreographer from Montreal. Dancers are the best model.Their bodies speak by themselves, they catch the mood like nobody else.I just asked him to hold his hat… BANG!! Softbox,Native camera iPhone 5 Snapseed, Glaze and Blender.

Our Panelists:

Todd Leban. I grew up with an intense interest in music & art, and an undying desire to create. I have a great appreciation for things that are old & worn, and have always been fascinated with objects and how they influence and enhance our lives. I try to bring out their stories in my images.

I’m a professional art educator at a middle school in the Chicago suburbs. I’ve been taking, making, and editing images on my phone with a serious focus for about two years.

IG // Twitter // AMPt Community 

Sam Smotherman. I’m a Narrative Street Photographer from Los Angeles, believing in the power of dialogue and that is what I try to create through my images. Not just a dialogue between observers but within the whole process. I am not removed from my pictures, choosing instead to speak where subjects often have no voice, making sure to give articulation to those who have not only shared their image, but their words. Photography helps me to define and connect me with the world and my surroundings in a way it does not when I am not shooting. It is not just about the seeing or feeling an image, I want to becompelled to think. Conveying truth in my images is important and I look for the beauty in the broken because that is often where the truth lies. Working to show the conditions of life on the margins, I want all people to feel they can help make the human condition better by working for social justice and spiritual grace.

A picture of a white whale does not tell the story of Moby Dick

 IG // JUXT // Twitter

Paul Marsh. Paul has been doing photography at  some level since before high school. He fell in love with the darkroom  back then and am thankful for having started on film. In college, digital  photography consisted of an early version of Photoshop and trying to  find time next to a computer with an expensive scanner for the prints he had made in the darkroom. Digital cameras were still a decade away from  being commonplace. He snuck a few prints into some shows and somehow  ended up with some recognition. Now, with the iPhone, he can combine  all three elements nearly instantaneously and share his work with a much  larger audience. And these days he continues to sneak into photo shows  with iPhoneography, including having several images chosen for honorable  mention in both years of the Mobile Photo Awards.

He chose a path away from photography,  however, in college and by day he work with a Webby Award winning government  web team. Jack of many trades, he  can be called  a webmaster.  Still, he  makes time to run away from the cubicle walls and venture into  the world of art, both as a creator and as a consumer. A few years ago  he found himself hanging around a photo critique site, PhotoSig, and discovered  he could write a decent critique (affirmed by the site’s editors when  his critiques were chosen as featured critique several times). He has  learned that in looking at photos more deeply it makes him a better artist.  He has also come to see art as the polar opposite of dogma, since life  is full of paradoxes and juxtapositions that go way beyond the constructs  of the reality in which our minds try to keep us.

Some people actually know him as  a musician more than as a photographer. And vice-versa. He enjoys writing.  He also knows way too much about baseball and am a passionate Seattle  sports fan. Again, a jack of many trades but master of none.

Except being himself.

#GoHawks!

IG / /  Twitter  //  Web  //  Flickr  

Our Submitters:

Patrick St-Hilaire, I’m 45.I’m from the darkroom era,I learned it all back then.Today i still try to learn how to apply the proper app on my pict. I do portrait, i love to capture the moment,just before the words come out, that silent moment when the eyes speak.

IG // Twitter

Sue Fagg. Took up photography in 2009, with a Kodak Easyshare, saw what others were doing, and found I couldn’t!  Took a short course with the Open University, sorted out shutter and aperture, depth of field and points of view.  Bought a Canon point and shoot, then a Canon bridge camera.  Had much fun on Flickr!  Invested in a Canon 550 DSLR, and got to grips with that….BUT a Flickr contact EzrazHipsta was having mega fun with Filters, apps and the iPhone, and I wanted to try.  The iPhone 3 was a bit hit and miss, but with some Hipsta, or Filtermania, I was up and running!  Upgraded to the 4s and fell in total love!  The DSLR has cobwebs, as my iPhone is so instant.  See a moment, capture a moment, edit that moment and upload it… all whilst sitting on the bus…Heaven!  And now I’ve discovered Backspaces app, I am mostly taking images with the square format in mind.  Apps and the iPhone…Bring it on!!