I wanted to take photos in a way that shows both the perspective of the model, and the artist

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Their insecurities can help identify them. However, I’ve recently been thinking a lot about seeing people with what I like to call “an artistic appreciation”. I want to create photos that mean something from both sides, rather than just the one. I want to create photos that feel like a conversation between two people.

https://visualartblog50280908.wordpress.com/2021/04/21/modalities-of-portraiture-and-the-construction-of-identity

I know his work appeals [to] the public, and that’s whom I’m trying to please

Keywords: models , photography , bountiful breasts , burlesque , evelyn west , tom kelley

Besides taking all the pictures himself, he develops the negatives and makes excellent prints. In fact I send most of my printing jobs to him because a lot of studios don’t do as well. He doesn’t use automatic printing machines. He prefers not to have anyone in the camera room when he’s working — not even his wife. He moves all props himself, loads all his holders, and is strictly a solo worker. It was a pleasure working with him and I have been back three times.

https://theforbiddenbookofbeauty.wordpress.com/2021/02/08/evelyn-west

That’s what strikes my heart and that’s what changed my approach to planning sessions with clients

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Since then, I’ve focused on collaborating and meeting with clients beforehand. I don’t want to a stranger directing you to do this or that with your loved ones. This isn’t about me and what I think looks good. My process is about finding out what resonates with you and capturing that.

https://francesfreha.wordpress.com/2020/09/15/how-one-image-changed-my-approach-to-client-sessions

The gaze of the subject can have such a massive impact on the how the viewer interprets the photo

She looks at her husband from another axis. There is no acknowledged contact between subject and us, the viewers. Our sight lines do not coincide. We are put in the position of eavesdropper.’ This quote from ‘Train your Gaze’ book, sums up how are experience as viewer is affected just by the direction the subject is looking. It makes the viewer ask so many more questions about the image, it becomes a ‘spectacle, about looking’. We begin to wonder more things, like is she posing for the camera or for the person who is out of frame. The person sees things that we can’t and we begin to imagine them . So through the simple direction of her eyes, it has opened up so much more in the photo.

https://lucyjasminphotography.photo.blog/2020/04/25/theoretical-research-cindy-sherman-and-her-connection-with-the-viewer

After about half an hour of communicating as she took photos of the girl, the girl died

Keywords: jrnl 4650 ethics and issues in journalism , documentary photography , ethical issues , ethics , journalism ethics , photography , photojournalism , photojournalism ethics , portraits , protestor , protests , pulitzer , storytelling , war , war photography

How can you connect with someone who can’t speak with you? If you are silent and you are still, you can connect, really connect.

https://skim2120.wordpress.com/2020/04/16/photographing-protests-how-photojournalists-navigate-documenting-civil-unrest