Jergen Teller, from the series Go-Sees, 1998-9
The photographic portrait has two parallel histories that run side by side, from the birth of photography to the twenty-first century; one of portraits made in the studio, the other of those taken in the street. The advent of small easily concealed cameras allowed photographers to capture subjects in the street unaware. In contrast, the studio offered the opportunity to present carefully composed images to the world, making use of all the elaborate staging and technical devices at the photographer’s disposal.
Some photographers work in the street. These next few images are from a series by Laurie Anderson entitled, Fully Automated Nikon (Object, Objection, Objectivity) done in 1973.
Why might this series of images be titled so?
Who is the subject? Who is being Objectified?
This is a statement that accompanies the images.
Some artists prefer to work in the studio. This is one of Cindy Sherman's first published photographic a body of work entitled Bus Riders from 1976. Notice the cable release at her feet, this was used to take the picture.
Some artists blur the line between street and studio.
Phillip-Lorca diCorcia, Head Series, 2001
This image got him in a lot of trouble, read about it here:
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