Years years ago I did a similar technique but with a handheld flash. I told them to light themselves. How would you like to see yourself in the light. It was a fun little project.
I think handing over the cable release to the subject enters what could be an alternative reality. They are intimate portraits of a dignified people for sure. You mentioned how other photographers have handled the US side at night with flashes which I've seen but I personally haven't seen much from the Mexican side. I'm relying on you to show me what is going on at the boarder. I've never been there and I don't know what kind of conditions they are living in. This approach is a fresh and different way to tell and old story. I commend you for that! The first shot of the boy with his father is very strong. It reveals the hardship and vulnerability of both of them. I can't help to be empathetic for them. I hope the NYT handled this with the dignity that went into it and not with one or two images.
Adam, these portraits, all so different, are striking. The father and son with all that shadow emanates their love. The 17 year old, her eyes, her gaze just locks. Yes these are successful. The goal of empathy not sympathy was well said, Robin
A strong series of portraits and I love this concept.
Handing over the cable release giving a moment of control and power back to those in 'limbo' as well as the opportunity to express where they are emotionally and physically at this point in time really resonates with me.
I recently revisited Australian photographer, Tom William's work 'Family Album' which he handed over the cable release to collaborate on a portrait series with people from a refuge dinner on a car park rooftop in Wollongong. A really lovely series. I wondered about handing over the cable release and thought when is the actual moment the subjects feel confident and ready to press the shutter. Is there a feeling of being self conscious or is that stripped away a little more in comparison to the photographer releasing the shutter. I then ruminated about trying this with a series of polaroids I am creating right now with the teenagers in my town in their bedrooms. Problem being I don't have a long enough cable release and I am shooting by the seat of my pants, drifting with the moment of inspiration.
Adam, did you have any concerns that allowing yr subjects to trigger the camera affects copyright ownership of the photos? My meager understanding is that whoever presses the button, owns the copyright, absent any sort of signed agreement. I love the idea of collaboration, empowering the subject, etc. But I admit I'd be concerned what that would to do copyright ownership of the photos. (Apologies for boring business question while you are exploring how to create more engaging and empowering moments!).
This one hits hard.
Years years ago I did a similar technique but with a handheld flash. I told them to light themselves. How would you like to see yourself in the light. It was a fun little project.
I think handing over the cable release to the subject enters what could be an alternative reality. They are intimate portraits of a dignified people for sure. You mentioned how other photographers have handled the US side at night with flashes which I've seen but I personally haven't seen much from the Mexican side. I'm relying on you to show me what is going on at the boarder. I've never been there and I don't know what kind of conditions they are living in. This approach is a fresh and different way to tell and old story. I commend you for that! The first shot of the boy with his father is very strong. It reveals the hardship and vulnerability of both of them. I can't help to be empathetic for them. I hope the NYT handled this with the dignity that went into it and not with one or two images.
Adam, these portraits, all so different, are striking. The father and son with all that shadow emanates their love. The 17 year old, her eyes, her gaze just locks. Yes these are successful. The goal of empathy not sympathy was well said, Robin
Hi Adam ,
A strong series of portraits and I love this concept.
Handing over the cable release giving a moment of control and power back to those in 'limbo' as well as the opportunity to express where they are emotionally and physically at this point in time really resonates with me.
I recently revisited Australian photographer, Tom William's work 'Family Album' which he handed over the cable release to collaborate on a portrait series with people from a refuge dinner on a car park rooftop in Wollongong. A really lovely series. I wondered about handing over the cable release and thought when is the actual moment the subjects feel confident and ready to press the shutter. Is there a feeling of being self conscious or is that stripped away a little more in comparison to the photographer releasing the shutter. I then ruminated about trying this with a series of polaroids I am creating right now with the teenagers in my town in their bedrooms. Problem being I don't have a long enough cable release and I am shooting by the seat of my pants, drifting with the moment of inspiration.
Adam, did you have any concerns that allowing yr subjects to trigger the camera affects copyright ownership of the photos? My meager understanding is that whoever presses the button, owns the copyright, absent any sort of signed agreement. I love the idea of collaboration, empowering the subject, etc. But I admit I'd be concerned what that would to do copyright ownership of the photos. (Apologies for boring business question while you are exploring how to create more engaging and empowering moments!).