48
B+W
The photographer eavesdrops on a child’s imagination and brings it
to life for the viewer. Photograph by Alain Laboile.voluntarily given by the sitter
to the photographer/spectator.
In fact, the role of viewer has
changed. They are now an
onlooker. Often the sitter seems
unaware of the fact that they are
being photographed. If the sitter
is aware, then the lack of eye
contact suggests that they are
ignoring the camera. Complicity
is gone. As a result such an
image has a slightly different
tone: it is more observational
in style – it bears witness.
There is one further element
to the observed portrait.
Because the subject is not
complicit, such images can
sometimes go so far as to be
voyeuristic, particularly if they
portray an unguarded or private
moment. This can have a strong
impact on the viewer – such
portraits often have an
important role to play inreportage. The fact that we are
eavesdropping on the unguarded
moments of others can arouse
strong empathy but also a feeling
of guilt at the intrusion. This has
often been used to prick the
conscience of the viewer.
Clearly both styles describe
character; both have a powerful
emotional content. From the
spectator’s viewpoint, while
observed portraits tend to be
subtle and non-confrontational,
eye to eye contact gives a frisson,
a sharpness that comes from
looking directly into someone’s
eyes as they look back at you.
So, the next time you’re
walking down the high street or
sitting on the tube and you catch
someone’s eye and then look
away, you can relax. It’s only
natural. Save up your curiosity:
when you then look at a portrait
you can take your time. Indulge.‘Complicity is gone. As a result such an image has a slightly diff erent tone:
it is more observational in style – it bears witness.’
An intensely held gaze gives the viewer a
fictitious feeling of intimacy with the subject.
Photograph by Alain Laboile.46-49_Portraiture_180 ER/MB.indd 4846-49_Portraiture_180 ER/MB.indd 48 16/07/2015 11:5316/07/2015 11:53