Diane Arbus

I believe that you can capture the essence and beauty of time within a single photo.  By taking the time to hunt out a moment that fascinates you, you can capture the heart that provides an aesthetic documentary.

"I think the only thing wrong with the word 'documentary' is that it can give some people the idea that you make absolutely dull pictures of the ingredients of something instead of the heart of something."      
    
                                                                                                   -Henri Cartier-Bresson

"Two ladies at the automat" display a mesmerizing visual.  It is as if the women are glaring at the viewer through a window into the future.  They have an eerie presence that automatically drives focus to their eyes.  Their pose is direct and allows for a symmetrical balance within the frame.  Arbus has an ability to capture the essence of chiaroscuro. She dramatically captures a moment in time that leaves the viewer questioning.  This 1960's photo also contains many objects that reflect its place in time.

A Man with Strong Hands

 

Ray, Grandfather, always working and always looking tired.  Life has weathered his appearance but not his soul. At a young age, fate took his wife and child and left him with three small children.  He kept his head above water as long as he could tread.  He used his hands to keep him afloat. 

His hands are rough and strong.  The years have worn them well. With rusty equipment and blood sweat and tears, he was able to provide for many long years.

His family is important and he keeps them close by.  One of my earliest memories was joining him on this wagon ride.

Life was too fast so he had to adapt and retire the wagon for this booming industry.  Now he drives with power and steel.

He deserves a break from stress and strain.  Thank God he can rest after his exhausting days.

Photographers of the Past

Ben Shah
I really enjoy Shah's ability to capture a moment in time.  His images confirm the fact, the world never stops spinning.  His photos have a sense of invisibility.  The viewer is just a fly on the wall, watching life continue without interruption.  I most certainly appreciate the fact he can use photography as a muse for paintings.  His reasoning for the inability to distinguish a difference between photography and painting is logical and factual for he states, "I am a social painter or photographer...I find difficulty in making distinctions between photography and painting.  Both are pictures."  

Asking to take someones photo was more difficult than I imagined.  Many people were bitter and angry, "I don't want no picture", while others were extremely pleasant and demanded payment if I became famous.  I told them not to hold their breath.  After studying Shahn, I really liked the risk, rejection and consent.  It felt as if I was on the verge of crossing into the restricted area of personal space.  Many peoples reasoning for not authorizing access is due to the internet.  The number one excuse for not allowing me to photograph, was due to the fear of being exposed.  I find this type of photography much more challenging. You are trying to cross someones social barrier while being a complete stranger.

August Sander
When I think of documentary photography, I think of work similar to Sander's.  His work shows hardship, travel and reality.  I don't, however, particularly care for the posed subject which I did notice frequently when viewing his work.  What I most certainly appreciated was his ability to capture the strain and age of many.  I also liked his technique when taking a portrait of more than one person, he would sometimes capture the front view of one subject and the profile view of the other.  This added something different to a typical posed portrait.  Below are photos I felt represented Sander's technique.  Many of the subjects are posed and willing.   Some of their faces show calamity while others appear distressed and over worked.  I also wanted to include a variety of social classes.

Thoughts and responses to "Man in the Mirror"
While reading, I obtained a wealth of information emphasizing the importance of planning and execution while documenting societal idiosyncrasies.  Having never participated in a documentary photography project, I was ignorant to specifics on how to capture images in order to translate meaning.  There are many psychoanalytical factors that must be determined to create an aesthetic truth through visual documentary.  I find documentary photography very intriguing. I think anyone who is willing to devote the time it takes to gain access within a particular environment has the right to tell a story. To be ignorant of that environment, may negate the credibility of social "truth".  Lack of knowledge on a subject can result in an incomplete or biased impression leading to misinterpretation.  In order to have a successful documentary, you must have passion behind your purpose and do what it takes to make a statement.  Planning, learning, and willing to take risks, are responsibilities that seem to be essential when starting a project.