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I have been very introspective over the past several weeks. Some of that introspection comes from my own experiences, my own questions as to where this journey should take me...
...some of it comes from the impression that I am not alone on this journey, that some of you reading these very words are feeling the same way...
(The clouds and sky are my own from my recent photo safari. Distressed Jewell provided a texture and some of her beautiful birds. And the model is provided by the very talented faestock)
What could be more intrinsically human than self-portraits? They represent what makes us unique among all creatures on this planet: our highly developed self-awareness. While other animals, such as chimpanzees, might at times demonstrate a consciousness of themselves, none have reached the level where they use tools to capture the process of self-reflection in something external to themselves so that they can later reflect on that process of self-reflection. At a deep philosophical and psychological level of analysis, the phenomenon is wondrously introspective, paradoxical, and even mystical. In this article I’d like to explore these fascinating dimensions of self-portrait photography.
Let’s start with a simple definition of the term. The Latin roots of “portray” tell us that a self-portrait is to “draw forth” and “represent” one’s self. When you take your own picture, you are attempting to extract and depict who you are. You might do this for two basic reasons. To explore and better understand yourself. To express your self to others. In both cases you are doing something very interesting. You are creating an objective representation of the subjective you. The self-portrait allows you to see yourself as others might see you. It allows others to see you as you see yourself or as you wish to been seen. These are all the fancy footsteps of self-awareness that make us human.
Of course there might be some very practical reasons why photographers create self-portraits. They might need the shot for promotional reasons. They might want to expand their range of skills by attempting this genre of photography. Sometimes people don’t have any models at hand, or are reluctant to ask someone to serve as one, so they use themselves. If you want to practice and experiment at creating portraits, you will probably be your most willing guinea pig. Some people start with self-portraits before venturing into portraits of other people. Others report that learning what to do with themselves during self-portrait work improves their ability to instruct other people when photographing them. If you can talk yourself through good poses you can probably do it with others.
This article, however, will focus less on the practical aspects of self-portraiture and more on the psychological aspects of that desire to draw forth and represent the self. Such a psychological exploration will lead us into the marvelous variety of self-portrait experiences. Like many scientists, psychologists like myself will try to classify those experiences into categories. This process helps us understand the range of factors that contribute to those experiences. However, it’s always good to keep in mind that some categories will overlap while some items just don’t seem to fit any of the categories. We’ll surely run into these dilemmas when investigating something as complex as self-portraits.
In fact, let’s consider the first dilemma. We could make the argument that any photo you take is a self-portrait. It says something about your family, friends, occupation, interests, lifestyle – all of which reflect important aspects of who you are as a person. Does anyone ever take a picture of something that isn’t in some way personally meaningful? We could also argue that when someone else takes a picture of you it qualifies as a self-portrait as long as the person follows your instructions. Unfortunately, these definitions make the process of categorizing self-portraits a bit complex, as it includes almost every type of photography. So for now, let’s say that a self-portrait is a photo you take of your physical self.
** This image and essay are part of a book on Photographic Psychology that I’m creating within Flickr. This particular essay is a long one, so I’m going to break it up into sections. This is the introduction.
If anyone has self-portraits that illustrate the ideas in this essay, please feel free to post and discuss them!
Here's an easier to read and navigate version of
Photographic Psychology
Nikon D3200 - 90mm f/2.8 Macro -
Well after much debate and introspective contemplation I purchased a new fixed aperture lens. I was trying to decide between the Nikon 70-200 f/4, Tamron 24-70 f/2.8 or this...the new Sigma 18-35mm f/1.8. I decided on this lens due to its overall performance, which is apparently awesome (We will find out if true). As it is a cropped sensor lens it has an effective focal length all the way to 50mm. Since my sensor is smaller it gathers less light so at f/1.8 it is equivalent to a full frame and f/2.8. It also has a minimum focusing distance of 28cm...CLOSE UPS! I am really excited to use this taking images of the boys.
Introspective -- a glimpse of infinity
My daughter (nearly 3 years old) was hiding from the camera behind the photo frame. I was planning to get her face in the shot but this has a nice effect as well. The intended shots will follow later.
More on the Droste effect in Wikipedia (here in Dutch).
.
and if the darkness is to keep us apart
and if the daylight feels like it's a long way off
and if your glass heart should crack
and for a second you turn back
be strong
walk on, walk on
what you got they can't steal it
no, they can't even feel it
walk on, walk on
stay safe tonight
you're packing a suitcase for a place none of us has been
a place that has to be believed to be seen
you could have flown away
a singing bird in an open cage
who will only fly
only fly for freedom.
and i know it aches
and your heart it breaks
and you can only take so much
but walk on, walk on.
/ / walk on, U2
it seems unearthly strange to think back, to the place where my life stood 365 days ago today. to think about the chaos and confusion running full tilt through my mind and my soul as my life seemed to be falling apart around me.
today my life stands in defiant testimony to the difference and change a single year can bring. while my life is still worlds away from perfect, i have a renewed and new sense of peace and hope, for my life, my future, but also for this life, and this future that we all find ourselves in.
i fully understand, now more than ever, how the end of the year and the holidays can be a bitter time. reminders of everything you already know is missing in life are everywhere. i say all this because i know that some of you, some of my friends, are struggling through some very difficult times right now. you know who you are. i am not going to be so arrogant as to pretend to know what you are going through, or to know how to help.
but i am going to dare to ask you something.
i am going to ask you to believe that life can change, and can change in radical directions you never dared to hope or believe possible. the gospel book of mark says that "with GOD all things are possible." this past year of my life is a powerful reminder of this truth.
in this new year, whatever your thoughts on GOD, whether you believe in Him or don't, i dare you to ask Him for the changes in your life that you have been waiting for. ask Him to show you how good life can be.
happy new year, my friends.
i wish you all the very best in 2007.
.
Rudolf Stingel conceived this exhibition especially for Palazzo Grassi. Given the utmost freedom of execution, Stingel has completely transformed the museum, filling the entire space with an oriental carpet. Moving beyond the idea of two-dimensionality that is conventionally associated with painting, the exhibition aims to subvert the usual spatial relationship between a painting and viewer.
The carpet evokes the thousand-year history of Venice, the ‘Most Serene Republic’, but also recalls the Middle-European culture so loved by the artist; for example, we are reminded of Sigmund Freud’s early twentieth-century Viennese study. This reference undoubtedly provides a key to interpreting this installation: on entering the ‘labyrinth’, an all-encompassing feeling and sensorial experience transport us towards the transcendence of the Ego, by means of its removal and its ghosts. The nearly thirty paintings exhibited suggest presences that are ‘buried’ in memory, and removed experiences that thrive again. The architectural space becomes an introspective and projective space, silent and welcoming, suitable for meditation: but Stingel’s work alters our visual and spatial perception of it, suggesting a new, rarified and suspenseful atmosphere in which the silver, white and black of the paintings stands out like so many other ‘openings’ on Venice, in an another dimension.
From the Palazzo Grassi website
the barbed boundary separated the university premises from the vast fields that lay beyond it. in the evenings, when the orange-yellow hues of the setting sun would wash over the fields, along the boundary you would find people in small groups; some crouching in small corners, some walking over the circumference, some sitting........
You can find a large number of full-resolution photos under a Creative Commons license on my official website: nenadstojkovicart.com/albums
Catching the sunset off El Malecon can be a time of introspective reflection - and a boon for photographers.
in a quiet moment before the mirror, where lines and stories merge on his skin, the tattoo artist seems to be in conversation with his own reflection. the black-and-white light heightens the contrasts, making the tattoos appear like a wordless diary, telling of experiences, passions, and inner struggles. the gilded frame around the reflection adds a timeless quality, as if this moment hovers between reality and a deeper, hidden self. this portrait captures not only an image of the artist but also a quiet question posed to himself and to us: who are we behind the images we show to others?
I love her pose and her expression here, it is almost challenging yet very appealing to the viewer. This is again from my archives from my first shoot with her in the summer of 2012. You can see more of her many moods and expressions in my set "Alexis". Best in lightbox. Canon 5D Mark ii taken in Hopeland Gardens Aiken South Carolina.
I know I said I was going to leave this subject for a while but it's addictive you know? And I'm having fun experimenting on a sunday afternoon :-)
It's strange how a moment could be so introspective in circumstances that are adverse to such analysis. Surrounded by up to 100 other photographers, I found myself lost in the uncertain and imperfect skies contrasting in more ways than one with the contradictions of new and old human ingenuity. I felt as though I was alone in that moment. I felt as though I knew what were the right answers to the questions I had been asking myself all week. Simply? Serendipity.
NS/UP OCS 066H603: UP9082/UP1943
Moodna Viaduct
NS/MNCW Southern Tier Line
Salisbury Mills, Town of New Windsor, NY
Sunday, June 3rd, 2018
©2018 Matthew James Ryan, ALL RIGHTS RESERVED. This photo may not be republished, copied, printed or used in any way, on any medium and under any circumstances without written consent.
What would I do if I were me?
Last shot of the year for me. And what a wonderful year its been in terms of photography. I got my first DSLR which is something I'd aspired to for years but had always been to lazy to save the cash for one. Most importantly though I've found a passion within a passion. I've been totally blown away and inspired by the amazing light painters on here who have been so helpful, friendly and encouraging towards me. It really is very much appreciated.
So next year I will be looking at how I can improve all aspects of my photography but probably focusing mainly on lp and becoming a little more individual as opposed to trying to emulate the work of others.
I was planning on a 365 but having thought about it for a couple of months, time is not on my side and I don't want to start posting what I've had for tea etc. So a 52 it is.
Thanks again to you all and wishing you a superb 2014 and hope you achieve everything you wish for. sooc.
Nice 1 peeps.
Mee is an introspective korean Literature Student, who spends most of her free time at home, reading.
MEE SHAPE is for Lelutka Kaya head, and supports Maitreya (reg., petite, flat), Legacy (reg., perky), and Reborn. Comes with a very complete style card and 3 physics sets.
Buy it in-world (25% off for group members, free to join, ltd. time) maps.secondlife.com/secondlife/Plazaland/31/207/2001
Check our MP shop marketplace.secondlife.com/stores/248657
My latest Obsession chat to me on www.photophlow.com/
Here Laura clicks into a look of introspection that some how with the hair makes me believe she is a BOND girl. This image is suitably numbered 10
I try to get all my Black and White shots as close to film as possible but I still haven’t mastered the Art just yet. Getting the tonal balance in a portrait is very subtle. I am in awe of photographers that can truly do this well with digital.
Shoot for Make Up Artist Stacey Barzen - at Doll me up with Stacey.
Model : Laura Osborne
Hair Nikki Pienaar
Filtered light in the forest highlights boulders submerged. Water casts reflections of blue sky above.
Carson Iceberg Wilderness, California
Introspective musings is back and on the blog, today. Got all wordy again, and stuff. Why I do what I do: Finding purpose through photography. I'd love to hear your two cents on why you do what you do, and what you learn from photography (which is really what I elaborate on over there).
On this last day of the gratitude project: I am grateful for photography, and what it has done for me as a person, not just as a photographer.
tired is
being too afraid to sleep
for fear of dreaming
of them
and waking
to find it was just that
a dream
i am tired
It has been 4 years ago since I made this photograph. Until now i’ve always been afraid to post this picture.
Days have been really poisoning, constantly having to defend yourself. Putting yourself on a low heat. Let days pass by, kind of like watching the world burn. unfulfilled desires, actually having no desires at all. Introspective anger, going against the current.
But you know what, there’s one thing that you have that nobody else has. And that’s your voice, your mind, your vision. But especially your story. Haven’t you ever confused a dream with life? Don’t deceive yourself.
Just a break
A lonely break
To see the world, with my only eyes.
A breath.
Looking to the tenuous line on the end
A moment to clear all thoughts
and look into ourselves
A minute to realize what is wrong
What make us cry.
A breath that comes so deep that can make us stop
Stop breathing.
Let it in
and appreciate what make us free.
Have a break.
Going for a timeless glamour vibe with this shot. The pose, the heels, the mood – it all just came together.
"Concept Graphics" of new photo project .
An introspective journey through man in network .
( This is just the graphic concept , wait for see more )
Tut tut. Rather a lapse of professional conduct here, I'm afraid. I don't remember ever having the print of this shot, and this must be the first time I've scanned it. Accordingly I'd not previously seen the comic pose of the driver, who adopts a 'flashing' attitude to present us with a view of his shirt-front, tie and braces. The bus was entering Royal Well Bus Station, Cheltenham, on the 15-minute headway service from Gloucester on Friday 16th December 1977. Evidently our man must have been a fun-loving sort of chap, always ready for a laugh and a joke, and a popular figure in the canteen. Across the gulf of thirty-nine years I smile at his amusing gesture, which seems to say, "life's a grim business, but let's try to have a bit of fun while we're here". It extends the hand of a common humanity and reproaches me for my introspective, not-a-fun-person, po-faced, Paul von Hindenburg demeanor. The Gardner-engined FLF didn't have much longer to go, being withdrawn on 31st August 1978.