British Journal of Photography November 2012

The main feature of BJP in November is a review  of entries for the Taylor Wessing Photographic Portrait Prize. The article was written pre announcement of winners but, using the iPad version, I was able to review the winning entries.

This is clearly a very relevant feature for this course, and I was interested to see how some of the lessons and  tips that have picked up in the last few months might be seen in these competition winners.

First prize went Jordi Ruiz Cirera for his portrait of a Bolivian woman, Margarita Teichroeb, from the Mennonite community:

This is a fine photograph of an unwilling subject (photography being forbidden for Mennonites) with an awkward expression. The image evokes sympathy with both the subject and the photographer. Technically, the use of backlight works well and there is evidently a wide aperture used, such that the other two women feature only out of focus.

The image reminds me of Lange's famous portrait Migrant Mother:

The use of the hand to the face is similar, and there is evidently something troubling both women, albeit a matter of self consciousness in Cirera's image, as opposed to one of circumstance in Lange's.

The second prize went to Jennifer Pattison for a portrait of her friend, Lynne:

This is a complete contrast to the first image: a completely nonchalant confident subject taken as part of a series by Pattison exploring "the brief moments where a subject loses self-consciousness of their naked body". The pale skin of the subject is set off well by the dark green wallpaper.

The mug is a critical prop in this image; it emphasises the comfort of the subject in her nakedness and adds a sort of homeliness and security to the image that sits in contrast to the winning entry. It is bold, and it works.

I am much less convinced  by the third prize winner:

This image is of Mark Rylance, and actor with "such an interesting face" according to photographer Spencer Murphy. Interestingly  Murphy says "I've always enjoyed working with actors as there is no awkwardness or discomfort in front of the camera". There is subtext to this: they are easy subjects, and consequently one feels the photographer needs to work harder then Murphy has with this rather flat image. Frankly, I am surprised that this image featured as a winner; it offers little in terms of originality of subject or technical expertise.

The fourth portrait winner is The Ventriloquist  by Alma Haser:

Haser notice the subjects, James Agazzi Brooks and Luke Casey, at a party and wanted immediately to photograph them just because of their looks and haircuts.

There is a Marmite feel to this image: love it or hate it. I think I just about love it because it is an opportunistic image.It is good to hear the honesty of a photographer who just saw the image when she first noticed the subjects, and kept this image as a standalone rather than using as part of a project. There is a tendency on this course to seek context and narrative - it is good to remind onesself that sometimes a photograph can be a good standalone piece of work.

Of other shortlisted images, my favourite is One Summer in London by Phoebe Theodora.Found it impossible to get a downloadable version of this image of a naked woman huddled against a wall. Her expression is sad, frightened almost, and vacant, almost as if she has been defiled, a thought evoked by her legs being tightly together. It is a powerful and evocative shot.