I don't know about you guys, but I'm getting a bit tired of what could be called the Alec Soth school of portraiture (sit up straight and look mournfully into the camera). There seems to be a gesture preferred by art-photographers-cum-portraitists which because of its proliferation has ceased to endow great meaning and now is just plain annoying.
That's why it's so refreshing to see artists like the English photographer Michelle Sank exploring other ways of using gestures in environmental portraits. These small reproductions don't do them justice, but the gestures seem more alive, as though they took that form for only 1/250th of a second and not for an eternity. The effect is totally different.
That's why it's so refreshing to see artists like the English photographer Michelle Sank exploring other ways of using gestures in environmental portraits. These small reproductions don't do them justice, but the gestures seem more alive, as though they took that form for only 1/250th of a second and not for an eternity. The effect is totally different.
Michelle Sank, from The Submerged
Michelle Sank, from The Submerged
Michelle Sank, from The Submerged
Michelle Sank, from The Submerged
Michelle Sank, from The Submerged
Michelle Sank, from The SubmergedI'd love to hear some of the photographer-subject conversations that occurred before these pictures were made. Some of her subjects look so relaxed it's as if she had just shot them with a tranquilizer dart.
Do yourself a favour and see more of Michelle Sank's work here.
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