Portrait Photo Quotes

I regretted what a serious teenager I'd been: There were no posters of pop stars or favorite movies, no girlish collection of photos or corsages. Instead there were paintings of sailboats, proper pastel pastorals, a portrait of Eleanor Roosevelt. The latter was particularly strange, since I'd known little about Mrs. Roosevelt, except that she was good, which at the time I suppose was enough. Given my druthers now, I'd prefer a snapshot of Warren Harding's wife, "the Duchess," who recorded the smallest offenses in a little red notebook and avenged herself accordingly. Today I like my first ladies with a little bite.

Sumire was a hopeless romantic, a bit set in her ways - innocent of the ways of the world, to put a nice spin on it. Start her talking and she'd go on nonstop, but if she was with someone she didn't get along with - most people in the world, in other words - she barely opened her mouth. She smoked too much, and you could count on her to lose her ticket every time she took the train. She'd get so engrossed in her thoughts at times she'd forget to eat, and she was as thin as one of those war orphans in an old Italian film - like a stick with eyes. I'd love to show you a photo of her but I don't have any. She hated having her photograph taken - no desire to leave behind for posterity a Portrait of the Artist as a Young (Wo)Man.

If you tell Google that you would like to see images of ‘Black men’ the images that come up are all portrait photos of black men. Indeed, it takes more than a dozen rows of images before anybody who isn’t black comes up in the images. By contrast a search for ‘White men’ first throws up an image of David Beckham – who is white – but then the second is of a black model. From there every line of five images has either one or two black men in the line-up. Many of the images of white men are of people convicted of crimes with taglines such as ‘Beware of the average white man’ and ‘White men are bad’.

On an evening when Perdita's away on a school trip, Harriet sits in front of her computer eating sample squares of lavender shortbread and practicing her favorite form of procrastination: writing highly positive reviews of her eBay, Etsy, and Amazon purchases. Five stars for everybody. She didn't finish one of the books she just gave five stars to. She just liked the author photo. Five stars for the portrait photographer, then. She's been doing this ever since some of her students told her they do this with one-star reviews. Opposing random negativity with random positivity - that's the main thing.

Tommy showed me around, starting with the photos on the walls, many of which were of himself, including a few grand, framed neoclassical portraits he’d had done.

This is almost always the case: A piece of art receives its f(r)ame when found offensive.

I hate the term undocumented. It implies people like my mother and me don't exist without a paper trail. I have a drawer full of diaries and letters I never sent to my grandmother, my father, even to my younger sister that will prove to anyone I am very real, most definitely documented; photos taped to our refrigerator, snapshots taken at the Sandy Hill house or other friends' fiestas, the Sears portraits our mother used to dress up for every year, making us seat on bus seats still as statues so we wouldn't wrinkle to have a perfect picture to send back to her mother. Don't tell me I'm undocumented when my name is tattooed on my father's arms.

For the record, there were no framed pictures of me around our house, and the only class portrait Dad had ever ordered was the one from Sparta Elementary in which I'd sat, knees glued together, in front of a background that looked like Yosemite, sporting pink overalls and a lazy eye. "This is classic," Dad said. "That they shamelessly send me an order form so I can pay $69.95 for prints large and small of a photo in which my daughter looks as if she just suffered a great blow to her head - it just shows you, we are simply strapped to a motorized assembly line moving through this country. We're supposed to pay out, shut up or get tossed in the rejects bin.

I grew up poor among poor people in a poor town, but I never knew how poor I'd been until I moved to New York. These women with their fresh produce and diamonds and manicures. Even their skin was expensive. What got to me about them wasn't just the way they made me suddenly self-conscious about the ink under my fingernails or the haircut I gave myself in my own bathroom. It wasn't just that they'd spend more in one evening on chocolate, escarole, and jam than I did on the rice and beans and film and photo paper I needed for a week. What enraged me is that they didn't, couldn't, see me. I was less than a machine to them, less than a body. I did not even appear in their line of sight. I was nothing more than a couple of chanted phrases: Cash or charge? Paper or plastic? Thank you, have a nice night.

How do I focus it?” Joe asked him, lowering the camera. “Oh, don’t bother about that. Just look at me and push the little lever. Your mind will do the rest.” “My mind.” Joe snapped a photo of his host, then handed the camera back to him. “The camera is …” He searched for the word in English. “Telepathic.” “All cameras are,” his host said mildly. “I have been photographed now by seven thousand one hundred and … eighteen … people, all with this camera, and I assure you that no two portraits are alike.” He handed the camera to Sammy, and his features, as if stamped from a machine, once more settled into the same corpulent happy mask. Sammy snapped the lever. “What possible other explanation can there be for this endless variation but interference by waves emanating from the photographer’s own mind?

During their subsequent meetings, which were soon and often, Lance confessed and anatomized his passion for her. He even gave her its (the passion’s, of course) biography. It had been born of a book jacket, the one responsible for the only really nice thing ever said about Eloise Michaud in a metropolitan review—“The photo-portrait on the book jacket will move as many books as, say, good writing might. To be honest, however, the picture is worth quite the price of the volume. Miss Michaud is the most scrumptious scrivener ever to set pen to the paper of a book-club contract.

But it wasn't the photograph that caught her attention. It was what was tucked into the frame. Dominic's eyes followed hers. And a tinge of color appeared in his cheeks. Walking over, the butterflies skittering about her stomach, Sylvie reached out and touched the intricate little silhouette portrait of her own face. Her eyes lifted to Dominic's in-the-flesh face, which was currently much stiffer than that paper. "Pet," he said. "She cut a couple of portraits in here one day when we were talking about Operation Cake. Yours and Mariana's." "Yes. I saw Mariana's after you gave it to her." She ran her fingers around the paper contour of her plait, dropped her hand to the desk. "You didn't give me mine, though." "No, I didn't." "Because... we didn't get along? And you wanted to keep Pet's artwork?" "I did want to have some of Pet's art." Dominic's jaw ticked. "And somewhere along the line, I wanted that one in particular." Sylvie swallowed.

Mia had stacked them neatly inside: half portraits, half wishes, caught on paper. Each of the Richardsons, as Mrs. Richardson carefully laid the photos out on the table in a line, knew which was meant for them, recognized it instantly, as they might have recognized their own faces. To the others it was just another photo, but to them it was unbearably intimate, like catching a glimpse of your own naked body in a mirror. A sheet of paper sliced into strips, thin as matchsticks, woven to form a net. Suspended in its mesh: a rounded, heavy stone. The text had been sliced to unreadable bits, but Lexie recognized the pale pink of it

When I had the honor of being included in the Smithsonian’s National Portrait Gallery in 2019, I sat for a painting with four objects on a shelf behind me in the composition: a photo of my parents; a photo of Raj, Preetha, and Tara; a Yale SOM baseball cap; and a PepsiCo annual report with the words “Performance with Purpose” on the cover.

Sometimes I feel she hasn't left...especially when I wear the photo charm necklace with her picture in it. I can't tell you how many young men have stared into that picture and the reaction is always the same: a slow beam rises across their faces and they want to know all about her. They become entranced the way Dana Andrews did when he first saw Gene Tierney's portrait in "Laura." I know Maria finds all of this quite amusing; why shouldn't she? 'Laura' is her middle name.

Has someone made you feel shame for taking selfies? For daring to believe so much in your beauty, in your style, in your badassery, in your joy, in your body, in your sensuality, in your humanity that you'd be so audacious, so bold, so (insert judgmental word of choice here) to want to witness and be witnessed for who and what you are. ⠀ ⠀ Has someone out there sold you their own truth that this is conceited or narcissistic or superficial? How dare you think so much of yourself that you stop to take a photo?⠀ ⠀ Forget. those. people. ⠀ ⠀ Seriously. You are worthy of capture. Of celebration. Of admiration. You are worthy of being seen and witnessed. Of being looked at with awe and with joy. Just as you are, right now. All made up and wearing the outfit that makes you feel like you can take on the world or just waking up in bed, bare skin and messy hair and eyes hazy with dreams. ⠀ ⠀ Here's the thing. Self-portraiture in art is as old as time. We are fascinated with the visible proof of our own existence, our own reality, and for damn good reason. We are infinite and complex and ever changing. We are majestic and mundane. Self-portraits, regardless of the medium, offer us a way to capture ourselves at a specific moment in time. ⠀ ⠀ For me, this is an act of self-love. Of self-honoring. Of owning myself as beautiful and sovereign. It is the way I learned to look at myself without needing to look away. It is how I learned to trace the lines of my own being with the sort of admiration I used to reserve for others, for those I loved or for rarified celebrities I never thought I could live up to. ⠀ ⠀ When I stop to take a photo of myself, it is a way to say that I am here. I have something to say that can't be spoken in words. It might be deep and poetic, or maybe I just damn well love my outfit and think you should see it. And that yes, it is a way to say I want to be seen and I no longer hold shame in that wanting.

This banal and crass process is how I met Lindsay Mills, my partner and the love of my life. Looking at the photos now, I’m amused to find that nineteen-year-old Lindsay was gawky, awkward, and endearingly shy. To me at the time, though, she was a smoldering blonde, absolutely volcanic. What’s more, the photos themselves were beautiful: they had a serious artistic quality, self-portraits more than selfies. They caught the eye and held it. They played coyly with light and shade. They even had a hint of meta fun: there was one taken inside the photo lab where she worked, and another where she wasn’t even facing the camera.

Dearest Oriel, I have a Doom, but a conceited Doom. Kits, when he was here, took some photographs of me, and also a proper photographer came from St Ives to do me too, and I crumbed they would look well for future books. But they make poor Tray look just like an old peasant woman of ninety – far older and more wrinkled than Lady Vyvyan, and I nearly cried when I saw them. I know I am lined, but I had not realized how badly! And the awful expression on my face, like a murderess. Talk about being ready for St Cuthbert’s – well! The thing is, everybody these days takes photos with tiny cameras and no lighting, so I suppose one’s bad points come out worse. What a blow to one’s Silly Values! Oh, me ... And there I was, swishing about thinking I looked quite nice.

My studio team and I approached the creation of this series with enthusiasm, wit, sincerity and sometimes more than a dash of humour. Is the result just another foray into the clichés of Orientalism? I think not. For the most part the people photographed became co-conspirators in our elaborate game of recreating reality. They enjoyed chai with us and a morning samosa (we most always shoot in the early morning since it is the best time to utilize available light). Our models were indeed “posed and paid”, but they cooperated by suggesting so many things themselves… eagerly grasping the process we were undertaking and joining in the creation of what generally became more than just a photo shoot. Each session in the studio became an “event”…an episode of manufactured expression in which all participated and all remembered.

Astonishment: these women’s military professions—medical assistant, sniper, machine gunner, commander of an antiaircraft gun, sapper—and now they are accountants, lab technicians, museum guides, teachers…Discrepancy of the roles—here and there. Their memories are as if not about themselves, but some other girls. Now they are surprised at themselves. Before my eyes history “humanizes” itself, becomes like ordinary life. Acquires a different lighting. I’ve happened upon extraordinary storytellers. There are pages in their lives that can rival the best pages of the classics. The person sees herself so clearly from above—from heaven, and from below—from the ground. Before her is the whole path—up and down—from angel to beast. Remembering is not a passionate or dispassionate retelling of a reality that is no more, but a new birth of the past, when time goes in reverse. Above all it is creativity. As they narrate, people create, they “write” their life. Sometimes they also “write up” or “rewrite.” Here you have to be vigilant. On your guard. At the same time pain melts and destroys any falsehood. The temperature is too high! Simple people—nurses, cooks, laundresses—behave more sincerely, I became convinced of that…They, how shall I put it exactly, draw the words out of themselves and not from newspapers and books they have read—not from others. But only from their own sufferings and experiences. The feelings and language of educated people, strange as it may be, are often more subject to the working of time. Its general encrypting. They are infected by secondary knowledge. By myths. Often I have to go for a long time, by various roundabout ways, in order to hear a story of a “woman’s,” not a “man’s” war: not about how we retreated, how we advanced, at which sector of the front…It takes not one meeting, but many sessions. Like a persistent portrait painter. I sit for a long time, sometimes a whole day, in an unknown house or apartment. We drink tea, try on the recently bought blouses, discuss hairstyles and recipes. Look at photos of the grandchildren together. And then…After a certain time, you never know when or why, suddenly comes this long-awaited moment, when the person departs from the canon—plaster and reinforced concrete, like our monuments—and goes on to herself. Into herself. Begins to remember not the war but her youth. A piece of her life…I must seize that moment. Not miss it! But often, after a long day, filled with words, facts, tears, only one phrase remains in my memory (but what a phrase!): “I was so young when I left for the front, I even grew during the war.” I keep it in my notebook, although I have dozens of yards of tape in my tape recorder. Four or five cassettes… What helps me? That we are used to living together. Communally. We are communal people. With us everything is in common—both happiness and tears. We know how to suffer and how to tell about our suffering. Suffering justifies our hard and ungainly life.

She didn’t worry that she was boring him, as Old Jane would’ve done. It didn’t matter, she reminded herself. He was paid to listen to her and make her feel like the most interesting person in the world, and so, by George, she would be. His lips pressed into a small smile that stayed. A very small smile. Sometimes almost imaginary. Jane wished that it might be bigger, that it might beam at her, but she supposed that wasn’t the Nobley way. Then when she’d decided that his smile was a figment, Mr. Nobley said--or whispered, rather-- “Let’s go look at your paintings.” What a delight, this man. How he kept surprising her, tossing aside his uptight propriety for her sake, murmuring plans for meeting in secret, fibbing to the others that he would withdraw early, then waiting upstairs for her to do the same. With a thrill to look around for watchers and scramble into her chamber, shutting the door behind them. Jane stood with her back to the door, her hands still on the knob, breathing hard and trying to laugh quietly. He was leaning against the wall, smiling. The moment was giddily awkward as she waited to see what he had in mind, if he would suddenly shed Mr. Nobley and become some other man entirely. If he would break any other rules. The wait was agonizing. She realized she didn’t know what she wanted him to do. “I would love to see those paintings,” he said, his voice still proper. “Of course,” she said. Of course he was still Mr. Nobley, of course the man, the actor, was not falling in love with her. And a relief it was, too, as she realized she wasn’t ready to let go of Pembrook Park yet. Somehow she had to be by the day after tomorrow. She presented the first painting, and he held it at arm’s length for some time before saying, “This is you,” though the portrayal was not photo-realistic. “I couldn’t quite get the eyes,” she said. “You got them just right.” He didn’t look away from the painting when he said, “They are beautiful.” Jane didn’t know whether to thank him or clear her throat, so she did neither and instead handed him the second painting or her window and the tree. “Ah,” was all he said for some time. He glanced back and forth between both paintings. “I like this second one best. Beside it, the portrait looks stiff, as though you were too cautious, measuring everything, taking away the spontaneity. The fearlessness of this window scene is a better style for you. I think, Miss Erstwhile, that you do very well when you loosen up and let the color fly.” He was right, and it felt good to admit it. Her next painting would be better. “I should let you retire.” He held the self-portrait a minute longer, gazing at it as she had sometimes felt him look at her--unblinking, curious, even urgent. She peeped through the keyhole to make sure no one was in the corridor before opening the door and letting him slip out. After a moment, she peered again and could see nothing, then Mr. Nobley’s face dropped into view. He was crouching outside her door, looking back. “Miss Erstwhile?” he whispered. “Yes, Mr. Nobley?” “Tomorrow evening, will you reserve for me the first two dances?” “Yes, Mr. Nobley.” She could hear how her voice was full of smile.

Given that I had no résumé or even a professional photo—excluding, of course, the Christmas portrait with Santa that adorned our living room mantle—I was desperate for sound advice that suited my

Fired Up, Frantic, and Freaked Out Training Crazy Dogs from Over-the-Top to Under Control Laura VanArendonk Baugh CPDT-KA KPACTP Copyright 2013 Laura VanArendonk Baugh Cover design by Laura VanArendonk Baugh and Alena Van Arendonk Author portrait by Elemental Photography Technical editing by Casey Lomonaco Interior photos pages 25, 67, 77 by Alena Van Arendonk

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Delilah discretely checked her watch, wondering how long she needed to stay in order to politely tap out and call it a night. At least another half hour. No, make that twenty minutes. She wouldn’t survive another half hour. She was so focused on appearing focused on Jeff, that she felt the harsh shove at her hip before she saw anything. Jostled to the side, she looked up, startled, already having figured out that someone had slid into the booth next to her, mercilessly bumping her out of the way. She could not have been more surprised to see Brandon or the sweet smile that spread across his face at the sight of her. Blinking a few times, she rapidly took in the scene, once again regretting that she hadn’t finished that second forget spell on him. She also saw that Jeff was just mortified by the intrusion. At least it shut him up for a moment. Before she could think of anything to say, Brandon gave her a sad pitying look and odd words started tumbling from his lips. “Lilah, baby, come home.” “Huh?” What the hell was he talking about? Jeff’s spine got straighter, if that was possible. He huffed and crossed his arms. Brandon gazed deeply into her eyes and kept talking. “We miss you.” We? “Delilah,” Jeff’s tone demanded attention and both she and Brandon turned to face the other man. “Do you know this . . . gentleman?” Clearly ‘gentleman’ was not what he thought Brandon was. Delilah thought maybe ‘insane asylum inmate’ was a better option. What did Brandon mean, ‘we’? She took a sip of her drink to cover for her confusion. Brandon put his right hand out across the table as though to introduce himself, his left arm snaked possessively around Delilah’s shoulders, but she was too confused to react. “I’m Brandon Stewart. Delilah’s husband.” Immediately she choked. Husband? Her wide eyes swung to his face, only to find that he looked perfectly serious. He gave her a sad smile as Jeff voiced her concerns. “Husband?” Brandon didn’t take his eyes off hers. Even as she sat there choking on her drink. Not that he volunteered to hit her on the back or ask if she was going to survive. He just looked sad. “Baby, have you been dating again? You know the doctors think that’s a bad idea.” Then, he turned his sympathetic face to Jeff, “She isn’t well.” That was it! Her anger poured out in her voice, which she barely managed to keep from screeching above the noise level and broadcasting to the entire bar. “Brandon!” Jeff looked taken aback. “You know him? Are you married?” “No!” She shook her head violently. What was Brandon doing? He made his next play before she could form words. “She’s not only married, we have a family.” He shifted his weight, pressing intimately along her from shoulder to thigh, as he fished in his pants pocket for his wallet. He drew out the leaning and fishing a little longer than necessary. Especially considering she was boiling mad. She was married? To him? He deftly plucked a studio portrait of two small children, clearly his own. Delilah had to hand it to him, the little blonde-haired, blue-eyed cuties could easily have been hers. One boy and one girl smiled at the camera, sweet and perfect for all the world, heads pressed together. Brandon made sure she saw the photo before he handed it over to Jeff. “That’s our Tiger and Muffin there. Well,” He smiled like he was all chagrined, “Tyler and Madison.” Then he turned to her, still sweet and sad. “You can’t do this again, baby. Come home.” She simmered, but didn’t speak.

In any case, on the wall of Juan Stein's house, there hung a rather ornately framed portrait of Chernyakhovsky, and that, I dare say, incommensurably more important than the busts and the cities named after him and the countless Chernyakhovsky Streets, full of potholes, scattered through the Ukraine, Belorussia, Lithuania and Russia. I don't know why I've kept the photo, Stein said to us.

Sanna measured the apple juice into a large glass beaker and added it to the carboy, swirling a cheery red- like Santa's suit. She wrote down the amount in her notebook and did the same with the next juice, this one a bold sapphire blue, which mixed with the red into a vivid purple. When it came to cider, colors and flavors blended together for her. She knew she had the right blend when it matched the color she had envisioned. It wasn't scientific- and it didn't happen with anything else Sanna tasted- but here, with her beloved trees, it worked. She carefully tracked the blends in her journal. The sun streamed through the window, lighting up the colors in the carboy like Christmas lights. She was close- one more juice should do it. She closed her eyes, calling to mind all the juices in the barn's cooler and their corresponding colors. Every juice she tasted from their apples had a slightly different hue, differing among individual varieties, but even varying slightly from tree to tree. When she was twenty-four, she had stood at the tall kitchen counter tasting freshly pressed juices she had made for the first time with the press she had unearthed from the old barn. Her plan had originally been to sell them in the farm stand, but she wanted to pick the best. As she sipped each one, an unmistakable color came to mind- different for each juice- and she finally understood the watercolor apple portraits above the fireplace. They were proof she wasn't the only family member who could see the colors. After she explained it to her dad, he smiled. "I thought you might have the gift." "You knew about this?" "It's family legend. My dad said Grandpa could taste colors in the apples, but no one in my lifetime has been able to, so I thought it might be myth. When you returned home after college- the way you were drawn to Idun's- I thought you might have it." He had put his hands on the side of her face. "This means something good, Sanna." "Why didn't you say anything? Why didn't I know before?" "Would you have believed me?" "I've had apple juice from the Rundstroms a thousand times. Why can't I see that with theirs?" "I think it has something to do with apples from our land. We're connected to it, and it to us." Sanna had always appreciated the sanctuary of the orchard, and this revelation bonded Sanna like another root digging into the soil, finding nourishment. She'd never leave. After a few years of making and selling apple juice, Sanna strolled through the Looms wondering how these older trees still produced apples, even though they couldn't sell them. They didn't make for good eating or baking- Einars called them spitters. Over the years, the family had stopped paying attention to the sprawling trees since no one would buy their fruit- customers only wanted attractive, sweet produce. Other than the art above the mantel, they had lost track of what varieties they had, but with a bit of research and a lot of comparing and contrasting to the watercolors and online photos, Sanna discovered they had a treasure trove of cider-making apples- Kingston Black, Ashton Bitter, Medaille d'Or, Foxwhelp, her favorite Rambo tree, and so many more. The first Lunds had brought these trees to make cider, but had to stop during Prohibition, packing away the equipment in the back of their barn for Sanna to find so many years later. She spent years experimenting with small batches, understanding the colors, using their existing press and carboys to ferment. Then, last year, Einars surprised her with plans to rebuild the barn, complete with huge fermentation tanks and modern mills and presses. Sanna could use her talent and passion to help move their orchard into a new phase... or so they had hoped.

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But it isn’t just nostalgia or retrospectives that keep emo alive; it’s that confusing, made-up thing we talked about called “identity.” An identity is something you create. It’s a portrait you paint that you feel represents your soul most accurately. We define ourselves by the books we read, the photos we take, and the music that we listen to. Emo is very much alive within my identity; I consider it a part of who I am. But it’s not just a hobby or an interest. It is as much a core fiber of my being as are my heart and my thoughts. For some, it is as much a part of their identity as their gender or sexual orientation. Within these songs are my best and worst memories and my best and worst self. Within me is a desire to keep reminding the world how important emo was and is. Because no, it wasn’t just a phase or a passing fad. It wasn’t that music you listened to when you were thirteen and then gave up on when you became a “real adult.” Emo is credible. It is valuable. It is irreplaceable, and my friends and I—everyone in this book—want the world to recognize that.

I took the boys [ages 2, 5 & 7] to Olan Mills Photo Studio to get a portrait made of them. The photographer was a young woman. She arranged them several different ways to get good photos for us. At one point she had them lined up in a row and said, “Cross your arms.” All three instantly crossed their arms across their chests as we do to receive Holy Communion. The photographer, surprised, exclaimed, “Not like you're dead!

Lichtenberg speaks, in one of his aphorisms, Of a tremor: any act, even an exact one, is preceded by a trembling, a haziness of gesture, and it always retains something of it. When this haziness, this tremor, does not exist, when an act is purely operational and is perfectly focused, we are on the verge of madness. And the true image is the one that accounts for this trembling of the world, whatever the situation or the object, whether it be a war photo or a still life, a landscape or a portrait, an art photo or reportage. At that stage, the image is something that is part of the world, that is caught up in the same becoming, in the metamorphosis of appearances. A fragment of the hologram of the world, in which each detail is a refraction of the whole. The peculiar role of photography is not to illustrate the event, but to constitute an event in itself. Logic would demand that the event, the real, occur first and that the image come after to illustrate it. This is, unfortunately, the case most of the time. A different sequence demands that the event should never exactly take place, that it should remain in a sense a stranger to itself. Something of that strangeness doubtless survives in every event, in every object, in every individual. This is what the image must convey. And, to do so, it must also remain in a sense a stranger to itself; must not conceive itself as medium, not take itself for an image; must remain a fiction and hence echo the unaccountable fiction of the event; must not be caught in its own trap or let itself be imprisoned in the image-feedback.

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Naba Zabih is a wedding and elopement photographer based in the Pacific Northwest. Servicing the local area of Vancouver, Washington, and Greater Portland. Photographing all couples of all backgrounds. Often traveling for weddings across the U.S and worldwide. Capturing beautiful wedding photos filled with artistic portraits and candid storytelling to preserve the most emotional of moments.

The aesthetics alone are inspiring. New York–based photographer Richard Barnes, best known for his starkly artistic portraits of Unabomber Ted Kaczynski’s cabin, released a captivating collection of black-and-white images of starling flocks over Rome in 2005. His photos are carefully framed against urban horizons. Some are simply beautiful, others sinister and Hitchcockian, but all are somehow magnetic (more on that later). In a statement accompanying Barnes’s images, author Jonathan Rosen observes, “Part of the fascination of the starlings is the way they seem to be inscribing some sort of language in the air, if only we could read it.

Radicalement antilaïque et pro-islamiste, le mouvement des Indigènes de la République est né en réaction à la loi sur les signes religieux. Il considère que la France doit « interroger ses lumières » et lutte, selon ses mots, « contre toutes les formes de domination impériale, coloniale et sioniste qui fondent la suprématie blanche à l’échelle internationale »*25. Ses militants défilent régulièrement sous des portraits de Cheikh Yassine, soutiennent ouvertement le Hamas et « totalement la résistance palestinienne ». Un credo réaffirmé pendant l’Intifada des couteaux. Ils ont aussi tweeté une étrange photo prise à Molenbeek le 19 mars 2016. Elle montre un jeune homme défiant d’un air menaçant un cordon de policiers… lequel tente alors de sécuriser l’arrestation de Salah Abdeslam, l’un des terroristes du 13 novembre. En dessous de la photo du jour, en soutien à ce jeune homme menaçant, le Parti des Indigènes de la République a écrit : #Resistance. Le 8 juin de la même année, après un attentat à Tel-Aviv, Aya Ramadan, une autre militante du PIR, a rendu hommage à deux terroristes palestiniens ayant fait quatre morts et cinq blessés en ouvrant le feu sur la terrasse bondée d’un café de Tel-Aviv : « Dignité et fierté ! Bravo aux deux Palestiniens qui ont mené l’opération de résistance à Tel-Aviv. » Un tweet signalé pour « apologie du terrorisme » par la DILCRA, la Délégation interministérielle à la lutte contre le racisme et l’antisémitisme. Les « nouveaux antiracistes » sont surtout… les nouveaux racistes.

overloaded horses bent backwards by the chisel of the mason who once sculpted an eternal now on the brow of the wingless archangel, time-deformed cherubim and the false protests, overweight bowels fallen from the barracks of the pink house carved with grey rain unfallen, never creaking, never opening door, with the mouth wide, darkened and extinguished like a burning boat floating in a voiceless sea, bottle of rum down threadbare socks, singing from pavement to pavement, bright iridescent flame, "Oh, my Annie, my heart is sore!", slept chin on the curb of the last star, the lintel illuminated the forgotten light cast to a different plane, ah the wick of a celestial candle. The piling up of pigeons, tram lines, the pickpocket boys, the melancholy silver, an ode to Plotinus, the rattle of cattle, the goat in the woods, and the retreat night in the railroad houses, the ghosts of terraces, the wine shakes, the broken pencils, the drunk and wet rags, the eucalyptus and the sky. Impossible eyes, wide avenues, shirt sleeves, time receded, 'now close your eyes, this will not hurt a bit', the rose within the rose, dreaming pale under sheets such brilliance, highlighting unreality of a night that never comes. Toothless Cantineros stomp sad lullabies with sad old boots, turning from star to star, following the trail of the line, from dust, to dust, back to dust, out late, wrapped in a white blanket, top of the world, laughs upturned, belly rumbling by the butchers door, kissing the idol, tracing the balconies, long strings of flowers in the shape of a heart, love rolls and folds, from the Window to Window, afflicting seriousness from one too big and ever-charged soul, consolidating everything to nothing, of a song unsung, the sun soundlessly rising, reducing the majesty of heroic hearts and observing the sad night with watery eyes, everything present, abounding, horses frolic on the high hazy hills, a ships sails into the mist, a baby weeps for mother, windows open, lights behind curtains, the supple avenue swoons in the blissful banality, bells ringing for all yet to come forgotten, of bursting beauty bathing in every bright eternal now, counteract the charge, a last turn, what will it be, flowers by the gate, shoe less in the park, burn a hole in the missionary door, by the moonlit table, reading the decree of the Rose to the Resistance, holding the parchment, once a green tree, sticking out of the recital and the solitaire, unbuttoning her coat sitting for a portrait, uncorking a bottle, her eyes like lead, her loose blouse and petticoat, drying out briefs by the stone belfry and her hair in a photo long ago when, black as a night, a muddy river past the weeds, carrying the leaves, her coffee stained photo blowing down the street. Train by train, all goes slow, mist its the morning of lights, it is the day of the Bull, the fiesta of magic, the castanets never stop, the sound between the ringing of the bells, the long and muted silence of the distant sea, gypsy hands full of rosemary, every sweet, deep blue buckets for eyes, dawn comes, the Brahmanic splendour, sunlit gilt crown capped by clouds, brazen, illuminated, bright be dawn, golden avenues, its top to bottom, green to gold, but the sky and the plaza, blood red like the great bleeding out Bull, and if your quiet enough, you can hear the heart weeping.

In 1956, with no leads and public outcry mounting, the police turned to James A. Brussel, a psychiatrist and criminologist and the assistant commissioner of the New York State Department of Mental Hygiene, who lived with his wife on the grounds of Creedmoor State Hospital in Queens. Brussel examined the letters from the bomber and the crime scene photos and came up with a “portrait” of the bomber—the very first case of criminal profiling ever. Among his many predictions: that when he was found, the bomber would be wearing a double-breasted suit, buttoned.

Alors voilà. On faisait des mômes, ils chopaient la rougeole, et tombaient de vélo, avaient les genoux au mercurochrome et récitaient des fables et puis ce corps de sumo miniature qu'on avait baigné dans un lavabo venait à disparaître, l'innocence était si tôt passée, et on n'en avait même pas profité tant que ça. Il restait heureusement des photos, cet air surpris de l'autre côté du temps, et un Babyphone au fond d'un tiroir qu'on ne pouvait se résoudre à jeter. Des jours sans lui, des jours avec, l'amour en courant discontinu. Mais le pire était encore à venir. Car il arrivait cela, qu'une petite brute à laquelle vous supposiez des excuses socioéconomiques et des parents à la main leste s'en prenait à votre gamin. La violence venait d'entrer dans sa vie et on se demandait comment s'y prendre. Car après tout, c'était le jeu. Lui aussi devait apprendre à se défendre. C'était en somme le début d'une longue guerre. On cherchait des solutions, lui enseigner l'art de foutre des coups de pied et prendre rendez-vous avec la maîtresse, pour finalement en arriver là : avoir tout simplement envie de casser la gueule à un enfant dont on ne savait rien sinon qu'il était en CE1 et portait des baskets rouges. [...] Certains dimanches soirs, quand Christophe le laissait devant chez sa mère, et le regardait traverser la rue avec son gros sac sur le dos, il pouvait presque sentir l'accélération jusque dans ses os. En un rien de temps, il aurait dix, douze, seize ans, deviendrait un petit con, un ado, il n'écouterait plus les conseils et ne penserait plus qu'à ses potes, il serait amoureux, il en baverait parce que l'école, les notes, le stress déjà, il le tannerait pour avoir un sac Eastpak, une doudoune qui coûte un bras, un putain de scooter pour se tuer, il fumerait des pet, roulerait des pelles, apprendrait le goût des clopes, de la bière et du whisky, se ferait emmerder par des plus costauds, trouverait d'autres gens pour l'écouter et lui prendre la main, il voudrait découcher, passer des vacances sans ses parents, leur demanderait toujours plus de thune et les verrait de moins en moins. Il faudrait aller le chercher au commissariat ou payer ses amendes, lire dans un carnet de correspondance le portrait d'un total étranger, créature capable de peloter des filles ou d'injurier un CPE, à moins qu'il ne soit effacé, souffre-douleur, totalement transparent, on ne savait quelle calamité craindre le plus. Un jour, avec un peu de chance, à l'occasion d'un trajet en bagnole ou dans une cuisine tard le soir, cet enfant lui raconterait un peu de sa vie. Christophe découvrirait alors qu'il ne le connaissait plus. Qu'il avait fait son chemin et qu'il était désormais plus fort que lui, qu'il comprenait mieux les objets et les usages, et il se moquerait gentiment de l'inadéquation de son père avec l'époque. Christophe découvrirait que le petit le débordait maintenant de toute part et ce serait bien la meilleure nouvelle du monde. Simplement, il n'aurait rien vu passer. Gabriel aurait grandi à demi sans lui. Ce temps serait définitivement perdu.

But I was stuck for a long time by myself at Abraham Lincoln's portrait, standing in the middle of the huge hall as people moved all around me with mostly children. I felt as if time had stopped as I watched Lincoln, facing him, while watching the woman’s back as she was looking out the window. I felt wronged, so much like Truman from the movie, standing there in the middle of the museum alone. I was wondering what would Abraham Lincoln do if he realized he was the slave in his own cotton fields, being robbed by evil thieves, nazis. I had taken numerous photos of Martina from behind, as well as silhouettes of her shadow. I remember standing there, watching as she stood in front of the window; it was almost as if she was admiring the view of the mountains from our new home, as I did take such pictures of her, with a very similar composition to that of the female depicted in the iconic Lincoln portrait looking outwards from the window. I hadn't realized how many photographs I snapped of Martina with her back turned towards me while we travelled to picturesque places. Fernanda and I walked side-by-side in utter silence, admiring painting after painting of Dali's, without exchanging a single word. Meanwhile, Luis and Martina had got lost somewhere in the museum. When I finally found her, she was taking pictures outside of the Rainy Cadillac. We both felt something was amiss without having to say it, as Fernanda knew things I didn't and vice versa. We couldn't bring ourselves to discuss it though, not because we lacked any legal authority between me and Martina, but because neither Fernanda or myself had much parental authority over the young lady. It felt like when our marriages and divorces had dissolved, it was almost as if our parenting didn't matter anymore. It was as if I were unwittingly part of a secret screenplay, like Jim Carrey's character in The Truman Show, living in a fabricated reality made solely for him. I was beginning to feel a strange nauseous feeling, as if someone was trying to force something surreal down my throat, as if I were living something not of this world, making me want to vomit onto the painted canvas of the personalised image crafted just for me. I couldn't help but wonder if Fernanda felt the same way, if she was aware of the magnitude of what was happening, or if, just like me, she was completely oblivious, occasionally getting flashes of truth or reality for a moment or two. I took some amazing photographs of her in Port Lligat in Dali's yard in the port, and in Cap Creus, but I'd rather not even try to describe them—they were almost like Dali's paintings which make all sense now. As if all the pieces are coming together. She was walking by the water and I was walking a bit further up on the same beach on pebbles, parallel to each other as we walked away from Dali's house in the port. I looked towards her and there were two boats flipped over on the two sides of my view. I told her: “Run, Bunny! Run!

with my friends around, the photos of Gregor were no longer different from the pictures Ulla would clip out of magazines - portraits of people you couldn’t touch, with whom you couldn’t talk, who might as well not have existed

wider scene, you can flip the camera to the portrait style and

The wedding portrait and the photo from 1991 were like bookends of a life.

When photographs were first invented, people thought of them like paintings. There was nothing else to compare them to. Thus, subjects in photos copied subjects in paintings. And since people sitting for portraits couldn’t hold a smile for the many hours the painting took, they adopted a serious look. Subjects in photos adopted the same look. What finally got them to change? Business, profit, and marketing, of course. In the mid-twentieth century, Kodak, the film and camera company, was frustrated by the limited number of pictures people were taking and devised a strategy to get them to take more. Kodak’s advertising began associating photos with happiness. The goal was to get people in the habit of taking a picture whenever they wanted to show others what a good time they were having. All those smiling yearbook photos are a result of that successful campaign (as are most of the photos you see on Facebook and Instagram today).

Ciao, ragazzi!” Paige is saying to a couple of smooth-skinned, darkly tanned boys who’ve got up the courage to approach her. “Ciao, bella!” one says back eagerly. Oh, I think wistfully, if we could all be as light and easygoing as Paige, the world would be a much happier place! Paige wouldn’t have thought twice about it if she’d spotted a portrait that looked just like her in a museum! She’d have said “Cool,” taken a photo, made it her Facebook profile for a few weeks, and then forgotten about it completely. She’s not only the queen of this beach, she’s the queen of living in the moment, not worrying about things she can’t control. That’s what you should be doing, Violet, I tell myself. Live in the moment, okay? Stop looking over at your phone on the lounger, wondering if Mum’s about to ring or text. You’re in Venice on the beach in the summer sunshine! Enjoy it! Paige and her new friends are throwing around a big stripy ball, the boys’ lean bodies jumping and twisting in the air like slim brown dolphins, Paige’s boobs jiggling in a way the boys doubtless intended when they produced the ball. The lifeguard’s attention is so focused on the contents of her bikini top that a whole family could be eaten by sharks, screaming for help, without his having the faintest idea. Live in the moment. “Hey,” I yell. “Chuck it to me!” And I run up the wet sand toward them.

When she peered through the camera, she regretted what the shutter couldn't capture: the accents of Ireland and Norway and backwoods Wisconsin. The sweet, high longing of the flute. The smell of tobacco on the men, and sweat muffled under layers of wool. But the camera would see their smoking pipes and calloused hands. It would catch the twinkling eyes and puckish grins on their faces. Mamah knew then what she wanted to give Frank for Christmas. The men's portrait would be one of a whole series of pictures for a photo album that would tell the story of Taliesen.