Duane Michals

Duane Michals specializes in black and white portraits. I really like the lighting in his work

as for his portraits he mainly utilizes sunlight and real light instead of studio lights. In some of his

photos he experiments with shutter speed as well. His portraits are taken in a variety of places

with distinct lines. The main reason why I’m drawn into his work is how Michals captures the

subject’s mindstate. He frequently shoots subjects during conversation, through their reflections

in the mirror and so on. This immerses the viewer in a mysterious, beautiful, and introspective

space. It seems like every aspect of the portrait gives great insight into the subject’s mind.

Joseph Cornell (1972) James Coburn (1980s)

Eartha Kitt (2008)

Vivian Maier
Vivian Maier makes really gorgeous street self portraits. One of the main elements I really like

about her work is the natural lighting. Like Michals, she only relies on natural light (and why not

if you’re shooting in a street?). There’s also a lot of dark darks and bright whites in her images.

The variety of light gives a very authentic feel to each image. In fact, I think it might be one of

the most defining characteristics of her work. They capture city life–bustling, dreary skyscrapers,

lonely– in a very appealing way. Each photo feels like a still from a motion picture, they capture

happiness, confidence, sorrow, dread, and life itself.

Street I (Chicago) Street I (NYC) Street I (NYC)

Francesca Woodman

Woodman is also a black and white photographer who takes self portraits. Like the other

photographers, I love the deep contrast of her work. It seems like she only uses natural lighting

and it makes the portraits feel introspective, as if we’re peeking into these people’s lives and

environments. She also experiments with shutter speed and how that can give off a ‘ghostly’

aura in her photos. I also just like her subject matter, which typically reveals the subject in a

vulnerable state. Her photos are just a frame of the subject but the backgrounds truly make the

image feel lived in and real. Her work isn’t just emotionally raw to the subject’s core, but it’s
surroundings almost serve as a juxtaposition in that we see a person’s unfiltered mental state in

a mysteriously freakish real world.

Space, Providence, Rhode Island (1976) Untitled, New York (1979-80)

Untitled, New York (1979-80)