> Well this is just great, you got yourself lost. Huff a little and snap a few photo’s here and there, the camera’s light illuminating portions of the dark woods. This is what you get for trying to snag some nature shots. Then you heard there were even caves out here, but seems unlikely you’d find /any/ of them.
> Hear a bit of rustling somewhere out of sight, silently debating if you wanted to head towards it. On hand it could be someone who could help you find your way back hive, on the other hand it could be something or someone much worse.
Rineke Dijkstra is a Dutch photograph, currently working and living in Amsterdam. Dijkstra is known for her portraiture photography and has won various awards for said portraits.
Dijkstra’s imagery is very interesting, I find the backgrounds and locations she choses to use in her photographs something that should be very distracting as she uses beaches and vast open spaces. However as Dijkstra uses flash to her advantage in her images she drowns out the background with her well lit subjects. Dijkstra’s choice of subject matter and story is very well thought, as she contrasts the male and female gaze with the emotions of her models, allowing the models to pose how they want. This documents the differences and similarities between the genders, general consensus of her photographs show the male subjects forcing a pose and trying to look confident, whereas the women seem to look more held back and trying to hide their bodies - especially in the series on the beaches. Dijkstra’s angles in these photo stories are consistent, the low angle portrays the models as being quite powerful which is juxtaposed as the subjects in the images are in a vulnerable state.
Taking inspiration from Dijkstra will be good as I will look at my subjects and use different angles to try and add to the composition and feel of the image, plus using flash in different ways to make different parts of my subjects the focal point.
Las series de Dijkstra demuestran que la relación entre fotógrafo y modelo no tienen por qué ser las de un intercambio de miradas como extraños, uno de los cuales está armado con una cámara mientras que el otro carece de toda defensa. Sus retratos dan fa del desarrollo de jóvenes de ambos sexos sometidos a ritos iniciáticos como la adolescencia o la niñez; pero para asegurarse de no ser una mera ladrona de imágenes aisladas, la artista permanece en contacto con los retratados para documentar su crecimiento a lo largo del tiempo.
“Para mí es importante poder relacionarme con el tema que estoy tratando. Tiene que haber una interacción. Creo que todo se resume en el reconocimiento a un nivel emocional. No me gusta controlar demasiado”.