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Presence: The Invisible Portrait
Free Download Presence: The Invisible Portrait
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About the Author
Canadian-born Chris Buck has been a professional photographer for more than twenty years. Based in New York and Los Angeles, he shoots for such clients as GQ, New York Times Magazine, Esquire, Microsoft, and IBM. His roster of subjects comprises some of the leading actors, artists, and historical figures of our time. 2007 he was the first recipient of the Arnold Newman Portrait Prize.
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Product details
Hardcover: 112 pages
Publisher: Kehrer Verlag (September 4, 2012)
Language: English
ISBN-10: 3868283072
ISBN-13: 978-3868283075
Product Dimensions:
9.2 x 0.6 x 11.1 inches
Shipping Weight: 1.8 pounds (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
1 customer review
Amazon Best Sellers Rank:
#991,175 in Books (See Top 100 in Books)
Chris Buck is a highly regarded photographer of celebrities as well as other diversions. But in this book Buck creates `invisible portraits' - places connected in some way with famous people but without the physical presence of the `person' being photographed in the final image. The results are not only fine photographs, but they are also perplexing problem solving images for the viewer - is there some part of the celebrity in the image (shadow, hidden face, reflection?) or is the image merely meant to conjure the celebrity?According to Chris Buck, from an interview, `I had an idea that was very theoretical. It was just the idea of phoning it in. I liked the idea of literally not being on the set and giving instructions to an assistant, or whoever, as to what to do, what to tell the subject, and then whatever we got was the picture. I liked it in theory, but I realized that the actual work itself would be wildly different based on who actually was on-set and did the execution, and also then, in most cases, it probably wouldn't be very interesting. And, just on a personal, selfish level, too, I wanted to control it. I didn't want it to be entirely random, like a scientific experiment where the visuals wouldn't have been that important. So, I switched it. Rather than having me not there I decided to have the subject not there. Initially, it was going to be a set where I just shot someone and they left. This is the room where I just shot George Clooney, or something. Then I realized it was a bit too esoteric, so I put the subject back in, which anchored it nicely. Then the decision becomes, how much of them do we see? Do we see an elbow and a top of a head? Are we seeing them peeking or something, and how much? Maybe not enough to recognize them, but enough to indicate where they are. But, I actually realized that I liked the cleanness of not seeing them at all. For one thing, they're not even going to be visible. So it doesn't matter how they look or what they're doing. They can be crouching or standing, or whatever it is. It doesn't matter, as we don't see them.'The celebrities whose portraits appear here are AMY POEHLER, ANDY SAMBERG, ANTHONY BOURDAIN, ARCHBISHOP DESMOND TUTU, AZIZ ANSARI. CHEVY CHASE, CHUCK CLOSE, CINDY SHERMAN, DAVE MATTHEWS, DAVID BYRNE, DAVID LYNCH, DEVENDRA BANHART, DUANE MICHALS, THE FIERY FURNACES, GNARLS BARKLEY, GUILLERMO DEL TORO, GÜNTER GRASS, JACK BLACK, JACK NICKLAUS, JAY LENO, JON HAMM, JONATHAN FRANZEN, JUDD APATOW, KATHY GRIFFIN, MARC NEWSON, MASAHARU MORIMOTO, MICHAEL STIPE, MONTE HELLMAN, NAS, THE NEW PORNOGRAPHERS, NICK CAVE, PATTI LuPONE, PAUL ANKA, RAINN WILSON, RINGO STARR, ROBERT DE NIRO, RUSSELL BRAND, SARAH SILVERMAN, SETH ROGEN, SNOOP DOGG, STEVE COOGAN, THE LIARS, TINA BROWN, TODD BRIDGES, TRACY MORGAN, TRACEY ULLMAN, UWE BOLL, WEIRD AL YANKOVIC, WES CRAVEN, and WILLIAM SHATNER.According to Chris Buck, `it's meant to be full on ridiculous and full on serious at the same time. I think that this ultimately comes across. I never even joke that the celebrity might not be in there. I take it very seriously. I spent five years shooting, two years looking for a publisher, and then a year and a half releasing the book. As I started Presence I was thinking, OK, this is for creative directors and art directors in advertising who are top of the top, super creative, super imaginative, thinking outside the box. I want to show them I can really do work that's outside the box. In the long run I think it's a really good thing only because I think it's funny and it's cool and it's going to have a nice life to it.' The rest of the joy of the process is ours, the viewer. Grady Harp, October 12
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