ON THE JOB
By MICHAEL PERKINS
ONE OF THE MOST EXHAUSTIVE portrait projects in the history of photography was August Sander’s Face Of Our Time, a collection from the 1920’s of sixty formal portraits of German tradesmen of every class and social station, each shown with the tools or uniforms unique to his chosen profession. Sanders photographed his subjects as documents, without any hint of commentary or irony. The story in their pictures was, simply, the visual record of their place in society and, eventually, as cultural bookmarks.
Since Sander’s eloquent, if clinical work, similar photo essays have taken on the same subject with a little more warmth, notably Irving Penn’s Small Trades portrait series from the early 1950’s. Like Sander, however, Penn also shot his images in the controlled environment of the studio. In my own work, I truly feel that it’s important to capture ordinary workers in their native working environment, framed by everything that defines a typical day for them, not merely a few symbolic tools, such as a bricklayer’s trowel or a butcher’s cleaver. I also think such portraits should be unposed candids, with the photographer posing as little distraction as possible.
I really like the formal look of a studio portrait, but it doesn’t lend itself to reportage, as it’s really an artificial construct….a version of reality. So called “worker” portraits need room to breathe, to be un-self-conscious. And, at least for me, that means getting them back on the street.