Research- Wolfgang Tillmans

Wolfgang Tillmans is a German photographer and artist, best known for his work with portraiture which is why I'm looking at him. He's different to the ones I've looked at previously and so I'm looking at another approach to it.

There is something casual about his work, nothing too flashy or overly complicated about the method of making the work. It's more of a focus on the story behind an individual and what it's like to be an individual in this day and age. A book I looked at of his work had some critical reviews at the beginning and someone said that the medium he uses is unimportant and it could have been anything, but it's the way he documents it and gets his point across.

His images are usually taken in the subject's environment which instantly puts them more at ease and there is an honesty in the image. You get the sense that the person has opened up to him and is keeping open for the camera to record that part of them. He has photographed celebrities and every day, regular people but his style doesn't alter for either and both are shot in that relaxed, whatever makes them comfortable sort of way. When looking at his book, 'Portraits', there were some where I wondered if his subjects had forgotten that he'd be taking an image at some point because they just seem too relaxed compared to how I would be.

Something very noticeable about his images though, is the eye contact. I don't remember seeing any more than two images where the subject isn't looking at the camera and I love that he's got them to engage without looking petrified or upset about this.

I've included ones I particularly like below, including one of fellow artist, Gillian Wearing!

This last image is actually the photographer himself and since I may, or may not, include myself in the project I liked that he'd kept the entirely same approach when photographing himself. It's very reflective of who he is and his statement that opens the book 'Portraits' is very inspirational for this project.

He writes:- "All of the people depicted in this book have been photographed in a portrait situation. The selection therefore does not include reportage or documentary portraits or scenarios in which the sitters represent anything but themselves.

Making a portrait can take a few minutes or several hours. The only requisite is that, or the duration of the portrait situation, the sitters are prepared to make their own person the main subject of the photograph in progress.

The portrait is the only form of depiction based on the equality of subject and object: sitters and photographer have to make a commitment to the situation as human beings. If they do not, the pictures becomes an illustration of an imagined relationship of power. To my mind, a compelling portrait depends on a mutual readiness to acknowledge personal vulnerability and weakness."