iggy pop

Iggy Pop - Biopic by Gavin Evans

The portrait photograph is said to distill the sitter’s essence. The photographer’s role is to divine the subject’s character and present the truth to the audience in one immaculate shot. Talk of the ‘decisive moment’, or of capturing the sitter ‘off-beat’, only serve to strengthen the sense that there is only one all encompassing truth. In reality, portraiture does not work like this. There is no one truth, there is no one defining image.

Today’s sitters understand the power of the image and use this to make an impact on what is revealed.

Who’s framing who?

What portraiture fails to conceal, however, is the momentary relationship between photographer and subject. It is their tale of reaction, intuition and psychology. As the story of the subject influences the photographer, the stories of those behind the camera influence the images created. The photographer is in every way a part of the image- as visible as the sitter. The photograph is a documentation of their meeting, and it is their combined story.

James Annesly

The portrait is a snapshot procured at an extraordinary event- the photographic session. The subject selects and projects their public persona. The portrait is the cover by which the book is misjudged.

Then I walk into the frame. I persuade and provoke. I am visible by my intervention and timing. The subject is the medium through who I collide and connect- both personalities are exposed.

Iggy Pop could turn charm into threat at the flick of a switch. Between these extremes stood James Osterberg. There was no definitive Iggy. To choose one image above all others was to censor surprise and distance affinity.

I had a window of ninety minutes to make my impression. This series of contrived, controlled and canid images, the near whole session, is a recording of our two personalities. We are the passengers in this journey; I am the biographer of these moments. This is our biopic.

Gavin Evans