Henryk Ross is a well known World War II documentary photographer that was working under the pressure of Nazis in Lodz Poland. His work was well regarded as a social portrait of a Jewish in Lodz’s ghetto community during the occupation.
He was able to document an every day life in Ghetto and then he buried every negative and print under the tree in 1944. Thousands of prints were discovered after War giving priceless testimony to the facts of life we don’t know about.
Those pictures of a high graphic quality complete the poor visual memory we have of the daily life of jews in Poland during the nazi occupation. Criss Booth VU L’agence.
I saw a passport portrait of Henryk Ross’s recently and he was smiling on that picture. I wanted to recreate this look as a tribute to this documentary photography master.
Henryk Ross, Kissing couple, Lodz 1940-44
More here: http://www.foto8.com/reviews/V3N3/lodz.html
and here my recent photography passion – newborn photography
Who said that the studio portrait photography has to be always conventional and beautiful?Nobody indeed. How to for example capture a hipster that is your own tutor a the the same time and is very strict but on a verge of bursting with laughter, bursting like a pink bubble. What I really like about photography is that you can do whatever you want and take inspiration from whatever you need to. this grotesque portrait and naughty wink came naturally as a rather great sense of humor than religious inspiration. There was a small problem with the halo though. we had to cut it as a perfect circle fro ma paper mache that’s been leftover form an exhibition and mount it to the beauty dish that’s been firing form the back of the subject. Maybe because we had Edward Sharpe’s Man on Fire on mind?
Recently due to a short Christmas break I could invade studio and fill it with familiar faces smaller and bigger. family members enjoy the bonding in a small space and I as e result have more images to work on or learn from depends on the point of view. in my case it is always either viewfinder and a monitor. honestly I prefer the first one as in portrait photography that is the shooting that gives the mere thrill. and the moment you almost as close as you thought was possible. then re-inventing on the monitor is only checking if the thrill was aimed correctly. but when photographing family especially -the one that you created is about something much more important. it is about observing. and seeing things that are not usually there-or seeing them for the first time even. and that might be shocking.:)