Movement can be depicted through strands of hair blowing in the breeze or flying out from behind a subject in motion. It can at times give us clues as to gender, age, style, and personality. Hair is a highly effective tool in revealing details about a subject without including his/her face. These are my favorite ways to capture anonymous images that connect with my audience. But shooting a successful faceless image takes some planning and intention. I enjoy the challenge of giving my viewer as much information as possible without facial features present in the frame. It can force us to focus on details that we might otherwise miss. It can allow the viewer to place him/herself in the scene. The anonymity of a faceless image can invoke new emotions. However, there are times when excluding a face can tell us more about a person or a scene than including it. A face is our introduction to a person and so it makes sense that a portrait would be a photographer’s first choice in introducing her subject in an image. Every combination of features is unique and provides a wealth of information to those observing it. It is our first means of identifying each other. To see more of Patty’s photography, visit her website or Flickr photostream.The human face is one of the most photographed subjects in the history of the craft. But time and persistence will close that gap.”
“In the early days I think there can be a huge gap between the kind of photos you want to be taking and your ability to actually achieve the results as they live in your head. “I think the biggest mistake to avoid when you are beginning is to put too much pressure on your new photography life,” she says.
It’s important for them to accept their own pace, rather than comparing their work with other photographers. Her advice for new photographers is for them to have a sense of freedom and patience with themselves, too. At other times, I’ll take a single photo and spend ten minutes processing it, and it’s done.”
Faceless family portraits series#
“I recently shot an entire series in a 24-hour period and then took about 36 hours processing it over and over until I had it exactly the way I wanted it. Each photo starts as an idea that she shoots, but beyond that, her workflow varies. This freedom also applies to her workflow. She’s learned to accept that creativity is unpredictable, not something she can expect to stay (or disappear) forever. “I used to get worried if I lost my inspiration, but now I know that that I just need to be patient and it will come back.” She doesn’t try to force herself to follow through with a pre-set plan, nor does she feel frustrated when she isn’t feeling creative or inspired. “I just found it boring to take shots of myself.” By photographing herself and others without faces, she felt more artistic freedom and could break past that boredom.įreedom is at the core of Patty’s overall approach to photography and the creative process. “I found I was never happy with my photos as they just looked like pictures of me,” she explains. At first, she tried showing her face in the picture, but the repetitiveness of her own image struck her as dull. This “faceless” trend started when Patty began doing self-portraits. Rather than frustrating the viewer, her models’ facelessness actually adds to each photo’s mystery and emotional strength. In many of her photos, the models’ faces are hidden by their long hair or by their body’s pose, turned away from the camera. Perhaps the most unique part of Patty’s portraiture is her “faceless” subjects. “I love different things about each of these photographers – mainly that they each have their own unique voice and the ability to capture their subjects in very interesting and engaging compositions.” Some of her favorites are Katerina Belkina, Jennifer Hudson and Bara Prasilova, as well as Julia Fullerton-Batton, who she recently discovered. “I think the small moments of life can sometimes be the most inspirational,” she says.Īlongside these stories, she follows and admires the work of many photographers. Fairy tales, myths, and literature are all sources of inspiration for her, but so are true stories about everyday struggles and joys. Her visualized stories have roots in stories that have inspired her, both fiction and nonfiction.
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