A Close View: Portraiture in the Holy Land
Early portraits of the people of the Holy Land reveal little about them or their reality. Instead, individuals are framed as elements of a static exotic Orient whose people can be described through recognizable character-type classifications pertaining to religion, ethnicity, origin, or occupation.
Studio portraits exemplify similar representational practices. These portraits use models playing character-types, often as part of culturally familiar scenes. The models are staged, paired with exotic props and photographed posing against painted backdrops of landscape. The resulting images are balanced and centered, creating an aesthetic effect that flattens the representation almost to the point that one feels as if one is looking at a still-life image rather than a portrait. Even when the subjects are shown posing outside the studio, typically before minimalistic architectural elements, their strict and frozen poses evoke a sense of distance from the photographic moment.
In other instances, the photographers take a more direct approach, aiming to create the impression that the encounter between the photographer and the subject took place within the subject's daily reality. These portraits are shot outdoors, capturing the subjects as they engage in their daily chores or in manual labor under the bright sunlight. Implying primitive or Biblical connotations, these photographs, like highly constructed studio portraits, act to preserve the image of the people of the Holy Land as static and as timeless as the land they inhibit.