I decided to base my Long Portrait/ Cinemagraph on questions and mystery. At the start of the first year we were asked to come up with five ideas and obsessions. I made it clear in my choices that one of my obsessions is questioning everything.
In this single shot of myself; I position the shot toward the mirror, thereby positioning the viewer at a point were they are looking at a reflection of me rather than directly at me. I did this because I wanted the viewer to be in a voyeristic position, were they are not allowed to see my face but just my back. I didn’t want the viewer to imprint their thoughts on me, their judgements nor to pick out my flaws. As quoted by Susan Sontag in her collection of essays ‘On Photography’: “You see someone on the street…and essentially what you notice about them is the flaw”. I think this can be applied in this situation. I wanted to keep the viewer at a distance, out of my world, but not completely. I decided to set the shot up this way because I felt that this also gave the viewer a chance to question my character as they try decipher me. The viewer is at a position were they can focus on other things such as the (mise-en-scene) in the frame; the viewer begins to try piece together my character through the different semiotic signals presented. I chose to use my desk light to create the mood/ atmosphere. Its lonesome, its dark, it secluded, its everything I am. Through one shot of completely nothingness I feel I have revealed everything.