I noted earlier how some actors are self-conscious when facing a camera, the kind that doesn’t capture spoken lines and the physical action outlined in a script. They are denied their privilege to explore the metaphysics of make-believe; there’s no pretending to be someone else. The only character they can reveal is their own. A photographer must quickly absolve the subject’s feelings of vulnerability, perhaps even misgivings about agreeing to do this in the first place. But sometimes it works out well for photographer and subject alike if the photographer can exploit such sentiments when intuition promises a better or more interesting photograph. Sometimes an actor’s attitude may evolve from reluctance through acquiescence to trust. Hopefully, it doesn’t go the other way. This is hard work, the most challenging thing a photographer must contend with. Let me give you a quintessential example.
I accompanied a freelance writer to L’Ermitage Hotel in Beverly Hills to interview Anthony Quinn. The interview and my photos were for no specific publication I can remember but were arranged by Sygma with Quinn’s press agent. After the interview, once I felt like I’d shot enough 35mm color to satisfy Sygma’s magazine distribution needs, I asked Quinn if he would pose for a black-and-white portrait, something for…
