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The Faces of Armenia
By Robert Kurkjian and Matthew Karanian
Photo Life Magazine
Toronto, Ontario (Canada)
September 2004
http://www.photolife.com/page.php?Page=map&Res=1280
When you look at the outline of a map of Armenia, you'll see the profile of a
young girl with long, flowing hair. But there is no face, no eyes. It's just a
profile.
For some photographers, regardless of where we are, there might as well be no
face on the people. We shoot the landscapes, the monuments, the cities and the
stars. Too often we miss the opportunity to capture the people, which is often
the most compelling and revealing part of the scenery. These are the subjects
that reveal the soul of the land we are visiting.
After many years of traveling throughout Armenia, we've managed to capture much
of the beautiful scenery. But the faces of Armenia are what really captivate
us, inspire us, and keep us shooting. We have found that we can convey the
spirit of the land most effectively through the faces of the people that live
there.
We started photographing Armenia as part of a book project, which then turned
into two projects. Both books have been successfully published but our passion
for photographing the people there has not diminished. We continue to make new
portraits and connect with the people on a deeper level. We may have seen the
entire country, but we haven't seen all the people. And the people are always
changing, always different.
Most of the portraits that form our body of work are taken in informal
situations. We prefer the candid shots because they show the face that the
country shows to us each day. We look for images that convey the soul of the
person, the country, whether it is the innocence of a child or the experience
etched on an elder's face.
We often spend extended amounts of time with people before we make any
photographs. This may entail going back and visiting our subject numerous
times. We are considerate and friendly, and our smiles disarm most of the
strangers we approach. We explain who we are and what we are doing and, after
chatting for a bit, the person usually stops noticing that we are even taking
pictures.
This is a technique that works well when making environmental portraits—images
of people in their surroundings. It may be an image of them at their workplace
or home, or at a park or other public area. An example is an outdoor market.
These markets, with vendors selling everything from fresh fruit and produce to
auto parts, often captivate us. Customers and vendors are haggling over prices,
others are laughing and socializing. There's no shortage of subjects.
Working as a pair has helped us to get excellent results. One of us can be
photographing while the other is engaging the person in conversation. This
usually helps the subject to remain relaxed and candid. If you are working
alone, you can accomplish this by asking the subject to do something. If you
are photographing a vendor, ask the vendor to show his wares. Ask an artisan to
show how he hand-carves his wooden artifacts. Allow a child to show you his
favourite toy. And, be ready with your camera.
Despite our preference for candid shots, subjects will still insist on posing.
On these occasions, you have the opportunity to arrange the shot. You can
position the person in a way that you feel is engaging. You can also adjust the
lighting and other elements. These images too can be compelling and provide a
different kind of personal connection.
Of course, after shooting so many portraits, we've received many requests for
copies. In the villages in Armenia, many times, it is expected that the
photographs will be ready in just a few minutes. For these situations, we put
our professional equipment aside for a moment and pull out a much more
important tool: that cheap consumer-grade Polaroid camera that we bought at an
outdoor market. We then give something back to the people who have captured us.
Author Bios
The writing and photography of Robert Kurkjian and Matthew Karanian is featured
in The Stone Garden Guide: Armenia and Karabagh which was released this month
in the US. This book follows their successful publication in 2002 of Edge of
Time: Traveling in Armenia and Karabagh.
Robert Kurkjian is a professional photographer and an environmental consultant.
He has lived and worked in Armenia and Karabagh from 1995 through 1999 as a
professor of environmental science and as a research director at the American
University of Armenia. E-mail: [email protected].
Matthew Karanian has lived and worked in Armenia for several years as a writer,
a photographer, and as a professor of law. He is a member of the law faculty at
the American University of Armenia. E-mail: [email protected]
Photographs
A young girl dances at sunset in her village in northern Armenia. Nikon FM2,
28mm, Fujichrome Velvia 50
Three children riding a donkey. Nikon N90S, Nikor 80-200mm, F11, Fujichrome 100
Young girl with her great-grandmother. Nikon FM2, 28mm, Fujichrome Velvia 50
A youth releases a pigeon near the monastery of Khor Virap. Nikon F100, Nikkor
28-105mm, Fujichrome Velvia 50
Villager at the ancient monastery of Dadi Vank. Nikon N90S, 28-105mm, Fujichrome
Velvia 50
A father kisses his son in Yerevan. Nikon N90S, Nikkor 50mm, fill flash,
Fujichrome Velvia 50
By Robert Kurkjian and Matthew Karanian
Photo Life Magazine
Toronto, Ontario (Canada)
September 2004
http://www.photolife.com/page.php?Page=map&Res=1280
When you look at the outline of a map of Armenia, you'll see the profile of a
young girl with long, flowing hair. But there is no face, no eyes. It's just a
profile.
For some photographers, regardless of where we are, there might as well be no
face on the people. We shoot the landscapes, the monuments, the cities and the
stars. Too often we miss the opportunity to capture the people, which is often
the most compelling and revealing part of the scenery. These are the subjects
that reveal the soul of the land we are visiting.
After many years of traveling throughout Armenia, we've managed to capture much
of the beautiful scenery. But the faces of Armenia are what really captivate
us, inspire us, and keep us shooting. We have found that we can convey the
spirit of the land most effectively through the faces of the people that live
there.
We started photographing Armenia as part of a book project, which then turned
into two projects. Both books have been successfully published but our passion
for photographing the people there has not diminished. We continue to make new
portraits and connect with the people on a deeper level. We may have seen the
entire country, but we haven't seen all the people. And the people are always
changing, always different.
Most of the portraits that form our body of work are taken in informal
situations. We prefer the candid shots because they show the face that the
country shows to us each day. We look for images that convey the soul of the
person, the country, whether it is the innocence of a child or the experience
etched on an elder's face.
We often spend extended amounts of time with people before we make any
photographs. This may entail going back and visiting our subject numerous
times. We are considerate and friendly, and our smiles disarm most of the
strangers we approach. We explain who we are and what we are doing and, after
chatting for a bit, the person usually stops noticing that we are even taking
pictures.
This is a technique that works well when making environmental portraits—images
of people in their surroundings. It may be an image of them at their workplace
or home, or at a park or other public area. An example is an outdoor market.
These markets, with vendors selling everything from fresh fruit and produce to
auto parts, often captivate us. Customers and vendors are haggling over prices,
others are laughing and socializing. There's no shortage of subjects.
Working as a pair has helped us to get excellent results. One of us can be
photographing while the other is engaging the person in conversation. This
usually helps the subject to remain relaxed and candid. If you are working
alone, you can accomplish this by asking the subject to do something. If you
are photographing a vendor, ask the vendor to show his wares. Ask an artisan to
show how he hand-carves his wooden artifacts. Allow a child to show you his
favourite toy. And, be ready with your camera.
Despite our preference for candid shots, subjects will still insist on posing.
On these occasions, you have the opportunity to arrange the shot. You can
position the person in a way that you feel is engaging. You can also adjust the
lighting and other elements. These images too can be compelling and provide a
different kind of personal connection.
Of course, after shooting so many portraits, we've received many requests for
copies. In the villages in Armenia, many times, it is expected that the
photographs will be ready in just a few minutes. For these situations, we put
our professional equipment aside for a moment and pull out a much more
important tool: that cheap consumer-grade Polaroid camera that we bought at an
outdoor market. We then give something back to the people who have captured us.
Author Bios
The writing and photography of Robert Kurkjian and Matthew Karanian is featured
in The Stone Garden Guide: Armenia and Karabagh which was released this month
in the US. This book follows their successful publication in 2002 of Edge of
Time: Traveling in Armenia and Karabagh.
Robert Kurkjian is a professional photographer and an environmental consultant.
He has lived and worked in Armenia and Karabagh from 1995 through 1999 as a
professor of environmental science and as a research director at the American
University of Armenia. E-mail: [email protected].
Matthew Karanian has lived and worked in Armenia for several years as a writer,
a photographer, and as a professor of law. He is a member of the law faculty at
the American University of Armenia. E-mail: [email protected]
Photographs
A young girl dances at sunset in her village in northern Armenia. Nikon FM2,
28mm, Fujichrome Velvia 50
Three children riding a donkey. Nikon N90S, Nikor 80-200mm, F11, Fujichrome 100
Young girl with her great-grandmother. Nikon FM2, 28mm, Fujichrome Velvia 50
A youth releases a pigeon near the monastery of Khor Virap. Nikon F100, Nikkor
28-105mm, Fujichrome Velvia 50
Villager at the ancient monastery of Dadi Vank. Nikon N90S, 28-105mm, Fujichrome
Velvia 50
A father kisses his son in Yerevan. Nikon N90S, Nikkor 50mm, fill flash,
Fujichrome Velvia 50