Another series from behind the shelving

Sitting here, in this installation, against the back wall of the gallery, people (visitors to the biennale) often take my picture. I will be sitting reading a book or working on something, this blog say, only to look up straight into the eye of a camera lens. The person will be standing on the other side of the shelving, pointing their camera through a gap between the boxes. Why on earth people want to take a photo of me, I can't say. Whenever possible, I will try to duck out of the shot. If they are just taking photos of the whole shelving installation this is usually fairly easy - I just tilt my head behind a box or lower it slightly so there is a shelf between me and the camera. Once or twice I have lifted my book right up in front of my face, but this is a bit obvious, not that I'm not trying to make a point, but still.

Then, the other day, as I was typing away, I glanced up into one of those giant lenses as a woman was manoeuvring to compose a photo of me. I promptly shuffled sideways along my bench so as to hide behind a box and the woman actually came around and wagged her finger at me. I was finger wagged - the universal sign language of being told off! I was taken aback, and she got her photos - me wearing a cross face and feeling indignant and affronted.
How could she tell me off for moving out of a photo she had never asked if she could take?!
What did I sign up to by agreeing to sit here?
But above all, Why? Why do they want this picture?
All of ten minutes passed before I was again confronted with another ginormous lens, and I realised I should really take some other kind of action in response.

It has sometimes occurred to me to question such a photographer on their motives, after they have taken my picture. But really I think people just take so many photos, to be questioned on one would be awkward. Am I in a position to ask for a copy? I'd probably never receive it, but it could be funny. I should mention here that these photographers never speak to me. They are not the people who engage with the installation as it is intended, and, obviously, they never ask for the photo.

So I've decided instead to try a different tactic - to photograph them back. It is a bit tricky, I am at more than a bit of a disadvantage as I am caught unprepared while they are already lining up their shot. Also, while I'm here I'm just working with a shitty and slow and annoying little camera, damn it. But I'm keeping it handy in the box by my feet and I'm going to try my best.

My first success came the day after making this decision. Having successfully moved myself out of a few shots already that day, I thought I could just go on getting away with this method. But then one guy was persisting and following me around the boxes and waiting for me to look up. So I took the opportunity of his persistence, and as he waited for me to sit back up into his frame (as I had already used the ducking tactic) I fished my camera out of my bag and lined it up ready to shoot. Then I sat up straight and, as he resumed composing his photo of me, I raised my camera and took one of him. Afterwards we smiled at each other and he gave me a little nod - more recognition than I've ever previously received for a photo.

First success.
A Tommy Lee Jones cowboy-type, slow and methodical and perfect for my new tactic.

Since this first shot I have had little success. I am really too slow and mostly look up just in time to see the lens being lowered and the photographer walking away without any acknowledgement. This happened so many times one morning (as I refer to the hours between 12 and 2 - the beginning of my work day) that I got out my camera and pretty much held it at the ready.

Second success, just.
This woman thought she could secretly get my photo by shooting from the hip.
I saw through her tactic and got her back with my own.

Third success.
One of the larger lens variety. 

But it feels a bit like three times lucky. There are so many instances when I'm just not quick enough. By the time I notice the camera, even if I have mine right next to me, it's too late. They shoot before I can load. This draft has been sitting here for weeks awaiting a run of incredible successes. So I'm moving on to an easier series, one with a sitting, glazed out target.

1 September 2011