Figure 27: Expression proportionally more pained 1854 - 1856

Editor: This is "Figure 27: Expression proportionally more pained," a gelatin silver print by Guillaume Benjamin Amand Duchenne, created between 1854 and 1856. It strikes me as incredibly clinical and a little disturbing; there's this strange device attached to the model's face. What do you see in this piece, looking at it from a formal perspective? Curator: Intriguing observation. Focusing solely on the photographic qualities, note the oval composition, a common practice in portraiture seeking harmony. How does the light play across the face? Editor: It’s uneven, almost harsh, creating deep shadows that accentuate the lines and creases in her skin. And it casts light unevenly. Curator: Precisely. Duchenne meticulously controls the light, highlighting the artificial construction of this image. Do you observe how the tonality varies, affecting the overall balance? Editor: It’s interesting you point that out. The mid-tones feel very prominent, almost flattening the image. Curator: Correct. This pushes the expression to the forefront, creating visual intensity. Consider the cropping; Duchenne deliberately removes contextual elements. Why might he choose to do this? Editor: To isolate the expression, to make it the sole focus of our attention, removing distractions. It also enhances the starkness. Now that you mention it, the textures do feel flattened and stark because the image isn't full spectrum of dark to light tones. Curator: An excellent point. We are drawn to the very texture that he seemingly manipulates or seeks to isolate. Ultimately, Duchenne seeks to codify the semiotics of facial expressions. How compelling it is to explore the intrinsic qualities of photography. Editor: This makes me consider a different dimension, what a collaboration it must have been to create one photograph using technological intervention, an expression model and Duchenne's creative vision.