Photographer Roger Ballen’s signature style, which has come to be known as the “Bellenesque” aesthetic, didn’t develop overnight. In fact, it took five decades of trial and error to fully mature into what we see today.
When I watch events, and the cameras swiftly pan by the crowded photographers trying to get the cover shot, I can’t help but scan for women. I do it when the receiver runs full force out-of-bounds and accidentally crashes into the sideline photographers. “Was there a woman in that crew?” Or on CSPAN when the camera pans back to the counsel’s table and you get that quick glimpse of the photographers sitting like sardines on the floor with their cameras. At the Olympics, especially, I’m always eyeing women. I don’t see them as often as I wish.
We all know Mark Mann from the close-up, soul-bearing portraits of what feels like every celebrity, public figure, and president in current times. Prolific seems a fitting word that should be permanently grafted to any discussion of the artist’s work. Today, however, we are getting to know Mark Mann in a way that you never have.