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photo.net photo.net Interview: Elsa Dorfman Sign In/Register • Search ● Classifieds ● Shop ● Travel ● Learn ● Equipment ● Forums ● Gallery ● Community photo.net Interview: Elsa Dorfman by Lisa Surati for photo.net. Home : Interviews : One Interview Our first featured interview in the photo.net interview series is with Elsa Dorfman, a portrait photographer in Cambridge, MA . Background Elsa's portraits do not illuminate or glamorize her clients; rather, Elsa presents her clients in an extraordinary way, as themselves. Elsa embraces her clients' uniqueness and imperfections to present them in a way reflective of their daily lives. She encourages clients to wear everyday clothes and to bring their pets, toys, musical instruments, skis, and anything else that is an important part of who they are and where they are in their lives. http://www.photo.net/interviews/elsadorfman/ (1 of 5)7/3/2005 2:19:48 AM
photo.net Interview: Elsa Dorfman In June of 1965 Elsa was working at what is now called Educational Development Corporation (EDC) developing teaching materials for elementary school science teachers. There, Elsa met George Cope, the photographer who took all the photographs for the books EDC turned out. George handed the camera to Elsa and taught her how to use it, making photography seem accessible to her. She's been recording the lives of people since. Elsa photographs her clients with the Polaroid 20x24 (pictured on top left with Elsa), one of only six in existence. The camera weighs about 200 pounds, and is 25.2" wide, 40.94" long, and 59.06" high. The camera is essentially a box with a hole in the front for the lens. The box has a Polaroid film processor built into the back door. Elsa loves her Polariod 20x24 because of its history and due to the fact that so many people who worked with camera are still devoted to it. She loves the camera's quirkiness and unpredictability - it seems to have its own soul. Elsa also uses the Polaroid Polacolor ER instant color film ASA 80. She usually lets the film develop for 70 seconds before peeling it apart. Elsa also uses Broncolor strobes because she finds it very good for non-technical people. In addition to taking portraits, Elsa has written a book Elsa's Housebook: A Woman's Photojournal and her work can be found in En Famille, a poem by Robert Creeley (the entire book is on the web.) Leslie Sills' new book, In Real Life: Six Women Photographers features a chapter on Elsa and her work. The Interview Photo.net met up with Elsa and asked her a few questions. 1. What drove you to make the transition from teacher to photographer? It wasn't exactly a transition from choice. I was a failure as a teacher. I was a good teacher in the opinion of the kids, but the administration was sure I was a failure. I couldn't get the kids to salute the flag by 8:05 or read the bible. And I didn't always wear high heels. Sometimes I wore knee socks and saddle shoes, let alone sneakers. I wasn't that organized, and I didn't decorate my classroom, at least not to the schools standards. I was a teacher by default. I had no idea what TO BE. In those days, the early sixties, there were no role models - at least I didn't see any around me. I had been in New York City and had been a groupie. I was just middle class enough to know that that lifestyle (the word didn't exist until around 1974) wasn't really for me. I never liked drugs. I liked to know what was happening. I liked to be in control. So I went from teacher to experimental teacher at Educational Services Inc. (now called EDC). While at EDC, I was photographed by their photographer George Cope. And so there was a lineage, and I guess the http://www.photo.net/interviews/elsadorfman/ (2 of 5)7/3/2005 2:19:48 AM
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