Studying the theme of Occupation and Liberation so far has allowed me to explore different areas within the second world war, from bunker archeology to war veterans. Starting off this project I was able to look at the importance of archival imagery, after visiting Societe Jersiase. On this trip I was able to search through imagery which enriched my understanding of the war, providing social and historical understanding which I previously did not know. After this I produced an essay exploring the importance of archives, with references to artists and how archives have developed into modern day society. Soon after, I was informed about the history of the island’s Bunkers and there uses, which lead me onto exploring landscape photography, with experimentation of natural lighting and the environment. After conducting three different bunker photoshoots, in three different locations, I believed that I was able to show my ability to showcase Jersey’s history within imagery. This lead me to learning about photomontages, and how manipulating my images can lead to strong conceptual representation allowing my project and photographs to be further developed. This also lead me to learning about the Jersey War Tunnel and other tunnels around the Island used for different reasons, enriching my understanding of the war.
After this I then conducted research into what a zine is and zine making within photography, specifically as Sam Ivan. In this I learnt the importance of narrative and sequencing and the importance of the layout within a design. This lead me on to gaining an understanding of the software InDesign, allowing me to create my own photographic zine for the bunker imagery produced. When creating this I learnt that I could add archival imagery to help convey my conceptual and contextual representations. Creating my zine, showcased my landscape work in a way which shows my understanding of the war and the links to Occupation and Liberation
This then lead me to moving my focus onto portrait photography where I began my investigation look at a classical and contemporary photographer, Francis Foot and Michelle Sank. Researching these photographer gave me an understanding of what makes a successful portrait, through positioning, lighting and composition of the frame. This lead onto me conducting a photoshoot of Bob Le Sueur. Doing this thought me how to photographer someone who you have only just met, and the importance of trying to form a rapport with your model to try and showcase their personality and true self. I was able to learn about Bob’s stories and memories during the war, which influenced how I captured him in the studio. This then lead me to starting the Home Sweet Home project which looked at photographing the occupation within my house. Within this I learnt different styles of portraits, from environmental, candid, macro and establishing a shot, which were influenced by different artists such as Martin Parr. I also decided to look into my own family archive, giving me an in-depth understanding of my families history, thus influencing what I captured.
After looking at portrait photography I looked at objects, an area in which I have not done much research in previously. From this I learnt symbolic representations of different objects in a classical painting, and how the symbolism has transferred into todays society. This allowed me to learn the importance of studio lighting , with flash heads and consistent light sources when capturing at different angles. In addition, it reinforced my skills of capturing images on a tripod using a 50mm lens. This then allowed me to revisit photomontage where I explored the work of Ralph Milach, who combined portraits and objects to create a narrative, this style of documentary photography I much enjoyed producing. This then influenced a new photographic zine which combined portraits and objects in order to portray a narrative, reinforcing my knowledge of Indesign and narrative and sequencing.
To conclude, my photographic skills has significantly developed over the past couple of months, as I explore different areas within photography and different software to edit and display my work. I have personally really enjoyed the units which looked at landscape and objects, as I personally believed I managed to produce the strongest outcomes in these styles. I also think my contemporary outcomes, mainly photomontages with objects, have also been successful in presenting clear conceptual and contextual representations. These two areas in photography are the areas that I would like to mainly loom at for my personal investigation.
During my personal investigation based on Occupation and Liberation, I was able to learn a range of invaluable skills that I can transfer onto further projects and my own Personal Study. During the course of this investigation, I was able to develop my understanding of how the concepts and historical background behind images can help to develop a narrative/sequence, and how the process of editing can help to build bridges between the historical context of an image, and how it is relevant and applicable to modern ideas and concepts.
As my Personal Investigation was mainly based on the Occupation and Liberation of Jersey during WWII, I have decided to extend the theme of Occupation and Liberation to a concept that I can more personally relate to (as I have no family left who can recount the war, nor do I have any historical tie to the island itself). I have decided to extend the theme of Occupation and Liberation, and develop it into an investigation into the influence that gender norms and stigma can have/have had on different generations, and the concept of how “liberating” individuals (allowing them to express themselves freely without the weight of gender norms) is, although making progress, still a taboo topic that carries its own stereotypes.
This gallery of images represents examples of each of the themes I have attempted in the Occupation and Liberation project; people, places, objects (and photo-montages)
During my investigation into the Occupation and Liberation of Jersey, I was inspired by a range of themes, photographic skills and artists that helped to better shape my understanding of developing a project around a certain theme, and keeping in mind a narrative that can be applied to the final layout of images. During this project, I had the opportunity to photograph archival objects from the Occupation, individuals who lived through the occupation, and a range of settings from bunkers and Jersey’s War Museum. Studying a range of artists such as Rafal Milach and Klaus Pichler gave me a broad understanding of the different methods of developing images, and the different subjects that can be used. Milach allowed me to develop my photo-montage skills (an expression of art that I really enjoy), and Pichler allowed me to gain a deeper understanding of the ways in which concepts and the historical context of an image can be shown clearly through the use of photography. I feel that the portrait approach towards our project (in which I was able to photograph Joan and Henley (survivors of the occupation)) inspired me the most, as I feel that being able to learn and understand their stories, before having the chance to photograph them in a very personal, up close manner, allowed me to develop a deeper link between myself, the subject and the photograph.
I also enjoyed object photography, in which I had full control over the objects in the image and was able to create images using layouts of objects that I felt best reflected a certain concept/showed the best shapes, angles and contrasts. I feel like the portrait aspect of my Personal Investigation, along with the camera skills I gained (using a tripod, using different lighting and taking images effectively inside and outside of studio settings) will help me to begin a successful Personal Study, in which I wish to focus on people and objects to fully highlight the concept of gender within the theme of occupation and liberation.
Below are some examples whereby I have developed skills and used them to take and edit images:
Above are examples where I have created photo-montages, allowing me to develop my editing skills and narrative skills, as I had to find ways to lace images and concepts together to create a narrative for the image itself.
In the above images, I have developed my portrait taking skills (a skill that I will use in my Personal Study) – I have been able to develop my understanding of how a studio setting (lighting, angles etc) effects the final outcome of an image, and I was able to gain confidence in my ability to make decisions about the poses and positions of subjects within the frame of the image to better draw attention to certain features.
In a practical aspect, I developed my understanding of different software such as Photoshop, and was introduced to and developed my skills in Light-room. I also developed my ability to form narrative and sequencing after developing my second zine, in which I more carefully selected the sequence of images and narrative.
With regards to final prints from the occupation and liberation I selected two photographs which I believed where my strongest. I decided to print both out as A3 photographs and frame them on black card using a window mount technique. Using a more contemporary photomontage creates an intriguing and captivating embodiment of work which allows conceptual and contextual representation about the war to be clearly illustrated. I also took a macro photograph from my home sweet home project, as I felt using the strongest detailed image allows the terms occupation and liberation to be viewed in a new way. Personally, I really like the way in which they stand alone, due to them being highly impactful in terms of concept and context and present the theme in different ways, through the difference in composition in the overall frame of the photographs.
To evaluate, having my final outcomes as a dos a dos layout, meant I could successfully showcase my war images and my home images under the same categories of occupation and liberation, whilst being able to showcase the relationship between objects. To achieve the dos a dos I simply glued the back pages of each zine together to create the effect, thus I have an overall zine which is two different zines. I believe my design has strong conceptual representations which clearly showcase my intended narrative. The layout for each page has been carefully thought out and justified as to why the spread is how it is, showcasing my ability to successfully place images into a clear sequence to showcase an intended narrative. I have been able to show my experimentation process when creating the zine, which shows my ability to critically analyse my work and reject ideas which may not be successful. Overall, I believe I have created a strong photographic zine which showcase my intended narrative through my strongest imagery from the part of the occupation and liberation project.
For my first design I stuck to a normal zine layout, 16 page spread in A5 size and portrait orientation. In this design I looked at having half of the zine dedicated to the war and half dedicated to the home project. Overall, I felt that the transition between the two contexts was not clear or effective and almost spoilt the narrative trying to be presented. Below are the screenshots to this design, three pages at a time, with the page layouts being explained below with reasoning as to why these choices where made. In addition, I decided to stop this design shortly after the half way point, transition into the home, as it was not affective, with reasoning as to why, and still showed clear experimentation with new zine layout designs in mind.
On the front and back cover I decided to use the photomontage of the war objects and archival images of the soldiers. I felt as this was my strongest conceptual imagery, I believe it fit perfectly as my covers as it already held strong representation of my intended narrative, moreover the image itself is captivating through the warm vibrant colours, thus drawing viewers into the zine. For my first layout I wanted to use my strongest portrait from the Bob Le Sueur experimentation. I placed the image on the right hand side, as it showcases the subject looking over to the left, making it look more naturally placed. I then decided to add a direct quote from the interview with Bob. I felt the quote used clearly showcased the subjects opinion on the war and German’s and helped to present the beginning of the narrative, allowing a sense of flow within my outcomes. The next spread was an image which focused on detail and texture of Bob’s hands, which is emphasised through the structure and vibrance of the image, Placing this with the metallic headlight used in the war, both being whole page spreads presents the importance of the light during the occupation and the usefulness of the object. It also works alongside Bob’s quote as it shows everyone is alike, as we use the same objects for the same reason, which continues on the flow.
For the next three pages I looked at the transition between war into the home sweet home project. On my next spread I placed an image of a collection of war objects in the centre of the page, doing this supports the ideology that everyone used the same objects whether they were British or German, thus showcasing my narrative of the relationship between objects and portraits. For my middle page I wanted to use a double page spread which showcased liberation of the war, which leads onto the new occupation of the home. This then lead onto the 3/4 page spread of my strongest image from the home sweet home project, which is a macro photograph of a mouth. I felt that the image almost seemed out of place and broke the narrative trying to be presented, which lead me to question the effectiveness of the design.
After consideration I decided to stop with this design as I could not find a solution to transition the war into the home within one zine, therefore my initial design will showcase my experimentation and thought process when creating my final zine design.
Design 2:
For my second design I decided to experiment with different layouts of zines, showcased on my mood board on the narrative and sequencing blog post. After consideration I decided to explore the Dos a Dos design. The dos a dos zine contains two single section zines within one cover, facing them in opposite directions, it’s a neat structure for combining two sets of material which you really want a viewer to experience separately, rather than in a sequence where one follows another. For this one I’ve combined two very different sets of imagery about my native London, one about the city’s history, and the other about it’s possible future.
For the first half of my zine I wanted to showcase liberation from the war and the relationship between objects and portraits in the sense of liberation. I decided to keep similar layouts from the first design as I felt that some layouts were successful in presenting my narrative.
Originally my front cover was black with white text saying Liberation, which juxtaposed the Occupation front cover which was white with black text. Although this worked, having my zine as a dos a dos layout meant I lost two pages worth of display so I felt I was not utilising my pages wisely. This soon lead me to digging through my edits from previous photoshoots were I found an image I took from a worms eye view of Great Britains flag, I felt the fitted nicely with the ideology of liberation.
I decided to use the photomontage of the war objects and archival images of the soldiers. I felt as this was my strongest conceptual imagery, I believe it fit perfectly within my zine as it already held strong representation of my intended narrative, moreover the image itself is captivating through the warm vibrant colours, thus drawing viewers into the zine.
I wanted to use my strongest portrait from the Bob Le Sueur experimentation. I placed the image on the right hand side, as it showcases the subject looking over to the left, making it look more naturally placed. I then places the object of the head light on the left which faces towards the portrait. This presents a strong positive relationship between the two images, showing their importance during the war. This spread took inspiration from my first experimentation as I felt that this spread was the most successful in conveying my narrative.
For my last page spread under liberation I decided to showcase the liberation of the Island when Germans left. This spread focuses on objects of Great Britain’s flag and a radio set, which were banned during the occupation of the German’s. This full page spread clearly showcases the relationship with the objects to portraits with the absence of the portrait, as it is commonly known the citizens illegally held radio systems which outlines the objects importance within the imagery.
To start the occupation side of the zine, I started from the last page and made my way up to the first page, reverse order. The Occupation front cover which was white with black text, which juxtaposed my liberation front cover which was black with white text. As mentioned before although this worked, having my zine as a dos a dos layout meant I lost two pages worth of display so I felt I was not utilising my pages wisely. I will be changing this front cover, with the final layout shown below in order to show experimentation.
Within this half I wanted to showcase the occupation of marriage within a family and the relationship between portraits of objects under this ideology.
For my first page spread I wanted to showcase a portrait of my model hands, with one of the most traditional objects to do with marriage, the ring. A wedding ring symbolises the occupation of your love and life to your spouse, and is very important piece of symbolism to many married couples. Having this images as a whole page spread showcases a lack of space, showcasing the fulfilment marriage has on the impact of our lives.
I then wanted to keep the whole double page spread design as I liked the symbolism of the lack of space and how marriage impacts a whole persons life. I then decided to use this macro image of my models mouth who seems to be smiling, showing their teeth. The sense of black space on the left shows an emptiness and false sense of happiness, many marriages lead to relationship problems. This spread almost acts as a representation go how the models life has been taken away and how they are not happy about it but can not do much about it.
My final page spread focuses on the macro portrait of my subjects eyes. She is looking through her dirty glasses, which symbolises how she is unsure where her future is going and how marriage has lead her to not being able to freely make all decision by herself, showcasing the entrapment of marriage and the occupation it has.
Changes:
New Design
Old Design
For my first change I wanted to change the front cover of my occupation front cover, to have the same amount of symbolism and my liberation front over. I decided to use the environmental portrait of my brother sat on his bed. The sense of negative space on the left and high tonal contrast shows the negative impacts of marriage which fits the theme of the occupation of marriage and begins to showcase the relationship between objects and portraits towards this overall running theme of marriage.
New Design
Old Design
My second change was made after printing a trial run of my zine. In my initial design I turned the white space black, when printing this out the blacks came out as two different shades which distracted viewers from the conceptual representations and meaning of the spread. I decided to change this by getting rid of the artificially placed black on the left and just having it white, I felt that this change still gives off the same intended effect as the black.
Evaluation:
I believe I have made two successful experimentation of zine designs in order to showcase my narrative. I have been able to explore different layouts and the representations they held, with being able to clearly justify as to why I decided to have images in the sequence they are in. I have been able to show my artistic thought process throughout, with constant reference to my intended narrative when explaining each page layout. Overall, I believe my second design will be my final design with the changes made as I feel it’s the most successful in combining war and my home imagery.
Contemporary still life photography is still a popular genre of art, and advancement in technology has allowed photography to contribute massively to the amount of still-life artwork circulating. More modern takes on still life artwork often raises awareness of current affairs, such as climate change, issues within society, waste and technology, while much of the work still often links back to the original themes of exploring mortality and social structures. With the introduction of a wider range of subjects to chose from, still life artwork has blossomed
Above is a piece created by Pichler. The strawberries rotted in a week and a half, providing a layer of mold over the top of them. The contrast between the colour of the subjects and the black background, coupled with the detail found in the dish, draws maximum attention to the details within the image.
Austrian photographer Klaus Pichler wanted to raise awareness of the issue of food waste around the globe, and the effect we have on the climate, caused by the carbon footprint we leave through shipping goods around the world. His still-life photography project, titled “One Third”, involved rotting food in his bathroom over a period of 9 months, and photographing the decaying items in a way that very closely reflects classic still life artwork.
Pictured is Klaus’ photography TOMATOES. The contrast between the red of the tomato and the black background draws full attention to the subject in the foreground. The addition of the mold of the tomato, and the positioning of the tomatoes in what could be described as a human kidney shape (perhaps signifying the influence of humans on the waste crisis), gives the image a more abstract, interesting look to it, while also allowing the viewer to look more closely at the shape of the subjects.
Pichler’s project was centered around raising awareness about the global issue, that is, wasting food. Klaus became aware of the fact that 1/3 of all of the worlds food, produced for human consumption, goes to waste, while in other areas of the world over 900 million people are starving. Pichler felt personally connected to this project, as he grew up in an area that required him to raise and eat his own meat/produce. In order to reflect this personal attachment to the project, Klaus decided against renting a studio to complete his work, and instead developed the project in his own apartment. Klaus can be quoted as saying, during an interview with National Geographic:
“I was definitely not the first one who was making photographs of rotting food but to make myself credible, I decided not to rent a studio but to make it in my apartment. This was quite a conscious decision. When I am working on a project, I want to really be in the middle of it.”
This quote clearly reflects Pichler’s personal connection to his project, and shows that the meaning behind his work is something that he feels very passionately about. This passion is clearly reflected in the dedication he had to his work, allowing food to rot in his own bathroom for months on end, with the smell of decaying chicken leaving him unable to sleep for nights at a time (according to National Geographic).
Pictured above is the image EGGS, which can be found with the following description accompanying it: Place of production: Kolontar, Hungary Production method: Factory production * Time of production: All- season Transporting distance: 196 km * Means of transportation: Truck Carbon footprint (total) per kg: 5,82kg * Water requirement (total) per kg: 3061 l Price: 1,39 € / kg this caption draws attention to the requirements needed in order to package and transport these eggs, only for them to be wasted.
Klaus also put thought into the caption of his images, using a description of the transportation, place of production and carbon footprint of each of the foods he photographs. This took a large amount of research on Pichler’s part, yet his enthusiasm to raise awareness of the massive waste of resources (and effects on the climate) produced by the production of foods, and then the way these foods are wasted, allowed him to collect the records of all of the foods that he photographed, using the captions to further reflect the food waste crisis of the world.
Pichler’s project falls within the category of still life, as it makes use of arrangements of rotting foods (often including the classic still life food; fruit). Pichler also makes use of silverware and intricate dishes, cups and cutlery, which contrasts the grotesque reality of the decaying food that it holds. This is perhaps a remark towards another aspect of food waste, as first world countries enjoy wealth and the ability to choose to waste food (reflected by the detailed cultery/dishes) whereas third world countries are left to starve. The simplicity in the final image, yet detail within the process and meaning of Klaus’ work, runs parallel with the more classic works of still life, which include elaborate meanings and metaphors, and would have involved the collection and arrangement of many objects and foods.
Klaus Pichler, STRAWBERRIES from the project “One Third”, 2013
Adriaen Coorte, Still Life with Wild Strawberries, 1705
Many similarities can be found between the 2 works found above. The dark background used to contrast and draw attention to the colours in the subject, the use of food (strawberries) as a subject, and the arrangement of the strawberries themselves are all similar, yet the meanings behind the two pieces are vastly different.
For the photos of Bob I knew that we would be in the studio this means that the environment is heavily controlled. The rule of thumb for studio flash light is to have your camera at 100 ISO, 1/125 and at f/16. The reason for this is that the flashes are used to simulate the daylight and this group of settings will always be roughly right for daylight. Using studio lights with a shutter speed of over 1/200 will not work as the shutter will block out part of the light and will be too fast for the flash of light that the lights will give off.
For this photo I had Bob facing side on to me and then gave him a point to look at which was down to my right, I then focused on his eyes and framed him in the center of the image, I was using a 50mm zoom so I could get a top torso shot with space over his head. For the editing I boosted the texture and and the clarity, also making the contrast larger to show the mall wrinkles and features on his face.
For the left image I thought that I would focus on Bob’s nose as it is a prominent feature of his face to do this best I thought that a profile would work. I made it black and white because it shows well the contrast in his hair and it shows the lines and contours of his face well. I also gave him a high point to look at to show his jawline more. The image on the right was similar to the first in composition but I changed it to black and white and had him look up.
This image was taken to show his walking stick which is something that he has with him all the time and it has scratches, chips and dents which give it its own character, I had Bob lay his hands on top of eachother so that there wasn’t a big empty space that there would be if his hands were side by side. The focal point was the ring finger of his left hand as it has a chip in the nail. I put this image in black and white so that there is a big contrast between the darker wrinkles and the highlights and his nails.
Robert (Bob) Le Sueur is an occupation survivor from Jersey who has been credited for his role the escape and survival of multiple Russian prisoners who were held in Jersey. For this and other Humanitarian work he did during the occupation he was awarded an MBE, and was on the Queen’s birthday honours list in 2013. When Bob came in he had some great stories to tell about life in the occupation here are some of my favorites:
A Porky interruption: This story starts on the morning of July 1st Bob was awoken to the sound of German planes flying overhead and went to look out at them to see if they had doped bombs again, as they did a few days prior, but they hadn’t they dropped 2 parachutes which at first could be soldiers but were too small. They ended up being containers that held a message to the leader of the military of the island. The message said that if the island wasn’t to surrender within 24 hours it would be carpet bombed which would have almost wiped out the population of Jersey. The states were unsure of the best cause of action as they had heard false propaganda showing the germans as rapists and evil people. The only words of advice that would be given by the crown and the uk government was to ‘do the best for the population’. There was a crowd growing in the royal square in front of the states. To control the crowd a man named Capt. Bentley, who was an affluent businessman within the islands, went out to address the crowd and then started barking orders at them. Telling them to get into line and quiet down. In this moment of great tension as Bob described it a bird flew over top and then relieved itself all over the captains pork pie hat, the crowd then erupted with laughter. Bob says this was a heaven sent message to relax the people and break the tension.
The Slavic Soiree: For this story bob talked about a party that he was involved in. He didn’t say what it was specifically for but he said that they had them for everything from the last day of having a gas supply to people’s birthdays. Bob then enlightened us on the best way to make sure that everyone that comes to your party has a good time. He said “invite guests that haven’t eaten properly in months, cook a rabbit and then serve them calvados” which is a sort of distilled cider that had a higher proof than vodka. At this party there was one man who lived with them who was a Russian escapee. Before the party however this man had gotten into the calvados which meant that his Slavic side came out and then he started doing ‘Gopak’ dancing and singing slavic folk songs at the top of his lungs in the middle of town. As he was doing this a German patrol passed by but luckily they were singing their own chants so the Russian couldn’t be heard.
Bullet Bike: This story took place on liberation day. Bob, the Russian from the previous story, one of the people the Russian lived with and two girls were all together when they got the news that there was an American destroyer that had been spotted passing Normint point and at this point they all knew that there had been an armistice signed for the western war (Japan was still going at it). When they got this news they all got on their bikes and then went to cycle out to the end of Victoria pier. On the way however, some misfortune befell Bob, when he was going past the German tunnel entrance that was filled with weapons and guarded by two soldiers, which is located opposite the old lifeboat station or the rowing club, his bike tyre which was made of a hose pipe as there were no more tyres the clasp that held it together snapped. This sound was comparable to that of a gunshot which made the German guards anxious and could have almost gotten Bob killed but they saw what had happened and was ok. When he looked up to see if his friends had stopped for him they were almost gone already, he said this was fine though as they saved him a good spot to watch the destroyer come in to St Aubins bay.
The aim of the Jersey Archives is to preserve the history of the people of Jersey, and to protect the memories, events and experiences of those who lived before, and contributed towards the way that the Island is in present time. The archives inspires people, promoting their cause through sharing the stories and experiences of past inhabitants of the island, and allowing younger generations to learn from the experiences of their ancestors, while simultaneously learning the context to why their island is the way it is now.
The archives hoards a huge range of over 300,000 images and documents, dating all the way back to the early/mid 19th century. Founded in 1981, the archives have been able to successfully document, record and store priceless historical memorabilia that directly reflects the lives of the people that originally created it.
The archives preserve, document and manage the past in order to allow the people of Jersey to research and learn about their past, gaining knowledge about their culture, heritage and a sense of belonging within the community.
Michelle Sank is a South African born photographer, who’s portraiture work primarily looks into “the preoccupation of the human condition”. in this sense, Sank’s work delves into exploring factors and events such as birth, growth, emotionality, conflict and mortality, which make up the basis of human existence and are things that we as people experience in our daily lives. Sank makes a point of documenting social and cultural diversity, and allows for comparison on the varying ways in which we live out lives, through the range of different subjects from different backgrounds, ethnic groups and experiences. Below is a mood board including a range of images from Michelle’s works:
Michelle was able to identify with the camera and photography as a medium of expression as soon as she tried it whilst completing her Fine Art Degree in South Africa, and has since produced a range of projects, a website and books containing her work.
“It was almost instantaneous that I found this connection with the camera and the world around me – and so this became and has stayed my voice for personal expression.”
Sank’s portraiture often takes place in a setting personal to the subject, such as a bedroom. This can both be used to reflect the personality and belief of the subject through a single image, as the personalization of ones bedroom often allows for a persons interests, hobbies and understanding of themselves as a person can often be inferred from the style of their bedroom.
“What’s on their walls is a metaphor for their identity and personality,”
Furthermore, the location of a bedroom (or an environment personal to the subject) allows for the image to portray a much more personal, almost intrusive meaning, as the viewer is forced to observe the subject in the place they feel the safest and most comfortable, without personally knowing who the subject is, allowing the viewer to see the subject at what can be inferred as their most vulnerable.
The above image is a piece taken from Michelle’s project “My Skin”. This image (and those in the same project) is meant to represent the diversity and individualism that can be found within out communities, treating each individual subject as their own person, and exposing and celebrating what makes them different and unique. Visually speaking, the image above leaves much to the imagination to the viewer. The subject is presented as showing off the most eye-catching part of her physical appearance (her tattoos, and yet very little is included in the background/rest of the scene, denying the viewer the ability to make assumptions about the subject on anything other than her own skin. A single object is found on the far left of the image (a figuring) which indicates only a small example of what the subjects likes and dislikes may include. In terms of the technicalities of this image, the exposure on the photograph itself is reasonably high, showing very little in terms of shading or extreme contrast, which in turn opens up the image more, and exposing all parts of the photograph in the light. This high exposure however, seems to be the product of a good source of natural light, and the little to no editing that has been done on the original image itself allows for us to get a better picture of the raw, real original, seeing the unedited subject in her own skin, rather than a “fake”, heavily edited skin.
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