Historical context
Edwin Dale
Born on the 3rd of January 1882, Edward Dale was a skilful photographer who took hundreds of landscape photos, including documentation of a range of events in Jersey, giving him the title of amateur ‘photojournalist’. Alongside these, Dale took a number of environmental portraits of islanders at the time.
In 1913, Dale entered the Jersey Eisteddfod (the photographic competition), resulting in him winning four 1st place prizes and two 2nd place prizes. He went on to have 40 of his images published on postcards in 1914, with many numbering as the most iconic images in Jersey during that time period.
As a photojournalist, the intention behind many of Dale’s photos were to purely document what and who interested him in Jersey, by scoping out individuals at their homes or places of work. This contrasts to the work of other photographers at this time, who tended to have studios set up in St. Helier where wealthy individuals to approach them and pay for formal portraits to be taken of them.
Photo analysis
This image is presented in black and white, though not by intention, which reflects the era in which the image was taken. Additionally, the image is slightly out of focus, due to the long shutter speed of cameras of that time.
Dale’s image is an environmental portrait of an islander in Jersey between 1910 and 1920. As he was renowned for photojournalism, Dale likely took this portrait as he took a particular interest in the subject. Dale’s image portrays a man standing behind a penny-farthing bicycle in what appears to be a garage or shop of sorts, with a potential bicycle covered by a tarpon in the background. The man is dressed in a suit and an overcoat, an outfit implying that the subject doesn’t work for the place in which he’s standing. Perhaps he’s someone of higher importance, such as a manager or shop-owner, or perhaps he is a customer looking for a product.
Despite being a candid image, the wide and upright stance of the subject presents a natural sense of power, importance and dominance. His face is neutral but shows entitlement and privilege- with furrowed eyebrows and a strong gaze towards something, he seems expectant. Whether it’s an issue with the bicycle or a purchase he’s willing to make, the gaze makes it clear that he is more focused on the probable person attending him than on the bicycle, emphasising the dominance he has and the pressure he may assert on other individuals.
Furthermore, Dale utilities the natural light present through the skylight to illuminate the subject from above. This highlights the subject completely, keeping the main focus on him despite the busy background. The light also shows the polished shoes of the man, implying that he takes care of his appearance, further asserting the importance of the figure.
Moreover, the juxtaposition between the well-kempt, orderly appearance of the subject and the disordered, unorganised nature of the setting intensifies the idea that this is not the natural environment for the subject. This creates ambiguity as to who the person is and what role he played within Jersey society at the time.
Contempory context
Chloe Jafe
Jafe is a French photographer renowned for infiltrating the world of the Japanese mafia (otherwise known as the Yakuza). Her photographic series ‘I give you my life’ gives a voice to the notoriously closed subculture of women associated with the Yakuza and in turn celebrates the bravery of those who have given their lives to the men behind it .
The women in her images said their motivations for getting their tattoos (irezumi) were about love and strength- being in and falling out of love, feeling strong and having the need to feel strong. The painful process for getting the tattoos includes being done by hand with a wooden handle and a needle which requires endurance and perseverance as they can take years to complete. Some women say their incentive for getting the tattoos were to “…live like the man I’m in love with”. Others say that looking at their naked body without tattoos made them feel “weak”.
Ultimately, the women feel as though their tattoos are a way to mark their independence from society. This takes bravery as they’re clearly conveying their allegiance to the Yakuza, placing themselves outside mainstream society. But this can also be seen as courageous due to the fact that the Yakuza men will never fully accept these women as members, due to the acute gender disparity within the group.
Whilst the Yakuza are major players in Japanese society, their women, often invisible, are not considered as members.
Chloe Jafe
Jafe calls attention to the differences between how these women view themselves and how they are perceived by men. In images which includes mixed gender groups, it’s apparent that the women hold subservient roles. But these ideals are juxtaposed by the portraits shes created. The images are highly intimate, not only breaking the gangster-stereotype the Yakuza holds, but also making them appear independent, empowered and formidable.
Photo Analysis
Contextually, this portrait by Jafe conveys a lot of meaning. With her only access to the Yakuza being through the men, her charming and harmless nature led to the wives and girlfriends viewing her with suspicion. Only after making friends and gaining the trust of these women was she able to capture this portrait.
The image is formal, with both parties knowing the image is being taken, it clearly represents the confidence and freedom from suspicion both parties have with one another. Additionally the placement of the subject shows the underground secrecy of the community. The background creates a highly ambiguous image, showing a lack of placement within society, highlighting how these women and individuals in the Yakuza are outlaws to Japan.
As well as emphasising context, Jafe’s choice of background keeps the focus on her subject. The contrast between the dark tones of the background and the clothing of her subject aids in this. The contrast is strong as the white clothing has taken in majority of the light when taking the image. This helps to show the power this individual has as it keeps the viewers’ gaze on the subject.
Jafe’s use of a low camera angle has a psychological effect on the viewer. Although the angle isn’t dramatic, it’s successful in presenting the subject as a strong and powerful individual. Moreover, the subject’s stance portrays her as independent and confident. The feet are squared off to the camera, the subject’s body language is open and she has an assertive placement of her hands, which further intensifies this sense of assertiveness in her character. Jafe’s subject displays a stern facial expression
In Japan, the cutting of hair can signify separating from past actions or thoughts. A woman with shorter hair is perceived as confident — as though they have nothing to hide. When the haircut is done out of deliberation rather than necessity, it can vividly represent an individual’s determination to make a dramatic break with their past. The subject in Jafe’s image has a strikingly short haircut, possibly differentiating between the person she was prior to the Yakuza and the person she is now. Furthermore, the confidence the subject shows despite being covered in stigma-ridden tattoos (irezumi) indicates that the woman isn’t afraid of being cast out by society and that she feels empowered by showing them.