Will Lakeman is a Jersey-born photographer who focuses on landscape photography. Lakeman attended the University of East Anglia, the University of California Los Angeles, and the University of Sussex. He achieved degrees in American Studies and literature, but his main focus was on digital media, ethnomusicology and online culture. Lakeman has had his work displayed at the Private and Public Gallery, CCA Galleries International, Arthouse Jersey and was awarded the Summer Prize 2021 in the CCA Galleries International Summer Exhibition. Will Lakeman is heavily inspired by cinema and science fiction, which is why his work often contains vibrant colours and almost alien-like symbolism. Lakeman also recently began to experiment with artificial intelligence in his work to produce new imagery.
Will Lakeman’s interests lie in exploring a different side to everyday life, whilst incorporating his passions of science fiction and artificial intelligence to alter his work. This image from his ‘Social Housing’ collection represents this idea well, as the moving light creates a sense of a sort of utopian future from a science-fiction scene. This collection in particular depicts Jersey’s social housing buildings and apartments.
The lighting in this photograph is predominantly artificial, and consists of multiple colours and multiple levels of brightness. The brightest section of the image can be seen in the bottom and middle right of the image. This light has been created through the use of a slow shutter speed, in order to capture the movement and direction of the light. With the image being taken at night, the artificial light creates a harsh contrast against the natural darkness. Shadows cannot be seen due to the time of day, however the middle-ground towards the left of the image is substantially darker. Despite the lac of strength of the moonlight, it falls on the front of some buildings, making them slightly more visible to the viewer.
There is apparent leading lines in the bottom right of the, which are thin and curved. They direct the eyes of the viewer towards the artificially highlighted area of the image. They convey the direction and movement of the light, which influences the direction and movement of the viewers eyes. These lines also juxtapose the darker sections either side of them.
Although there is no sense of repetition within this photograph, there is a sense of echo and reflection in the light in the image. For example, the light in the leading lines create an echoing and almost ghostly affect. Also, the sense of reflection can be seen in the light being reflected into the sky.
There is a mixture of geometric and organic shapes in this image. The geometric shapes of the photograph are seen primarily in the midground and foreground of the image, these consist of the artificially constructed, straight-lined buildings. These shapes contrast the organic shapes that are featured in the top third of the photograph, with that being the natural clouds in the sky.
There is a strong sense of depth in this photograph, as the buildings closer to the background start to become out of focus, which contrast against the buildings towards the foreground that are in focus. The space within the image is mostly positive, which the chaotic lighting and closely-spaced buildings. However there is negative space in the sky and in between the buildings and where the image is darkest.
There is no sense of texture within the photograph as the focus of the image is to display the juxtaposition of light and dark rather than surfaces and textures.
Overall, the tones of the images are dark, how light tones are represented with the use of artificial lighting of cars, housing, and street lighting. The darkest tones of the image are seen in the middle and bottom third of the image, and towards the left. The lighter tones in the image can be found predominantly towards the right, middle and bottom thirds of the photograph. The image leans more towards darkness, which reflects a gloomy and enigmatic atmosphere.
The dominant colours in this photograph are black and deep, navy blue. However, there is miniature segments of colour that can be seen through the windows of the apartments, as well as the yellow-toned artificial light from the cars and street lights. The colours of the image allow the viewer to understand the contrast between dark and light, as well as allowing the light created by the slow shutter speed to be accentuated. I feel as thought the image would not have the same level of contrast if the image were to be in black and white, and the contrast would simply rely of contrast between shadow and light rather than the juxtaposition of colour and artificial light over natural light.
The composition of the image follows the rules of thirds, in the sense that the positive space is largely featured in the bottom and middle third, and the negative space filling the top third. Due to the positive space being concentrated into the middle and bottom third, the image can be considered as unbalanced. The focal point of the image is the movement of the light in the bottom right of the image, which creates the leading lines for the viewer.
Archives are a collection of historical documents in any media, such as letters or photographs that keep information and meaning for future generations to learn about the history of a specific place or subject. The Société Jersiaise is a Jersey-based archive and was formed in 1873. They published their annual report named ‘Bulletin Annuel’ in 1875, and finally opened their museum in 1877 due to their sudden growth of interest in 1886. The main aim for the The Société Jersiaise was ‘Recording in permanent photography local prehistoric monuments, buildings and ruins.’. The group focused on collecting already-existing images of Jersey life and landscapes, however this expanded to the group then developing their own photographic documents as a method of research after photography arrived In Jersey in 1840, which still remain in the archives presently, 140 years later. Currently, the archive contains over 100,000 documents and photographs from the mid nineteenth century up until current times, these documented images allow current generations and generations to come about Jersey life and architecture, aswell as the practice and process of photography in the past and how that process has changed over the years. In terms of archives in a broader context, we keep archives ourselves in the form of photo albums on our phones, and physical albums such as family albums that have accumulated over the years. Our personal archives allow people to understand us as individuals with representations of our personalities, friends, families, hobbies and our lives in general. The Société Jersiaise does this on a much larger scale with an archive of what it was like for generations living in Jersey.
Albert Smith is one of Jersey’s earliest and well-known photographers to have his work contained in the archives. After leaving his previous photography career in Waterloo, Smith moved to Jersey and opened his new business on New Street in 1892, where he stayed for almost 40 years. He opened and closed multiple businesses in St Helier and his last studio on Broad Street, which he operated until 1931. Thousands of Albert Smith’s photographs are contained at The Société Jersiaise in the form of glass plate negatives which display his work that focused on portraits and Jersey wildlife. Out of nearly 3,300 photographs contained at the archive, almost 2,000 of these were taken by employees hired by Albert Smith, and a small amount taken by Smith himself. The last images taken by Smith’s business that are contained in the archive are dated from the mid to late 1930’s, with photographs of The Battle of Flowers and the opening of Jersey Airport. These images by Smith and his company allow for an understanding into life in that time, and historic milestones celebrated within Jersey during this time. The method used to take images by photographers in the 1800’s included using a portable camera obscura to expose a pewter plate coated with bitumen to light, however the method of salt paper plates started being used, meaning presumably this was the method used by Albert Smith and his company. Smith and his company contributed greatly to The Société Jersiaise archive as the majority of kept images have been provided through the research of his company, meaning photographic context from this time period is made easily accessible and understandable.
This image by Albert Smith depicts his family in the year of 1893, Smith used the method of “glass plate negatives” in his work around this time, so presumably this is the method used in this image. The method of “glass plate negatives” involves spreading a flammable liquid, collodion, onto a glass plate. It was then placed into a bath of silver nitrate which turned into a photosensitive silver iodide. The process of exposure and processing had to happen immediately before the plate dried to receive the best results. Images produced like this allow us to understand how photographic processes have developed overtime with the developing of technology and knowledge. Earlier images like this focused more on process rather than composition, which is why this image has a simple composition. There is an extreme contrast in the photograph due to the black and white method of film photography, which is seen especially between the black clothing and the pale complexion of the faces.
Linking back to the question, archives can be seen as repository of knowledge in multiple ways. Firstly, photographic archives give us visual evidence of life in Jersey in the past few hundred years, with architecture, fashion and the overall style of photography. Furthermore, these archives also allow us to gain knowledge of early photographic methods, such as wet plates, salt-paper prints and the earliest methods of the camera obscura. On the other hand, photography was only made accessible for high-class citizens as the process of photography was expensive and the knowledge of the science behind the processes was needed in order for the images to be developed properly. Because of this, we have mainly have access to only the insights of the life of the high-class and there was little representation of the lives of lower-class citizens.
In the course of daily life, individuals and organizations create and keep information about their personal and business activities. Archivists identify and preserve these documents of lasting value.
These records — and the places they are kept — are called “archives.” Archival records take many forms, including correspondence, diaries, financial and legal documents, photographs, and moving image and sound recordings. All state governments as well as many local governments, schools, businesses, libraries, and historical societies, maintain archives.
Using the Photographic Archive as a Resource for Research and Ideas
For your Personal Investigation you have to engage with a notion of an archive. Archives can be a rich source for finding starting points on your creative journey. This will strengthen your research and lead towards discoveries about the past that will inform the way you interpret the present and anticipate the future.
Public archives in Jersey
Jersey Archives: Since 1993 Jersey Archive has collected over 300,000 archival records and it is the island’s national repository holding archival material from public institutions as well as private businesses and individuals. To visit click here
Jersey Archive can offer guidance, information and documents that relate to all aspects of the Island’s History. It also holds the collections of the Channel Islands Family History Society.
Societe Jersiaise: Photographic archive of 100,000 images dating from the mid-1840s to the present day. 35,000 historical images in the Photographic Archive are searchable online here.
Societe Jersiaise also have an extensive library with access to may publications and records relating to the island’s history, identity and geography. Click here
Archisle:The Jersey Contemporary Photography Programme, hosted by the Société Jersiaise aims to promote contemporary photography through an ongoing programme of exhibitions, education and commissions.
The Archisle project connects photographic archives, contemporary practice and experiences of island cultures and geographies through the development of a space for creative discourse between Jersey and international practitioners.
DaguerreotypeSalt paper printAlbumen printWet-plate collodionAutochromeColour transparency
Use this simple essay structure:
Hypothesis:How are archives a repository of knowledge?
Opening quote: choose appropriate quote from key texts below.
Introduction (250 words): write a brief overview of the Societe Jersiaise Photographic Archive; its origin, development, scope, context and early photographic activity in Jersey. What can we learn about Jersey from looking at pictures of the past? Within this context consider also more broadly, what archives you keep and how you organise them eg. images on your mobile, text messages etc. and what knowledge they provide about you as an individual and society at large.
Pg 1 (250 words): Choose one photographer from the archive and provide a brief overview of his/ her practice in context of the essay question. Describe what knowledge we can gain from studying his/her images and photographic work.
Pg 2 (250 words): Choose one key image for analysis using model of photo literary below. Discuss photographic methods and processes used in the image making process. Again consider how this image provide new information.
Conclusion (250 words): Refer back to the essay question and consider; how we can learn from images of the past? And, how they may inform us about our social history (branch of history that emphasizes social structures and the interaction of different groups in society)? Reflect also on how archives and images from the past may help you to develop your own photographic project around theme of Nostalgia. How would you respond as photographer to what you have learned?
RESOURCES AND READING
For a better understanding of photo archives, origins of photography and associated photographic theories please read and study the following documents and hyperlinks to texts. In your essay try and identify relevant quotes, or paraphrase or summarise an idea, theory or concept that you can use from these literary sources that add context and either support or disapprove your own argument.
Image analysis: use Photo Literacy as a method of analysis: of TECHNICAL>VISUAL>CONTEXTUAL>CONCEPTUAL
Essay writing: For more help and guidance on how to write a good essay, including how to use Harvard System of Referencing, click here
Societe Jersiaise Photographic Archive: Here is a link to Intro to the Photo Archive which you all must read in order to answer the essay question above. In addition, here is a pdf of how to search the online catalogue and request images from the photo-archive.
Below is a link to a bit biography about some of the main photographers in the SJ collections. To view images and select key image for analysis go to this folder here;
Emile F. Guiton > Autochromes: The founding father of the Societe Jersiaise Photographic Archive was also a very accomplished photographer who experimented with early colour photography in the beginning of the 20th century. Read this essay by Archivist Patrick Cahill on Guiton’s still-life images of flowers in a vase and other domestic scenes using Autochrome – the first commercially available colour process.
Archives in contemporary photography: Also read text about the resurgence of archives in contemporary photography by theorist David Bate: archives-networks-and-narratives_low-res, make notes and reference it by incorporating quotes into your essay to widen different perspectives. Comment on quotes used to construct an argument that either support or disapprove your own point of view.
Origins of Photography: Study this Threshold concept 2: Photography is the capturing of light; a camera is optional developed by PhotoPedagogy which includes a number of good examples of early photographic experiments and the camera obscura which preceded photography. It also touches on photography’s relationship with light and reality and delve into photographic theories, such as index and trace as a way of interpreting the meaning of photographs.
Photography did not spring forth from nowhere: in the expanding capitalist culture of the late 18th and 19th centuries, some people were on the look-out for cheap mechanical means for producing images […] photography emerged experimentally from the conjuncture of three factors: i) concerns with amateur drawing and/or techniques for reproducing printed matter, ii) light-sensitive materials; iii) the use of the camera obscura — Steve Edwards, Photography – A Very Short Introduction
View from the Window at Le Gras by Nicéphore Niépce in 1826 or 1827
Debates about the origins of photography have raged since the first half of the nineteenth century. The image above left is partly the reason. View from the Window at Le Gras is a heliographic image and arguably the oldest surviving photograph made with a camera. It was created by Nicéphore Niépce in 1826 or 1827 at Saint-Loup-de-Varennes, France. The picture on the right is an enhanced version of the original which shows a view across some rooftops. It is difficult to tell the time of day, the weather or the season. This is because the exposure time for the photograph was over eight hours.
What is a daguerreotype?
The daguerreotype was the first commercially successful photographic process (1839-1860) in the history of photography. Named after the inventor, Louis Jacques Mandé Daguerre, each daguerreotype is a unique image on a silvered copper plate.
In contrast to photographic paper, a daguerreotype is not flexible and is rather heavy. The daguerreotype is accurate, detailed and sharp. It has a mirror-like surface and is very fragile. Since the metal plate is extremely vulnerable, most daguerreotypes are presented in a special housing. Different types of housings existed: an open model, a folding case, jewelry…presented in a wooden ornate box dressed in red velvet. LD a theatre set designer
The invention of photography, however, is not synonymous with the invention of the camera. Cameraless images were also an important part of the story. William Henry Fox Talbot patented his Photogenic Drawing process in the same year that Louis Daguerre announced the invention of his own photographic method which he named after himself. Anna Atkins‘ British Algae: Cyanotype Impressions of 1843 is the first use of photographic images to illustrate a book. This method of tracing the shapes of objects with light on photosensitive surfaces has, from the very early days, been part of the repertoire of the photographer.
Henry Fox Talbot – Latticed Window, 1835
In the month of August 1835, William Henry Fox Talbot produced the first photographic negative to have survived to this day. The subject is a window. Despite the clear connection, it is an entirely different image compared to those of his colleagues Niépce and Daguerre. Those are photographs taken from a window, while this is the photograph of a window. From the issue of realism, we shift here into an extremely modern outlook which today would be likened to conceptual and metalinguistic discourse. While the window constitutes the most immediate metaphor to refer to photography, Talbot doesnʼt use it but more simply he photographs it. He thus takes a photograph of photography. The first to comment on this was the author himself, writing a brief note (probably added when it was displayed in 1839) on the card upon which it is mounted. The complete text reads:
Latticed Window (with the Camera Obscura) August 1835 When first made, the squares of glass, about 200 in number could be counted, with help of a lens6
In 1978, the German photographer Floris Neusüss visited Lacock Abbey to make photograms of the same window. He returned again in 2010 for the Shadow Catchers exhibition at the V&A to create a life-sized version of Talbot’s window (below right).
That 1978 photogram was the start of our adventures in creating photograms of large objects in the places where we found them […] we took our equipment to Lacock Abbey and made a photogram of a fixed subject. This particular subject was for us not just a window in a building but an iconic window, a window on photography, opened by Talbot. The window is doubly important, because to be able to invent the photograph, Talbot first used photograms to test the light sensitivity of chemicals. His discovery became a window on the world. I wonder what percentage of our understanding of the planet we live on now comes from photographs? — Floris Neusüss
The idea of photographs functioning like windows makes total sense. Like the camera viewfinder, windows frame our view of the world. We see through them and light enters the window so that we can see beyond. Photographs present us with a view of something. However, it might also be possible to think of photographs as mirrors, reflecting our particular view of the world, one we have shaped with our personalities, our subconscious motivations, so that it represents how our minds work as well as our eyes. The photograph’s glossy surface reflects as much as it frames. Of course, some photographs might be both mirrors and windows. If you’re interested in thinking a bit more about this you might want to check out this resource.
The Jersey Museum produced an exhibit which they had named ‘People Make Jersey‘. This exhibit allowed for both locals and tourists to learn about the history of Jersey communities within history, providing knowledge on the immigration of families to Jersey. This exhibition presented the extent of rich culture that Jersey contains due to the large range of nationalities that inhabit the island. The exhibition states ‘Every Jersey resident has an immigration story – whether their family came here 500 years or five years ago. This exhibition explores some of these stories and the ways in which immigration has shaped and influenced the Island we know today.’. I think this statement proves the influence immigration has had over Jersey life currently, and how Jersey was affected by immigration hundreds of years ago.
A particular section of the exhibition that sparked my interest was the display of where traditional Jersey names had originated from. This specific area of the exhibition caught my interest as my surname was featured on this board, and I had discovered that my surname (Le Breton) means “from Brittany”. This means that my family name and ancestors had originated from France. I was already aware of this as my family still has a lot of connections to France, such as family still leaving there and the older generations of my family are still fluent in French. Despite this, it was still interesting to learn about my family origins in more detail. My ancestors made the majority of their money through farming, as my whole family has always lived in the countryside.
When we walked through St Helier, the difference in Jersey culture could be seen more clearly within the architecture of particular areas of St Helier. For example, we learnt how English architecture influenced a lot of buildings in St Helier, as well as learning about traditional Jersey architecture using granite.
Identity + Zines
Zines (short for magazines) are usually a self-published piece of work created either by a single person or a very small group. The term was created in 1940 by Russ Chauvenet as a science fiction fanzine, and became especially popularized within the science fiction fandom. It became an official term in the Oxford English Dictionary in 1949.
Zines are a suitable way to display images of identity, as typically they are created within a circulation of fewer that 100 at a time. They are created and published especially as a form of displaying identity and interests as well as sharing personal skills or art, or even developing a story. They are used for this reason as opposed to being created to make a profit.
Zines have been used over time as a form of expression and communication between subcultures, which embrace the idea of a ‘do-it-yourself’ project, and disregards the traditional conventions of professional design and publishing houses. They provide an alternative contribution. Handwritten or carbon zines are artificially made, which emphasises the personal connection between the creator and the reader.
We are using zines to display our images as it creates a simulated, physical photobook by which we can display our images. The personal connection of zines adds to the personal project based on our own identity.
For this shoot, I walked around the Millennium park area and other parts of the French/Portuguese quarters. Here I photographed French/Portuguese shops, businesses and workers, as well as areas and evidence of a sense of community within the sector.
Edited Images Contact Sheet
Best image
This is my favourite image because of the candid aspects of the photograph. The worker is busy unaware of the camera, along with the person in the background glancing over at the camera wondering what is going on. The bright red letter boxes along with the reflective vest contrast to the earthy and natural colour of the surrounding buildings. This image used an aperture of f.9 with a short shutter speed to compensate for the bright natural light at the time. I also like the perspective that the photo was taken at, it creates lines leading down the road in the background that add depth to the image.
The exhibition states; ‘Every Jersey resident has an immigration story – whether their family came here 500 years or five years ago. This exhibition explores some of these stories and the ways in which immigration has shaped and influenced the Island we know today.’
The town area of jersey is split into different quarters, the Merchant Quarters, the French/Portuguese Quarters and the British expats/ wealthy residents
I took my first photoshoot around the French/Portuguese sector:
Here I photographed many small shops and cafes with French and Portuguese owners and often selling French/Portuguese food. I also found many people of Portuguese background working together as a community in shops, cafes and other areas like construction and painting.
Seeing these different communities inspired me to research my background and find out my heritage. I found out that up to my great grandparents I am fully Jersey/Jersey French with my surname (Jeanne) being a Jersey French name. I used Archive and Collections Online to find this out and where my relative are from.
These different sectors and communities give the island diversity, and this is originally from immigration throughout the centuries. A detailed map of immigration to and from Jersey over the years can be found on this Jersey Migration Map.
Yener Torun was born in Turhal, Turkey, in 1982. At Istanbul Technical University he studied architecture then in 2014 he started a photography project on his Instagram account @cimkedi. On this account he focuses on building which are less know and side streets of his adopted hometown. his popularity has grown through the years to major media outlets such as The Guardian, The Washington Post, CBS News, and El Pais Semanal have covered his work. His work typically flatten space to focus on emphasizing lines and colours over depth.
In this photograph Yener Torun has the clear focus on the zigzag lines and how the two colours meet but don’t mix. The image is effective on how lined up the colours are and how vibrant both colours are but don’t drown out the other one. The texture of the image is very smooth and soft looking with very minimalistic patterns such as the pink with white lines and the orange and white checkers in the window.
Albert Smith
Albert Smith originally came from Liverpool but had worked at a studio in Waterloo. In 1892 he started a business in Jersey on New Street which he maintained until 1931. He captured many scenes of island life and events of historical importance which many of his views were sold as postcards. Nearly 2000 of his images can be seen on line in the photographic archive of la Société Jersiaise, out of a total of nearly 3,300 held in the archive. All his photographs were taken to sell and, in addition to those in negative format in the Société Jersiaise collection.
“A typically posed Smith photograph of a carriage outing” this photo shows a busy setting that wasn’t set up to look like this but asked them if he could take a photo. The old photo expresses the fashion of the time and what a typical day out would look like. With the positioning of the people shows how men were gentlemen and would get out their seats for the photo whereas the women were to stay where they were. As the photo is mostly people there is hardly any focus on the background such as the tree behind them.
First I put all my photos onto lightroom then I go through them either to flag them if I like them or reject them if I don’t like them or the image isn’t right.
With the flagged images I colour code the best images red and leave the images I don’t want with no colour. With images similar to each other I would put them next to each other to compare them.
Then I narrow down the images again by keeping the best images red and with a selection on three images I colour coded them green as if the number of images where to be cut down.
Which then I transferred the new images into a folder so then it would be easier to transfer them again into a folder on my desktop.
I then went through the images and edited them making the colours bolder and brighter, adjusting the way they look to have a more centred image.
I finally put the finished images into a folder on my desktop which I will then put them together to create a zine.
With identity and community we went out and took some photos of the community. The photos where from different parts of St Helier with a mix of popular, tourist attractions and the less popular parts. We also went into the Jersey Museum Exhibition where we took photos of the Exhibition and the information on the house. With this photoshoot, we uploaded them onto Lightroom which we will then edit and create a zine of Identity and Community.
These photos will be organised and reject the photos which are blurry or not in focus. To do that we would use rejecting and flagging to organise inn a simple yet effective way. As I have the flagged images I will then go through them and label then red for the disregarded photos, yellow for maybe and green for the chosen ones to be used in the zine.
As an introduction to our year 13 project, we visited the Jersey Museum, specifically to look at the exhibition that was on there at the time- this exhibition was all about migration within jersey- for example which groups arrived, when they arrived and why they arrived. The exhibition stated ‘Every Jersey resident has an immigration story – whether their family came here 500 years or five years ago. This exhibition explores some of these stories and the ways in which immigration has shaped and influenced the Island we know today.’
To me personally, what stood out the most were the Aliens registration cards. Aliens Cards were introduced following the Aliens Restriction Act which was passed in 1920. Under this law all aliens over the age of 16 resident in Jersey and of non-British birth had to register with the Office of Immigration. In the exhibition, some were on display- these specific cards had families today that are still in Jersey.
Although I am half polish, my mother was the first in her side of the family to migrate to Jersey- and it wasn’t on purpose so I personally don’t have family that would have migrated in the time of the Aliens cards, but I was still interested to find the registration cards of polish immigrants and found a woman called Wanda Casimir Mrowezynska, born 23/04/1860 in Warseouvie [?], Poland. Nationality: Polish. | Jersey Heritage
Aside from the museum, we went out on a 30-minute walk around St Helier with Stuart Fell to look at architecture- I already knew that certain architecture can say so much about a specific time period however he explained how. When on this walk, many things were pointed out that I would have never thought twice about- for example one building that was built with traditional Jersey red brick (altered to create a mixture of grey and red) had another floor built onto it and if you looked closely you could see the difference in the bricks. This was only something that I distinctly remembered however he showed us many other buildings and the history behind their architecture.
Henry Fox Talbot – Latticed Window, 1835
