Essay plan
Introduction (250 words): Reflect on the origin of photography and describe in your own words the difference between the two photographic processes, Daguerreotype and Calotype. Consider how they could be viewed as either a mirror or a window of the world according to John Szarkowski’s thesis. Choose one quote from Szarkowski’s text and comment if you agree or disagree.

Paragraph 1 (250 words): Choose an image that in your view is a mirror and analyse how it is a subjective expression and staged approach to image-making. Choose one quote from Szarkowski’s thesis and another from Jed Pearl’s review which either supports of opposes Szarkowski’s original point of view. Make sure you comment to advance argumentation in providing a critical perspective.

Paragraph 2 (250 words): Choose an image that in your view is a window and analyse how it is an objective expression rooted in the notion of realism. Choose one quote from Szarkowski’s thesis and another from Jed Pearl’s review and follow similar procedure as above ie. two opposing points of view and commentary to provide a critical perspective.

Conclusion (250 words): Refer back to the essay question and write a conclusion where you summarise Szarkowski’s theory and Pearl’s review of his thesis. Describe differences and similarities between the two images above and their opposing concepts of objectivity and subjectivity, realism and romanticism, factual and fiction, public and private.

Introduction:

Looking at the basics of photography and trying to gather the difference between Daguerreotype and Calotype helps us identify the Mirror or Windows theory. A Daguerreotype is a ‘positive’ image that creates a highly detailed image in a sheet of copper plated with a thin coat of silver. Whereas Calotype is seen as a negative and positive process where the image is printed using paper coated with silver iodide, the texture of the paper limits the ability to see low contrast details and textures on the image. The easiest way to identify a Calotype is due to the lack of clarity in the details and a mottling of tones and a Daguerreotype is identified by its mirror-like, highly polished silver surface and its dually negative/positive appearance when viewed from different angles or different shades of lighting. The concept that an image is either a window or a Mirror creates this idea of the photo whether its personal and foreshadowing something or its just taken unexpected. The mirror image would portray a Daguerreotypes as it made from a highly polished silver-plated sheet of copper that appears to look like a mirror. This creates an image but still allows you to see yourself due to the copper. This image is captured by its reflective surface echoing the surrounding scenery. The photographer Szarkowski came up with the theory of the windows and mirror and suggested that windows are not seen to be personal as when you look through a window what you see has nothing to do with you where as a mirror is seen as your reflection although there may be a debate about this as a window could be a path through to what is important to the photographer. A specific quote stated by Szarkowski “Whatever else a photograph may be about, it is inevitably about photography, the container and vehicle of all its meaning’s.” This quotes suggest that there is a lot of information about each photograph taken and it has a deep meaning whether it is a basic photograph. The idea that the photo does not just have one meaning, it can put multiple things together to create the real story of the image. Though this could also show that Photography was not invented to serve a clearly understood function, sometimes it would be better to not understand the concept of the photograph and have a basic understanding to be able to visual your own ideas towards the image, sometimes the real meaning of the image doesn’t justify the actual shot of the image. Photography is so widely spread to any topic that any image could have any deep meaning towards it. 

Hannah Starkey, Untitled – May 1997

Mirror Reference:

The idea of an image identifying as a mirror could vary in many ways; the main reason this image could be a mirror is because the people in the photograph are looking through it. Some people could suggest that the older lady in the image is looking through the mirror at her younger self, as if she is looking through her memories. Though looking at Hannah Starkey’s work, she states that her work is staged and based on women in London based on fake sceneries, she uses actors within carefully considered settings, Hannah Starkey’s photographs reconstruct scenes from everyday life with the concentrated stylization of film. Starkey’s images picture women engaged in regular routines such as loitering in the street, sitting in cafes, or passively shopping. Starkey captures these generic ‘in between’ moments of daily life with a sense of relational detachment. As Starkey is a women she may the need to portray the idea that women don’t get enough recognition, or she simply wants to explore all the stereotypes women have been pinpointed to do such as shopping and sitting cafes, which isn’t the case for every women’s daily life, it could be an analysis of what women are seen to be doing everyday making their roles useless and quite in vain. Though that could depend on analysis does not mean the be dependent. This may not have a specific meaning as said by Szarkowski that photography is not purposed to provide a meaning to each photograph taken. Most of Szarkowski concepts stated, “The hard part isn’t the decisive moment or anything like that—it’s getting the film on the reel.” This could imply that the photograph does not have to be the best captured image but it needs to be taken at a certain point to prove that something happened, this could be similar to Starkey’s concept of staged photography, she isn’t capturing the real moment of the event happening but she recreating it to the best of her ability portraying the events as happened but without capturing it in the right moment as its being replayed with different people, possibly in a different scenery, at a different time of the day but the event is still getting shown. this therefore represents the idea that this image is a mirror as Starkey may have seen these event happen and that is why she recreates them, this makes the images real meaning feel more personal to Starkey than other people as they don’t know the real story behind the image of the lady holding her hand to the mirror with an older lady behind her. One quote stated from Jeds review notes that at some length, “Szarkowski writes about the death of the pictorial press (Life, Look) which supported public documentary photography” .This can tie in with the fact that Szarkowski’s quote states that some images aren’t always the best but they take a picture of the moment. Almost like a documentary, they don’t really get people to pose for their images, they just want to get the message across. This Image could also represent the imagery of the lady’s downfall as you pay attention to the mirror it seems to be cracking, and the lady behind her is looking quite concerned. Therefore, the point of an image being identified as a mirror is to show the personal aspects, the fact that this image is foreshadowing the future or even just replaying past events. 

Henri Cartier-Bresson, Seville, 1933

Window reference:

The windows theory of identifying a photo is context based. This image is almost created like a window, it is like a scene is happening behind the closed wall, but the small hole is letting us see the perspective of what is happening behind closed doors. This is seen as a window because this might not be personal to the photograph, this image is based on small children playing around. This image is of a poorer place or country at war. The photographer Henry Cartier Bresson is known as a humanist photographer considered a master of candid photography, Bresson focuses on street photography and produced the idea of a decisive moment. Bresson described his photography journey as hunting without killing, he describes photography as a passion, he used his passion to turn images into the unexpected, Bresson goes out an takes photo of what is walking past him, the people in his surrounding, he is not looking for a specific thing. As seen in the image none of the little boys are looking straight at the camera, there seem to be occupied playing around as little children do, this image could represent a nostalgia of one’s childhood, as none of the children are on their phones messing around doing negative things exactly like when we were children and then the world grew bad. The concept that all children are innocent as they do not know the cruelty of the world, they do not have anything to focus on except playing around. the purity of this image shows how generations have changed the word of childhood, childhood to older generation would mean playing in the garden with your friends, drawing, doing fun activities whereas these days a childhood is which child had the best phone at the youngest age, all everyone focuses on is social media and knowing about the latest news. A way of linking Henri Cartier’s work to Szarkowski concept of windows. An important quote stated by Szarkowski “They were … pure and unadulterated photographs, and sometimes they hinted at the existence of visual truths that had escaped all other systems of detection.” This could link in with the idea that social media has taken over people’s minds, all people want to do is go on their phones and message people or scroll on apps brain washing people to believe fake news. This quote shows us that this image is an example of the purity of the world, showing us that these children look grateful for everything things may get, they do not seem to be complaining, these children are content. We are letting the truth slip away that social media is slowly taking over and no one is stopping it. Another quote stated by Szarkowski was ” Photography’s failure to explain large public issues has become increasingly clear… most issues of importance cannot be photographed.” this shows us that this photograph may have contextual factors to it, these children look like they are playing in a dangerous place, all the walls are broken, there are pieces on the floor scattered everywhere. But the idea that these children look happy navigates us away from the idea that they are in danger. The impression that the war isn’t really major here as everyone looks happy, safe and there isn’t any graphic images shows us how inhumane we have become, the world wants to forget the fact that war is happening and just because the image doesn’t capture the actual moment of the bombing an shooting happens then everyone is safe and not in danger anymore. one quote from Jeds review states that “realism,” involved with the “exploration” of a private “window” on the world. This states that window is meant to represent the struggles of the world and how war is effecting us. This ties in with Szarkowski thoughts that some photographs are gonna be revealing the visual truth of the world. Therefore, the concept that windows are all about the concept of the image shows how forgotten some of the key concepts are left behind due to the atmosphere being content and not graphic. 

Conclusion:

Overall, the idea of mirrors and windows describing an image has been looked at in depth, by allowing us to understand how to identify what image symbolises a mirror or a window. The main point that photographs can be both ‘mirrors’ and ‘windows’ of the world, is all dependant on how you may look at the photo. Many believe that a photograph is a mirror and window, but they let their imagination control their thoughts. The photographers that have helped me understand the concept of windows and mirrors have opened my eyes to see different perspectives. The idea that a window is a way to portray the events of something historical, it’s almost a way to spread news without writing anything but just presenting an image that has a historical background. The concept that a mirror is to be presented as a documentary is quite a reasonable way of stating what a mirror image is, as it is meant to portray life events about the photographer, or the model, or ever yourself. It’s meant to reflect a past or future event or making the image personal and reflective. Although an image can be seen as both mirrors and windows it shows us that not all images are meant to represent their purpose, sometimes images are taken for memories, for positive or negative reasons. Although some images could be taken to spread news, like war and violence that people need to be cautious about, it’s a way of presenting an image with expressions that tell a story without displaying it with words. Both images show different people and also show different emotions, the coloured image shows a sense of mystery and confusion as to why the image is cracking. Whereas the black and white image shows a sublime moment, the concept of the image is to report the damage of the war, but the point of the image is taken over due to the joy on the boy’s face, playing in the image. The image almost gives us a sense of romanticism as it captures the beauty of the image, the way these boys turn the downfall of the country in a positive way, without causing problems but they know they can’t for anything to save their countries so they try to see the positives of the situation where as the first image in colour automatically shows a personal side, something you can try and pick out to make a story, the story seems more familiar and homelike, not that the scene is cosy, but it shows a day to day scenario in London that would be seen on a daily whereas the black and white photo is not an image that is displayed worldwide as it is seen as a negative image, the way the world is at war and nothing in the world is peaceful whereas the first image in colour shows a sense of relaxation, even though its seems to a mysterious image of the two ladies, it does feel more comforting, also with the fact of the colour. The colour can create visual contrast, direct attention, evoke mood, this image makes the mood fee quite bewildering, and makes the audience want to pay attention to the detail whereas the black and white image is quite straight forward. Therefore, the overall idea that each image tells a story whether it’s personal or not is decided by if it’s a mirror or window, or possibly both. 

Photographer, John Szarkowski, grouped photographers’ work into categories of those whose work reflects the subjectivity of the artist in comparison with those who look to portray the outside world. Szarkowski wrote, ‘The distance between them is to be measured not in terms of the relative force or originality of their work, but in terms of their conceptions of what a photograph is: is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?’.

Photographs that could be seen as a ‘mirror’ would be photographs which are subjective, reflections, expressions, staged etc. Whereas, photos which are ‘windows’ would be more objective, documentary, real and truthful, they show the external world.

Windows:

This photo above, from Rafal Milach, would be seen as a ‘window’ image. This photograph could be a staged image or it could be a real moment between these people. Either way, the photograph is capturing a moment in time, which gives the viewer a look into their life.

Mirrors:

This photograph, by Cindy Sherman, is a ‘mirror’ photograph as it is a reflection of herself. She is the model in this image but also, the photo is a message reflecting her thoughts and opinions. This photograph portrays a woman in the kitchen which is where, stereotypically, woman should be.

Follow these instructions:

1. Read two texts above (John Szarkowski’s introduction and review by Jed Pearl) and select 3 quotes form each that is relevant to your essay.
2. Select two images, one that represent a mirror and another that represents a window as examples to use in your essay.
3. Use some of the key words that you listed above to describe what the mirrors and windows suggest.

Essay plan
Introduction (250 words): Reflect on the origin of photography and describe in your own words the difference between the two photographic processes, Daguerreotype and Calotype. Consider how they could be viewed as either a mirror or a window of the world according to John Szarkowski’s thesis. Choose one quote from Szarkowski’s text and comment if you agree or disagree.

Invented in 1839, Daguerreotype was the name of the process and what the resulting image was called. With this being one of the first commercially available processes was what made it so popular. The process created a very detailed image on a copper plated sheet, which was a positive image that could not be produced . The silver copper plated sheet was polished and treated with fumes making it light sensitive. Within the same year of 1839 Henry fox talbot developed the same process which he named calotype. These stages were called developing, fixing and printing, producing a paper negative which could be printed over and over again. He discovered that actually exposing light for a long time onto photographic paper revealed an image. However after experimenting with this, it revealed an image that was produced after a very short exposure time, but this image was not fixed.- only becoming fixed when removing the light sensitive solution through using a chemical solution meaning the image could be reviewed in bright lights. The resulting image was called the calotype.

Daguerreotype and Calotype could be described as mirror photos, as both processes involved a reflection of the image. The images created are done by a staged process meaning the image doesn’t just reflect on the page straight away, chemicals and fumes are involved to make it light sensitive. Although the exterior world is portrayed throughout this process

John Szarkowski’s theory suggested in 1978 that ‘a photograph could be measured in terms of what people’s conceptions were of what the photograph is; a mirror – that is reflecting a portrait of the artist who made it,’ this could be described through a window, through which one might better know the world?’ Both personal visions

^{Bring in John Szarkowski’s theory around mirrors and windows and provide an overview of how a Daguerreotype could be viewed as a mirror image (reflection of a metal plate, subjects photographed often portraits, rather than landscape. Similarly, with Calotype could be seen as a window)}

Paragraph 1 (250 words): Choose an image that in your view is a mirror and analyse how it is a subjective expression and staged approach to image-making. Choose one quote from Szarkowski’s thesis and another from Jed Pearl’s review which either supports or opposes Szarkowski’s original point of view. Make sure you comment to advance argumentation in providing a critical perspective.

Hannah Starkey ‘reconstructs scenes’ from everyday life staged photographs of women within city environments, her work is primarily created in London. She The photograph portrays a subjective expression as she depicts how women engage with regular routines, like sitting in cafes.

‘a romantic expression of the photographers sensibility as it projects itself on the things and sights of the world.’

https://www.saatchigallery.com/artist/hannah_starkey

Paragraph 2 (250 words): Choose an image that in your view is a window and analyse how it is an objective expression rooted in the notion of realism. Choose one quote from Szarkowski’s thesis and another from Jed Pearl’s review and follow similar procedure as above ie. two opposing points of view and commentary to provide a critical perspective.

Children in Seville, by Henri Cartier Bresson, displays a window view. This is evidently shown through the way in which Bresson has captured the photo, in the ‘Decisive moment.’ The children are unaware they are being captured which expresses the notion of realism throughout. “A window, through which one might better know the world?” John Szarkowski 1978, portrays this unknown story that is displayed, but only you can see it when you look through a window. In relation to Cartier Bresson’s style of the decisive moment , capturing people as they are unaware shows,
In relation to a contemporary style

“a window, through which one might better know the world?” John Szarkowski 1978

Conclusion (250 words): Refer back to the essay question and write a conclusion where you summarise Szarkowski’s theory and Pearl’s review of his thesis. Describe differences and similarities between the two images above and their opposing concepts of objectivity and subjectivity, realism and romanticism, factual and fiction, public and private.

In the early development of the Jersey harbour, it was protected from winds and rough seas which made it easy for small boots to sail. It was also a great place to trade with France and the British Isles. Therefore, this enabled Jersey to start their trading with other countries which helped them bring in money for the island. By the 14th century, the Jersey harbour became a fishing and trading port and as the capital of Jersey, St Helier grew, it helped to make the harbour more important and become more popular. By the 1700s, St Helier became the primary port of the island. However, this meant they needed to upgrade the harbour as more, bigger ships were made. New docks and jetties were made for ships to load and unload the goods that were being traded.

In 1840, Victoria Pier was built to accommodate much bigger ships, it also improved access for vessels carrying cargo which had difficulty docking. In 1845, Albert Pier was built which further enhanced docking capabilities and allowed ferries to arrive with passengers which allowed Jersey to connect with the mainland.

During both of the World Wars, the harbour was significantly important. During World War 2, the Germans occupied the harbour and made changes to support them during the war. After the war, the harbour was modernized. Facilities for the ships and the harbour improved and container shipping was introduced which improved the trading operations.

Today, Jerseys harbours are still significantly important. It allows the handling of goods like agricultural products, fish and building materials.

What are the differences between photographs that are Windows and Mirrors ?

Personal visions take one of two forms. In metaphorical terms, the photograph is seen either as a mirror – a romantic expression of the photographers sensibility as it projects itself on the things and sights of this world; or as a window – through which the exterior world is explored in all its presence and reality. This was showcased in the Museum of Modern Art by John Szarkowski whose work largely reflected the subjectivity of the artist.

The distance between them is to be measured not in terms of the relative force or originally of their work, but in terms of their conceptions of what a photograph is; is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world.

– John Szarkowski

This suggests that every image is either a Mirror or a Window and looks into different areas of peoples life’s, or looks into the outside world.

Key Words

Mirrors – subjective, fiction, romanticism, tableaux, reflective, personal, internal.

Windows – objective, documentary, realism, candid, public, external, truthful.

Binary Opposites

Mirrors Windows

Studio Street

Inside outside

Subject object

Chosen Image

This is my chosen image, it is a field where a person has worn in a path from the amount of times they have walked it. I have chosen this image because it has elements of both Mirrors and Windows, it looks at the outside world in reality but also peers into someone’s life and why this particular path might of been important or why they continue to walk the same path. This has elements of being a Window because its a realistic image and its external it looks outside the life of a person and their home. This image could also be seen as a Mirror because it does reflect on the persons life in a way. It suggests what was important about this image and why they chose to take this photo.

STORY: What is your story?
Describe in:

• 3 words
• A sentence
• A paragraph

NARRATIVE: How will you tell your story?

• Images > New St Helier Harbour photographs
• Archives > Old photographs of St Helier Harbour from SJ photo-archive or JEP Photographic Archive
• Texts > Write a short introduction or statement about your picture story, image captions
• Typography > creative uses of words, letters, font-types, sizes

Add a selection of your final 10-16 images as a moodboard/ gallery to the blog post too, including any archive material too.

3 words

• then and now

A sentence

• I have a variety of images showing the now and then of the harbour.

paragraph

• For my zine I have used a range of images that I took of the Harbour whilst having a talk and a tour from Captain Brian Nibbs and I have also searched through the photo archive of old images from the Harbour and tried finding images in which were similar to my images and I created a layout that showed the images in a “then and now” sense. Each of my images hold a unique story behind them where some of the images where Captain Nibbs is featured it shows memories of his life and when he used to be a Sea Captain back in the way when some of the Harbour comparison images show how much life has or hasn’t changed throughout the years.

Plan

Where am I taking photos?

For this photoshoot I am going to St Helier Harbour and going to take a selection of images that really show off and represent the Harbour. We are going to be having a tour by Captain Nibbs so I will also try to capture some good images of him in the moment as he’s explaining key information about the harbour and his connections to and around the harbour life.

My zine

For my first zine I have decided I would like to try and use my images along with images from the archive and make a 12-page zine using comparisons as a then and now structure to show how much the harbour has changed in these last few years. I am also going to use the images that I take of Captain Nibbs

What are the differences between photographs that are windows and mirrors?

‘Is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?’- John Szarkowski.

Mirror- A mirror photograph is a romantic expression of the photographer’s sensibility as it projects itself onto things and sights of the world. These images are staged/ tableaux and are subjective. They present the photographer, or a reflection of the photographer, as he reflects himself onto the images. These images are metaphorically described as mirrors, because they are a reflection of the photographer.

Window- A window photograph is when the exterior world is explored in all its presence and reality, so the images are not staged/ tableaux, so they are documentary based. They are also objective. These images are metaphorically described as windows, because they look out onto the world, like you would look out through a window onto the world.

Words and other quotes associated with windows and mirrors

Windows- documentary, objective, realism, candid, public, straight, optical, views, external, truthful etc.

Mirrors-  tableaux, subjective, romanticism, fiction, staged, personal, reflective, manipulated, internal etc.

Binary opposites-

Windows- Film, subjective, fiction, staged, private, bent/ wonky, internal etc.

Mirrors- non-fiction/ documentary, objective, candid, private, external etc.

Analysis of Images

About the image- Cindy Sherman is a female photographer, who dressed up as many different stereotypes. In this image she is a generic house wife in the kitchen. This is a powerful image, because back from the 1970-1980’s, when this image was taken, the norm for women was to be very domestic and stay at home with the children and cook and clean, while the husband was out at work.

Mirror- This image is therefore a mirror, because it is a reflection of herself as a women and a reflection of her identity, because this is the stereotype she had to live through and this is what was considered to be socially acceptable of her and all other women in this time. This is also very personal and internal to her, as she is the one who has lived her life this way and being told she must live her life this way. She has also manipulated this image and staged the image, so it is a tableaux, because she has dressed up as this house wife and manipulated her setting to be the kitchen, as well as posing for the camera, so that it is not a candid shot. This image is also very subjective and can interpreted in many different ways by the viewer, because it is such a simple, yet powerful image of her stood in the kitchen, with an apron on. This image is also a mirror, because it is a self-portrait of herself, that she had taken on a timer for her camera.

About the Image- This image was taken during a road trip across Iceland with Icelandic writer Huldar Breiðfjörð, from which he made a book called, ‘In the car with R.’ He travelled across Iceland stopping at certain point to take images. This was a image he took in either a bar/ diner of a couple and their friend.

Window- This image is a window, because he travelled across Iceland taking documentary candid images of whatever he saw that interested him, and in this image it was these three people. This image is very external to him, because he does not know these people, and most likely never saw them again, but he spotted a decisive moment and acted. He is looking out onto these people for this image, instead of looking at his reflection, or onto himself. There is also an element of realism and truthfulness in this image, which is what makes it a window, because it is a documentary image, instead of a candid image, which is staged or fictional.

How to make a page spread

Make sure to change this from essentials to essentials classic to be able to get some extra features

Go to the pages section in order to be able to see each page spread.

Use this tool in order to make a box within the page spread to fill with my own images.

Indesign layout one:

Image references:

comparison 1:

comparison 2:

comparison 3:

First Official Layout

Step one: Here I am creating my first page so I have created a box to fill with my first image.

step two: Insert the image which I want within the box, The create a text box.

Step 3: create a catchy title that describes my zine.

page 2 layout

page 3 layout

page 4 layout

page 5 layout

page 6 layout

page 7 layout

Within the origin of photography, there are two photographic processes; Daguerreotype and Calotype. The Calotype process first produced a photographic ‘negative’ in the camera, from which many ‘positive’ calotype prints could be made, whereas daguerreotypes were a one-off image.

Louis-Jacques-Mandé Daguerre was a French artist and photographer, recognized for his invention of the daguerreotype process of photography. The daguerreotype is a direct-positive process, creating a highly detailed image on a sheet of copper, plated with a thin coat of silver (without the use of negative). The process required great care, the silver-plated copper plate had to be cleaned first and polished until the surface looked like a mirror. But the daguerreotype had serious limitations, the mirror-like surface of the image could only be viewed from a narrow angle.

According to John Szarkowski‘s thesis, the daguerreotype can be considered as a mirror image rather than a window image. This is because Daguerre focused on taking photographs of people rather than of the world, and I believe this category of images are more personal and subjective and could possible reflect feelings and emotions of the photographer. This may be due to the fact that images of others hold great value as they capture that moment that one is able to reflect on after the moment passes. This was a useful technique from Daguerre as it also gives the viewer a hint of history and context behind the photograph, while also allowing us to find out a little bit more about the artist himself, and potentially find out why he took these images and what his passion behind his methods was. Additionally, centuries later we are able to see what photographs looked like in the 1800s, seeing how greatly photography has evolved since then, which I think is effective as it reflects historical contexts within photography and specifically portraits. This is because through a portrait, one is able to see a lot deeper than just the photograph, as we can see the expressions of the person, background of the image, clothing etc which can also bring us to ask questions and compare todays photography to Daguerre’s time. Szarkowski states “a mirror – a romantic expression of the photographer’s sensibility as it projects itself on the things and sights of this world.” To a high extent I agree with this quote because sensibility means being able to appreciate and respond to complex emotional or aesthetic influences, which is shown through how the image is taken. For example, a mirror image often expresses a person’s hobbies, habits or personal experiences.

William Henry Fox Talbot invented the original positive and negative process, the calotype is sometimes called a “Calotype.” This process uses a paper negative to make a print with a softer, less sharp image than the daguerreotype, but because a negative is produced, it is possible to make multiple copies. Fox Talbot’s images were made so that when they were exposed to light, they were easy to producer and distribute. However, these images faced many drawbacks such as the people in the images being described as looking ‘on the edge of present’, meaning they did not quite look alive due to low sharpness and graininess. The process was superseded in the 1850s by the collodion glass negative. A lot of calotype photographs show scenery in the image rather than people or things that associate with the artist specifically. This method can ultimately show history because it was introduced in 1941. A lot of calotypes fit into realism, public and optical. John Szarkowski stated: “The distance between them is to be measured not in terms of the relative force or originality of their work, but in terms of their conceptions of what the photograph is: Is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world? I personally would agree with this statement because I believe each artist is different with unique and different views 5 on what an image is or the meaning behind it. According to John Szarkowski‘s thesis, in my personal opinion Fox Talbot’s images are more associated with windows in comparison to mirrors, mainly because his common subject throughout his photographs is trees or buildings.

Mirrors chosen image:

Cindy Sherman’s Untitled Film Stills is a suite of 70 black and white photographs in which the artist posed in the guises of various generic female film characters (working girl, vamp, and lonely housewife). Staged to resemble scenes from 1950s and ’60s Hollywood movies, printed images mimic often-staged “stills” used to promote films. By photographing herself in such roles, Sherman inserts herself into a dialogue about stereotypical portrayals of women. I chose this image to analyse for my mirrors as it is a subjective expression and definitely has a staged approach, which immediately makes me question why this image was taken. I find this image intriguing as the context behind it successfully links to the assumptions and interpretations I can make from first glance as a viewer. For example, this image was taken by Sherman in 1977, which was a time when women’s rights were not as valued as men’s rights, when women were not seen as equal to men, rather, they were objectified. I believe this image effectively portrays these historical challenges against women and feminism because Sherman is fitting into the female stereotypes and representations, such as being aesthetically pleasing to men. I can assume this from the minimal clothing she is wearing, as well as wearing an extremely seductive makeup look. These factors contribute to women being sexualised because in the 60s and 70s because women supposedly didn’t have much purpose other than to nurture their children or please their husbands. Therefore, from this I can gather that perhaps Sherman took these images to please men, potentially to gain male attention as back in the 70s it was challenging for women to be seen as worthful. Furthermore, the construction of the overall image executes these representations because Sherman is clearly the main subject in this image, as there isn’t much background and the camera angle is focused on just her body and face. This immediately draws my attention to Sherman’s facial expressions and body language, which indicate her awareness of how she has been viewed and sexualised. In addition, Sherman is portraying the “female gaze” in this image, which is an issue of representing women as subjects having agency and also adds to the ideology of women being objectified. I believe this image is a mirror image as it favourably feeds into representations of women, and by reflecting these historical contexts as a viewer I am able to gather an ideology of how strongly Sherman feels about these stereotypes. Through the positioning of the camera as a deadpan angle directly above Sherman, as well as Sherman gazing away from the camera gives me the impression that this image was staged. As the artist herself is the model in the image, this tells us that the aim of her Untitled Film was to reflect herself as a photographer and perhaps disagree with the challenges women have had to face over the decades.

Windows chosen image:

This image was taken by Henri Cartier Bresson, a French artist and humanist photographer considered a master of candid photography, and is one of his most celebrated images. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment. Bresson was “profoundly inspired by the idea of capturing life as it unfolded in the streets.” This quote from Bresson himself tells me immediately that he was a street photographer who focused on taking objective images that were less personal to him, rather, they focused on capturing a moment that could not be easily replicated or staged. In addition, John Szarkowki stated “… or as a window – through which the exterior world is explored in all its presence and reality.” This also illustrates that window images should be more documentary rather than a reflection of the photographer, which I believe Bresson’s images fit perfectly into because he is known for capturing the Decisive Moment, which he describes as the exact instance when a unique event is captured by the photographer – when something that may never happen again is frozen in the frame. Through using the scale below, I was able to confirm Cartier Bresson’s images were windows rather than mirrors:

I identified this through the adjectives used on the right side of the scale, which I can associate with his images more accurately as he was a street photographer. Street photography is a genre that records everyday life in a public place, and I believe Bresson’s work executes this successfully as it presents an intersection of artistic skill and journalistic documentation. His works reflect on the most tragic and significant moments of the twentieth century, and can also help us learn more about the recent past. These factors also compliment the idea that this image is a window image as it links into publicity and realism, adding to the theme of objectivity. I have noticed there is often movement throughout his photos which can also interlink with this ideology as it clearly portrays the image as not being staged, which is another element that catches my eye. Despite this, it could be argued that Bresson’s images do not successfully highlight realism as this image in particular is in black and white. Because of this, we can conclude that the image has been edited which overall contrasts with the concept of window images as it does not show the image the way the human eye would see it. Therefore, this brings in the fact that the mirror and windows scale theory shown above can be viewed as a delicate range rather than harshly separated and opposing each other completely. This is because many images by different photographers can be placed on the scale differently as they incorporate unique factors from one another. Shown in Pearl’s review, Szarkowski claims “this thesis is not a rigid pattern, but as a continuous axis, the two poles of which might be described by the terms proposed above”, which compliments this idea. However, I would say this image by Bresson specifically falls into the windows category only as it clearly was not influenced by personal elements, rather, it has a solid expression of authenticity due to the location of the image as well as the movement included. This ultimately concedes a documentative aesthetic as it shows that the people in the photograph have not adjusted or changed their behaviours for the image. Henceforth, I agree with Szarkowski’s statement “… or as a window- through which the exterior world is explored in all its presence and reality” as Bresson’s experimentation with street photography as well as the Decisive Moment acknowledge a more realistic side of photography showing non-staged moments of life.

Conclusion:

In conclusion of the mirrors and windows theory executed by Szarkowski and Jed Pearl, an image by any artist can be categorised into either mirrors or windows, and arguably some images fit into both categories. Szarkowski attempted to categorise photographers whose work reflected the subjectivity of the artist themselves in comparison with those whose work largely sought to see outside themselves. Szarkowski himself stated that photographs are either mirrors- a subjective image that reflects the artists opinions/feelings/beliefs on the world, or windows- an image that portrays the exterior world with an unstaged approach and a more objective expression shown through it. Through the use of the scale which identifies whether an image is a mirror or a window, it suggests that a photographic artist of the twentieth century finds himself, consciously or unconsciously, somewhere along a “continuous axis” from romantic to realist. Yet it can be argued that use of the medium presupposes a “generous and inclusive acceptance of fact, objective structure,” and that the selection among these facts is the personal opposite built into any photograph.

In contrast to Szarkowski, Jed pearl made a review in spring 1978 critiquing Szarkowski’s theory. He started his review by stating ‘Szarkowski is fond of creating categories’ which immediately shows he disagrees with Szarkowski’s ideology, and believes images should not fit into a rigid structure of categorising. He continues with ‘Szarkowski claims this thesis not as a rigid pattern, but as a “continuous axis, the two poles of which might be described by the terms proposed above”, displaying his opinions of how any photograph can fit into either the mirrors or the windows classification. However, I mostly agree with Szarkowski’s theory as I believe it is a successful way of interpreting an image at first glance, and is an immediate way of determining the purpose behind a photograph. By using this theory, as a viewer I can also make accurate assumptions on why the image was taken and what it is trying to illustrate to people. Therefore, Szarkowski’s theory on mirrors and windows is a good approach to use when photographing as it reveals hidden information about the image, yet also still leaves the viewer questioning elements within the photograph.

Similarities and Differences between Sherman and Cartier-Bresson:

Within these 2 images taken by the different artists, immediately I can recognise several opposing concepts between them. Firstly, within the concept of objectivity and subjectivity I can determine an obvious difference, as Bresson’s image executes a clear tone of objectivity whereas Sherman’s image lacks this aspect. This is due to the fact both images have different camera angles: a deadpan angle from a worms-eye view, and a deadpan angle from a birds-eye view. Straight away, this tells me that Sherman’s image is staged as a set-up would be needed in order to portray this, as well as Sherman’s posing in the photograph. Through these factors I can specify that Sherman had a message she wanted to carry out: that message being herself portraying stereotypes of women in the 1970s. Whereas, Bresson’s image shows a sense of documentation through the non-staged approach of the camera angle, therefore forcing the image to lack a romantic expression. However, a similarity between these two photographs is that they are both edited into black and white. The theme of black and white decreases the element of objectivity as we do not see the world in black and white, therefore it is clear that both images have been edited. Another difference between these two photographers is the public and private aspect. Sherman’s portrait is a private image as she was the photographer as well as the model in the image, showing that she was depicting a reflection of herself and her own views on the subject matter. Bresson’s image is clearly a public image as it was taken outdoors with members of the public, decreasing the subjectivity. Additionally, I can infer that Cartier Bresson was an artist that tapped into significant moments of the twentieth century, which increases the likelihood of his work having factual elements rather than being influenced by personal feelings. This idea can also be determined by the people in Bresson’s image, who are performing naturally and are not changing their mannerisms in order to suit the image, which ultimately links back to his Decisive Moment experimentation.

What is the difference between photographs that are mirrors and windows?

Mirrors and windows are ideas of a binary opposite. ‘…two creative motives…’ [Szarkowski, 1978] that have conspicuous contrasting ideas.

Mirrors is an idea about expression and originality. Multiple, subjective perspectives can be interpreted. Just as mirrors, photos can have a warped or manipulated perspective to emphasise a narrative/point.

This ‘creative motive’ is reminiscent of the theatrical visual art of tableaux vivant, that would recreate artworks with props and actors on stage. Similar to the way a photo recreates ideas with its subjects, composition and themes.

To Szarkowski it was ‘…reflecting a portrait of the artist who made it…’. Early examples of this romantic style photography can be seen in the works of Julia Margaret Cameron, who was directly inspired by tableaux vivants.

Julia Margaret Cameron

Windows is of a single objective perspective. They are descriptive, documentary and formal as they tell a clear narrative in from a fixed point of view.

Examples of ‘window’ photographers are Henri Cartier Bresson – and photojournalist who travelled the world merely observing conflicts, communities and cultures – and Ansel Adams – a photographer and activist of many conservation groups, capturing the candid beauty of national parks.

Windows describe something present whilst mirrors describe the interpretation of what is present.

The compositions are always creative, and can be informative or abstract. Windows and mirrors to me seem to a spectrum to exercise ideas and storytelling.