The origin of photography originated in 1822 where Nicéphore Niepce created a photography technique named heliography. Since this phenomenon, multiple interpretations of photography have also been discovered. Such as the process of the Daguerreotype created by Louis Daguerre, is created after capturing the image exposing it to mercury vapor which brings the visible image to life. There was also another significant photographic process in history named the Calotype created by Henry Fox Talbert. The Calotypes is a negative-positive process which is also known as the ‘paper negatives’, created by using different light sensitive chemicals and salts such as silver nitrate and silver chloride. These Calotypes differed from the Daguerreotypes due to people in the photos looking ‘on the edge of being present’ and seen as looking not quite alive due to a low sharpness and graininess, this caused a loss of fine detail. Whereas Daguerreotypes being very detailed and clear, making them stand out amongst other images. I believe that Daguerreotypes represent ‘mirrors’ in a multitude of ways. This is due to the fact the images produced by Louis Daguerre are very reflective and change when exposed to different angles of view. This is very well symbolized through the sharply defined one-of-a-kind photographs on silver-coated copper plates. They are also usually packaged behind glass and kept in protective cases like a mirror is. I also believe Calotypes signify windows as these images were mainly popular due to the fact they captured a moment in time, this relates to windows as whilst looking through a window you are witnessing a moment in time that will never occur again. 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. This idea is supported through the quote “The photograph is seen either as a mirror- a romantic expression of the photographers sensibility as it projects itself onto the things and sights of this world; or as a window- through which the exterior world is explored in all its presence and reality” ¹ I believe there is a direct contrast within the concept of windows and mirrors due to the fact tableau focuses more on picturesque or dramatic effect and appear absorbed whereas documentary photography focuses more on straightforward and accurate representation through reality not fantasy. 

Paragraph 1

This image is a mirror due to the framework and people posing that have been used to produce it. This photo demonstrates a girl who is not especially rich, but her friends are. The girl is dealing with the pressures of the world and struggling with keeping up with it all. However, due to her beauty, she is able to enter the popular, higher-class group of people. However, she believes in substance over beauty and did not want to be included only for her looks and instead for her personality. This photo creates a mirror in the image as the main character in the photograph is seeking more than what the eye can see. This also demonstrates tableau photography as the models are arranged in a certain way to create a dramatic effect on the viewer, simply by posing and displaying in a potential stage-like setting. The photographer Laura Greenfield photographs acclaimed chroniclers of youth culture. These photographs reveal insight into the daily lives and rituals of women. Her photos range from extreme to more genuine photographs. She photographs girls of all ages from pre-schoolers to post-grads, with a multitude of different jobs. The thing I admire most about Lauren Greenfield’s work, is her exploration of the peer pressure, exploitation and sexualization which women experience, and how it may affect their emotions of self-worth, these themes can also be reflected through tableau photography. This topic she explores is clearly demonstrated through her photographs due to the specific scenes she chooses which show the hardships women face throughout life. I chose this photograph especially as it portrays a mirror metaphorically as it is reflecting the females place and feelings in the group as she is displaying how young people grow up quickly under the influence of Hollywood. A quote from John states “the difference between the thing that is shown in a photograph or the subject of the photograph and the photograph is the actuality in the acceptance of fact by the photographer”² this quote particularly inspires me as it reinforces the idea that the photograph might be more important than the thing itself and how every person interprets a photograph differently. This relates to a photo being a window as the image will act metaphorically as a window for the viewer to look through and create an opinion on it immediately.

Paragraph 2

This image demonstrates a ‘Window’ due to the fact it demonstrates an objective expression of darkness, sombre and danger rooted in a sense of realism. The slum in which it was photographed is named ‘The Bend’ which is known well for being filled with abuse and murder being a casual everyday occurrence. After viewing this photo, the viewer automatically feels a sense of uncomfortable and uneasy feelings as the ‘gang’ portrayed in the photo looks eerily at the camera leaning on curbs and stairs, having a not-so-welcome atmosphere. The photo also includes a woman with her child, leaning out the window, this makes the photograph even more sinister and unsettling as the idea of innocent and helpless people may face the idea of being killed due to it being a common occurrence in this area. This creates a ‘Window’ or documentary style photograph as the viewer can easily see through the photograph a sense of poverty and desperation for safety and security whilst also revealing the terror and the sorrowful lifestyle of urban immigrants facing the Mulberry Street ‘bandits’.  John Szarkowski’s words “A window is a device that invites the outside world in” ⁴, explain how windows serve as both literal and metaphorical frames in photography. This also explores how windows connect the interior world with the exterior world. This idea of ‘Windows’ through photography explores photography allowing observation and interaction with the outside environment through a picture. This relates to Bandits’ Roost as the camera lens with a slight vignette style, accompanied with the harsh light and ‘haphazard’ compositions convey the chaos of living in poverty.” 

Conclusion.

In conclusion, both of my chosen images represent the way photographs can be both ‘mirrors’ and ‘windows’ of the world as they represent human experiences and viewpoint of the world and how they are affected by issues. John Szarkowski’s theory of photography as a reflection of the Photographer’s Inner world and being a window onto the world overall, continues to create an impact and shape multiples opinions on understanding the variety of ways in which photography can engage with both the world and the self. Although Pearl might highlight the limitations of Szarkowski’s approach, he also highlights how the rise of digital photography has changed images as photos can be manipulated, layered and changed due to how images are created and consumed in the modern day. Although both of my chosen images demonstrate the ideology of ‘windows’ and ‘mirrors’ effectively, I believe the second photograph, (Bandits’ Roost, 59 1/2 Mulberry Street- Artist Jacob Riis) which portrays a well- known neighborhood famous for poverty, crime, and overcrowding, is a stronger demonstration of the metaphorical term ‘window’. The photograph demonstrates a powerful statement about the need for urban reform. This use of displaying the harshest of conditions serves as a tool for social justice, by documenting these conditions as an advocate for change. Although the first image ( Mijanou and Friends- Laura Greenfield) also demonstrates a powerful message of women’s’ lives and how they differ from men’s, I believe Bandits’ Roost conveys a more ‘real’ message as It captures a moment of social reality without any sense staging or preparation compared to tableau photography, I like how it is an example of pure documentary realism.  

Footnotes.

1. Mijanou and Friends from Beverly Hills High School on Senior Beach Day, Will Rogers State Beach | Cleveland Museum of Art ↩︎
2. The Thing Itself | COMD2330_Digital_Photography_spring16 ↩︎
3. Documentary Photography Movement Overview | TheArtStory ↩︎
4. John Szarkowski | MoMA ↩︎

WHAT ARE THE DIFFERENCES BETWEEN PHOTOGRAPHS THAT ARE WINDOWS AND MIRRORS?

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

Windows: photos meant to act as a window for the viewer to see something that is primarily factual and external to the photographer’s own sensibility. 

Mirrors: Reflection in photography is also known as mirror photography. Its basic premise is capturing an image that also has a reflective surface that is echoing the surrounding scenery.

KEY WORDS

Mirrors: subjective, reflections, visions, psychological, expressions, manipulated, synthetic, personal.

Windows: objective, views, documents, optical, straight, public, real.

BINARY OPPOSITES

FOLDER

2. 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.
4. Paragraph 2 (250 words): Choose an image that in your view is a window and analyse how it is an objective expression rooted in a sense 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.
6. 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.

My 3 Chosen Quotes – John Szarkowski

1. “is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?”
2. “The two creative motives that have been contrasted here are not discrete”
3. “ultimately each of the pictures in this book is part of a single, complex, plastic tradition”

My 3 chosen quotes – Jed pearl

Introduction

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. The differences between both the Daguerreotypes and the Calotypes is that Daguerreotypes are sharply detailed images preserved on a copper plate whereas Calotypes are black and white images preserved on paper. With Daguerreotypes I would say they are more referable to mirrors as Daguerreotypes are more detailed and when you look into a mirror there is only one focus point and that’s you in full detail however with calotypes they represent windows as there is a lot more to see but it is not in detail and is all seen from afar creating a much wider picture with a lot to it rather then one set story etc. A quote from Szarkowski theory 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?” This is a question which he asks which I would have to say my response to this is that a mirroring image showing the artist behind the work creates a much more in depth story and meaning to it whereas a calotype being represented as a window also does create a vision into learning more about the world however with so much going on through a window its hard to know the true stories to every person, structure and animal within.

Paragraph 1

This image represents mirrors as it represents this lady’s life.

question: what are the differences between images that windows and mirrors?

John Szarkowski believes that photography falls into two categories, these categories are known as windows and mirrors. As Szarkowski states  “The distance between in terms of their conceptions of what a photograph is: it is a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?”. To put it simply when making an image does it represent you as an artist if so this would be a mirror image, or does it show the exterior world, with its natural elements this would be a Window image.

words that associate with mirror photography

subjective

reflective

personal

unique

aesthetic

individual

romanticism

words that associate with window photography

documentary

realism

views

objective

optical

unaltered

genuine

artist that include windows and mirror photography

(mirror image: Richard Hamilton)

Richard Hamilton was a painter who created painting based on his views and ideals on the world which is was what made them unique and different. he produced his own atheistic which is what is known as pop art and was it to be believed to be one of the first paintings consisting if pop art. These are the reasons to why I believe this image is indeed a mirror image as it fits the criteria of Szarkowski’s theory’s about photography.

(window image: Ansel Adams)

Ansel Adams was a landscape photographer who travelled all of America to capture images similar to the one above. His photography consisted of capturing the beauty of nature in ways never seem before in photography which is was made his work so special, he visited Yosemite Valley, Yosemite National Park, all the time to capture its change over the years of his career making it documentary, realism and unaltered which is why this contributes to the mirror aspect of Szarkowski concept of his photography theory’s.

where?

school

function

streets of jersey

my home

work

who?

colleagues

family

friends

students

teachers

aim:

to present images that represents “windows or mirrors” accurately to the images and artists I have studied

how?

take photos around the school, work, home, and the streets of jersey.

artist studies:

Ansel Adams

Richard Hamilton

Mirrors Photoshoot plan #1

For my photoshoot, I plan on focusing on the mirror element (John Szarkowksi) to dive into personal identity. The shoot will be staged (tableau photography,) it will be set in his own room, which is a space which reflects personality and his personal life. The photoshoot being set in his room, plays a huge role in telling a story of his personal life with objects and his surroundings giving clues about his life and emotions. With this photoshoot I aim to create images which feel intimate and close to the model, inviting the viewer to connect with the model on a deeper level

Introduction

Photography turns the ordinary into extraordinary, with the use of different mediums it frames reality. One medium is the Daguerreotype, created by Louis Daguerre who is known as one of the fathers of photography. The Daguerreotype is a highly detailed image on a sheet of copper, plated with a thin coat of silver. The surface was polished until it looked like a mirror, which is also what the images are categorized as according to Szarkowski. Reflection of the Subject: Unlike the calotype, which is more about capturing a scene, the daguerreotype directly reflects the subject in a detailed and almost literal way. Intimacy and Presence: Szarkowski noted that daguerreotypes often convey a sense of intimacy. Clarity and detail can evoke a personal connection John Szarkowski said, ‘a mirror, reflecting a portrait of the artist who made it’.¹ The Daguerreotype was mainly used for portraits and personal images, that created a narrative. Representation of Reality: Szarkowski suggested that the calotype, like a window, offers a view into the world. Subjectivity of Perspective: While a window provides a specific view, it also filters what is seen based on the viewer’s position and the window’s frame Szarkowski presents a binary theory of photography as an art, in agreement to this we have the Calotype created by William Henry Fox Talbot. It was an improvement of the daguerreotype. A sheet of paper coated with silver chloride was exposed to light in a camera obscurers. Henry Fox created outdoors images, as Szarkowski explains ‘a window which one might better know the world’.² Overall, I agree with Szarkowski’s theory of binary opposites when it comes to window and mirror photography, opposites are what create a string, a pathway to create narrative throughout imagery. Although I do not agree that all photography stays within this binary line, I believe that some images may dip between either a mirror or a window creating a hybrid image. 

Paragraph 1: ^{Mirror Images}

This image is a mirror due to the use of models, and the framework that has gone into it. Pinckers has used tableaux, a group of motionless models to tell a story, and the story being told here is clearly linked to romanticism which is another feature of mirrors. This image is very subjective, up to an individual’s ideas, this is created by using little to no anchorage, for example the use of covering the models’ faces but leaving the face of a young boy who is taking photos of the ‘couple’. The images look like fiction, it’s not a real story it has been invited, we can see this by the use of objects, by using the exact moment the boys flash went off and using scarf to cover them, creating a staged scene. Szarkowski describes mirrors as ‘ a romantic expression’³, which is clearly portrayed here by the closeness of the models, leaving to imagination what is happening under the scarf. When he refers to mirrors as “a romantic expression,” he likely delves into the idea of reflection—not just in a literal sense, but also metaphorically. Szarkowski’s appreciation for mirrors as a romantic expression underscores the transformative power of photography—how it can reflect not just the external world but also the internal landscapes of human experience. On the other hand, Jed Pearl critiques the use of mirrors in art by highlighting their dual nature.⁴

(add a quote here by Pearl as an example of his critique)

While mirrors can create compelling visual effects and engage viewers, Perl often points out that they can also lead to a superficial understanding of art.  

Paragraph 2: ^{Window Images}

This image is a window using documentary, it consists of facts and isn’t staged, it is a fact that this place exists within the world, and this is what happens there. It is candid in the sense that it is straightforward, it portrays true realism, the actual situation it has no models within it that have had time to pose. This makes the images very objective, not letting people really put their personal opinions on it because it is so straightforward. It has a straight and optical view, with an open view it creates a public atmosphere, this landscape is not hidden to anyone or anything. Szarkowski describes windows as ‘ the exterior world explored in all its presence and reality’.⁵ Unlike mirrors, which reflect the self, windows invite viewers to engage with the world outside. They serve as frames that reveal the complexity of reality, capturing moments that are often rich with context, emotion, and narrative. They offer a glimpse into different environments, cultures, and experiences, enriching our understanding of the world. On the contrary Jed Pearl critiques, the use of windows in art by examining their potential to create a false sense of immediacy or authenticity. He argues that while windows can provide a view into the external world, they can also distance the viewer from the true essence of the scene being depicted. “An imperfect knowledge of the past” ⁶In essence, Perl’s critique serves as a reminder that while windows can enrich visual storytelling, they should be used thoughtfully to ensure that they enhance rather than detract from the depth and substance of the artwork. 

Photography is an incredibly unique art, it’s like no other in the essence of how many different forms it can create not only how many different modes it can make for example portrait vs landscape, but also in the essence of windows vs mirrors. John Szarkowski and Jed Perl offer insightful frameworks for understanding these dual roles, allowing us to explore the complex relationship between representation, reality, and perception in photography. Szarkowski describes mirrors as reflective surfaces that reveal the self, emphasizing personal introspection and the subjective experience of the viewer. Conversely, Szarkowski’s concept of windows focuses on the external world as it exists in all its presence and reality. Jed Perl provides a critical lens through which to examine these concepts. He critiques mirrors for potentially fostering a sense of narcissism, where the viewer becomes more focused on their reflection than on the artwork itself. Perl also highlights the superficiality that can arise from the use of windows in photography. Pearl argues that windows do provide a view of the external world, but they can also lead to a representation that is almost rules over and portrayed in a specific style, which might belittle and gloss over the deeper emotional engagement and understanding. In conclusion, Szarkowski’s theory of mirrors and windows provides a very valuable framework for understanding the oppositions of photography. Mirrors open the door for a subjective exploration of identity and emotion, while windows assist an objective engagement with the external world. Perl’s critique enriches this discussion by reminding us of the potential pitfalls associated with each approach, emphasizing the need for a deeper exploration beyond mere surface representations.  

1. Mirrors and Windows American Photography since 1960- John Szarkowski ↩︎
2. Mirrors and Windows American Photography since 1960- John Szarkowski ↩︎
3. Mirrors and Windows American Photography since 1960- John Szarkowski
   ↩︎
4. A Review Of Mirrors And Windows 1978- Jed Pearl ↩︎
5. Mirrors and Windows American Photography since 1960- John Szarkowski ↩︎
6. A Review Of Mirrors And Windows 1978- Jed Pearl ↩︎

We can never determine where and who started photography due to the fact that in the time that photography was being invented, many individuals were exploring and working in similar things in relation to photography. However what is certain, is the fact that many revolutionary people contributed to the history and origin of photography and many are credited till this day. The two most important processes that were introduced in the early forms of photography is the two processes called Daguerreotype and Calotype. Daguerreotype was a direct-positive process which created a highly detailed image on a sheet of copper plated with a thin coat of silver without the use of negative which was invented by Louis Jacques Mandé Daguerre. Calotype was a technique created by William Henry Fox Talbot where it consisted of a sheet of paper coated with silver chloride that was then exposed to light in camera obscura. Some may say that in terms of John Szarkowski’s thesis where he states that the world can be viewed through a ‘mirror’ or ‘window’, these two processes can be applied towards the ‘mirror’ side of the thesis. This is because most pictures produced using these two processes, were pictures of family or portrait images of people, so they were quite personal and reflective of the people who made it. Szarkowski’s implies that ‘Art is a mirror, reflecting a portrait of the artist who made it‘ which contributes to the statement above. There is a strong agreement towards this saying as I believe that a mirror can be a reflection of what the artist see’s and interprets. However, some may contradict that the process Calotype views the world as ‘window’. Some images produced using a Calotype, were quite documentary in style, and showed a better and different perspective of the world. We can prove this by the saying that is said in Szarkowski’s thesis, which is ‘window, through which one may better know the world‘. Many may even say that these two processes are both ‘windows’ as they both document the past.

The image that has been chosen that shows ‘mirror’ in terms of Szarkowski’s thesis is the image shown below. This image is seen as a ‘mirror’. This is because the image is quite subjective itself. The time, 1997, that this image was taken was the time that women were seen as housemaids and things that had to have motherly features and attitudes. This is a self portrait taken by Cindy Sherman where it shows her in a very provocative outfit doing household chores. She projects that women in those times needed to look presentable for their husband for visual pleasure yet needed to act like a responsible and role model to their kids, taking care of the chores which was something that women were obligated to do in those time periods. This image reflects Sherman’s ‘Self’ especially her views, its almost like its quite a personal and private subject for her but she still chose to use her voice and express her views using photography. This picture also connects to the theorist Laura Mulvey, who explores the male gaze and states that representation of women is quite objective and defines their identity in relation to male character, which is exactly what Cindy Sherman is posed as. Laura Mulver implies that “Woman’s desire is subjugated to her image (…) as bearer, not maker, of meaning”. This was said the good reads, a website filled with her quotes. This acts in accordance with Shermen’s intention because Laura Mulvey indicates in the quote what women are stereotypical portrayed as which Cindy also explores in the image show below and in many of her images. This picture wholeheartedly reflects the person she is which is someone who is interested in exploring identity and she even said that, “I wish I could treat every day as Halloween, and get dressed up and go out into the world as some eccentric character” which was said in the MoMA website

Szarkowski’s states that the “general movement in American photography in the past quarter-century has been from public to private concerns.”. Cindy’s images are subjective and private and we can extract the part where Szarkowski’s mentions the private concerns and apply it to her image. Although her images are quite controversial and ‘out there’, it is still private. How women were portrayed in that time was a private subject and something that was forbidden in terms of protesting about such roles within the female population. In Jed Perl review, Szarkowski’s comments on Minor White’s work as “romantic” and “self-expression,” which is something that is exactly represented in Sherman’s work. This strongly supports Szarkowski’s statement about how mirror is described.

The image that has been chosen that shows ‘window’ in terms of Szarkowski’s thesis is the image shown below. This image is seen as a ‘window’. This is because the image is objective. It literally states what its showing, it is common sense. This image was taken in 1933, Seville and entitled as, “Children Playing in Ruins”. Even in his descriptions he was objective and clear. After this image, The Spanish Civil War broke out, in the cities Henri Cartier-Bresson had navigated through. Although he did not know this would be the outcome, a war, this ruined building and crippled children became associated with the horrors of that war. If we look at Szarkowski’s theory about what a window is defined as, he says that “through which one may better the world” which is something that is exactly shown. Cartier-Bresson took this picture without realizing that three years after, war would unleash, which massively effected the way this image was read. It showed the possible outcomes of war and documented the distress of war, unintentionally.

Szarkowski’s observes that “there is a fundamental dichotomy today between photographers who believe that all art is concerned with self-expression and those who see it as a means of exploration” seen in the website called MoMA’s . Cartier-Bresson’s work, especially this image had a tendency of being documentary like and we can actually apply and extract a part from Szarkowski’s suggestion about the ‘concern’ of ‘exploration’ and apply it to this image. Especially with the known fact that this was taken few years before the Spanish Civil War in Saville. Again proof of his dangerous exploration. In Jed Perl review, Szarkowski’s comments in franks work, and notices that his work explores “realism,” and “exploration”, again complying with the first statement done by Szarkowski. It is certain that Henri’s work has a certain realism to it, the realism of War and the youth that are effected by it. Henri declares that “Of all the means of expression, photography is the only one that fixes a precise moment in time.” which was shown in John Paul Caponigro’s blog. This obey’s Szarkowski’s theory as it basically implies that expression is shown as something that is documentary like, it captures the past.

If we refer back to the question, ‘how can photographs be both mirrors and windows of the world’. If we look at Szarkowski’s theory in summary, it is obvious that he see’s mirror’s as something that is “art, reflecting a portrait of the artist who made it, and window, as those who may better know the world”. However in Perl’s review, Szarkowski’s reviews and observes mirrors as something romantic and self-reflection and windows as realism and expression. We can agree and say that photographs can be both mirrors and windows especially with the two images that were analysed, above, especially when applying Szarkowski’s theory and Jed’s review. They have similarities and these are the way they have people in the images, creating a door to a more public approach something that is considered as mirror. Both images are factual, however very different. One is about the Spanish Civil War, showing realism, and the other is about the realities of how women were portrayed, this is romanticism of how women were seen, in a specific time period. However, the image that shows how a women is projected is quite fictional. The image is made up, it was creatively constructed by the artist, even though it was factual, because that was exactly how women were characterised, it was also exaggerated and staged. Lastly if we look at the images, they can be both be mirror and windows however they individually have sides that they lean more to so in conclusion I think that in images there are mirrors , windows and in-between’s.

Doug Aitken is an American multidisciplinary artist who explores every medium from photography, sculpture, print media, to creating narrative films, sound, single and multi-channel video works, installations, and live performance. He currently lives in California, Venice and New York City. With his work blurring the boundaries between the various genres and expressions of art, Aitken is most widely recognised as immersive, collaborative and engaged with both the art world and the wider world.

What I am most intrigued by is his project named:

‘New Opposition’:

Aitken shoots landscape images of various locations around the world at horizontal angles, then editing and cropping them into a dynamic format. He uses these multi-textured landscape images that involve various colours in order to create the illusion of an angled cube in the centre on the image. He creates these images by combining four different images that include similar tonal scales and forming an alternative viewpoint for landscape photography that is a more abstract way of representing these natural spaces whilst keeping it documentary. The alternating orientations of different materials, typically natural, add directional lines to the image, either being parallel to the opposing image or being reflective. This causes the viewers eyes to move around the ridges off each of the images and explore it more, attracting the eye from a distance. Each image highlights individualism, being unique within the composition whilst simultaneously flow with all of the other images in the set.

I think this is a perfect example of windows photography as this provides an external exploration around the world and the materials that the Earth provides for us, as well as the multitude of textures, tones, colours and strange shapes created too. Landscape photography can sometimes blend in more, however by arranging the images in these cropped patterns, this attracts the eye more due to the bold lines that the composition comes to have and is more attracting to the eye due to it standing out.

In my photoshoot, I am going to achieve this by taking a compilation of landscape images and then importing them into Lightroom and editing them using the cropping tool. I will then import the images into Photoshop and combine four of them into a single document.

Based on the theme of ‘OBSERVE, SEEK, CHALLENGE’

3 images that are documenting reality – ‘windows of the world’

 3 images that are staging reality – ‘mirrors of the world’.

A window is a resource that offers you a view into someone else’s experience. A sliding door allows the viewer to enter the story and become a part of the world. A mirror is a story that reflects your own culture and helps you build your identity.

Documentary– Windows

Realism-A way of thinking and acting based on facts and what is possible, rather than on hopes for things that are unlikely to happen.

Factual-Something that is factual is concerned with facts or contains facts, rather than giving theories or personal interpretations. 

Public– Public means relating to all the people in a country or community

Candid-. free from reservation, disguise, or subterfuge; straightforward.

Ewen Spencer

Ewan Spencer’s work is primarily of youth and subcultures which I find fascinating and appropriate for my age group. His work started as he photographed shows from their first UK tour onwards, including candid backstage photographs. He has now mostly moved to capturing the ‘grime’ music scene in London. I like how how much these photos are rich in detail and almost make the viewer feel like they are there at the scene. Although I would like my photos to differ slightly as they display the mayhem and emotions that you feel in that scene by using a longer exposure to show more blurry and hazy pictures which make the viewer feel more 1st person as if they are there amongst all the people.

Tableaux– Mirrors

Romanticism– Romantics celebrated the spontaneity, imagination, and the purity of nature. Along with these elements it also incorporated a deep feeling of emotion as an authentic source of experience which put new emphasis on emotions such as apprehension, horror and terror, and awe.

Fiction– A fiction is a deliberately fabricated account of something. It can also be a literary work based on imagination rather than on fact, like a novel or short story. 

Staged– Contrived for a desired impression. It was a staged, rather than spontaneous, demonstration of affection. Something that has been ‘set up’ manually to create a certain message.

Sarah Jones

I have been particularly drawn to the work of Sarah Jones due to the fact she focuses on topics such as art history, as psychoanalysis, adolescence, and the Victorian period. This interests me as It is easy to replicate myself around the topic of adolescence, loneliness and confusing surrounding he topic of ‘growing up‘. Jones enjoys photography for its capability to scrutinize something, freezing a moment to look more closely at it. Her work is also Jones’ images are narrative in nature, and she is interested in how a narrative is constructed. I also would like to take into consideration, the format in which Sarah Jones photographs. By using the square format of a standard 150 x 150 cm, this makes this photos unique as they are a specific shape and size.

I also like this aspect to her photography and I think I would enjoy attempting to replicate these photographs. I would put them into this black and white format.

Editing Practice.

In Adobe Lightroom, I have experimented with black and white editing, whilst having a beige/yellow tint to it, In case I decide this is the approach I would like to take when editing my photos. This has helped me to develop my skills when editing. However, I think the photoshoot I may go with is the Sarah Jones work on adolescence and identity as I feel this is easier to convey a story through my work.

Be creative and use this opportunity to experiment with ideas or approaches to image-making that you might want to extend further in your Personal Study. The expectation is that you make a set of images during the lesson using the school environment (inside or outside) creatively. The photographic studio is also available where you can explore different ideas using different lighting techniques…Rembrandt lighting…Butterfly lighting…Chiaroscuro…reflected light…coloured gels etc.

Photoshoot 1 Planning–

I would like my two female models to pose in similar poses and I would like to do a photoshoot that gives a feeling of darkness and miserableness as this is the feeling I feel Sarah Jones’ work conveys. For this I am choosing my two friends to pose in settings such as bedrooms, living rooms and bathrooms around my house. I want my photos to differ from Sarah’s work slightly and I want them to be less bright and eye-catching, and more deep and meaningful through lighting.

I have chosen to have a blue tint to my photos as sadness has been associated with blue since the 1600s around the world.  blue represents sadness or melancholy, which is why I’ve chosen it to further portray my narrative and tell my story about isolation and loneliness.

For Example, In Van Gogh’s ‘Starry Night’ The main colour of blue helps to show the intention of the picture of as the meaning can be derived from the large cypress tree which is a symbol of graveyards, mourning, and death. This helps to encapsulate the essence of human emotion and creativity. Van Gogh used the different blues in the sky to show his emotion. I found this information from the quote ‘The vibrant blues are a common colour during his bouts of mental illness.’

Photoshoot 2 Planning–