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

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–

For this photoshoot I decided to do a Sarah Jones inspired photoshoot. This is because, due to the fact she conveys the idea of ‘tableaux’ photography through her work, it perfectly shows the message I am trying to show.

I found this genre of photography slightly challenging as my models were unsure what poses to demonstrate and how we could produce the message we wanted to show through a few simple pictures. To create my first message I had my models wear pyjamas which are long sleeve and have matching patterns. This is to…

1. Create a feeling of innocence and adolescence/ childhood through the two girls wearing matching sets of patterns which children and young people may wear.

2. Create the feeling of the ‘older times’ from a period of time from the past. After researching nightwear from different era’s, I decided long sleeve matching pattern pyjamas was an effective outfit choice, to show the girls are possibly related but are matching and familiar with one another.

I wanted to pay attention to the fact Sarah Jones’ practice is rooted in art history, and she draws influence from topics such as psychoanalysis, adolescence, and the Victorian period. Due to these facts, I wanted to make my photos of two teenagers (to tie into adolescence) and I also anted my models to have blank expressions on their faces. Due to the fact Sarah’s work ties a lot around ‘psychological theory and therapy that treats mental conditions’ I felt these blank expressions would create an eerie and morbid feel to my photos. I also decided to use a cool tone to edit my photos to create a ‘cold’ and dismal look to my photos, to express the emotion of loneliness and identity confusion.

Definition of Psychoanalysis^^

My Top 4 Images.

My Image.

Sarah Jones’ Image.

This image is my favourite images due to the fact my model on the left is looking straight into the camera with the look of fear, concern and a desperation for help. My other model is sat with a slouched position which shows she is possibly younger or confused with her feelings. I like how they are sat in two different positions as this causes different dimensions in the photo. To improve on this photo, I would like it to be lighter and for the photos to have less of a dark, grainy look to them. However, I would like to play this to my advantage and make these images dark and dismal to convey the models mood through the colours of the photo. Although Sarah’s photographs have a more bright approach with eye-catching colours and colourful objects. I wanted a more tonal background.

My Image.

Sarah Jones’ Images.

These two images are very similar to each other and demonstrate my models feelings and how they are the same but are portrayed differently. This demonstrates tableaux photography as I am attempting to tell a story through my photographs which tie mainly around the themes of feminism and adolescence. My model on the left is showing emotions of conflict and distress through their body language of sitting slouched in a positions as they seek comfort and help. Whereas my model on the right looks like she is attempting to either ‘clear their head’ or think about how to handle a certain situation or feeling that is currently occurring.

My Image.

Sarah Jones’ Images.

My Image.

Jeff Walls’ Image.

I chose for this photo to represent another photographers work named Jeff Wall. I decided to do this one photograph as I particularly like this photograph and how it relates to Tableau photography. I feel that the viewer feels almost immediately connected with this image. This photographer uses Narrative to help the audience understand the concept he is trying to portray in his work. I like this photo as the model is under the table in a position which shows psychological stress and also shows it has been created in a ‘scene’ as they pose in order to show their emotions. This photo shows the true effect of psychological problems and effects they may have on a person and how it alters their day-to-day life.

Overall, I enjoyed this photoshoot and helped me gain knowledge in how I can set up a scene to tell a story through a single photo and attempt ‘Mirrors’ or ‘Tableau photography in my own way, whilst taking inspiration from other photographers and how they can influence my work. I would next like to create a ‘Windows’ or ‘Documentary’ photoshoot, which I feel may be more challenging for me as I feel I will find it more difficult to express candid photography as I prefer a narrative setup where my photos are planned out and specific.

Edgar Martins is a Portuguese photographer and author who resides in the UK, best known for his documentary work on conflict, war and testimony. However, many of Edgar Martins work also represents personal, internal conflicts within himself and stories told from his life through using staged fictional depictions.

Edgar Martins work is represented internationally at numerous renowned museums as well as many other collections such as:

• PS1 MoMA,
• MOPA,
• MACRO,
• MAAT, 
• CIAJG,
• The Gallery of Photography Dublin,
• The National Media Museum,

Martins has also become the recipient of many awards such as:

• RCA Society Book Art Prize (2002),
• The Jerwood Photography Award (2003), 
• The New York Photography Award (2008),
• The BES Photo Prize (2008),
• The IPA (Fine Art— Abstract category, 2010), 
• The SONY World Photography Awards (2018),

Some of Edgar Martins work:

Martins work has a lot of abstract concepts within it, for example the first image that I have displayed shows two sides to the same photo, with the image on the left initially making the viewer believe that some sort of mirror is being held over a persons face, however when this shape is removed it reveals a man holding a chain into his mouth as if he is swallowing it. This consists of a lot of deception towards the viewer and tends to make them ‘think about the bigger picture’, really getting them to question it conceptually rather than just seeing the composition alone face on for what is within the frame. I really like this idea especially through the topic of ‘mirrors of the world’ because it portrays this subjectivity and storytelling nature, full of fictional components that transform an image into a visual piece of art.

In this image, the first thing that draws my eye is the leading lines down the centre of the image leading to the two subjects in the centre. With their identities concealed, I think that this image makes the viewer question who they are and what their backstories are – the fact that they are holding hands connoting themes of community, relationships and togetherness. However, the desolate streets they are standing on looks off-putting and almost wrong, as if it shouldn’t be occurring in this way as it is so odd and uncanny. This weird composition is very obscure and intends to make the viewer feel uncomfortable so that they really acknowledge the personal reflection that is being shown here. Once again, the draining off of colour from the image makes it appear more sincere and serious as that level of vibrancy is gone, making the image speak for itself without any colour to try to evoke or support the emotion being portrayed. The boarded-up windows placed on each house gives the image a sense of danger and a need to be cautious because we don’t know what is being hidden here or what has occured in order for the past events to be covered up. The plainness of the image, for example the sky only having few electric lines spanned across or the one street light stemmed in the far background, ensures that the two people in the foreground are the focal point of the image and highlights to the viewer that there is a story here that needs to be heard as it is so unusual.

Similarly, the leading lines that oppose the practically blank sky makes the image appear uncanny and abnormal, leading off into a darkness concealed by trees to highlight that area of mystery and suspense. On the left is a elongated wall of purely bricks, opposing an entire block of vegetation. This gives a visual version of a binary opposite, man-made versus natural, bordered by a pathway. I think this works really well as this could be used as a concept for the way that humans are consistently wanting to use these harsh man-made techniques in order to develop society instead of sustainable sources. The subject leaning against the wall creating dynamic shapes with his leg, connotes emotions of anger and distress. Because he is turned away from the greenery that is appearing to reach out towards him, suggests that he may feel shame due to his conscious or unconscious contribution to polluting and ultimately destroying the world.

In this image, the figure looks almost translucent which suggests that this is the result of a double exposure edit on photoshop, for example. The emptiness of the room emphasises the dirt and decay that’s spread around the room, adding emotions of loneliness and isolation. The parallel lines placed in the centre of the room lead the viewers eyes to opposing ends of the room so that they focus on the entire image instead of just the brightened area. The exposure of the room is quite low, however its bright enough to ensure that the viewer can see the stains arranged on both the ceiling and the floor in-between the patterns of leaves. The ghostly aura this image inhabits stems from the project Anton’s Hand is Made of Guilt, tributing to his late friend Anton Hammerl. The way that he figure in the room is the only thing that is brightened gives them a sense of purity and cleanliness especially due to the gown that they are wearing. Aesthetica Magazine interviewed Martins on the backgrounding concepts behind this image:

“In 2011 my close friend, South-African photojournalist Anton Hammerl, travelled to Libya with three colleagues to cover the conflict between pro-regime and anti-Gaddafi forces. On 5 April 2011, a few days after arriving in the country, they were forcefully abducted by government backed militia on the front line, around the city of Brega. When Anton’s 3 colleagues were finally set free two months later, we discovered that he had been shot dead on the day of their capture and his body left in the desert. He’s mortal remains are missing to this day. Over the past 10 years Anton’s family and friends have lobbied the UK, Austrian, South African and Libyan governments, as well as the UN special rapporteur on extrajudicial, summary and arbitrary executions to launch an inquiry into his disappearance. Frustrated by the lack of progress, I decided to travel to Libya in 2019.“

Because of the many similar tones in this image, the model almost goes undetected when the viewer initially looks at the image but as it is further inspected, the subject begins to appear. While the patterns are similar, the small contrasting differences add depth and dimension to the image making the composition visually appealing.

For my images reflecting ‘mirrors of the world’, I like the way that Edgar Martins uses the concealment of identity as well as graphic design because this turns the image into a question on who the person is in the image and what their backstory is. Some of his work is incredibly moving and documentary for activism purposes, such as war in poor countries, however some of his images are also taken in an interpretive way as his own reflection of the world which intrigues me.

Edgar Martins uses a lot of form in his work, for example the leading lines down a path or different kinds of shapes placed in sudden places which is something I would like to incorporate into my own photoshoot as this adds a sense of direction and structure into my work so that the composition settles positively. I would like to recreate the graphic design that Martins has used on his piece entitled “Disrupted Identity”. To do this, I will be getting models to dress up as different identities to resemble these old drama stills, then putting them in black and white with a warm tone to give the appearance of archived images. Then, I will be using Photoshop to create graphic shapes to place over certain parts of the models face in order to conceal their identity a little bit as I think this will be very effective due to the contrast in vibrancy – going from bold, neon colours to then layer over a monotone image. I think this idea of deception and mystery will be something that I can portray in my work in a bold and powerful way. As my final selection will only be 3 images, it is important that I guarantee each image is as striking as the other so that they can individually tell a story.

Beyond the Dock is a photo zine I created in Adobe InDesign, dedicated to capturing the raw beauty and unique character of St. Helier Harbour. This project is more than mere documentation. It is an experience that invites viewers to explore the often-overlooked details and hidden stories found around the harbour’s edge. Each page is designed to take the reader on a visual walk through the harbour’s diverse features as mentioned previously, from its working boats and rustic fisheries to the daily rhythms of life along the docks.

The design of Beyond the Dock reflects the layered textures and rich atmosphere of the harbour. My selection of photographs highlights different facets of the harbour, from up-close shots of weathered equipment to sweeping views of the marina. I wanted every image to echo the essence of this place which is a blend of timelessness and fishery/ vessel activity.

To enrich the narrative, I included both contemporary shots and archival materials, placing the past and present side-by-side. The captions are purposefully short and poetic, guiding the viewer without overwhelming the images, letting the harbour’s character speak for itself. In essence, Beyond the Dock is a personal homage to St. Helier, celebrating its complexity while inviting others to see beyond the ordinary shoreline.

I’ve been able to create a visual story that feels both cohesive and authentic to the location. Seeing it laid out in InDesign has shown that the zine achieves the atmosphere I aimed for, blending the present in a way that feels timeless.

I am satisfied with the final outcome as it captures exactly what I set out to achieve which is a layered narrative that invites viewers to experience the harbour from the perspective of an observer wandering its edges.

In terms of the layout I creating a 16 page photo zine/guide book which has displayed the photos around the St Helier Harbour. Each page captures an aspect of the harbour, offering viewers a virtual tour of its boats, fisheries, boardwalks, and shoreline scenery. By displaying these photos in a structured layout, the zine becomes more than just a collection of images—it’s a story that readers can explore and experience as if they’re walking through the harbour itself. In order to produce the display we present it through the app InDesign and add specific measurements and adjustments to see in a 2D format whereas to a 3D real life photo zine.

InDesign supports high resolution images and allows for precise color control, I can ensure that each photo in the zine will look sharp as well as true to life. This quality is essential for a project like this, where capturing the details and textures of St Helier Harbour is key.

Below I have shown some examples of the tools being put into place and shifted around:

The final zine will have 16 pages with a mix of full-page images, collages, and paired text. Each page or spread has been planned to better the experience of moving through the harbour, and using the software InDesign, I can visualize how the final printed piece will look and feel, ensuring that the reader’s journey through Beyond the Dock is immersive and captivating.