Artist Case Study

Todd Hido

Todd Hido creates photographs at blue hour of urban locations to create an eerie atmosphere. These photographs could be described as uncanny in their approach to an urban landscape. ‘Liminal spaces’ are transition zones or the space ‘in-between’ of two points associated with uncertainty and discomfort. The phrase liminal space refers to the physical, physiological, and psychological transition zones which has become associated with uncomfortably empty photographs of urban locations. Todd Hido’s photographs embodies these feelings of the space between and the loneliness that comes with it.

Todd Hido creates photographs that are “eerie, mysterious, somewhat disconcerting”¹ as “they feel as though they have been directly pulled from the recesses of your own memory²“. By seeming like something out of a memory they create a personal connection and therefore seem more real and immersive. He takes these photographs during “long, solitary drives³“, meaning the feelings of loneliness are authentic which becomes clear in the frame. This uncomfortable atmosphere is created in a number of ways such as the lighting and isolating subjects: buildings are shown standing alone, single windows are lit and no people are shown in frame making the photographer the only person around. In terms of lighting this photograph was taken outside in the winter during blue hour to create a natural appearance with a blue hue making it seem cold and distant, conveying “loneliness⁴” and “isolation⁵“. This cold tone is contrasted with the light emitting from inside the building which is diffused by fog making the light soft and warm in contrast. This makes it seem like the viewer is missing out like a by-stander creating feelings of “abandonment⁶“. The use of fog also gives this image a greater sense of depth and the uneasy atmosphere. The house at the front is in focus while everything further back is much more difficult to make out or see. This draws the attention to the centre of the frame. There isn’t much contrast across the image with the whites that are blue and the darks being affected by the fog. The lack of people in the frame helps to creates a liminal space but also makes the building “an empty shell⁷“. This means that the viewer can relate by applying their “own memories⁸” and “create a narrative⁹” that resonates with themselves. Alternatively the use of an upkept house shows evidence of people being there recently and lights on implies people present at the time but being unable to spot the people creates this isolated and uneasy atmosphere. He has created “despair”¹⁰ in an “otherwise ordinary scene¹¹“.

Hiroshi Sugimoto

I compiled a few of Hiroshi Sugimoto’s photographs that I thought used similar imagery to the types of outcome I wanted to achieve. These photographs are from 2 different projects, one where candles were captured directly to create strips of white among a black background while the other used natural occurring light he found within architecture and then blurred them.

Hiroshi Sugimoto “dissolves the lines between time, memory, and history¹²” in his photographs. This is a common theme among all of his work and particularly this image. By taking this photograph out of focus lines have literally been dissolved. Additionally the minimalist layout of the church creates a space that could easily be from many points in history or your own memory. While minimalism is commonly associated with modern architecture and aesthetics, the protestant church has been white and void of decoration to separate itself from Catholicism. Its minimalism was a direct response to the pompous teachings of Catholicism started by Martin Luther in the 1500s. The large cross is bright white compared to the rest of the image which draws attention instantly and introduces the theme of religion. Religion, especially old religions such as Christianity, is heavily associated with its past and ties throughout history – the bible is literally a historic text. The cross is also centralised with every line leading the eye towards the centre. The floor is split into isles which is illuminated by the light and makes the path to the cross and subsequent religion look inviting and easily do-able. The image was purposefully made blurred as the artists wanted the architectural feats to shine past small details as a reflection of modernisation of architecture stripping away details from previous ages of architecture. An old catholic cathedral would have a typical gothic appearance with stain glass windows, golden detailing and a large extravagant structure. If this photograph was taken as a commentary on modernity instead, then the modern church room being bare and basic is reflective of the current trend across all sections of modern architecture: Minimalist, uncreative white squares. Additionally this image is black and white, again “stripping away¹³” another layer of “superfluous decoration¹⁴“. By using the basic location as a backdrop all the focus can be set on the contrast between light and dark and the cross (representing its religion) without distraction – the whole reason Protestantism was created. The emptiness of the room also creates an unwelcoming and cool atmosphere which contrasts with the imagery of the cross and its welcoming light. This could represent both the personal connection people build with their religion but also the loneliness that comes with religious teaching and practices.

Raymond Meeks

Raymond Meeks is an American photographer who creates narratives through his books. These photographs show a few people in the woods as they traverse the wilderness. I like how their identities are obscured and the photographs are overall dark and atmospheric. He uses light and dark to create this moody atmosphere which also can show the danger associated with the woods.

Raymond Meeks takes photographs that are “considerations of sensitive observations¹⁵“. He took these photographs while observing the youth cliff jumping after school and put together the collection after dedicating 2 full years. This photograph was taken in black and white with film meaning each single photograph would have required more thought and commitment than digital. The brightest point, the white sky, is obscured by trees. Even with the obscuring, it is significantly brighter than the surrounding rock and people. This is to show the aspirational aspect behind where the people are going, symbolising their futures as young people growing up. This was made with natural lighting where the large rock is dark creating shadow. There is a difference in texture also as the trees are smooth compared to the rough rock surface. The people create a line leading towards the bright light from the darker rocks showing the path they’re taking which also links to underlying themes of religion as Raymond Meeks “was raised Catholic¹⁶” and compares the ritual of cliff jumping in the woods to “altars¹⁷” from church. Religion carries many connotations such as the positive community as well as fears due to its ties with consequence, sin and death. While this image is not of the symbolic jump itself it documents the lead up by following a small community on their path to the altars. “He has chosen not to photograph the faces¹⁸” which serves two purposes. The first is to make them seem like faceless followers while the second is so that their identity is stripped away so that the focus is on their actions as opposed to the people behind them. He is photographing “traces and residue¹⁹” instead of the “thing itself²⁰” which leads to strangely dreamlike and “whimsy²¹” images contrasted with the tension of “the unknown²²” creating a haunting atmosphere fitting for following people through the woods. One theme present among many of Raymond Meeks projects is “the construct of home²³” and the essence of a landscape. Feelings of home are “centred on memory²⁴” which makes it personal and therefore creates an emotional connection between the image and the viewer. This image has homely features not defined by its walls but the sense of familial connections between people and familiar backdrop of a generic forest. “the way in which a landscape can shape an individual²⁵” is present in the literal shape these people have had to take to overcome the hill but also how the youth culture of the area has influenced this culture of cliff jumping through the woods.

The image looks candid and unmanipulated however the subjects would have been aware of his presence.

Rut Blees Luxemburg

Rut Blees Luxemburg photographs London’s streets. Her photographs create an ominous atmosphere which frame the city in an unsettling and mysterious way. Her photographs are abstractions utilising reflections and embody the feeling of liminal spaces.

Rut Blees Luxemburg takes photos around London where she lives. She takes the mundane and turns it into “her city²⁶” by photographing only the calm and still present at night which is a totally unique character to the city during the rush of the day. She also chooses what to avoid and what to include for example “You don’t see the surveillance cameras²⁷” as it doesn’t fit the narrative. Since she lives there her interest would lie less in the bigger picture of cityscapes and instead in the smaller, abstract parts. This photograph uses the natural light of a low sun which casts a yellow hue likely taken at golden hour. This light is used to set up dramatic shadows to emphasise the depth of the stairs and presence of footprints. The yellow makes the image warm and creates a uniform style across every image in the theme. The foreground is made up of shallow stairs which lead down towards the footprints and sea. Its out of focus making use of a shorter depth of field. It has a dark tone which has high contrast and creates an overall grungy aesthetic. There is slight tension and a part of a mystery set up with the question: Who left the footprints and what happened to them. The footprints are left on a wet platform at the bottom of the stairs which lead towards the body of water. When asked “Although taken in public spaces, your work rarely shows their inhabitants. Does the presence of people deter from the poetics of the space?²⁸” Rut Blees Luxemburg simply responded “yes.²⁹” This idea that she doesn’t take photographs of “individual stories³⁰” rather she lets her photographs “becomes a template³¹” for “the imagination³²” and act like a “portal³³” into a “reflective space³⁴” creating a void of human presence that is “uncanny³⁵” while also being relaxingly “mundane³⁶“.

Jose Conceptes

Jose Conceptes is a Spanish photographer who creates scenic images through the use of light and shadows. The large majority of his work is made up of architectural imagery however a few experimental projects were made which showcase horror and fears which I would like to experiment with.

Cindy Sherman

Cindy Sherman takes photographs exploring the portrayal of women in film and media. This was expressed in her project ‘Untitled Film Stills.’ These always show at least part of Cindy Sherman as she’s commenting on the objectification of women. Often the background is equally as important for example the washing up sink or a bookshelf. I believe her work challenged stereotypes from films in a creative and unique way. She observed films and their characters and setup her images as an observation of herself as a character.

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2025 Photography A Level Blog