Candles Photoshoot 1: In Praise of Shadows

This photoshoot was set up with a tripod. I lit the candle and set the camera up with a long shutter speed. Even with the longest shutter speed I had the flame did not elongate enough to look like those from Hiroshi Sugimoto. I had several attempts at creating different looks of flame: I left the flame to burn straight for an elongated appearance, I tried manipulating the shape by blowing it for a thicker appearance but regardless of what I did the flame was always short and faint. I put some black fabric behind the flame and Set the camera up as close as possible. I tried two different candles too. One slim birthday candle I thought would burn down fast and create a longer flame and one slow burn candle I thought might burn brighter. They both ended up looking similar overall however. Because my shutter speed was so low the images also looked far too over exposed which I didn’t realised until after Id finished the shoot to fix. I also took all of them in landscape instead of portrait because I thought the flames would look thicker. In editing I made them portrait instead which I think looks much better and compliments the flames photographed. I edited the contrast and set them all in black and white however none of them had the crisp outlines that were present in Hiroshi Sugimotos images. Next time I will photograph in portrait, adjust the exposure and try to photograph a match even for it’s speed. I might also take photographs of the wax once I’ve finished.

Outcomes:

I choose these 3 images for different reasons. The first one had a unique shape, the second showed the wick of the candle and the third resembles a person which I think matches the theme of my project. I also liked the difference between how grainy the middle image was and how crisp the bottom one was. I took the bottom one one 15 seconds shutter and the others on 30 seconds shutter which meant that it was crisper compared to the others.

In terms of fitting a narrative, I think I could use either the second candle as a beacon of light amongst a dark room, the bottom works as an ominous, unidentifiable humanoid resembling a strange figure that been imagined or dreamt up. The one on the top could also work as someone blowing the candle in the dark to show that the person holding the candle isn’t alone. This makes the first and last most likely but I’m gravitating towards the last. I might take some more images which can be a mix of the first two where the wick is visible but its also been blown.

Edits:

For experimenting I figured trying out multiple exposures might work well for this photoshoot since they’re all similar in set up and shape. I layered 7 images on top of each other and lined up the placement of the wick for each. Since they all had the same black background they blended together well and I just had to adjust the candle body. I adjusted the opacity of each layer until I had a shape I liked.

I didn’t like the outcome and removed a few of the layers to create a smaller shape. I realigned the neck area and made the background a navy instead. I like how the images shows the movement of a flame however I’m unsure how well it will fit into my project. I might try and contrast one of these with the still figure.

Since the flames were now extremely small around the head I added one larger one to the background and removed the rounder one in the middle. When the image is pure monochrome it almost looks yellow but when it has a blue hue it looks colder and the white looks brighter.

Overall I’m happy with the final outcome but I’m still unsure on its place in my project. This one shows clear layers and the flame obvious in the centre while the others merged into the layers. I like how in the image both halves have different colours. The left has a faint orange trim around the white and the right has blue.

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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1. https://metalmagazine.eu/en/post/todd-hido-an-enigmatic-point-of-view ↩︎
2. https://www.lensculture.com/articles/todd-hido-todd-hido-on-homes-at-night-and-illustrating-memories-in-photography ↩︎
3. https://www.widewalls.ch/artists/todd-hido ↩︎
4. https://metalmagazine.eu/en/post/todd-hido-an-enigmatic-point-of-view ↩︎
5. https://metalmagazine.eu/en/post/todd-hido-an-enigmatic-point-of-view ↩︎
6. https://metalmagazine.eu/en/post/todd-hido-an-enigmatic-point-of-view ↩︎
7. https://www.lensculture.com/articles/todd-hido-todd-hido-on-homes-at-night-and-illustrating-memories-in-photography ↩︎
8. https://www.lensculture.com/articles/todd-hido-todd-hido-on-homes-at-night-and-illustrating-memories-in-photography ↩︎
9. https://www.lensculture.com/articles/todd-hido-todd-hido-on-homes-at-night-and-illustrating-memories-in-photography ↩︎
10. https://www.widewalls.ch/artists/todd-hido ↩︎
11. https://www.widewalls.ch/artists/todd-hido ↩︎
12. https://fraenkelgallery.com/exhibitions/hiroshi-sugimoto-architecture-2 ↩︎
13. Hiroshi Sugimoto, Architecture 1997-2002 ↩︎
14. Hiroshi Sugimoto, Architecture 1997-2002 ↩︎
15. https://www.1854.photography/2021/09/raymond-meeks-somersault-photobook-2 ↩︎
16. https://www.lensculture.com/articles/raymond-meeks-halfstory-halflife ↩︎
17. https://www.lensculture.com/articles/raymond-meeks-halfstory-halflife ↩︎
18. https://www.henricartierbresson.org/en/expositions/raymond-meeks ↩︎
19. https://www.henricartierbresson.org/en/expositions/raymond-meeks ↩︎
20. https://www.1854.photography/2021/09/raymond-meeks-somersault-photobook-2 ↩︎
21. https://www.lensculture.com/articles/raymond-meeks-halfstory-halflife ↩︎
22. https://www.lensculture.com/articles/raymond-meeks-halfstory-halflife ↩︎
23. https://www.1854.photography/2021/09/raymond-meeks-somersault-photobook-2 ↩︎
24. https://www.shashasha.co/en/artist/raymond-meeks ↩︎
25. https://www.shashasha.co/en/artist/raymond-meeks ↩︎
26. https://www.independent.co.uk/life-style/interview-a-shot-in-the-dark-1287703.html ↩︎
27. https://www.independent.co.uk/life-style/interview-a-shot-in-the-dark-1287703.html ↩︎
28. https://photoworks.org.uk/interview-rut ↩︎
29. https://photoworks.org.uk/interview-rut ↩︎
30. https://photoworks.org.uk/interview-rut ↩︎
31. https://photoworks.org.uk/interview-rut ↩︎
32. https://photoworks.org.uk/interview-rut ↩︎
33. https://photoworks.org.uk/interview-rut ↩︎
34. https://photoworks.org.uk/interview-rut ↩︎
35. https://1000wordsmag.com/rut-blees-luxemburg/ ↩︎
36. https://www.independent.co.uk/life-style/interview-a-shot-in-the-dark-1287703.html ↩︎

Photoshoot 1:

I want this photoshoot to be of houses like how Todd Hido takes his night time urban photographs. Similar to his approach, there will not be any people in these photographs and the houses will be quiet. The houses will be detached with at least one set of lights on. Ideally I will be taking these photographs through fog too so that the light will look soft and distant. I want to take these at blue hour. Since detached houses will likely be further out from town, they should also be quieter and the buildings are more unique and picturesque. To take these images I will be trying out different shutter speeds but I expect to need a low shutter speed to compensate for the dark.

Photoshoot 2:

This photoshoot will set up like Raymond Meeks by following a person/s however instead of the woods this one will be through a building and how they interact with the bannisters, doors etc. I would like to try 2 approaches to lighting. The first will make use of natural light when its still daytime around windows and the second will use artificial lights through doorways to create a leading path. I will be taking these images in an older house with deep stairs and a basement. These pictures will be used for the narrative as they’re less abstract and much easier to identify. An idea I’ve had was using a really low shutter speed so that the person was more of a trail but this is something I was going to experiment with.

Photoshoot 3/4:

These photoshoots will be abstractions of objects/locations that can be linked to fears such as a spiders web or the nails holding a carpet. While the subject is the focus of these images, the lighting is just as important. I aim to create dramatic shadows over the subjects with varying light sources. I will be taking these images both in focus and out of focus. The out of focus ones will still be enough to see the subject but like Hiroshi Sugimoto’s architecture wont be crisp. I will also take some in focus image incase I need them later for an experiment.

At the Jersey Art Centre we saw a project by Marc Medland who creates absurdist collages with different materials. Many were 3D to create depth. One of his projects were creating crime scenes with floor plans to map out the crime, a visual collage to represent the nature of the crime and a description of the actual crime too.

At the CCA Gallery we saw Glenn Perotte who photographed plant life on his journey up a mountain named: Mount Kenya’s Rooted Resilience. These images used a HDR approach to achieve much richer depth and colour.

At Arthouse Jersey we saw two projects:

Dancing Together: A Ballad by Kaarina Kaikkonen. She arranged tops to create works of art. The exhibition we saw moved the shirts from outside into a small gallery room to create a totally different sculpture.

And the sound of colour which projected a story onto a church ceiling. There were two parts, one being the history which is the one we saw.

I want to explore fears, especially universal fears such as isolation and the dark. Imagery of insects is also a common fear which I think blends well with the dark. A lot of mine and others’ actions and decisions are dictated by fears. Fears of failing, being alone or potentially embarrassment but also, on a smaller scale: darkness. Darkness fuels fears as its essentially the unknown; you don’t know what’s in the room with you. This will be linking with the themes of ‘Observe, Seek and Challenge’ in a few ways such as making note of what’s associated with fears and linked themes and I will be finding locations and situations that would fit the theme.

To develop my project I will be taking photographs inspired by numerous artists: Todd Hido, Rut Blees Luxemburg, Raymond Meeks, Hiroshi Sugimoto, Jose Conceptes and in part even Cindy Sherman. These will be abstractions, urban liminal spaces and potentially even some framed photographs to somewhat resemble a scene from a horror film. A large part of the photographs will be overarching aesthetic choices across all the images such as being in black and white with main focuses being light and their subsequent shadows.

I would like to present final outcomes in a photobook so that I can create a narrative without set time limits that would be present in a film. I want to document the experience of walking into a dark, dingy house with the feelings of a spider on your back and something resembling a silhouette sat in the corner and interspace with photographs of urban spaces to disrupt and create uncertainty. I will start with images resembling film stills of someone entering a building and interacting with it. From there I will begin to explore more abstract imagery of feelings associated with such locations and any spaces that catch my attention.

Any photographs of people will have their identity obscured. Any pointers to identity such as the face or full body shots will be obscured or left out because it isn’t the identity of the people that matter as much as it the experience and feelings associated. For every place I photograph I will make sure that the light is the main interest. All objects, people and locations will need to be in some way abstracted or obscured to emphasise the uncertainty. I wont be taking any photographs in a studio. Instead I will be taking images on location both inside rooms and outside the buildings. Text wont be spaced throughout as a fear induced mentality is irrational and illogical. I might manipulate a few of the images and try some collage techniques. In terms of AI technology I might try it out since it can create nonsensical and dream like outcomes which I could use but I’m not entirely convinced it will work out. If I make use of photoshop to create manipulated images then I will need to create a more surreal/dream like sequence focused on the irrational aspect of fear. If I don’t and I create more candid looking outcomes then the project will be more about the fear inducing imagery and ideas as opposed to the headspace.

Mind map & Mood board

Observe

Definition: To observe is to carefully watch with attention to detail or behaviour for its significance.

Synonyms: Notice, see, perceive, remark, detect, discover, behold, discover, spectator, bystander.

Antonyms: Overlook, disregard, ignore.

Ideas and Artists: Street photography and Henri Cartier Bresson.

Seek

Definition: Seeking is an attempt to find someone or something.

Synonyms: Search, pursue, strive, request, explore, follow, inquire, chase.

Antonyms: conceal, hide, neglect, ignore, idle.

Ideas and Artists: Archives and history.

Challenge

Definition: A Challenge is something new and difficult which requires great effort and determination. Also means proving or justifying through a contest.

Synonyms: Dare, opposition, ultimatum, confront, dispute, objection, protest.

Antonyms: Compliance, acceptance, approval, believe, support, fear.

Ideas and Artists: Cindy Sherman, propaganda posters.

Ideas

I like how Rogan brown uses textures to create the appearance and a mixture of colours/ monochrome to create artwork resembling living forms such as bacteria.

An additional idea I have came from the word ‘observe’ and ideas from Anthropocene as well as looking at work from Rogan Brown. I would start by observing people as they are and what they wear acting as a window to comment on trends, waste and materials. Once I’ve gained a better idea I would take images in a studio to reflect the mirror approach to ‘challenge’ . These images be made to resemble that from a fashion magazine with unnecessary accessories, fast fleeting trends and excessive waste with lots of animal patterns and textures.

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These types of posters were created to challenge ideals and act as propaganda. They use collages of images, striking colours and symbols to create a clear message. Formed an influential wave of art called the The Russian avant-garde.

I’ve had some ideas relating to propaganda and how hyperbolic they are are in imagery. To comment on both the subtlety and pompous approaches I could make some work which demonstrates how extreme and ridiculous some points that are made. While propaganda is commonly associated with war and recruitment as this was the most blatant and obvious however it is everywhere especially when the current political landscape is filled with ridiculous radical views that I could pick apart.

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Collages can be traced back to Picasso who’s work was much more subjective and abstract.

This experimental style created unique pieces which challenge ideals and innovated aesthetics of the time. Collages like these remind me more of posters which for challenging especially when confronting and protesting. Some ideas I’ve had has been combining history and modern images to showcase how places/people are products of both current influences and moments through the past. For example a building that has fallen into disarray in recent years might be infested with birds but quite a few years ago was extremely well used and had an extension added. I would combine images from archives of the building, images of past holders, images of bird nests and even images of the landscape to create a full picture of the ‘personality’ of the building. This would carry over ideas from landscapes and environmental portraits and resemble a piece more like Picassos collages then the propaganda. I worry this idea would require too much time on one collage and I would only have one fully fledged outcome by the end. I could create a small zine of each part of the collage to better show the makeup of this final image however I don’t want to limit myself to one building through this whole project. If the building was something larger like fort regent which has changed massively throughout the years, then there would be too much to combine into one piece however something smaller like one well used house might be too small.

An additional approach could be to combine a larger area such as flats/town/listed buildings and create a collage more like Beomsik Won’s which combine all the buildings into one larger body. This reminds me of ideas explored in Anthropocene which I would like to explore further.

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When reading through the exam booklet one line stood out to me: “For example, swifts outmanoeuvring insects on the wing…
birds and caterpillars stripping plants down to their stalks.” Insects are something that I and many other people have mixed feelings of as they are both essential for our ecosystems while also being really freaky. Arachnophobia is one of the most common fears. Insects when photographed are photographed in a way that resembles flowers in my opinion. I will be portraying bugs in the opposite way as something unnerving. Additionally the lines: “search parties, seances, ghosts, graveyards, churches, mosques, stone circles, universities.” gave me the idea of horror. I would like to make tiny insects large and formidable with shadows and themes. Additionally “Douglas Gordon created a film lasting 24 hours by slowing down Hitchcock’s Psycho, with
the intention of making us more aware of the nature of film itself.” also inspired this idea as instead of creating a film I would showcase these themes through still images. Psycho is a classic which has continued to inspire films not just in the horror genre still to this day.

Cindy Sherman also used film stills which I explored previously. I enjoyed this topic and I think this approach could work well as these images will act as mirrors.

I aim to use lighting techniques I learned from both still life and portraiture as well as natural lighting when outside from street photography as shadows are heavily associated with horror.

Still life

For still life I was inspired by Walker Evans and Darren Harvey-Regan. Walker Evans photographed mundane house tools to turn them into a spectacle while Darren Harvey-Regan combined two generic tools in separate images to create a unique pieces. While I’m not sure I will be developing images like these further, I would like to include some still life in some regard.

If I do take still life, they will likely be single images in front of a white background. They will be different objects with a different theme. From this project I will be using the different lighting techniques I learned. I haven’t done much with objects however I think the outcomes had varying success.

Portraits

Cindy Sherman took staged environmental portraits like this one. This worked as an environmental portrait of a character. Her work tells a story about a person and how their environment shows that.

I liked working on this project and I think my outcomes were successful. I would like to experiment further with this as I believe it could work as an interesting way to evaluate an idea. I did like my outcomes however going forwards I would like to create more as I only really had one good photoshoot for this project.

Street Photography

Henri Cartier-Bresson was a pioneer in the street photography space. His work never interfered and acted as observations instead. He believed in the decisive moment and photographing fleeting moments. I do like how these photographs look and the process of taking them however I would be shifting my focus.

I think I had varying success with my street photography. I enjoyed this project some outcomes were pretty decent. If I did continue these ideas, I wouldn’t focus so much on the decisive moment and instead a specific theme.

Photography as we know it was created with two entirely different processes: the Daguerreotype and the Calotype. One could be described as a ‘mirror’ and the other a ‘window’, a theory created by John Szarkowski. “the distance between 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, … or a window?”¹ The Daguerreotype, created by Louis Daguerre, acts as a mirror. This is both in a literal sense, being created with metals and glass, but also in a more subjective matter. A mirror is a synthetic, staged and manipulated while also holding personal meaning. A Daguerreotype only yields one final product (kept in a wooden box lined with velvets) which will result in more manipulation in the pre-production. The final outcome is a highly personal and unique ‘mirrored memory’. As the photographs were largely portraits resembling paintings it was a long process requiring manipulation of pose and expression. Additionally a mirror “reflects a portrait of the artist who made it”². Louis Daguerre not only named his process after himself but also released his findings months after Henry Fox Talbot as direct competition making the Daguerreotype inherently a mirror of himself. The Calotype, created by Henry Fox Talbot, is the opposite in many ways. It represents the window meaning documentary, authenticity and realism. These images are objective, like looking through a window which is described as: “through which one might better know the world?”³ A calotype creates a negative which can be mass produced meaning the images produced are more public and less private then a Daguerreotype.

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This image, by Szarkowski’s system, is a window. It acts as a snapshot of a road in Los Angeles in 1969. This image is a style of street photography and showcases realism. Realism is the accurate and detailed depiction of life. Garry Winogrand philosophy when it comes to photographs should clearly align with windows as he does not interfere and doesn’t believe in inserting himself and his motivations into his photographs. Additionally this photograph is like literally looking through a window. It is an authentic view of the streets of Los Angeles in 1969, letting us “better know the world” ⁴ as all ‘windows’ do. However the process of taking a photograph requires some level of a personal response. The photographer must see and decide to want to take the photograph, unconsciously letting bias influence the images. Jed Perl stated that “A photograph provides … an “autobiographical” response to a realist situation.”⁵ No image is going to fit either group perfectly. Despite how much this image might seem to fit the ‘Window’ group, no image is entirely separate from the photographer.

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This image is a mirror. It was taken by Cindy Sherman of herself making it an obvious reflection. It is manipulated as she was photographing herself to reflect film stills, meaning she was embodying a character and acting a part. Since a mirror “reflects a portrait of the artist who made it”⁶ This image fits the category by reflecting her own opinions and feelings towards being a woman such as the glamour as well as expectations she might feel influenced by such as cooking/cleaning in a kitchen making it subjective and personal. Jed Perl stated that “The very technology of photography contains an admission that the “world exists independent of human attention” —a photograph is, after all, a record of nature, of the world’s lights and shadows.”⁷ This means that all images are in some way a documenting the subject. This means that even if the subject is ‘manipulated’, all photographs are real and in some ways a ‘window’ as a camera cannot lie. What a photograph shows cannot be a ‘lie’ and accurately shows what it was pointed at regardless of whether or not the subject was adjusted previously.

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All images are in a way both mirrors and windows. Although a form of categorising these images can be helpful and make ‘reading’ them easier there is a dilemma that no image will fit one category completely. The categories works better as a spectrum however as all images are varying levels of objective and subjective as the categories are set on “uncertain foundations”⁸. Jed Perl stated that photography should be viewed as an “abstract art.”⁹ as abstract art doesn’t attempt to represent external reality and uses colours, shapes and textures to achieve its purpose. It isn’t easily categorised between two binary opposites. Both of these images cover similar themes and showcase American women around the 1970s. Both could act as a representation of the time period acting as documentary snapshots. Both showcase glamour and tell a similar story. Cindy Sherman’s image seems much more personal and intimate as it is just her in her kitchen. It feels like were getting to know her character. Garry Winogrand however is looking at the women from a distance. Its not personal and we don’t feel as though we get to know the women. Both images are very different and would sit on opposite ends of the spectrum but don’t appear like polar opposites instead just seem like slightly different approaches to tell a similar story. The images shouldn’t be shoehorned into a category since “The possibilities of photography, like the possibilities of any art, are as great or as small as the visions of artists.”¹⁰

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1. John Szarkowski, 1978 ↩︎
2. John Szarkowski, 1978 ↩︎
3. John Szarkowski, 1978 ↩︎
4. John Szarkowski, 1978 ↩︎
5. Jed Perl, 1978. Mirrors And Windows: Messages From Moma. ↩︎
6. John Szarkowski, 1978 ↩︎
7. Jed Perl, 1978. Mirrors And Windows: Messages From Moma. ↩︎
8. Jed Perl, 1978. Mirrors And Windows: Messages From Moma. ↩︎
9. Jed Perl, 1978. Mirrors And Windows: Messages From Moma. ↩︎
10. Jed Perl, 1978. Mirrors And Windows: Messages From Moma. ↩︎

The exhibition Mirrors and Windows was created by John Szarkowaski in The museum of Modern Art. Mirrors and Windows are used to act as binary opposites. Mirrors ‘Reflect a portrait of the artist who made it’. They are:

• Subjective
• A Self-Reflection
• Tableaux
• Romanticism
• Synthetic
• Staged
• Manipulated
• Acts as a projection of the self on the world.

Windows are ‘Through which one might better know the world?’ They are:

• Objective
• Documentary
• Authentic
• Reality
• Straight
• Public
• Act as a view into the exterior world explored authentically.

Example:

This is an image taken by Robert Heinecken which I believe represents the mirror.

Robert Heinecken was an artist who created surreal sculptures based on the idea of juxtaposition with re-purposed images from magazines and product packaging. On first glance, his work could seem like conceptual art however he dubbed himself a ‘paraphotographer’ due to his work in darkrooms and alteration of images despite rarely taking the images himself.

This image is a Mirror for numerous reasons. One being that there is no clear cut meaning to this image making interpretations dependant on the person. This subjectivity makes it a mirror. Had this image been taken differently and it was simply an image of some blocks it could have been a window as it would have been a documentary image. This image however has an image printed onto the blocks which makes it a staged image. Since this image has been heavily manipulated, the photographer has projected himself onto the image also making this image a self reflection and therefore a mirror.

Zine

The final layout was:

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Final prints

For final prints I choose these 5 images:

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I wanted 1 A3, 4 A4s and 1 A5. For A3 I choose the landed boat. A5 was the tower and all the rest were A4.

Evaluation: