I want to use all my artists study’s as a reference but i have my own plan of reality that I want to express, such as sexism, sexual assault and depressing life as a teenager. I think through windows and mirrors I can show this very well, I also want to show the positive side.
Where?
Who?
Aim
How?
Artist Studies
Task: A creative response to documentary (realism/factual/public/candid) and tableaux (romanticism/fiction/private/staged) photography.
What is documentary Photography?
Documentary photography is a genre that captures real-life events, environments, and people to tell stories and convey truths about the world. It often aims to provide a candid and honest representation of subjects, focusing on social issues, cultural narratives, and everyday life. (window)
What is tableaux photography?
Tableaux photography is a style of photography that creates staged scenes, often resembling a painting or a theatrical tableau. This genre typically involves carefully composed arrangements of subjects, props, and backgrounds to convey a narrative or evoke a specific emotion. (Mirror)
Relevance to artist study
Gregory Crewdson
Shirin Neshat
Jill Freedman
Gregory Crewdson
Gregory Crewdson is an American photographer renowned for his elaborately staged and surreal scenes that explore themes of suburban life, isolation, and the uncanny. Born on September 26, 1962, in Brooklyn, New York, he studied photography at the State University of New York at Purchase and later received an MFA from Yale University.
Crewdson’s work is characterized by its cinematic quality, often resembling stills from a film. He meticulously constructs his images, utilizing elaborate sets, dramatic lighting, and a variety of props to create a sense of narrative and emotional depth. His series, such as “Beneath the Roses,” “Twilight,” and “Cathedral of the Pines,” feature hauntingly beautiful depictions of domestic settings that evoke a sense of mystery and tension.
His photographs often comment on contemporary American life, merging realism with surreal elements. Crewdson’s approach has earned him widespread acclaim, and his works are held in major collections, including the Museum of Modern Art in New York and the Los Angeles County Museum of Art.
In addition to his photography, Crewdson has taught at various institutions and has contributed significantly to the field through his lectures and workshops. His unique vision continues to influence both photographers and filmmakers, solidifying his status as a key figure in contemporary art.
Shirin Neshat
Shirin Neshat is an acclaimed Iranian artist and photographer known for her powerful exploration of themes related to gender, identity, and cultural conflict, particularly in the context of Iranian society. Born on March 26, 1957, in Qazvin, Iran, she moved to the United States for her education in the late 1970s, attending the University of California, Berkeley, where she studied art and later earned her MFA.
Neshat’s work often combines photography, video, and installation art, utilizing striking imagery and complex narratives to challenge stereotypes and provoke discussions about the role of women in Islamic culture. One of her most notable series is “Women of Allah,” which features portraits of women adorned with calligraphy and symbols, addressing issues of femininity, martyrdom, and the interplay between oppression and empowerment.
Her films, such as “Taste of Cherry” and “Fervor,” further delve into these themes, earning her numerous accolades, including the Silver Lion at the Venice Biennale in 1999. Through her art, Neshat continues to engage audiences worldwide, sparking dialogue on the nuances of identity and the complexities of cultural heritage.
Jill Freedman
Jill Freedman was an influential American photographer known for her poignant and intimate portrayal of everyday life, particularly in urban settings. Born in 1939, Freedman began her career in the 1960s, capturing the essence of street life and the human experience. She gained recognition for her work documenting the lives of the marginalized, including her notable series on the New York City firehouse culture and her empathetic portrayals of homeless individuals.
Freedman’s style combined a strong sense of storytelling with a keen eye for detail, often blending elements of photojournalism and fine art. Her photographs were characterized by their emotional depth and authenticity, allowing viewers to connect deeply with her subjects. Over the years, she published several books and exhibited her work internationally, earning accolades for her contributions to documentary photography.
In addition to her artistic endeavors, Freedman was dedicated to teaching, sharing her passion for photography with aspiring photographers. Her work continues to resonate, inspiring new generations to explore the complexities of the human condition through the lens. Freedman passed away in 2021, leaving behind a rich legacy that highlights the power of photography to capture truth and evoke empathy.
Photography, in the early 19th century, has evolved into a profound medium of expression, allowing both documentation and artistic interpretation. Among the earliest methods, Daguerreotype and Calotype stand out for their distinct approaches. The Daguerreotype, introduced by Louis Daguerre in 1839, produced a unique, highly detailed image on a silver-coated copper plate. This process emphasized precision and clarity, often resulting in strikingly lifelike portraits. In contrast, the Calotype, developed by William Henry Fox Talbot shortly thereafter, utilized paper coated with light-sensitive chemicals, allowing for multiple prints from a single negative. This method, while less detailed than the Daguerreotype, embraced a softer, more ethereal quality, capturing a broader range of tones and textures. According to John Szarkowski, photography can serve as both a mirror and a window to the world. He argues that it reflects personal perspectives while also providing a glimpse into reality. One notable quote from Szarkowski states, “The photographer is not only a recorder but also a maker of meaning.” I agree with this assertion, as it highlights the dual role of the photographer—balancing subjective interpretation with objective representation, which is crucial in understanding the complexities of photographic imagery.
Photographs as Mirrors
When we consider photographs as mirrors, we recognize that they often reflect the photographer’s perspective, emotions, and identity. Each image is imbued with the subjective experiences of the photographer, revealing personal truths and cultural contexts. For instance, a portrait taken by a photographer may not just capture a person’s likeness but also convey their inner thoughts, feelings, and social environment. The choices made in composition, lighting, and subject matter contribute to this reflection, allowing viewers to glimpse the photographer’s worldview.
Moreover, photographs can serve as mirrors for the audience as well. When we engage with an image, we project our own experiences and emotions onto it. A photograph of a serene landscape might evoke memories of a peaceful vacation, while a candid shot of a bustling street can remind us of our own experiences in urban life. This personal connection creates a sense of intimacy, enabling viewers to see aspects of themselves reflected in the image. In this way, photographs not only depict reality but also invite introspection and self-discovery.
I chose this photo by Gregory Crewdson as a mirror image. Gregory Crewdson’s photograph of a girl floating in water in a house at twilight serves as a profound mirror, reflecting viewers’ inner emotions and subconscious thoughts. The surreal and haunting imagery invites introspection, prompting personal connections to themes of vulnerability, isolation, and nostalgia.
The floating girl, suspended in an otherworldly scene, evokes a sense of helplessness and tranquility simultaneously. This juxtaposition allows viewers to project their own experiences and feelings onto the image, creating an intimate dialogue between the artwork and the observer. The stillness of the water, combined with the twilight setting, enhances the emotional weight of the photograph, suggesting a moment of transition and uncertainty.
John Szarkowski’s quote, “What a photograph is is a thing that has been touched by light,” underscores the essential relationship between light and photography, emphasizing how light influences the perception and emotional resonance of an image. In Gregory Crewdson’s photograph of the girl floating in water in a house at twilight, this concept becomes particularly relevant.
The interplay of light in Crewdson’s work is critical to its emotional impact. The twilight setting creates a soft, ethereal glow, enveloping the scene in a dreamlike atmosphere. This manipulation of light not only enhances the visual appeal of the photograph but also evokes a sense of mystery and introspection. The way light reflects off the water and the girl’s figure adds depth to the image, creating a delicate balance between reality and surrealism.
By emphasizing that a photograph is shaped by light, Szarkowski’s quote suggests that the viewer’s experience is fundamentally influenced by this element. In Crewdson’s photograph, the haunting quality of the twilight and the reflective surface of the water serve as metaphors for emotional vulnerability and the subconscious. The gentle illumination invites viewers to explore their feelings of isolation and uncertainty, allowing the image to function as a mirror of their inner lives.
Conversely, Jed Perl, in his critique of staged photography, argues, “The carefully constructed tableau can create a distance between the viewer and the subject, leading to a sense of artificiality.” This comment suggests that while staging can evoke certain emotions, it can also risk alienating the viewer from a genuine connection to the subject. Perl’s perspective raises an important point about the potential limitations of Crewdson’s approach: the meticulous staging may create a barrier that can detract from the immediacy of emotional engagement.
While Perl’s critique highlights a valid concern regarding the artificiality of staged photography, it is essential to consider that Crewdson’s work deliberately embraces this quality as a means of exploring deeper emotional truths. The tension between reality and artifice is central to understanding the complexities of human experience. By crafting an overtly staged scene, Crewdson invites viewers to question the nature of their own perceptions and the narratives we construct around them. The photograph does not merely reflect a moment in time but serves as a catalyst for exploring broader themes of existential uncertainty and the search for meaning in modern life.
Photographs as Windows
Conversely, photographs also function as windows, providing viewers with glimpses into lives and experiences beyond their own. This capacity to capture and communicate reality enables photography to serve as a powerful documentary tool. For instance, photojournalism can illuminate social issues, such as poverty, conflict, and environmental challenges, by presenting stark visual narratives that demand attention. Images from war zones, refugee camps, or communities affected by natural disasters offer insights into human suffering and resilience, fostering empathy and understanding.
Furthermore, photographs can transport viewers to different cultures, places, and moments in time, enriching their understanding of the world. A photograph of a traditional festival in a remote village can introduce viewers to customs and practices they may have never encountered, broadening their horizons and challenging preconceived notions. This ability to act as a window into diverse realities underscores the importance of representation in photography; it is essential for capturing a wide array of experiences to foster a more comprehensive understanding of humanity.
Henri Cartier-Bresson’s photograph of children fighting alongside another child on crutches exemplifies how photography can function as a window, offering viewers a glimpse into the realities of childhood experiences and social dynamics. These images encapsulate moments that reflect broader themes of conflict, vulnerability, and resilience, allowing viewers to engage with the complexities of human life.
Cartier-Bresson is renowned for his ability to capture the decisive moment—those fleeting instances that reveal deeper truths about society. The photograph of the children fighting captures a raw, unfiltered moment of childhood aggression, embodying the spontaneity and intensity of youthful interactions.
John Szarkowski once said, “The camera is an instrument that teaches people how to see without a camera.” This quote highlights the camera’s power to reveal the ordinary in extraordinary ways, allowing viewers to observe and reflect on life’s complexities. Cartier-Bresson’s photographs exemplify this idea by portraying unembellished moments that prompt viewers to consider the social and emotional realities of childhood. The authenticity of these images fosters a connection with the viewer, inviting them to engage with the subjects’ experiences without the interference of artistic manipulation.
Conversely, Jed Pearl critiques the notion of realism in photography, asserting that “the great danger of realism is that it can lead to a kind of banality, reducing the subject to mere documentation.” This perspective raises concerns that while Cartier-Bresson’s images capture real moments, they may lack the emotional depth or narrative richness that elevates them beyond mere observation. Pearl’s critique invites a critical examination of whether these photographs truly convey the complexities of childhood or simply document fleeting instances.
While Pearl’s concern about the potential banality of realism is valid, it is essential to recognize that Cartier-Bresson’s mastery lies in his ability to elevate everyday moments through his keen observational skills and timing. The spontaneity of the children fighting and the vulnerability of the child on crutches evoke emotional resonance that transcends mere documentation. Rather than reducing the subjects to banal representations, these images challenge viewers to confront the realities of childhood, prompting reflection on the joys and struggles inherent in growing up.
In conclusion, Cartier-Bresson’s photographs function as a window into the lives of children, revealing their complexities and vulnerabilities. Through objective expression rooted in realism, these images invite viewers to engage with the social and emotional dimensions of childhood experiences. By juxtaposing Szarkowski’s perspective on the camera as a tool for observation with Pearl’s critique of realism, we gain a nuanced understanding of how Cartier-Bresson’s work transcends mere documentation, ultimately enriching our perception of the human experience.
In conclusion, the discussion surrounding how photographs can serve as both “mirrors” and “windows” of the world reveals the nuanced interplay between personal expression and social commentary in visual imagery. John Szarkowski’s theory underscores the idea that photography is not merely a record of reality but an interpretation shaped by the photographer’s vision, making the medium a powerful tool for conveying deeper meanings. Conversely, Jed Pearl critiques this approach, cautioning that a focus on realism can sometimes result in a banal representation of subjects, stripping away emotional depth.
The contrasting images of children fighting by Henri Cartier-Bresson and the girl floating in a house at twilight by Gregory Crewdson exemplify the dual nature of photography. Cartier-Bresson’s work embodies a moment of raw, unfiltered reality, portraying the chaotic energy of youth in a way that reflects the objective social dynamics of childhood. This image serves as a window into the public sphere of childhood interactions, while also acting as a mirror reflecting the viewer’s own experiences with conflict and camaraderie.
In contrast, Crewdson’s photograph, while rooted in a staged narrative, invites subjective interpretation through its dreamlike quality. The floating girl evokes themes of isolation and vulnerability, highlighting the private struggles that often lie beneath the surface of everyday life. This image embodies a blend of realism and romanticism, as it invites emotional engagement while also challenging perceptions of reality.
Both images explore the tension between objectivity and subjectivity, realism and romanticism, factual representation and fictional narrative. Cartier-Bresson’s photograph is more grounded in factual depiction, reflecting the public aspect of childhood, whereas Crewdson’s work leans towards the subjective, exploring the intimate and private realms of human experience. Together, they illustrate how photography can simultaneously reflect personal perspectives and provide insight into broader social contexts, ultimately enhancing our understanding of the human condition. Through this lens, photographs indeed become both mirrors and windows, enriching our engagement with the world around us.
Introduction (250 words): Reflect on the origin of photography and describe in your own words the difference between the two photographic processes, Daguerreotype and Calotype. Consider how they could be viewed as either a mirror or a window of the world according to John Szarkowski’s thesis. Choose one quote from Szarkowski’s text and comment if you agree or disagree.
Draft Introduction: In the early 19th century, photography emerged as a powerful medium for both documentation and artistic expression, with Daguerreotype and Calotype as key photographic processes. The Daguerreotype, created by Louis Daguerre in 1839, produced highly detailed images on silver-coated copper plates, emphasizing clarity and lifelike portraits. Conversely, the Calotype, developed by William Henry Fox Talbot, used light-sensitive paper, allowing for multiple prints and offering a softer, more ethereal quality. John Szarkowski described photography as both a mirror and a window, reflecting personal perspectives while revealing reality. He emphasized that photographers act as both recorders and creators of meaning, underscoring the importance of their dual role in shaping photographic imagery.
Potential quote:
Paragraph 1 (250 words): Choose an image that in your view is a mirror and analyse how it is a subjective expression and staged approach to image-making. Choose one quote from Szarkowski’s thesis and another from Jed Pearl’s review which either supports of opposes Szarkowski’s original point of view. Make sure you comment to advance argumentation in providing a critical perspective.
Paragraph 2 (250 words): Choose an image that in your view is a window and analyse how it is an objective expression rooted in a sense of realism. Choose one quote from Szarkowski’s thesis and another from Jed Pearl’s review and follow similar procedure as above ie. two opposing points of view and commentary to provide a critical perspective.
Conclusion (250 words): Refer back to the essay question and write a conclusion where you summarise Szarkowski’s theory and Pearl’s review of his thesis. Describe differences and similarities between the two images above and their opposing concepts of objectivity and subjectivity, realism and romanticism, factual and fiction, public and private.
what are the differences between photograph that are mirrors or windows?
Photos that are mirrors are a romantic expression of photographers sensibility as it projects itself on the things and sights of this world, when a window is through the exterior world is explored in all presence and reality.
Key Words associated with;
Mirrors:-
Windows:-
This photo was given to me yesterday in class and i had to decide whether it was a mirror or window photo then evaluate why.
This photo is done by Gregory Crouton, he was inspired by Millais Ophelia. This image is a Mirror, as it is subjective not objective, it does not show and explore actual reality, and everyone could understand something different from this image. Gregory Crouton stages all his images like a film set, behind this image is actually a set of this room with a built pool underneath, which is created into this magnificent piece. Mirror images are staged like how this one is. Although this image is fiction and manipulated it is personal as everyone who looks at it can see something new or different and could find a way it relates to them in a personal way.
I actually did not evaluate this photo yesterday, but decided to evaluate it now. to show my understanding of a window image.
This image is a window, this is because it isn’t staged or manipulated, as it was done by Henri Cartier-Bresson who focused on the decisive moment and street photography, he captured this moment as it was actually happening, yes you can still subjectively look at it but most of Cartier-Bresson work is quite objective in a sense as you can see what is happening quite clearly. He also documents his work well to show clearly what happens in todays world, and in this photo amongst kids. This photo is also very realistic and public.
STORY: What is your story?
Describe in:
NARRATIVE: How will you tell your story?
I plan to tell my story by carefully ordering the images throughout my zine book, there will be portraits and full bleed images to especially show the importance and main idea of every image and to hopefully highlight what story I am trying to tell.
I will have my own produced images . At the beginning of my zine, I will have an introduction of St Helier harbour. throughout my entire zine pages will be landscapes of St Helier harbour or portraits, I also plan to have black footprints walking through all the pages.
I plan to have my font-types a friendly playful tone as it isn’t in the book much but think it works well with the image I have thought for my front cover so they will compliment each other. The cover of my zine will be one large portrait that is in colour and edited to be a bit of a warmer tone, the title will be right above the man in the photo and my name will be in the right hand bottom corner, in black so it all stands out.
Mood board of images I will use:
Text I will add in my zine
As it is all to do with fishing and fishermen and their story I will have a small introduction in the beginning that is presented in sea shanty form.
What is a Zine?
A zine (short for “magazine” or “fanzine”) is a self-published, often small-circulation work that typically focuses on a specific topic, theme, or subculture. Zines are usually created by individuals or small groups and can take many forms, including pamphlets, booklets, or digital formats.
What will my zine be?
Theme:
Tone and Style
Zines have a distinct tone and style for several reasons, zines are often created by individuals or small groups, allowing for a unique voice. The tone reflects the creator’s personality, beliefs, and experiences, making the content feel more intimate and relatable, The tone and style are often tailored to resonate with a specific audience. Whether it’s humorous, serious, or experimental, the approach helps to engage readers who share similar interests or values, and Many zines address social or political issues, and the tone can be used to critique or challenge mainstream narratives. A bold, confrontational style might be employed to provoke thought, while a more reflective tone might invite empathy.
What would be the tone and style of my zine?
MoodBoard
I took 392 photos around jersey St Helier Harbour.
i started editing the 43 photos i selected.
Harbour Photoshoot 1 edited
This is my first photoshoot from around st Helier harbour, I edited them on Lightroom, never did too much mainly changed exposure and lighting or cropped the images, next to most of them you can see how I edited them, the last few are main ones I was very pleased about and was fairly certain I was going to use for my final product.
Harbour photoshoot 2
We went around the harbour again for a second time to take even more photos.
we started in the maritime museum to have a talk and look around to take photos.
In this photoshoot I took around 351 photos, very similar to last time, I then went through and selected which ones I liked the best, and also to limit down on ones I had to edit.
I was left with 34 images.
I then went through and begun to edit them.
Final edited image
