Snapshot Aesthetic – Its purpose is the recording of meaningful moments and delights in its familial sharing. Snapshot aesthetics refers to the visual style and cultural significance that arises from casual, unplanned, and often spontaneous photography, emphasizing the ordinary moments of everyday life.

I will use snapshot images across my project, to capture natural and meaningful images, as well as matching my artist case study images, Nick Haymes.

Vernacular photography – An umbrella term used to distinguish fine art photographs from those made for a huge range of purposes, including commercial, scientific, forensic, governmental, and personal.

photoshoot 1

my first photoshoot took place at a party. This environment fit perfectly as i got a lot of my friends together, and as it was a party, followed a lot of the stereotypes so linked back to my project nicely. This photoshoot took place in october half term at my house for my 18th birthday.

Photoshoot 2

For my second photoshoot, instead of fitting stereotypes made by the older generation, i took pictures of my friends having genuine fun, outside and away from ‘bad influences’.

For this shoot, i wanted my pictures to reflect Sian Daveys work. I photographed my frieds in a ‘raw’ moment, meaning nothing was set up or staged, it was pure enjoyment of being with friends.

I also like how this shoot links with Nick Haymes work too, the simplicity speaks bigger than taking the picture itself.

Photoshoot 3

my last photoshoot was pictures taken at reading festival. i wanted to put these pictures in my work as i believe they really look in to what my project is based on, and along with other pictures, all create a theme and storyline.

What you want to explore?

I want to explore and tackle teenage stereotypes. I want to capture ideas of what people paint teenagers out to be, but also how they can be in reality. Exploring teenage stereotypes is valuable because it helps challenge oversimplified or inaccurate perceptions of adolescence, fostering a more in depth understanding of teens’ diverse experiences. By examining these stereotypes (such as the rebellious, irresponsible, and overly technology obsessed teens) we can uncover how society’s expectations shape both adult views of teenagers themselves. This exploration promotes empathy, encourages more accurate portrayals in media, and empowers teens to define their own identities rather than being confined to labels. Ultimately, it fosters a better understanding of development and the cultural forces that influence how teens are perceived and treated.

Why it matters to you?

Exploring this theme matters to me as personally, I have quite a large friend group. A lot of he time we are perceived as troublemakers and up to no good. In reality, we are just a group of teenagers/young adults who are enjoying themselves and are having fun. Stereotypes about teenagers are common because they simplify the complex and often unpredictable nature of childhood, a time of rapid change and emotional intensity. Society tends to categorise teens based on behaviour patterns, media portrayals, and generalizations about this stage of life, which can be seen as rebellious, experimental, or technology obsessed. These stereotypes are reinforced by popular culture, where teens are often depicted in extreme or exaggerated ways, making it easier for adults to understand or relate or even judge to them without recognising their individuality or the deeper challenges they face.

How you wish to develop your project?

To develop my project, I am going to meet up with my friends and capture moments of us just hanging out. i wont be setting anything up, just capturing the moments naturally. I am going to look at both my artist references and recreate images like theirs, but in my own way. I will be using the style of windows, an observational technique reflecting my friends and I’s lives, leaving an aesthetic approach to my images.

Which form you wish to present your study (photobook, film, prints etc)

I want to present my work in a photobook. I would like to do this as I believe it is the most artistic way of presenting my work. I like how you can search picture for as long as you want and admire them. I also like how you can flick through the pages. What inspired me to do this was previous photobooks I have looked at from ex-students who have already produced one. I will include objects and props to help show the stereotypes, but ill leave out anything that makes my pictures look fake and staged.

When and where you intend to begin your study?

I want to begin my study as soon as possible so I have time to get it perfect, and change anything I want to change. I will begin by going out with my friends wherever we go, inside and outside and capture these shots.

Nick Haymes – The Last Survivor Is The First Suspect

The Last Survivor is the First Suspect” is at once a celebration and a requiem. The project, captured between 2005 and 2009 by photographer Nick Haymes, is a record of a drifting community of young friends based mainly between two distinct geographic points: Southern California and Tulsa, Oklahoma. The book’s narrative merges a sense of joy in documenting burgeoning friendships and bonds, and a looming sense of dread that would ultimately culminate in a series of tragedies. Platforms such as MySpace, YouTube and online message boards engendered a sense of community by enabling connection, while also setting new and impossible standards and expectations. Diligently collected, these various forms of communication between the characters frame a foreboding.

In Haymes’ own introduction he accounts how his camera allowed him to compensate for a sense of crippling shyness developed during his teenage years. ’I picked up a camera and hid, discovering I could once again be near people, intimate with them, without having to engage,’ he writes.

Growing up in the UK, photographer Nick Haymes remembers his teen years spent bouncing around cliques in school. Drawn to kids for who they were, instead of who they aspired to be, Nick found his genuine interest was widely reciprocated by everyone except the girl he had been crushing on for six years. Lacking confidence, he turned to drugs, stopped writing and making art, and eventually stopped going to school. Three years later, Nick’s world fell apart when he learned he was adopted, and later went to rehab, where he dealt with paranoid psychosis. On the other side, overcome by profound shyness, Nick gravitated to photography. Camera in hand, he could engage with the world while maintaining a safe distance from people. In February 2005, Nick met two California teens, Josh and Mikey, at a dim sum restaurant in New York’s Chinatown. Their laidback manner and easy repartee gave Nick a feeling of connection and security he had been missing. That summer, he travelled to California to hang with them, and soon found a place for himself in what he described as “a family of lost boys.” 

“The Last Survivor Is the First Suspect” is a notable and powerful photo series created by photographer Nick Haymes. This series is often regarded as impactful and thought-provoking due to its dramatic exploration of themes like survival, isolation, and the human condition in the context of both literal and metaphorical “endings.” Here are a few reasons why the photoshoot is considered good, even great, by many in the photography and art communities

Mood Board

Image Analysis

This image is called… The depth of field used in this image is eye catching as although it focuses on the three girls having fun, it also can create a story within what you can see and what you cant see outside the frame. The image creates a sort of familiar feel, as it reflects my personal life alot as my friends are such a big part of life. I also feel like this image resonates with my friends because we love hanging out and going round to each others houses. This image also gives me inspiration for my own photoshoots because although this activity is just a day to day activity, it also focuses on and captures stereotypes in a way. I also like this image as its showing exactly what i want to shoot.

Siân Davey – Martha

‘No matter what era you grow up in, the awkwardness of being a teenager never really changes. You’re an adult and a child in the same body, trying to make sense of who you are and your place in the world. For all the drama and self-righteousness that involves, most of us are keen to escape the cringe as soon as possible, leaving few witnesses.’ Spanning two years, the images in ‘Martha‘ capture teenage life in rural Devon, along the UK’s south coast. There are hangovers and haircuts, topless swimming and tears over the telephone. But there are also developmental shifts on either side of the camera, often reflected in Martha’s gaze. Some feel raw and innocent, some knowing and weary. And as much as they provide an intimate insight into a complex time in life, it says just as much about the relationship between step-mother and daughter.

Sian Davey is known for her deeply emotive and personal approach at photography. She explores themes of identity, family, societal norms and vulnerability. Davey takes a careful and reflective approach to observing her subjects, allowing moments to unfold naturally. she captures subtle gestures, expressions, and interactions. She also seeks to uncover the more complicated layers of her subjects lives, searching for moments that convey their inner emotions and experiences. Davey challanges societal stereotypes and conventions, especially regarding themes of disability, mental health and family dynamics.

Mood Board

Sian Davey’s Martha is a good shoot to study because it combines emotional depth, thoughtful composition, and a nuanced exploration of identity. This is what I wanted to focus on for my shoot, as I’m looking into teenage lifestyle, and see if the stereotypes fir the reality. Her shoot challenges stereotypes and encourages a deeper, more empathetic understanding of individuals who are often marginalized, making it a powerful example of how photography can tell stories that go beyond surface appearances and provoke thought about representation and human connection. Davey’s ‘Martha‘ photoshoot exemplifies the “Observe, Seek, and Challenge” approach in photography by deeply engaging with her subject, Martha, through intimate and reflective portraits that capture both vulnerability and strength. Davey observes Martha’s natural state and environment, seeking to understand her personal narrative beyond surface-level imagery. By challenging conventional beauty standards and representations of difference, Davey highlights Martha’s individuality and complexities, encouraging viewers to rethink societal norms and embrace diversity in its rawest form, showing more in to teenage life than the stereotypes. The photographs create a powerful, emotional connection, challenging viewers to engage with the subject in a more empathetic and refined way.

Image analysis

This image is called prom. The depth of field used in this image is eye catching as although it focuses on the girls doing their makeup in the background, the girl at the front is blurred, creating a sort of pictorialism feel to the image. I also feel like this image resonates with my friends because we love getting ready together and helping each other get ready. This image also gives me inspiration for my own photoshoots because although this activity is just a day to day activity, it is very intimate and requires the trust of others to alter your appearance and enhance your beauty. I also like this image as its showing exactly what i want to shoot.

 Quotes and comments from Sian Davey

“She was separating from us, becoming her own person. But what I hadn’t seen was that she was worried I was losing interest in her. Her question felt like a request to be seen.”

“She allowed me into parties and gatherings in the park, she let me come along to lazy afternoon swims in the river. I’d meet them all in the early hours of the morning, spilling out of a club or a takeaway place in Plymouth or Torquay…”

I knew I had to gain their trust and I did it by taking extremely small, incremental steps,”

Mind Map

Mood Board

Observe

To observe in photography means to engage deeply with the world around you, noticing details, understanding the context of a scene, and making thoughtful decisions about how to capture that moment visually. It involves both an acute sense of visual perception and an intuitive connection to the subject, allowing the photographer to create images that are more than just technical reproductions, but meaningful, expressive interpretations of the world.

Seek

To seek in photography is the active, intentional process of searching for compelling subjects, moments, compositions, or emotions to capture. It involves exploring, discovering, and engaging with the world around you to find and frame the elements that align with your artistic or documentary goals. Seeking is about pursuing what inspires you—whether that’s the perfect light, an emotional moment, a story, or a new creative challenge—and it’s a critical part of the photographic process that drives a photographer to actively engage with the world rather than simply document it.

Challenge

A “challenge” in photography refers to any factor—whether technical, creative, environmental, or personal—that makes capturing an image more difficult or requires the photographer to adapt, experiment, or overcome obstacles. Challenges in photography are inherent to the medium, and they often provide opportunities for photographers to grow, innovate, and refine their craft. A great photographer is often defined not just by their ability to take good photos, but by their resilience and skill in overcoming these various challenges.

Binary Opposites

Binary opposition is the system of language and/or thought by which two theoretical opposites are strictly defined and set off against one another. It is the contrast between two mutually exclusive terms, such as on and off, up and down, left and right.

According to French philosopher, Jacques Derrida, meaning is often defined in terms of binary oppositions, where “one of the two terms governs the other.”. An example would be the white/ black binary opposition in the United States, the African American is defined as a devalued other. An example of a binary opposition is the male-female dichotomy, where male is the dominant gender and women are subservient.

Claude Levi Strauss

Levi Strauss, a French anthropologist in the 1900s, proposed a theory of ‘binary opposites’ which entails that the majority of narratives in media forms such as books and film contain opposing main characters. These binary opposites help to thicken the plot and further the narrative; and introduce contrast. Claude Lévi-Strauss was interested in the structures that stories use to create meaning. He analysed
traditional myths and legends in an attempt to uncover the essential ingredients, or universal laws, of
story structure. Lévi-Strauss concluded that all stories need some level of conflict in order to produce
meaning. He also came to the conclusion that the conflicts covered in stories tell audiences something
about the kinds of ideas and beliefs society ought to adopt. Strauss called these conflicts ‘binary oppositions’.
At their simplest, binary oppositions give us stories in which good battles evil, but there are countless other formulations of conflict found in media products: humanity versus technology, age versus youth, brawn versus intelligence. Importantly, Lévi-Strauss tells us that binary oppositions also construct ideological positioning. Ideology, in this sense, refers to how stories reflect the values and beliefs of society. The conflicts presented in Star Wars, for instance, tell us that the greed and exploitation of Darth Vader are bad, whilst Skywalker’s bravery and team working skills are positive traits.

Environmental Portraits

An environmental portrait is a portrait executed in the subject’s usual environment, such as in their home or workplace, and typically illuminates the subject’s life and surroundings. The term is most frequently used as a genre of photography.

It is a shot that captures a subject at work, at home, or in another important location. Good environmental portraits will tell strong stories of their subjects. Their immediate surroundings will give the viewer insight into where these people are, what they do, and who they are.

This photography task included looking at the themes of identity in a way. The project focused on people, and what they do for a living/in their natural environment. I used a documentary approach, using pictures with people involved in real events to provide a factual report on a particular subject. Arnold Newman was an artist reference in my work. Newman is often known well by being the photographer who articulated and who consistently employed the genre of environmental portraiture; a well known example being his portrait of Igor. Newman began his career in photography in 1938 working at chain portrait studios in Philadelphia, and immediately began working in abstract and documentary photography on his own. To edit my photos, I used Lightroom, making my pictures way more sustainable. I also learnt new ways of photographical skills, including different settings on the camera to fit the environment.

Femininity and Masculinity

I focused on femininity.

Justine Kurland images

Cindy Sherman Images

This photography task included looking at the themes of femininity and masculinity in a way. The project focused on in general, being “feminine”; often encompasses qualities and behaviours that are traditionally associated with women, such as nurturing, empathy, grace, and gentleness. However, it’s important to remember that these traits are not inherently tied to gender, and people of any gender can express these qualities. And masculinity; involving a display of attitudes and behaviours that signify and validate maleness, and involves being recognised in particular ways by other men and women. Masculinity is constructed and defined socially, historically and politically, rather than being biologically driven. I used a documentary approach, using pictures with people involved in real events to provide a factual report on a particular subject. Cindy Sherman is an American photographer, born 19th January 1954, New Jersey, United States. Her work consists primarily of photos which depict herself in many different contexts and as various different imagined characters. Sherman usually inserts herself into a dialogue about stereotypical portrayals of women in her photographs, which resemble scenes from 1950s and 1960s films. Her art plays on the feminist idea that gender arises exclusively within culture and deconstructs dominant gender ideologies, representing the underside of popular culture’s definition of “woman.” To edit my photos, I used photoshop, experimenting with my pictures and their filters. I also learnt new ways of editorial skills, including different factors on the app to make the pictures look interesting and eye catching.

The New Topographics

New Topographics was a term coined by William Jenkins in 1975 to describe a group of American photographers (such as Robert Adams and Lewis Baltz) whose pictures had a similar banal aesthetic, in that they were formal, mostly black and white prints of the urban landscape. Unlike their predecessors, these new “topographic” photographers (such as Robert Adams) were less concerned with portraying an ideal image of nature and were more interested in showing plainly how man has altered it.

Robert Adams is an American photographer best known for his images of the American West. Offering solemn meditations on the landscapes of California, Colorado, and Oregon, Adams’s black-and-white photos document the changes wrought by humans upon nature. While Adams was teaching English at Colorado College, he began taking pictures of nature and architecture with a 35 mm reflex camera, and learned photographic technique from the professional photographer Myron Wood. His earliest series The New West (1968–1971) depicts the uniform housing tracts that were part of suburban development in Colorado.

How can photographs be both ‘mirrors’ and ‘windows’ of the world?

Introduction

The Daguerreotype and Calotype are two crucially early photographic processes, each with distinct features. The Daguerreotype, developed by Louis Daguerre in 1839, involves a polished silver-plated copper sheet treated with iodine, producing very detailed, images that are unique and cannot be replicated. This process requires longer exposure times, making it more complex and costly. In contrast, the Calotype, invented by William Henry Fox Talbot in the 1840s, uses paper coated with silver chloride to create a negative image, allowing multiple positive prints to be made from a single negative. Although Calotypes typically produce softer images with less detail, they offer a broader tonal range and require shorter exposure times, making the process simpler and more accessible to a wider audience.

John Szarkowski’s theory about photography as either a “mirror” or a “window” offers a compelling lens through which to view the Daguerreotype and Calotype. The Daguerreotype can be seen as a “mirror” of the world, capturing a highly detailed, reflective image that emphasizes the individual moment and the artist’s perspective. Its unique qualities and meticulous craftsmanship invite viewers to contemplate the nuances of reality as perceived by the photographer. In contrast, the Calotype functions more like a “window,” offering a broader view of the world through its ability to produce multiple prints from a single negative. This process reflects a more democratic approach to photography, allowing for the sharing of experiences and perspectives. The softer, less precise images of the Calotype can evoke a sense of interpretation and mood, suggesting a more subjective experience of the world beyond mere replication. Together, these processes exemplify Szarkowski’s idea of photography as both a reflection of the photographer’s vision and a means of connecting viewers to a wider reality, illustrating the complex relationship between art and perception in early photography.

‘An “autobiographical” response to a realist situation’. An “autobiographical” response suggests that the artist (be it a photographer, writer, or artist) draws upon their personal experiences, emotions, and perspectives. This approach often invites a deeper connection with the subject matter, as it is informed by lived experiences. The use of autobiography can serve to personalize and contextualize broader themes, allowing the creator to interlink their work with authenticity and emotional resonance. This suggests that the creator is not only reflecting on a realistic scenario but also incorporating their personal narrative into that reflection. This blend can enrich the work by providing a unique perspective on the realism being portrayed. For example, a photographer might document a social issue while including their own experiences or emotions related to that issue, thereby creating a layered narrative. This allows a multifaceted exploration of themes, as the artist’s personal story can illuminate the broader societal context, fostering empathy and understanding in the audience. It encourages viewers to see the interplay between individual lives and collective realities, making the work both specific and universally relatable. Ultimately, this approach underscores the idea that personal experiences can deeply inform and enhance the representation of real-life situations, bridging the gap between individual and collective narratives. I agree with the quote, as every picture taken, has a story behind it. Whether this is intended is completely up to the photographer or viewer. The power of imagination can romanticise and envision what the picture is telling them to imagine. The smallest factors can have the biggest effects.

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mirror

Hannah Starkey

In this image, there is a woman looking at herself in the reflection of the mirror. This represents Szarkowski’s theory on mirror photography. This could be personal to the photographer as it suggests the representation of Self-Discovery. It often symbolizes introspection and self-exploration, highlighting a journey of understanding oneself. Duality, the reflection can represent different facets of her identity (what she shows the world versus her inner thoughts and feelings). Beauty and Vulnerability, the act of gazing into a reflection can evoke themes of beauty, longing, and vulnerability. capturing a moment of solitude and contemplation. Time and Memory: It may suggest nostalgia, as the reflection can evoke past experiences, memories, or even dreams of the future. Feminine Perspective: The image can celebrate femininity, emphasizing the strength and complexity of women’s experiences.

window

Eugene Atget

In this image, two people are captured just living naturally. This isn’t exactly personal to the photographer as there is no connection or resemblance as to why he has taken this image (from what we know). Eugène Atget was a French photographer best known for his photographs of the architecture and streets of Paris. He took up photography in the late 1880s and supplied studies for painters, architects, and stage designers. Atget began shooting Paris in 1898 using a large format view camera to capture the city in detail. The photograph “Joueur d’orgue” is a work by Eugene Atget, taken sometime in 1898-99. It captures a street musician with an organ grinder, which appears to be housed on a wheeled cart. The musician is an older man with facial hair, wearing a hat and a long coat, standing behind the cart and turning the lever of the organ. There’s also a young boy cheerfully leaning on the cart, looking up at the organ player. Both are positioned against the backdrop of a building with closed shutters, giving a glimpse into the street life of the era in which the photo was taken. The image conveys a sense of livelihood and perhaps hints at the cultural atmosphere of the time.

Conclusion

These two images represent the theory of mirrors and windows.

Atget’s “Joueur d’orgue” effectively embodies Szarkowski’s dual concepts of ‘Mirrors’ and ‘Windows’ in that it is both a personal and artistic reflection on Atget’s vision of Paris and a documentary window into the life and social realities of the city at the time. The photograph invites the viewer to look both inward (toward Atget’s emotional and subjective perspective on the world) and outward (toward a tangible, historical moment in Parisian street life). This dual function makes Atget’s work a profound exploration of both personal reflection and social documentation, demonstrating the complexity and depth that photography can offer. Hannah Starkeys untitles image exemplify Szarkowski’s theory of ‘Mirrors’ and ‘Windows’ in their ability to reflect both the photographer’s internal world and broader social realities. Through her carefully staged compositions, Starkey provides a nuanced view of contemporary femininity, blending personal introspection with social commentary. Her photographs are not just about the external world—they are also a reflection of her own concerns and interests. They offer the viewer a dual experience: the chance to peer through a ‘window’ into the complexities of modern life while also reflecting on the ‘mirror’ of the photographer’s personal and emotional engagement with the themes of gender, identity, and social expectation.

What are the differences between photographs that are windows and mirrors?

Window

Definition: Window photography focuses on observation and perspective. It captures external subjects from a specific vantage point, often suggesting a barrier between the viewer and the subject.

Purpose: This approach allows the audience to observe life as if peering through a window, fostering a sense of distance and sometimes curiosity about the lives being depicted.

Examples:

• Street photography capturing candid moments of everyday life.
• Images taken through windows, highlighting the separation between the viewer and the outside world.

Techniques:

• Framing compositions that emphasize the window or barrier.
• Utilizing depth of field to draw attention to subjects outside the frame.
• Incorporating reflections of the photographer or environment in the glass.

Words to describe window photography:

• authentic
• objective
• public
• visually restrictive
• single perspective

Mirror

Definition: Mirror photography emphasizes reflection and self-examination. It often involves capturing images that serve as a mirror to the viewer, reflecting their experiences, emotions, or societal issues.

Purpose: This style invites viewers to see themselves in the image. It can provoke introspection or prompt them to consider their own identities and circumstances.

Examples:

• Self-portraits where the photographer is both the subject and the observer.
• Images that depict universal themes of struggle, identity, or emotion.

Techniques:

• Use of reflections in mirrors, water, or glass.
• Close-up shots that capture personal details or intimate moments.
• Contrast and light manipulation to enhance emotional depth.

Words to describe window photography:

• self expression
• romanticism
• subjective
• candid
• naturalistic

Conclusion:

Mirror and window photography are vital concepts in understanding how images can communicate complex ideas about identity, society, and perspective. Whether used individually or in combination, they offer rich avenues for exploration and expression in the art of photography.

Both styles can overlap. A photograph can function as both a mirror and a window, reflecting personal experience while also observing the outside world.

Both approaches can serve as powerful tools for commentary on societal issues, identity, and the human condition.

In storytelling, mirror photography often explores the internal landscape of characters, while window photography may depict their external circumstances.

Harbour photoshoot

I used Adobe Photoshop to make my virtual gallery’s. I used the images from my zine.

I am using Adobe InDesign to create my zine layout.

Page 1

I chose this to be my front cover as i like how the picture is bland, but then the sailor is a burst of colour. I think it represents the harbour well.

Pages 2 and 3

To start my zine off, i used a picture of the sea and the entry to the harbour. I used these as its the beginning process of the harbour, where the fish get caught, and where boats bring in our foods/packages.

pages 4 and 5

I then used these two pictures of boats to show what comes in to the harbour, whether its for work or leisure.

Pages 6 and 7

I then used this picture of where the boats dock up. I spread this picture across two pages as i am moving in to the labour side of the harbour on the next pages. I like how it evenly divides the book and switches it up.

Pages 8 and 9

I used a picture with two cranes to show how things are moved off of boats on to land sometimes. I then used a picture of the lorry to show how things are manoeuvred around the harbour.

Pages 10 and 11

These pictures were chosen because I like how they tell a story with the lorry coming in on the previous picture, then them parked up, and finally the worker getting ready to work.

Pages 12 and 13

I like the picture on the left because of how central the lorry is. I also like how the picture links back to the previous photos of the lorry’s as its leaving the harbour with the goods inside. I then picked the picture of the left as it is nearly opposite the picture its next to. I also put it in black and white as it is a very old wall with lots of history.

Pages 14 and 15

With these two pictures, I followed the story of history at the harbour. The left picture is a bell pointing to the maritime museum. So, with the next picture I used a cannon which is outside the museum, also representing a lot of history.

Page 16

I then finally used this image as my final one because I like how the figurehead stands out, which also links back to the beginning with the same theme of the sea/linking to the sea.

Evaluation

I chose to layout my zine this way as I like how it kind of tells a story. I like how its a walk through of jerseys harbour and what goes on, from the sea, to boats, to labour and then the history. My aim was to go from the harbour now, to more historical pictures. I like how the picture change from colour to black and white as well to have that mix.

Zine mock up

To physically look at my images and see how the layout looks in person, I printed them out and made a quick ‘zine’. This helped me decide my final layout and how I wanted it to come together.