• What you want to explore?
• Why it matters to you?
• How you wish to develop your project?
• When and where you intend to begin your study?

Interpreting the exam themes; OBSERVE, SEEK, CHALLENGE the topic which I wish to explore is Human and Family Connections, the main artists references which I chose to take inspiration from is Astrid Reischwitz which storytells from a personal perspective, Joanna Piotrowska which focus on psychological narratives which explore human relations and Alicja Brodowicz which combines elements of the human body with elements of nature a well. In terms of my final outcome I would like to produce a photobook that presents all my different ideas and photoshoots that relate to one another in a sequence. I want each page to feel like a story and for the viewer to understand as it progresses.

For my personal project I want to explore themes of nostalgia, family, ageing and changes throughout life when it constantly changes. These topics matter to me as having a multicultural background the topics follow me as it grow and become older, especially dividing both my Polish and English culture into daily life with speaking the languages at home vs in education/the workplace. For me family consists of mostly older generational European members growing up in Poland, living in The Netherlands as well as South England with conflicts over family, relationships, life, world war etc. I wish to develop my project by taking photos of different peoples skin and how it ages as part of formulating the topic of Human and Family Connections. As well as taking photographs of nostalgic archival images from my parents family album including photos of them when younger and other family relatives. For my first couple of photoshoots I want to include photos of my parents, my family and separate photos of elements that are sentimental to a specific time in the moment of the past e.g. the type of flowers my mum held on her wedding day, the type of car my dad used to drive, the jewellery she would wear when I was younger , the type of embroidered table cloth that would be laid out for breakfast with Polish folk art decorated etc/ things that remind her of home, belonging and both their lives.

Joanna was born in Poland and is based in London, Piotrowska has an interest in domestic spaces and man-made environments. For one series of works she asked people in Lisbon, Rio de Janeiro, Warsaw and London to build makeshift shelters in their homes and gardens, subverting childhood play. Other works present gestures and movements from self-defence manuals, implying violence against women as well as their empowerment. Her photographs and films relate to self-protection, psychophysical relationships and the power dynamics underlying how we relate to each other.

Joanna’s psychologically charged work explores human relations and its gestures of care, self-protection and control. Although her photographs feature everyday motifs, they do not show ordinary or candid situations. As the curator George Vasey points out: “Each image resists easy assimilation, like reading a book with the pages torn out, the images are enigmas.”

Her photographs investigate human behaviour and the dynamics of familial relations, exploring intimacy, violence, control, and self-protection. The artist reveals moments of care as well as hierarchies of power, anxieties, and imposed conventions that play out in the domestic sphere. In the Franticseries (2016–2019), Piotrowska invites her subjects to construct makeshift shelters in their own homes out of readily available domestic objects. While reminiscent of the innocent children’s activity of fort-building, the proposed activity also exposes the home as a space loaded with complex emotions and embodied memory. The black-and-white photographs in Piotrowska’s Self-Defence series (2014–15) depict young women, most often in their bedrooms, performing gestures and actions from self-defence manuals, implying the structural violence against women in a patriarchal society as well as the possibility of rebellion against such a culture. Through these unsettling images, Piotrowska challenges conventional narratives of the family and the home and their tension with the reality of the wider socio-political realm.

The performative aspect plays a fundamental role in the construction of the artist’s work. Piotrowska asks her subjects to perform certain actions and they respond actively in order to let psychological structures and conditionings emerge. The resulting images may look awkward or potentially disturbing, the psychoanalyst and writer Anouchka Grose suggests: “While Piotrowska’s photos might initially look sinister, it’s also easy to imagine the subjects suddenly bursting into laughter.” Piotrowska’s work investigates the interaction between the human body and the environment, which is charged with social, political and anthropological issues. Through exaggeration the artist challenges seemingly obvious settings and assumptions, such as the common equation of home=family=safety. Her work thus invites viewers to reconsider certainties that were taken for granted.

Image Analysis- Untitled 2022

In terms of this image I think it captures connection really well, as simple as the image is in terms of the elements and editing it’s very neutral. Looking at the image it portrays that their is a larger message behind it despite the very obvious outlook and composition. The gesture is staged and this can focus on the suspended moment of an encounter between two realities that are condense into image with multiple meanings and that can be interpreted in one way or another.

The images created by her. whether captured in photographs, on film or which come to life in front of the viewer in the form of performances/ installations are wrapped in a sense of ambiguity despite the fact that everything is in plain sight.

An encounter between two people, between those who perform and those who undergo an action, with an invisible enemy, between human beings and objects, and even when the upholder is a single person, the gestures or the pose call up a doubling, showing the essence of Joanna ’s work to be found in the inner investigation that operates in different contexts.

In the series of photographs Enclosures, started in 2018, the human figure is absent, even if the project is in continuity with the reflection developed in the previous production in which the body is the upholder.

Alicja Brodowicz, a Polish photographer, has spent the last couple of months working on a project combining parts of the human body with elements of nature in order to emphasise our unique relationship with the natural environment as well as the beauty of the human body

She photographs the human body – the microcosm. Its’ fragments: hair, scars, the texture of the skin, wrinkles. She is also interested in individual particularities; she looks for distinguishing features and irregularities. Imperfections are my favourites.

Alicja also photographs nature – the macrocosm. The surface of water, grass, tree bark, dry leaves. She combines the two images, looking for converging lines, textures, similarities in layout, and analogies in composition between the microcosm and the macrocosm. Looking for unity between the human body and nature.

Alicja is a great fan of classic black and white photography. When she started taking photos and photographed my daughter a lot, my greatest inspiration was Sally Mann. Later also discovered Anders Petersen – she loves all of his works. She is also a big fan of Josef Koudelka, especially the photos of Gypsies. She also greatly admire Jacob Aue Sobol and Pentti Sammallahti – the simplicity and elegance of his work.

This series was different than my other projects because it was conceptual. I usually just take the camera and wander about and take photos without thinking too much about the process. In the case of this project, I usually had the idea in my head in advance, before I started photographing and even though it changed a number of times in the course of my work, the initial concept had to be there first.

She states that “The series of photos is the visual re-enactment of my ever-increasing desire of being close to nature. The older I grow, the more intense this desire is. It is also the expression of my growing concern for the environment and the human impact on it. By combining images of the human body and elements of nature I am trying to show that we are inter-connected and that our separate existence is impossible.”

Image Analysis-

In terms of this image I think it really conveys the similarities between skin and natural being vs nature discussing the notions of belonging as well, this is especially prominent in Alicja’s work and what kind of elements she presents throughout it. Looking at her work I can questions that the sequences of image and composition can have many meaning s an symbols as though the similarities in detail. Her work explores themes of identity and human emotions and I can clearly see this. In this specific image the themes of femininity isn’t really explored as for the viewer it’s unclear whether the hand and veins are of a male or female body. Words that I could describe her work is: Unsettling, Unusual, Interesting, Detailed, Specific and Personal.

I think im gonna interpret and take inspiration from her work as it relates to my project of relating skin/natural elements of the human body and how it relates to family, identity and home.

Astrid Reischwitz, a Boston-based photographer, whose work explores the possibilities of storytelling from a personal perspective. Her projects include intimate views of private spaces and reflections on her own history and values. Using keepsakes from family life, old nostalgic photographs and storytelling strategies, she builds a visual world in her work of memory, identity, place, and home.

Her project “Spin Club Tapestry” explores cultural memory by embroidering photographs, inspired by the tradition of spin clubs in Northern Germany. Astrid grew up in a small farming village, a village that is bound to its history and that stands out through its traditions even today. Long ago, village women met regularly in “Spinneklumps” (Spin Clubs) to spin wool, embroider, and stitch fabrics for their homes. She imagines their conversations as they worked, the beautiful stories that lifted their spirits, as well as the stories of sadness, sorrow, and loss. In modern times, village women continued to meet in this tradition, but shared stories over coffee and cake instead of needlework. These close-knit groups of women often stayed together until their death.

In this series, her composite images take the form of tapestries, combining images of embroidered Spin Club fabrics with new and old photographs from the village. Astrid also connects the present and the past by re-creating and re-imagining pieces of the embroidery. Spin Club tablecloths, napkins and wall hangings (some dating back to 1799) have been passed down from generation to generation. By following the stitches in these fabrics, she follows a path through the lives of her ancestors – their layout of a perfect pattern and the mistakes they made. Along the way, Astrid added her own mistakes. The fabrics also reveal the passage of time, stained and distorted after sometimes decades of use. The patterns she has stitched myself into the paper are only abstractions of the original Spin Club designs, fragments of memory. After all, memory is fleeting, and changed forever in the act of recollection. Sometimes the stitching is incomplete, creating an invitation for future generations.

“Every decision we make is influenced by our history, our environment, and the society we live in. The tapestry of my life belongs to me but is stitched through with the beauty and heartache of past generations.”-Astrid Reischwitz

She began her study of photography at the International Center of Photography in New York soon after moving to the United States. She continued her education at the New England School of Photography, Massachusetts College of Art and Design, Lesley University, and the Griffin Museum of Photography. She holds a Certificate in Arts Administration from New York University. Reischwitz is a graduate of the Technical University Braunschweig, Germany, with a PhD in Chemistry.

Image Analysis-The Fall of the Double-Headed Eagle

The title itself can reference the double-headed eagle, a symbol of imperial power that can suggest a narrative of decline, loss or transformation. In this analysis, the formal elements of the image, its symbolic content, and the potential meanings embedded within the work are examined.

Astrid’s composition is characterized by an interplay of contrasting colours, forms, and textures. The double-headed eagle, often a symbol of dual authority or all power governance (most famously associated with the Byzantine Empire, Russian Empire, and Austria-Hungary), likely occupies a central position in the piece. The positioning of the eagle, whether upright or falling, becomes a powerful visual cue for the narrative of decline.

If the eagle is depicted in a state of disintegration or descent, this visual may be reinforced by fragmented or distorted shapes, which emphasis the theme of downfall. The double-headed eagle is a symbol. Here the eagle is on the ground and deconstructed .Astrid may use diagonal lines or shattered patterns, suggesting motion or instability to convey a sense of collapse. Alternatively, if the eagle is shown at the moment of impact, Astrid may focus on creating a striking tension between the eagle’s once-majestic form and the surrounding chaos/ destruction. Themes and ideas could reflect the subject in the image such as the young child, in ways liking groeing up and childhood how it may have impacted them as a person and throughout their family especially as Astrid project looks at ancestors and nostalgia.

Some artists I may reference are:

• Joanna Piotrowska
• Astrid Reischwitz
• Alicja Brodwicz
• Tine Guns
• Hannah Altman
• Marna Clarke
• Lera Zilbershtein
• Shari Yantra Marcacci
• Chino Otsuka
• Larry Sultan
• Joel Sternfelf
• Annette Khun
• Bill Brandt
• John Coplans
• Brit Moore-Shirley

For this project im thinking of familiarising myself with the themes of family, ageing, home and love/relationships. Some photoshoots may include resemblance looking at archival images and reflecting my my family and what feels like “home” and sentimental connections which can link to the questions of Where is home? Why is this important to me? How can I sum this up?

Other questions I could ask myself could be:

• What does this photograph say about the relationships within the family?
• How does this photograph reflect the atmosphere or feeling of the home?
• What objects in the photo represent home and family?
• How have the spaces in the photo evolved or changed over time?
• Who is missing from this photo?
• What do the backgrounds or settings of these photos tell us about the family’s history and identity?
• How does aging manifest in the subjects of these photographs?
• What emotions are evoked by looking at old, worn, or faded photographs?
• How do family members interact with old photographs?
• What stories or memories are attached to this photograph?
• How do old photos influence a sense of family continuity?
• What role do old photos play in memorializing loved ones or preserving family traditions?
• What types of photos are considered most valuable or meaningful to preserve in a family’s archive?
• How does the format of the photograph (e.g., digital vs. print) affect its emotional value or the way it is viewed?

In terms of my moodboard we tried to explore different ideas and branch of various thoughts/words that link to the theme of Observe, Seek and Challenge.

I think that the words and themes branching out about “Realistic” approaches and “Challenge” in terms of documenting and manipulating (linking to Windows and Mirrors) link more to my personal project and idea that I would like to lean more towards.

Throughout the past year of studying photography I enjoyed many areas of the subject from landscapes to studio portraits to looking outside the box for different elements that would fit the criteria of what defines Femininity as well and Masculinity.

I feel that my personal style and areas that I have enjoyed the most have improved my own work and my own explorations of photography. I found new ways to express my idea and I have found things that I would rather stay away from if I dont think it relates to the image i’m trying to create, I believe my personal project will explore idea that I find most interesting and what I think works best.

I explored historical areas such as the origins of photography, origins of romantism and early discoveries of still life. I also explored the works of Ansel Adams and his invention of “The Zone System” in the 1930s as well as New Topgraphics and the impact throughout the 1950s of the aftermath of The Great Depression and rural areas of America. These historical aftermath was captured by photograohs like Robert Adams and Lewis Baltz, the term “New Topographics” being coined by William Jenkins in 1975.

Using my own personal camera/lenses as well as accessing the school cameras (DSLR Canon E0S with a 18-55 IS lens) I also increased my knowledge of camera skills and techniques when manipulating a photograph and what to do when the daylight/ weather doesnt work in your favour. Softwares I have used in the course have been Adobe Photoshop as well as Adobe Lightroom Classic especially.

Below I have added a selection of photographs ranging in the different subjects below, different locations and different editing adjustments to show the range which I explored whilst being creative.

Studio/Lighting Techniques

Themes/ Ideas from photographers that I liked:

For my studio and lighting techniques I enjoyed being creative with positioning my subejct in different poses and positing the lighting to how I wanted it to appear. Lightining is very important when making photographs have a certain feel/ atmosphere. The lighting techniques we looked at were Chiarascuro, Rembrandt and Butterfly lighting. I believe I will use and experiement with these techniques in my personal project and will use the studio as a background as it could look like a interesting varied selection and look clean when producing different outcomes out of the same image and its a clean background which is easier to manipulate and adjust rather than a colourful and varied background with different complex textures tat may not look right when adding other colourful elements.

Cindy Sherman Inspired Manipulated Photoshoots

Themes/ Ideas from photographers that I liked:

Cindy Sherman’s work is cold and can be left to interepretation and usually her subjects have certain facial expressions and are positioned to appear vulnerable and objectify as the image focuses on the subject being the main element.

In this photoshoot I like the fact that the photoshoot can be manipulated and adjusted to how I want. I would like to use certain elements of Cindy Sherman’s work such as subverting narrative and playing around with the feminine atomsphere of 1950s household duties and playing into the typical stereotype.

Femininity & Masculinity

Themes/ Ideas from photographers that I liked:

In terms of the feminity and masulinity topic I liked the fact it was left to interpretation and that I was different to what we had experimented with prior to doing the project fem and masc.

It gave me time to play around with ideas and as well as prior to doing the project we had experiemented with the studio lighting so that also played a part as in where to shine the lighting in what spots so that the textures and certain areas to be brightened more than others despite the feminity and masculinity not reallyu being focused on facial structures but more on skin on other parts of the body thaty appeared more on either sides of the project.

Coastal & Natural Landscapes

Themes/ Ideas from photographers that I liked:

The project explores the landscapes which also impacted aby the storm that happened last year, showcasing the stark contrasts between natural beauty and environmental degradation. Through these images, I aim to highlight the balance between human development and the natural world, raising awareness of the ongoing changes in our ecosystems.

Capturing these moments in the different shoots, they allowed me to reflect on the consequences ofv human actions, they foster a sense of urgency to advocate for more sustainable practices. Each photograph urges viewers to recognize and confront the realities of the Anthropocene despite some photos looking like theirs nothing different/ odd about them considering environmental impacts.

In this project I enjoyed planning different locations for shoots and experimenting with how I wanted the photographs to appear in my head. Despite the photographs inspiration from Anthropocenic photographs buildings massive structures and large masses of mountains hills I tried to recreate a similar effect and take inspiration from oher artists/ photographers. I tried to vary certain images through adjusting them to black and white and some in colour but adjusting them so that the textures pop more.

St Malo Street Photography

The street photography project/ photoshoot taken in St Malo gives the audience a glimpse into the city from a candid and unfiltered perspective. Through the project I took photographs thaty included candid shots of the locals and tourists, markets and the seaside moments, the photographs above as well as the overall photoshoot captures everyday life and the unique of the character of St Malo.

I see myself incorporating elements I learned in this shoot as well as experiencing as I think it could work well in terms of how to structure and how candid photography looks good in terms of shooting individuals as it is very spontanieous

The street photography photoshoot allowed me to connect with people in a different way, capturing conversation and many different expressions. I was also inspired as each click of the shutter felt like a way to document a living narrative. The process of exploring the streets, discovering hidden areas and engaging with the community made the shoot memorable, turning the art of it into an experience that celebrated both the place and its people.

The objective for this photoshoot is: Capture the unfiltered reality of people’s lives and spaces by observing and photographing moments through windows, reflections, and street environments. Emphasize candid shots that reveal the quiet beauty, humor, or melancholy of everyday scenes.

Therefore my plan for this photoshoot is to doument reality and to use street photogroahy and public spaces with differnt types of people as my motive for this. I think the idea that differnt people are oding differnt thing and going in seperate direction with diffent expressions on their face makes it interesting. I want the photographs to feel candid, introspective, and observant, aiming to make viewers feel as though they are glimpsing a hidden narrative or private moment.

Locations that I may explore are:

Urban Street Corners and Cafés– Street corners, cafés, and storefronts that offer a natural setting where people are often preoccupied, providing chances to capture moments of introspection or interaction.

Residential Areas with Large Windows- Capturing private lives as visible through windows, blending elements of public and private space.

Public Transport Stops- Photographing people waiting or lost in thought, using bus or tram windows as frames, which add layers and reflections to the image.

Reflections on Buildings and Vehicles- Glass-walled buildings, car windows, and reflective surfaces on the street can add a sense of depth and allow for more complex compositions by combining elements in the foreground and background.

I may use my previous blogpost for inspiration that lists photographers that do similar work inspired by John Szarkowski’s theory of Windows.

Szarkowski’s notion of photographs as “mirrors” suggests using photography to express introspection and subjective experience. This shoot uses mirrors as both literal and figurative devices for introspection, inviting viewers to consider the model’s inner world. We’ll blend realism with subtle digital manipulation to heighten the introspective feel, where the model’s reflection may appear differently than the outward image, symbolizing inner conflict, dreams, or hidden dimensions. In of my interpretation sand my mirrors inspired photoshoot I think I might focus on: Setup and composition, photographers to draw inspiration from, what kind of sample shots and why this approach works for a mirrors inspired photoshoot.

In terms of Set up and composition:

Having Mirrors as Frames and Windows so: Multiple Mirrors- The use of small and large mirrors positioned at different angles around the model. Some can be handheld, while others may be on stands or attached to the walls.

Framing Shots- Capture the model’s face and body parts framed within different mirrors. Mirrors create fragmented views of the model, giving a layered perspective that feels both intimate and distant.

Another idea could be Positioning the Model so through using poses where the model interacts with mirrors, such as reaching out, gazing into her own reflection, or resting her head or hands on the mirror. These poses enhance a contemplative atmosphere. As well as positioning the model so that her reflection tells a different “story” than her direct pose. E.g she might appear calm in real life but distressed or thoughtful in the mirror reflection, this can be created through subtle manipulations.

One more way can be through positioning the model to only reveal half of her face or body in the mirror’s reflection, creating a sense of duality or hidden identity.

A last option can be through the use of Manipulation Techniques:

Manipulating the images slightly in post-production to create fragmented, blurred, or subtly warped reflections, making the mirror’s view feel surreal and otherworldly.

Overlaying different facial expressions into the reflection, creating a multi dimensional narrative of the model’s internal state. This specific technique captures multiple “selves” or feelings within one frame.

Using a muted or vintage color palette to create a sense of timelessness, or heightening contrasts for a much bolder look that can draw viewers into the mirrored image.

The photographers that I could use for inspiration are listed in my previous winodws and mirrors blogpost but some other examples of photographers could be: Vivian Maier, Francesca Woodman, Duane Michals as well as Renee Magritte’s Surrealism (Painter).