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).

STORY: 

If I were to describe my photo zine in three words they would be: Reflection, Calm and Exploration.

NARRATIVE: 

In this visual narrative, the readers/ audience gain more than a view, they get a window into the spirit of St. Helier’s and its harbour.

My zine is designed to capture and celebrate the unique essence of St. Helier Harbour through a carefully crafted narrative. This structure emphasizes the journey through the harbour’s different textures and the varied sights, framed through the experiences of a person walking along the waterfront.

In terms of narrative, the imagery invites viewers to imagine walking beside you along the harbour. Using close-up shots to introduce small details, like weathered rope textures, rusted anchors, and chipped paint on boat hulls. These visuals are intimate and set the tone for the journey.

As the zine progresses, it introduces various elements that make St. Helier Harbour unique: Capturing boats from different angles highlights the diversity of the vessels from classic fishing boats to sleek yachts, giving a feel for the harbour’s role as a commercial space.

As well as that it gives a glimpse into the life of fisheries and their workers, using candid shots, adding a human element to the harbour’s mechanical and industrial tones. The zine also showcases bustling market spaces and shoreline scenes to add vibrancy and contrast to the industrial focus of boats and machinery.

(Typology) In my zine, I used creative, maritime-themed fonts that provoke the essence of the sea and marine life. As well as that I experimented with typewriter fonts and larger typefaces to introduce sections and captions.

I kept captions short, using poetic language to evoke the image’s essence inside my zine but also with my title page.

Below, I have curated a selection of 10-16 final images for a mood board gallery page. I tried to blend the current images and experiment with juxtaposition by placing shots of the fishing vessels and boat rigging against scenes of calm water and sky, giving a sense of both the harbour’s working and tranquil sides.

I also used a repeat of the image as a background and coloured it so that it differentiates effectively and shadows to evoke the changing times of day/ temperature of the image depending on location, which adds an emotional rhythm to the gallery.

Reflecting on the origin of photography, the practice of it has been evolving for many hundreds of years through the first use of the Daguerreotype in the 1840s-50s(gaining widespread popularity, particularly for portraiture), to the use of Calotypes invented in 1841.

According to John Szarkowski, photography can be viewed as either a mirror or a window. A mirror reflects reality as it is, while a window offers a view into another world or perspective. Daguerreotypes can be seen as mirrors, capturing a detailed reflection of reality, while Calotypes function more as windows, inviting viewers to explore and interpret the image beyond mere representation.

Both processes use much of the same equipment though a daguerreotype is a sharply detailed image preserved on a copper plate. In contrast, a calotype is a negative image developed on paper. Apart from that Photography has gone through many changes such as the evolution of Heliography to Daggurretypes to Calotypes to the first permanent photography being taken “View from the Window at Le Gras” to the first Kodak camera being invented in 1888.

One quote from John Szarkowski that stands out is: “It can be argued that the alternative is illusory, that ultimately all art is concerned with self-expression. If so, the illusion of this alternative is no less important, and its character
perhaps defines the difference between the romantic and the realist visions of artistic possibility. The distinction may be expressed in terms of alternative views of the artistic function of the exterior world. The romantic view is that the meanings of the world are dependent on our own understandings. The field mouse, the skylark, the sky itself, do not earn their meanings out of their own evolutionary history, but are meaningful in terms of the anthropocentric metaphors that we assign to them”.

I agree with this idea; he tells us that some art seeks to show the world as it is, while other pieces of art are reflections of what the artist feels and thinks about the world.. Through both processes, photography not only documents reality but also enhances our understanding and perception of it. Even though these perceptions can blur, the opposition between seeing the world and seeing it how we interpret it gives us distinct artistic experiences.

Photography can serve as a means for reflection and self-expression. The mirror metaphor emphasizes the “subjective nature” of photography, where the image becomes a reflection of the photographer’s emotions, beliefs, and worldview. Photographs taken in this mode often reveal more about the individual behind the camera than the subject in front of it. This is particularly relevant in portraiture or self-portraiture, where the photographer uses the medium to explore identity, memory, and personal history.

The act of photographing can be deeply personal, allowing the photographer to project their inner thoughts or emotions onto the image. This idea is supported by theorists such as Roland Barthes, who, in Camera Lucida, writes about the notion of the “punctum”(a detail in a photograph that speaks directly to the viewer’s personal experience, triggering emotion or memory). For him, a photograph can reflect an individual’s subjective reality, a private connection that mirrors their world.

Moreover, photographers such as Cindy Sherman have used the camera as a tool to explore identity by creating highly stylized self-portraits that challenge societal norms and question the nature of identity itself. Her work in her Untitled Film Stills series reflects how photography can mirror societal expectations while simultaneously critiquing them. In this sense, photography as a mirror offers a way to interrogate identity, revealing as much about the photographer’s internal world as the subject being captured.

The image presents a subjective and staged approach to image-making, embodying what John describes as the mirror in photography rather than depicting reality. In the image itself, Cindy presents a female character that seems to be drawn from a 1950s dark film, placing herself within a carefully composed scene that hints at a bigger story behind it. The vagueness in the image is a critical aspect of Sherman’s work which often relies on staged elements to explore themes such as identity, gender, and media stereotypes. The photo is less about the subject e.g. the woman in the scene but more about Cindy Sherman’s exploration of how identity can be both constructed and deconstructed through visual symbols.

Szarkowski’s Mirrors and Windows supports this interpretation, as he says, “The romantic view is that the meanings of the world are dependent on our understandings.” This quote aligns with Cindy’s work as her images are constructed with her subjective vision which is shaped by the cultural/ societal expectations she explores. Her work invites viewers to consider how these “meanings” are imposed upon the image through a culturally constructed lens which can embody John’s concept of the mirror by reflecting society’s inner psychological landscape rather than an “objective” truth about the character she portrays.

Jed Perl argues that while Sherman’s images are captivating they also risk becoming “staged impersonations” that sometimes can lack the depth of genuine self-reflection. He suggests that such work can sometimes feel like performative constructions rather than genuine mirrors of the artist’s psyche. This critique introduces a layer of tension within Cindy Sherman’s approach that questions whether her work captures self-expression or simply recreates surface-level models

Overall, the image illustrates Szarkowski’s notion of the mirror. Yet as Perl’s critique suggests Sherman’s staged approach raises questions about authenticity and whether her images fully achieve the “self-expression” John envisions. This debate enriches the interpretation of Sherman’s work which emphasizes the complexities within staged photography as both personal expression and social commentary.

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On the other hand, photography can act as a window into the world, by providing an objective or semi-objective view of the external reality. In this example, photography is seen as a tool for documentation and observation, allowing viewers to witness events, places, or moments they might never personally experience. The window metaphor can highlight the transparent nature of photography where the camera becomes a medium through which the viewer can access the world beyond their immediate surroundings.

The origins of photography are deeply tied to its use as a window. Early photographers like Mathew Brady, who documented the American Civil War used the medium to capture historical moments with an eye toward objectivity. These photos served as windows into the reality of war, which offered viewers a direct glimpse into a brutal and chaotic world. This function of photography as a window persists in photojournalism/ documentary photography where the aim is to capture reality as truthfully and as authentic as possible.

According to John photographs that function as windows allow viewers to look beyond their personal experience and into the lives of others, which fosters a sense of empathy and understanding. Documentary photographers like Dorothea Lange, who captured the struggle of migrant workers during the Great Depression, used their cameras as windows to reveal societal issues and human suffering, hoping to inspire social change through the power of visual storytelling.

Additionally, photography as a window extends to the exploration of the natural world and landscapes. The works of photographers like Ansel Adams depict vast, majestic scenes of nature that offer a window into the sublime beauty of the world. These images provide viewers with access to places they may never visit, acting as visual windows that transport them to new environments and experiences.

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While photography can function as either a mirror or a window, many images blur the line between the two, serving as both a reflection of the photographer’s perspective and a view of the external world. The very act of taking a photograph involves a blend of subjectivity and objectivity. Even in documentary or journalistic photography, where the aim is to capture an objective reality, the photographer’s choices—what to include in the frame, when to take the shot, and how to present the image—introduce a level of personal interpretation.

Street photography, for example, often embodies this tension between mirror and window. The photographer captures candid moments in public spaces, offering a window into everyday life. Yet, at the same time, the choice of subject, angle, and framing reflects the photographer’s unique vision and interpretation of the scene, turning the photograph into a mirror of their worldview. The work of photographers like Henri Cartier-Bresson demonstrates this balance, where the “decisive moment” captures reality while also conveying the photographer’s sense of timing, composition, and emotion.

Furthermore, in contemporary art photography, many images intentionally play with the concepts of mirrors and windows, inviting viewers to question the boundaries between reality and representation. Andreas Gursky’s large-scale photographs, for instance, offer expansive views of urban and industrial landscapes, functioning as windows into the complexity of modern life. However, his manipulation of the images—through digital editing—challenges the idea of photography as a transparent window, instead turning the image into a reflection of how we perceive and construct reality in the digital age.

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In conclusion, photography can be understood as both a mirror and a window, offering reflections of the photographer’s subjective reality while simultaneously providing views into the external world. The distinction between these two roles is not always clear-cut, and many photographs function as both—revealing personal perspectives while documenting the world in a way that invites interpretation and engagement. Theoretical approaches by figures such as Barthes, Szarkowski, and others highlight the complexity of photography’s relationship to truth, identity, and representation. As both a mirror and a window, photography remains a powerful medium for exploring the self and the world, constantly negotiating the boundaries between reality and perception.

John Szarkowski’s theory highlights that photography can either show the world around us (windows) or express the photographer’s inner world (mirrors). Both the approaches offer valuable ways to see and understand photography as a viewer externally.

What is the difference between Windows and Mirrors?

The difference between Windows and Mirrors is that Windows are considered as documentation and reality/truth, meant to show the world as it is as looking outward from the photographers perspective. It is not set up and positioned for the photographers liking and self-expression but more for authenticity. As mentioned before they reveals theses truths about people, places and’ or events. It shows us a new perspective and insight to the world around us/ something we may not otherwise experience. An example of this could be a photographer/journalist trying to capture a war zone or a photographer that specialises in landscapes showcasing nature through photography (windows).

Mirrors are refections of the photographers “inner thoughts” or personal feelings and vision. The photos express their emotions as well as their interpretation of the world rather than showing the “objective” reality (more subjective so based on personal opinions rather than on facts). The photograph becomes a almost reflection of the artists inner world and/or personal vision. An example of this could be a photographers (conceptual) creating a surreal image to explore their emotions or a self-portrait ( meant to express identity).

The mindmap above I created for Windows as well as Mirrors includes such examples of photographers that do such work as well as examples of their work that I might take inspiration from and other photograpnhs that I think fit the theme and ideologies.

Key words associated with Windows: Candid, Factual, Truthful, Realism, Everyday, Clarity, Authenticity, Shared, Experiences, Depicted, Outwards and/ or Representation.

Key word associated with Mirrors: Manipulated, Posed, Artistic, Surrealism, Distorting, Provoke, Alternative, Extraordinary, Unfamiliar, Exploration and/ or Reflecting.

Beyond the Dock is a photo zine I created in Adobe InDesign, dedicated to capturing the raw beauty and unique character of St. Helier Harbour. This project is more than mere documentation. It is an experience that invites viewers to explore the often-overlooked details and hidden stories found around the harbour’s edge. Each page is designed to take the reader on a visual walk through the harbour’s diverse features as mentioned previously, from its working boats and rustic fisheries to the daily rhythms of life along the docks.

The design of Beyond the Dock reflects the layered textures and rich atmosphere of the harbour. My selection of photographs highlights different facets of the harbour, from up-close shots of weathered equipment to sweeping views of the marina. I wanted every image to echo the essence of this place which is a blend of timelessness and fishery/ vessel activity.

To enrich the narrative, I included both contemporary shots and archival materials, placing the past and present side-by-side. The captions are purposefully short and poetic, guiding the viewer without overwhelming the images, letting the harbour’s character speak for itself. In essence, Beyond the Dock is a personal homage to St. Helier, celebrating its complexity while inviting others to see beyond the ordinary shoreline.

I’ve been able to create a visual story that feels both cohesive and authentic to the location. Seeing it laid out in InDesign has shown that the zine achieves the atmosphere I aimed for, blending the present in a way that feels timeless.

I am satisfied with the final outcome as it captures exactly what I set out to achieve which is a layered narrative that invites viewers to experience the harbour from the perspective of an observer wandering its edges.

In terms of the layout I creating a 16 page photo zine/guide book which has displayed the photos around the St Helier Harbour. Each page captures an aspect of the harbour, offering viewers a virtual tour of its boats, fisheries, boardwalks, and shoreline scenery. By displaying these photos in a structured layout, the zine becomes more than just a collection of images—it’s a story that readers can explore and experience as if they’re walking through the harbour itself. In order to produce the display we present it through the app InDesign and add specific measurements and adjustments to see in a 2D format whereas to a 3D real life photo zine.

InDesign supports high resolution images and allows for precise color control, I can ensure that each photo in the zine will look sharp as well as true to life. This quality is essential for a project like this, where capturing the details and textures of St Helier Harbour is key.

Below I have shown some examples of the tools being put into place and shifted around:

The final zine will have 16 pages with a mix of full-page images, collages, and paired text. Each page or spread has been planned to better the experience of moving through the harbour, and using the software InDesign, I can visualize how the final printed piece will look and feel, ensuring that the reader’s journey through Beyond the Dock is immersive and captivating.

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The Photoshoot:

In the photoshoot displayed above I explored…

Edited Photos Below: