Shannon Taggart

Born in 1975, Shannon Taggart is an American photographer known for her compelling and thought-provoking work which focuses on the themes of Spiritualism, the supernatural and the paranormal.

Spiritualism is a religious movement that emerged in the 19th century. This movement believes in the possibility of communicating with spirits, mainly the deceased.

Taggart had first became aware of Spiritualism as a teenager when her cousin received a message from a medium that gave details about her grandfather’s death. In 2001, she began taking photos in Lily Dale, New York, where her cousin had received the message. Lily Dale is home to the world’s largest Spiritualist community. Taggart was inspired by Spiritualism’s processes, earnest practitioners, and neglected photographic history. This project evolved into an 18 year journey that ended up taking her around the world in search of ‘ectoplasm‘.

Ectoplasm, in occultism, is a mysterious, usually light-coloured, viscous substance that is said to exude from the body of a spiritualist medium in trance and may then take the shape of a face, a hand, or a complete body. It is normally visible only in the darkened atmosphere of a séance.

Taggart’s work is not only artistic but also ethnographic. She immerses herself in the communities she photographs by participating in their rituals and gaining the trust of her subjects. This allows her to document spiritualist practices with both sensitivity and insight.

Ethnographic is a method of research and a style of study that involves observing, describing and analysing the cultural practices, behaviours, beliefs and interactions of a particular group of people.

Her book “SÉANCE” (2019) is a visual journey through spiritualist practices, specifically in Lily Dale. The book includes a mix of both black-and-white and colour photographs. She captured mediums in trance, spiritual gatherings and ghost apparitions.

Lieko Shiga

Born in 1980, Lieko Shiga is a Japanese contemporary photographer known for her surreal, poetic and haunting imagery. She has studied photography in London at the Chelsea College of Art and Design, as well as at the Royal College of Art. She is well known for her “Rasen Kaigan” Series and is recognised by a blur between documentary and staged photography which results in her personal, unique style.

Shiga’s work explores the themes of memory, trauma and the passage of time especially in relation to local communities. Her projects are often based in places she lives in and the people she encounters. She often immerses herself in rural Japanese communities where she collaborates with the local residents.

Shiga’s “Rasen Kaigan” series was created while she was living in Kitakama. It explores the themes of disaster, loss and the resilience of the human spirit, originally it focused on reflecting the dreams, lives and traditions of the villages in Kitakama, however, this project was impacted by the aftermath of the Tōhoku 2011 earthquake and tsunami which destroyed a large majority of her previous work, however it helped to reshape her artistic vision. Her work seen in this series often features distorted human figures, eerie landscapes and a strong sense of narrative.

Shiga is inspired by numerous subjects, one of them being Japanese Folklore and Mythology. Because of this her work often evokes a sense of the supernatural and blends reality with this. She views photography as both a way to capture moments but to also tell stories that transcend time and space which draws on the mythic and spiritual dimensions of the human experience.

Ralph Eugene Meatyard

“Creative pictures must be felt in a similar way as one listens to music, emotionally, without expecting a story, information or facts.”

Ralph Eugene Meatyard

Born in 1925, Ralph Eugene Meatyard was an American photographer known for his enigmatic, surreal and haunting black-and-white images. His work is often associated with the Southern Gothic tradition as well as elements of avant-garde and experimental photography.

Because Meatyard grew up in Lexington, Kentucky, he was influenced by the Southern Gothic Tradition which captured a sense of decay, mystery and the macabre.

Meatyard was deeply influenced by his interest in philosophy, literature and the arts. His interest in photography began in the early 1950s after purchasing a camera to photograph his newborn son. He is known for his surreal, dreamlike work which often features family members and friends in staged scenes.

Meatyard’s work featured a frequent use of masks, dolls and props which created images that were both unsettling and poetic. Because of his subjects wore masks they ended up looking like ghostly anonymous figures. He often took photographs in abandoned buildings, overgrown woods and rural settings, these helped to add to the already eerie atmosphere to his work. His work often evokes the uncanny which creates a sense of discomfort and challenges his viewers to question the nature of reality and perception.

The uncanny was a concept popularised by Sigmund Freud which describes something both familiar and alien.

Short Statement of Intent

I have chosen to study all three of these photographers, especially Shannon Taggart, because I believe that their work shows strong elements of my own intentions and what I want to achieve with my own project.

Taggart’s work focuses on the themes of Spiritualism, the supernatural and the paranormal which are some of the themes I would like to focus on within my project. Elements of her style, such as her lighting techniques and editing, are something I would like to incorporate into my work as it creates a sense of mystery and makes the viewer question what they are looking at.

My inspiration comes from my own struggles with mental health so I’ve decided to base my project on creating a narrative about someone who is stuck in the worst parts of their life and feel lost, because their mental health has been severely declining, they start to believe they are seeing and getting signs from some supernatural beings as a way of coping. They believe that these beings are the only way they can escape their reality. They start to respond to these beings by preforming rituals and giving them everything they ask, this then leads to them becoming very unstable. I’ve chosen to go with this idea because I find the supernatural very interesting and fascinating as well as my own experience with slowly becoming like the protagonist in the narrative.

 In 1822, Joseph Nicéphore Niépce created the first photograph using a Camera Obscura. This was an early photographic method that used a pitch-dark room or box with a small slit letting only a small ray of light, this developed into an upside-down image of the outside area parallel from the room/box. Later in 1839, Louis-Jacques-Mandé Daguerre invented a new process called the “Daguerreotype”. This tedious process involved a polished sheet of silver-plated copper that was treated with iodine to make it light-sensitive, which was then exposed for several minutes, salt water was then used to fix it. A few years later, in 1841 Henry Talbot introduced the “Calotype”, This process was much easier than the Daguerreotype because it used a negative which could produce multiple prints of images and took less time to reproduce. The process involved a sheet of paper that was coated with silver chloride, this was then exposed to light in a Camera Obscura, areas that were hit by light became dark, this then created a negative image. According to a theorist named John Szarkowski, there are two groups of photographs that can be made, “the photograph is seen either as a mirror–a romantic expression of the photographer’s sensibility as it projects itself on the things and sights of this world; or as a window–through which the exterior world is explored in all its presence and reality.” Or in short “Windows” and “Mirrors”, Window images are documentary and raw while Mirror images are staged and personal. Applying this theory to the Calotype and Daguerreotype, I believe that both of these processes can be seen as both a Window and Mirror, the Daguerreotype is more of a window, this is because the process itself was more exclusive and expensive which meant it was only accessible to those in the upper class, this then resulted in most Daguerreotype images to reflect social status and power, these images were documentary of the social hierarchy at the time. On the other hand, the Calotype is more of a mirror. Unlike the Daguerreotype, this process was much cheaper and accessible to a wide range of people, people used this method to present everyday life and offered a glimpse of reality through people’s lives and experiences.  

Responding to Szarkowski’s idea of a “Mirror” image, I have chosen to analyse this specific image because of Jeff Wall’s ability to take a concept and turn it into a visual representation. This staged image is a reworking of Ralph Ellison’s novel “Invisible Man” which describes the protagonist’s feelings and experience of being metaphorically invisible due to being a black man in a hostile and oppressive society. This image supports Szarkowski’s thesis because it fits into his two categories of images, in this case a Mirror. I believe it is a Mirror because it gives a sense of self-exploration, not for Jeff Wall himself but marginalised people such as the protagonist in the novel, the image presents a staged reality which symbolises a harsh and common feeling among a variety of people, in other words it’s a representation of reality through a staged one. “This thesis suggests that there is a fundamental dichotomy in contemporary photography between those who think of photography as a means of self-expression…” – Szarkowski. Although Szarkowski’s theory helps understand photographs a bit better, it disregards and oversimplifies photography, just as Jed Perl says in “Mirrors and Windows: Messages from MoMA”, Szarkowski’s theory is too broad and that it is more of a narrative than a critical framework. “Szarkowski’s thesis is a simplification, a reduction of the complexities of photography to a single, overarching narrative.” 

I have chosen to analyse this photograph responding to Szarkowski’s theory of “Window” images because of its unedited and pure nature. This image is one of Lange’s many works that documents the lives of migrant workers and their families during the Great Depression. This image is a great representation of what Szarkowski calls a “Window” image, “…a window–through which the exterior world is explored in all its presence and reality”, because it is a fixed and objective snapshot of a moment in reality. However, like mentioned before, Szarkowski’s theory is too broad and doesn’t give full context into what type of documentary photograph this or other photographs may be, it doesn’t consider the different contexts. “Szarkowski’s theory oversimplifies the complex relationship between the photographer, the viewer, and the image”. 

In conclusion, both images give a glimpse into reality and the personal struggles of those effected by extreme issues, However Wall’s image shows a more private reality of one specific subject, his image shows reality through romanticism and staging, it allows interpretation and makes viewers think about what the actual context of the image is. On the other hand, Lange’s image is more objective and public, it shows us a pure in the moment image of reality during a decisive event that happened. So although I agree that photographs can be categorised into two groups like Szarkowski suggests, I fully agree with Jed Perl’s review that says Szarkowski’s theory doesn’t emphasize the importance of context and that the theory has limitations when focusing on the photographer’s perspective.  

Links used:

• https://www.britannica.com/technology/calotype
• https://marinaamaral.substack.com/p/daguerreotype-a-turning-point-and#:~:text=Utilizing%20techniques%20he%20learned%20from,discovered%20that%20the%20image%20could
• https://archive.aperture.org/article/1978/2/2/mirrors-and-windows-messages-from-moma

Task 1: What are the differences between photographs that are windows and mirrors?

…is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?” 

John Szarkowski

Windows: These types of images are strictly based on facts and reality(objective), they aren’t staged and usually taken in the decisive moment.

They were… pure and unadulterated photographs, and sometimes they hinted at the existence of visual truths that had escaped all other systems of detection.

John Szarkowski

Mirrors: These types of images are open to interpretation, they aren’t fixed onto a fact(subjective) and are usually staged and personal.

…the camera deals with recording factual things and events that form the subject of the photograph, it only produces a perceived reality that is remembered after the thing or event has passed.

 If a photographer cannot easily record a concept such as the “social class” or “economic condition” of a family or community or region, he can record a partial view that will allow viewers to select details that will help illustrate the truths or lies he is intending to convey.

John Szarkowski

Task 2: Words associated with them:

Windows:

• Closed
• Fixed
• Fact
• Objective
• Realism
• Candid
• Public
• Documentary
• External
• Optical
• Truth

Mirrors:

• Open
• Synthetic
• Fiction
• Personal
• Reflective
• Subjective
• Internal
• Manipulated
• Tableaux
• Psychological

Task 3: Image Analysis

Without context I first thought this image was a “window” because it looked like we were looking into the private personal life or reality of a man; possibly in distress. However, after knowing this image was staged; and the actual room we see the man in was created in a studio, we can say that this image is actually a “mirror” because it has been manipulated and isn’t showing raw reality in the moment.

I personally believe this photograph is both a “window” and “mirror”. This is because although the image is staged and the man wasn’t intentionally laying on the floor, this image acts like a window which shows the reality of some people who suffer from severe insomnia. It is a fact that some people with insomnia try everything they can to get sleep, we can see that this man is being used as a “window” to show this reality.

I decided to go with the second version of my zine because I preferred the layout and images selected and because I felt that they coordinated with my intentions much better.

I chose to go with the name “Thalassophile”, meaning love of the sea or someone who loves the sea, for my zine because it made sense with the story I was trying to convey.

Rough Design 1 Layout

Rough Design 2 Layout

Extra Page Ideas

STORY: What is your story?
Describe in:

• 3 words – Fisheries, Sea, Architecture
• A sentence – To show how much the harbour has changed.
• A paragraph – To acknowledge how much Jersey’s harbour has changed over the course of many years, as well as express the importance of the various industries working in this area that help with the economy of the Marine Environment.

NARRATIVE: How will you tell your story?

• I will tell my story by taking relevant and meaningful photographs of the harbour architecture, local shops and workers, and items that symbolise the harbour and the modern changes to it.

MOOD GALLERY:

This photoshoot took place around St Helier Marina, pier road, the Old Harbour, Albert Pier, and the English and French Harbours.

Analysis

Overall I think this photoshoot went well. I managed to capture detailed images of various architecture and a few people at work, as well as various areas of the marina like Albert Pier.

However, I wish I had taken a few more images of the harbour and people at work in order to further develop my ideas and give me a larger variety to work with to tell my story.

I chose to analyse these two images because they show my experimentation with different camera angles, such as deadpan, as well as link well with the theme of modern advancements of the harbour. Both images were taken with natural lighting from the sun in the same weather conditions. Both of them show a range of tones, the architecture in the images is almost completely black compared to the almost white clouds which creates a nice contrast and allows each subject to stand out.

I have related back to one of my inspirations, Ansel Adams, because his work is very dramatic and tells some sort of a story. His work also consists of very detailed and textured images. I wanted to incorporate these elements into my own work because I feel it links back with how drastically the harbour has changed over the years due to modern advancements.

This photoshoot started at the Maritime Museum and then proceeded towards the fisheries and harbour around La Collette.

Analysis

Overall, I think I had a successful photoshoot. I’ve decided to analyse this image because it links well with the story I want to tell.

I really like the outcome of this image because of it’s general composition and low angled shot making the image look more dynamic and much more interesting. I also really like how dramatic and somewhat angelic it looks because of the natural lighting which helps intensify the various textures and forms within the item rack.

Although I believe it was a good photoshoot I think I could have further explored more areas in the harbour, such as Elizabeth harbour, in order to properly show how the whole harbour has changed. I could have also tried to build up more courage to take photos of more people at work.

Just like the first photoshoot, I have carried on relating back to my inspiration Ansel Adams because I believe his work is very good at creating or telling a story, which is what I am trying to achieve, as well as having a really powerful style of creating images that create a sense of drama. I had also attempted to capture decisive moments like Henri Cartier-Bresson through people who work within the marinas to also tell a story.

I plan to create a zine with my best images from both of my photoshoots and present them in a way that tells a story or shows a linear series of going further into the marina and how much change it has gone through. I will first create some layout designs on InDesign and then start printing out my images in order to make a physical copy of it.

Notes:

• Fixing the shadows
• Turing the ordinary to the extraordinary
• Reveals reality but also hides parts of it
• Transforms what it describes
• Good at taking quick photos of moments in time

How is an image produced using a Camera Obscura (Pinhole Photography)?

An image is made by using a completely dark room or box with a small hole somewhere in it so that light passes through into the box, light should only pass through that one hole, an image of the view outside the box is then projected upside-down inside the box.

The Calotype and Daguerreotype

The Calotype, was a way of fixing an image onto a surface, that was created by Henry Fox Talbot. It was a paper negative.

The Daguerreotype, was another way of fixing an image onto a surface, that was created by Louis Daguerre. The image was printed onto a mirrored metal plate that had to be polished first and once the image was printed onto the plate a torch was used on it to actually fix the image onto the slab otherwise it could be easily wiped off.

Daguerre and Talbot were both in competition with each other to make and get out the best method of fixing photographs onto a surface. However unlike the Calotype, the Daguerreotype was much more expensive to produce, this resulted in the Calotype being favoured by people.

Both methods had very tedious processes unlike our modern technology. Both were very time consuming meaning the image wasn’t produced instantly like our modern cameras.