A key method that Jim Goldberg uses is street photography. He takes images that are mostly candid and images of street names and many different signs to signify different key concepts.
Style-
Jim Goldbergs photographic style is very warm toned, mainly black and white photos that give off a dark wintery feel.
Approach-
Jim Goldberg mainly uses documentary photography, to capture real-life events, people, and places in an honest and objective manner.
Subject Matter-
Urban/Architecture: Focuses on man-made structures like buildings, streets, or cityscapes. Social and Political Issues: This subject matter explores societal, cultural, or political topics, often with a goal of raising awareness or documenting significant moments in history.
Key Image
The reason I have chosen this image as my key image is because I love how the backdrop is so minimal. It’s such a simple image that connotates all the themes of my book. My main theme is youth culture, this skateboard heavily connotates a teenagers use. I like how the skateboard has clearly been used and battered around, explaining how teenagers have a certain anger within them that they need to unleash.
The technical analysis of this image would be how it is clearly taken using a light box, and a flash. This is to exemplify all the things the skateboard has been trough.
The main visual element of this is of course the skateboard in itself, I like how its visual elements will be very different from all my other images. My other images are going to include people and life which just makes this image even more special.
A contextual element of this would be how teenagers tend to skateboard, and how there was a massive debate over whether it was a hobby or a sport, but I think that it makes people realize that no one really cares either way, it’s not a sort of competition it’s clearly a form of anger release.
My conceptual element would yet again be how it is a form of anger release. This is a sort of therapy for struggling teens.
Tom Wood
Moodboard
Overview-
Method’s-
He mainly uses candid and unposed photography, his street photography is marked by the ability to capture raw, authentic expressions of people, often in public settings like streets, markets, or at social gatherings.
Style-
He uses street photography, a style that involves capturing spontaneous moments of everyday life in public spaces. His images document ordinary people in their natural environments, focusing on unguarded, candid expressions.
Approach-
Wood often captures environmental portraits, where the subject is shown in their natural surroundings, adding context and depth to the photograph. The environment plays a significant role in telling the subject’s story. Environmental portraits provide insight into the subject’s life or background, making the setting just as important as the person. Wood’s careful use of location reveals socio-economic backgrounds, emotional states, and the relationship between the person and their environment.
Subject Matter-
Everyday people and candid moments, Tom Wood’s photography is deeply rooted in the depiction of ordinary people- often captured in candid, unposed moment’s. His subjects range from strangers in the street to close acquaintances in social settings.
Key Image
The reason I have chosen this image as my key image is because I think that it is so conceptual, it unlocks so much through a simple landscape image. It connotates the theme of my book because I want y book to be very minimal, I want to leave a lot for people to consider and connotated themselves, creating a very subjective vibe.
My technical analysis of this image is that its taken using daylight, creating a nice blend between the colouring., The bright blue sky blends in with the shine on the buildings.
My visual analysis of this image is a good use of third’s. By having a main object in the foreground, background and the middle it creates a nice blend between the objects. It doesn’t specifically pull you in and focus on one, allowing for wider viewing.
My contextual analysis is that it creates a deeper meaning of the working population, like working teens or teens in school and how they’re generally disregarded, people always say children are so expensive but what about teens, is that when we are just meant to fend for ourselves?
My conceptual analysis of this image is the notion of working people and public spaces. I want to focus on public shared places, because a place that could be so special to us may also be the core memories’ of others, and that’s what we don’t realise. We all think that we have individual experiences, when in reality we all live on the same earth, with the same shared places, so really how much of you can be individual?
To notice or perceive (something) and register it as being significant.
How does someone observe?
The character trait observant refers to the ability to pay close attention to details and to be aware of one’s surroundings. An observant character notices things that others might miss and is able to draw conclusions from small clues or hints.
How can we observe within photography?
1. Slow down and use all your senses to observe.
2. Don’t rush from one viewpoint to another. Take some time to study all the elements of a scene.
3. Elements are all the different things that make up a scene and each will have different attributes – size, shape, lines and angles, colour, texture and tone. Spend some time observing a landscape and make a mental note of the individual elements that make up the whole. Observe how they interact with each other and contribute to the overall scene.
4. Ask yourself questions every time you observe an element.
5. Take a walk with your camera and set yourself challenges to find different elements to photograph.
Seek
What is the definition of seek?
Attempt to find (something). Attempt or desire to obtain or achieve (something).
How does someone seek?
seek
He sought revenge for his son’s murder.
During the war, she sought asylum in Spain.
They sought refuge in Canada.
The company is seeking new ways to improve service.
The mayor is seeking reelection.
She seeks perfection in her work.
attention-seeking behavior
Immigrants come to America to seek their fortune.
How can we seek within photography?
Seeking in photography is about exploring deeper layers of meaning, expression, and connection through the lens. It involves experimenting with different styles, techniques, and subjects to uncover your unique perspective, while engaging with both the technical and emotional aspects of the medium. By reflecting on your work, studying the work of others, and pushing boundaries, you can discover new ways to express ideas and capture moments that resonate with you. Ultimately, seeking in photography is a continuous journey of self-discovery and creative growth.
Challenge
What is the definition of challenge?
A call to prove or justify something. To challenge something means to question, dispute, or confront it, often in order to test its validity, assumptions, or limits. It can also involve pushing against established norms or overcoming obstacles.
How does someone challenge?
To challenge something, you first question its assumptions or validity by critically analyzing the details and underlying principles. This might involve presenting alternative viewpoints, offering evidence that contradicts existing ideas, or testing its limits through direct action. Challenging can also mean pushing boundaries or asking difficult questions to provoke deeper thought or change, whether in a conversation, a system, or an established belief.
How can we challenge within photography?
Challenging within photography involves questioning conventional techniques, perspectives, and subject matter to push the boundaries of the medium. This can be done by experimenting with new compositions, lighting, or unconventional equipment, as well as exploring controversial or overlooked topics. You might challenge yourself by stepping out of your comfort zone, photographing unfamiliar subjects, or defying traditional rules like symmetry or focus. Additionally, challenging photography can mean rethinking how images are edited or presented, using abstraction, distortion, or manipulation to evoke deeper meanings and emotions. Ultimately, it’s about testing limits, confronting expectations, and finding fresh ways to see and capture the world.
Mindmap
Mind Map: Observing, Seeking, and Challenging Photography
1. Observing Photography
Key Idea: Passive, attentive awareness; capturing moments as they are.
Core Themes:
Patience
Slow, deliberate shots
Awareness of time and place
Details
Close-ups of everyday objects
Nature (e.g., textures, light)
Light & Shadow
Natural light, soft focus
Shadows and their shapes
Intimacy
Personal moments, stillness
Candid, quiet moments
Techniques:
Shallow depth of field
Soft focus or diffusion filters
Minimal editing, natural tones
Visual Elements:
Color Palette: Soft, muted tones (earth tones, pastels)
Textures: Grainy, fuzzy, blurred
Composition: Simple, direct framing
Mood:
Reflective, calm, contemplative
Presence in the moment
2. Seeking Photography
Key Idea: Active exploration, searching for meaning, narrative, or connection.
Core Themes:
Curiosity
Looking for stories and meaning
Exploring the unknown
Journey
Urban exploration, adventure
Travel or discovering new perspectives
Movement
Capturing motion, energy, or change
Connection
Human interaction, relationships, gestures
Nature
Landscapes, dramatic skies, wildlife
Techniques:
Wide-angle shots
Motion blur or freeze-frame
High contrast and saturation
Visual Elements:
Color Palette: Bold, saturated hues
Textures: Sharp, detailed, crisp
Composition: Dynamic, wide shots, dramatic angles
Mood:
Excited, curious, exploratory
Adventurous, dynamic, driven
3. Challenging Photography
Key Idea: Confronting norms, perceptions, and pushing boundaries.
Core Themes:
Provocation
Disrupting the viewer’s expectations
Questioning visual norms and stereotypes
Surrealism
Distortion of reality
Unconventional perspectives and manipulation
Juxtaposition
Contrasting elements (e.g., old vs. new, organic vs. synthetic)
Unlikely pairings in a single frame
Abstract Expression
Non-representational or fragmented imagery
Focus on form, color, and shape
Identity & Culture
Challenging societal roles, norms, and identity representations
Techniques:
Double exposure, multiple exposures
High contrast, experimental edits
Unconventional angles and framing
Digital manipulation or collage
Visual Elements:
Color Palette: Bold, stark contrasts, neon accents
Textures: High contrast, rough, fragmented
Composition: Dissonance, imbalance, abstraction
Mood:
Intense, confrontational, radical
Thought-provoking, unsettling, transformative
Connections Between Themes:
Observing → Seeking → Challenging:
Evolving Narrative: Observing leads to seeking—understanding the world’s details fosters a curiosity to explore deeper. Seeking leads to challenging—questioning the narrative opens possibilities for disrupting norms.
Emotional Flow: Observing is introspective and calm, seeking is dynamic and driven, and challenging is bold and provocative.
Techniques Flow: A soft, reflective style in observing contrasts with the sharp, dynamic exploration of seeking, and ultimately, challenging photography embraces distortion, abstraction, and unpredictability.
Applications of Each Approach:
Observing Photography:
Portraits: Quiet, intimate moments (family, friends, strangers in natural settings).
Landscapes: Capturing nature’s stillness and fleeting moments of beauty.
Documentary: Truthful, observational work without imposing a narrative.
Seeking Photography:
Travel: Capturing new locations, cultures, and people in an exploratory way.
Street Photography: Candid moments in everyday life, capturing stories.
Fashion & Editorial: Seeking to tell a visual narrative through clothing and styling.
Challenging Photography:
Conceptual Art: Pushing visual boundaries to comment on culture or identity.
Experimental Photography: Play with techniques, collage, abstraction, digital manipulation.
Political & Social Commentary: Photographs that provoke thought, challenge authority, or explore societal issues.
Anthropocene in a way is a unit of time, it is used to describe the period within Earth’s history where human activity started to have a significant impact on the planets climate and ecosystems. This period is also sometimes known as the period of the great acceleration, things like carbon dioxide emissions and global warming that have significantly impacted our planet.
I have used anthropocene to create a diss at humans, so that we as people can really see what we are doing. My first artist case study was Naomi White and her Plastic Bags, where she took something so normal and dramatized it to make it portray a feeling. My second artist case study was Lucas Foglia and his ‘human nature’, where he dramatises misuse of the earth’s element’s.
Here are my responses to this –
(Naomi White Response) ‘ I wanted to take something as familiar as a plastic bag and change it into something strange, I wanted to create an image that people generally don’t want to look at, one that exposes the harsh truth that plastic won’t only end up killing all our wildlife but also us.’
(Lucas Foglia Response) ‘ I took this image up at plemont, where we spotted an old bunker, and they went in and explored while I took images. I think this portrays a massive contrast, of what that bunker would’ve been used for compared to people just using it to explore now.’
Masculinity vs Femininity
‘Femininity is a set of attributes, behaviors, and roles generally associated with women and girls. Femininity can be understood as socially constructed, and there is also some evidence that some behaviors considered feminine are influenced by both cultural factors and biological factors.’
Masculinity is a set of attributes, behaviors, and roles associated with men and boys. Masculinity can be theoretically understood as socially constructed, and there is also evidence that some behaviors considered masculine are influenced by both cultural factors and biological factors.
Portrait photographers have a lot of things to untangle when posing someone: their masculinity, femininity, or non-binary / genderfluid identity; their own perception of their gender in their industry or profession; society’s perception of their gender in their industry or profession; historical imagery of their gender and if it would be right to keep with that trend or break from it; and how lines, curves, shapes, and color are perceived in the art world with two dimensional imagery.
My artist case studies for this project were Claude Cahun and Cindy Sherman. Claude Cahun was a surrealist, photographer, sculptor, and activist. She is best known for her gender-fluidity in art, and her anti-Nazi resistance. Claude Cahun was an inspirational photographer, she paved the way for many other female photographers with her rebellious view on life, her not caring what other people say or think allowed for more people to do the same. Cindy Sherman has probed the construction of identity, playing with the visual and cultural codes of art, celebrity, gender, and photography. Sherman was always interested in experimenting with different identities, drawing attention to the artificiality and ambiguity of these stereotypes and undermining their reliability for understanding a much more complicated reality.
Here are my responses to this –
(Cindy Sherman Response) I have used this image due to its display of the beauty of being feminine rather than all the baggage that comes with it, a woman’s mind generally goes both ways when a male starts talking about femininity, either wondering if there about to display sexism and sterotypical explanation’s or whether theyre going to talk about the beauty of being a woman.
(Claude Cahun Response) This photo is aiming to describe what it’s like to be a man. Men are stereotyped to generally not talk about their emotions and that would make you ‘feminine’, so i have tried to capture this by photographing the ‘lone skater’. Men are known for being ‘alpha’ and like they should always have one foot forward and planning ahead, for example they should provide for the whole family, and although this may give them a purpose in life this may not be what they were personally born to do. Men have hobbies too, such as skating,skating is generally seen as masculine as its a sport of throwing yourself around, but i wanted to capture skating as a breath of fresh air, something to free a males locked up mind, by skating you can take all the pressure off your head and do something that they enjoy.
Medium
Film
Although we have not done film within photography, I have done it within media and I personally think that it is easier to portray feelings and make something subjective through photography rather than film. If my images were turned into film they would all become objective, and have everything be told, but photography for me is meant to say so little leaving so much.
Photography
I have done many photoshoots within taken photography A-level and I think that a photography is the perfect way to portray thoughts and feelings. Photography turns ordinary into the extraordinary. It transforms what it describes, and reveals so much but keeps so much too itself, which frames reality. It can be objective and subjective because it is told by a persons intuition. It fixes the shadows, before the event of digital tools. You need darkness to see light.
Approach
Documentary
Documentary photography is a genre that aims to capture real-life events, environments, and people, often with the intent of conveying a narrative or social message. It focuses on storytelling through images, documenting moments in a way that highlights authenticity and context.
I think that some examples I have made of this include –
Environmental Photography-
Environmental portrait photography is the art of taking pictures that will be used to tell a person’s story via its connection to a certain place. This connection often reflects the message that the environmental portrait photographer wants the viewer’s eye to receive.
Marine Harbour-
This image is very technical it manipulates the brain by the use of texture and detail, but portraying hoe historic this is but also how real it is. It makes you think about what would happen if trade went under, us as a small island would be in the dark and have nothing. A lot of people see the harbour as something that is aged and old, although it is that it us important to incorporate how it is still vividly in use every day.
Tableaux
Tableaux, or tableau vivant, refers to a “living picture” where a group of people poses to create a still scene or representation, often resembling a painting or a moment in history. In contemporary contexts, tableaux can also refer to staged photography where subjects are arranged to create a specific composition or narrative, often with careful attention to lighting, props, and costumes. It’s a powerful way to explore themes and evoke emotions through visual storytelling.
I think that some examples I have made of this include –
Landscape-
This image is from my landscape project, I actually really disliked this image but I think that it perfectly fits in with tableaux because it is a living picture. You can see a scene, but one that is not staged, it creates a very specific narrative of people chatting at school, also portrays the story of how phones continue to separate us as people.
Anthropocene-
This image is from my anthropocene project, I like how this image has a really effective narrative due to the clear view of the sunset. This show the exact setting of the narrative, it also creates a bolder lighting for the background making what is in the center of the frame bolder, which is a group of people talking (2people). This creates an unknown narrative, bet you would love to know what they are talking about in such a special place.
Conceptual
Conceptual photography is a genre that emphasizes the idea or concept behind the photograph rather than just capturing a moment or a realistic scene. In this approach, the artist often starts with a specific concept or theme and uses visual elements to express that idea creatively.
I think that some examples I have made of this include –
Femininity-
I feel like there is so much negativity around girlhood and womanhood so I’ve decided to try my best to portray the fun within it. The stereotype that only females can wear makeup has been around since makeups birth, and many people either frown upon this or agree, I have captured my model doing her makeup (lip-gloss), to show just how much fun something like makeup can be. Many people (mostly men) shade on makeup claiming that nowadays a woman’s beauty can be removed with ‘one wipe’, and so what? Woman have been denied fun all their lives, being shoved into stereotypes of cooking and cleaning, and when makeup was created this changed the lives of women and girls all across the globe, this is why I have captured my model in a very girly lit environment, not only to juxtapose her and her surroundings’ but also to create ambient lighting to portray the mood of female empowerment and all the happiness that comes along with it.
Urban-
The reason that I think this image is so conceptual is due to its natural black and whiteness. By using gloomy weather it has made the image as bright as a piece of paper, with main models just standing out. Also by using editing making the image more foggy I have left more to be interpreted by the viewer letting them use their own conceptual ideas. There is emphasis on the idea behind the image by leaving a lot of space and a blank canvas.
Artist’s
Jim Goldberg
Who is He?
Jim Goldberg is an American photographer and visual artist known for his work in documentary photography and photojournalism. He often combines text and images to create compelling narratives about marginalized communities and social issues. One of his notable works is “Raised by Wolves,” which explores the lives of homeless youth in San Francisco.
Why is he so influential?
Jim Goldberg was influential for several reasons, Innovative Storytelling, he pioneered the use of mixed media in photography by combining images with handwritten text. Focus on Marginalized Communities, his commitment to documenting the lives of underrepresented groups, particularly homeless youth and marginalized communities. Empathy and Authenticity, Goldberg’s empathetic approach fostered trust with his subjects, resulting in intimate and honest portrayals that resonate with viewers. Exhibition and Publication, his works, such as “Raised by Wolves” and “The Ballad of Sexual Dependency,” have been widely exhibited and published, influencing photographers. Impact on Visual Culture, Goldberg’s techniques and themes have inspired a generation of photographers and artists to explore the intersection of social issues and visual storytelling, reshaping how narratives are presented in photography.
How can I take photos like him?
Develop a Concept, focus on a specific social issue or community that resonates with you. This will give my project depth and purpose. Build Relationships, spend time with my subjects to build trust. Authentic connections will help me capture more intimate and genuine moments. Combine Text and Image, experiment with integrating handwritten text or quotes from my subjects alongside my photographs. This adds a personal narrative layer to my work. Use Documentary Techniques, embrace a documentary style that captures real-life moments. Allowing your subjects to express themselves naturally. Experiment with Composition, explore different compositions and perspectives. Don’t be afraid to play with framing and focus to convey emotions effectively. Focus on Emotion and Story, look for moments that evoke feelings or tell a story. Think about how my images can reflect the complexities of my subjects’ lives. Edit Thoughtfully, when editing, maintain the authenticity of my subjects’ voices and stories. Consider how the final presentation aligns with my initial vision.
Cindy Sherman
Who is She?
Cindy Sherman is an American photographer and conceptual artist known for her distinctive self-portraits that explore identity, gender, and the construction of persona. Since the late 1970s, she has created a series of works in which she assumes various roles, often drawing on cultural stereotypes and cinematic tropes.
Why is she so influential?
Exploration of Identity, she challenges traditional notions of identity and self-representation, prompting discussions about how gender, roles, and societal expectations shape who we are. Feminist Perspective, her work is a critical commentary on the representation of women in media and art. Conceptual Art, Sherman’s approach blurs the lines between photography and conceptual art. Her self-portraits provoke questions about authenticity and performance, encouraging viewers to consider the constructed nature of identity. Cinematic Influence, by drawing inspiration from film and popular culture, Sherman connects her work to broader narratives about storytelling and representation, making it accessible and relatable. Innovation in Photography, her unique style and method have paved the way for other artists to explore similar themes, influencing a generation of photographers and visual artists.
How can I take photos like her?
Explore Themes of Identity, reflect on what identity means to me. Think about how I want to represent myself and others, focusing on themes like gender, culture, and societal roles. Create a Concept, develop a series based on a specific idea or narrative. Costume and Makeup, use costumes, makeup, and props to transform myself or my subjects. This helps create distinct characters and enhances the storytelling aspect of my photos. Set Design, pay attention to the setting and backdrop. Consider how different environments can contribute to the mood and narrative of my images. Experiment with Composition, play with framing, angles, and lighting to create dramatic effects. Think about how different compositions can convey emotion or context. Embrace Performance, approach my photography as a performance. Experiment with poses, expressions, and gestures to bring my characters to life.
Tom Wood
Who is he?
Tom Wood is a British photographer known for his documentary-style work, particularly his candid street photography. He gained recognition for capturing everyday life in urban settings, often focusing on the people and environments of Liverpool, where he has lived and worked. Wood’s photography is characterized by its raw, unfiltered approach, showcasing the nuances of human interaction and the essence of place.
Why is he so influential?
Candid Approach, his documentary-style photography captures real-life moments with authenticity, providing an unvarnished look at everyday life. This approach resonates with viewers and highlights the beauty in the ordinary. Urban Exploration, Wood’s focus on Liverpool and urban environments allows him to document the socio-cultural dynamics of the city, making his work a valuable resource for understanding place and community. Human Connection, his ability to connect with subjects and portray their emotions and stories fosters a deep sense of empathy in his work, encouraging viewers to engage with the images on a personal level. Visual Storytelling, Wood’s photographs often tell rich narratives, capturing fleeting moments that reveal broader social themes, such as identity, class, and human interaction. Influence on Street Photography, as a prominent figure in street photography, Wood has inspired many emerging photographers to explore their surroundings and document the lives of people in their communities. Critical Acclaim, his work has been widely exhibited and published, earning recognition within the photography community and contributing to discussions on documentary practice and urban life.
How can I take photos like him?
Embrace Candid Moments, focus on capturing spontaneous, everyday scenes rather than posed portraits. Be patient and observant to catch genuine interactions. Explore my Environment, spend time in my local community or urban settings. Get familiar with the places where people gather and engage in daily life. Develop a Personal Style, pay attention to the visual elements that resonate with me. Experiment with composition, framing, and angles to create a signature style that reflects my perspective. Engage with Subjects, while Wood often captures candid moments, building rapport with my subjects can lead to more intimate and powerful images. Take time to connect with people in my environment. Use Natural Light, utilize natural light to enhance the mood of my photos. Experiment with different times of day to see how light affects my images. Tell a Story, think about the narrative behind my photos. Consider how each image fits into a larger story or theme, capturing the essence of the moment and its context. Be Persistent, street photography often requires patience and persistence. Don’t be discouraged by missed opportunities; keep shooting and refining my skills. Experiment with Black and White, Tom Wood often works in black and white, which can emphasize emotion and composition. Try shooting in monochrome to see how it changes my approach. Edit Thoughtfully, when editing my photos, aim to enhance the narrative without over-processing. Keep the focus on the authenticity of the moment. Study Other Photographers, look at the work of Tom Wood and other street photographers for inspiration. Analyze their techniques, themes, and approaches to storytelling.
Photographic Skills
Capturing teenage culture through photography involves a mix of technical skills and a keen understanding of youth dynamics. Some skills that I could use include: Candid photography, by using spontaneous moments and a discrete approach I will make my models feel comfortable allowing for more natural images. Storytelling, focusing on a narrative that resonates with being a teenager will make my images convey a story or theme reflecting experiences and challenges. Emotional connection, by connecting with my models (using my friends) it will build more support making more intimate photography. Composition, different framing techniques and leading lines to make my photos visually engaging. Understanding context, knowing what it is like to be a teenager living in Jersey will help me to really produce something that is meaningful. Use of colour and light, using different bright and vibrant colours to convey energy and dark and softer colors to create more intimate mood. Street photography techniques, documenting everyday life and urban environments that teenages naviagte. Editing skills, enhance the overall mood of my images. Engagement with trends, to portray a current feeling.
Processes
Digital photography will be used within my project, by taking photos digitally on a good camera I can take vibrant images which will make it easier to portray my narrative. I may include some portraiture within my project, to display a sense of emotion from a teenager to continue to my narrative. By getting an up-close personal look I can portray a lot more. Street photography will probably be one of my most used processes, this will help me to portray a story of lidr, one that can be very subjective. I will use a documentary style to show how people feel and how they lie there lives, this will portray teenager culture from the people who live and breath it. Experimental Techniques, techniques like double exposure or long exposures can create unique representations of the teenage experience, emphasizing creativity and self-expression. Lifestyle Photography, capturing moments that define teenage life, such as friendships, hobbies, and daily routines, can create a relatable and authentic narrative. Mobile Photography, using smartphones to capture spontaneous moments can be very effective. The immediacy and accessibility of mobile photography often lead to more genuine, unguarded expressions. Mixed Media, combining photography with other artistic elements, like drawings or text, can create a more layered representation of teenage experiences and feelings. Each of these processes can be tailored to reflect the specific stories and emotions that are central to being a teenager, allowing for a diverse representation of this dynamic stage of life.
Techniques
Candid Shots, capture spontaneous moments to convey genuine emotions and interactions, showcasing the authenticity of teenage life. Close-Ups, focus on facial expressions or hands to highlight emotions and details that tell a deeper story. Use of Natural Light, shooting during golden hour (early morning or late afternoon) can create a warm, flattering light that enhances the mood of the images. Depth of Field, use a shallow depth of field to blur the background, drawing attention to the subject and emphasizing their emotions or actions. Composition Techniques, experiment with framing, rule of thirds, and leading lines to create dynamic and engaging images that guide the viewer’s eye. Motion Blur, capture movement to represent energy and spontaneity, such as a group of friends laughing or dancing. Perspective and Angles, try shooting from different angles—high above or low to the ground—to provide unique viewpoints that can change the narrative of the photo. Black and White Photography, strip away color to focus on emotions, contrasts, and textures, often conveying a timeless quality that resonates with feelings. Environmental Portraits, place the subject in a meaningful setting that reflects their personality or interests, telling a broader story about their life. Thematic Series, create a series of photos around a specific theme (like friendship, identity, or rebellion) to capture different facets of the teenage experience. Double Exposure, combine two images into one to represent the complexity of teenage thoughts and feelings, blending different aspects of their life. Lighting Techniques, experiment with backlighting, silhouettes, or using artificial lights to create dramatic effects that enhance the mood.
Methods
Candid Photography, capture spontaneous moments during everyday activities, showcasing genuine interactions and emotions among friends or during events. Street Photography, document teenagers in urban environments, capturing their interactions, fashion, and social dynamics in a real-world context. Documentary Photography, create a series that tells a story about a teenager’s life, exploring their routines, challenges, and celebrations over time. Lifestyle Photography, focus on moments that depict the daily lives of teenagers, such as hobbies, social gatherings, or school life, to create relatable narratives. Experimental Techniques, utilize methods like double exposure, long exposures, or light painting to add artistic flair and depth to your images, representing the complexity of teenage life. Environmental Portraits, place subjects in settings that are significant to them, like their room or favorite hangout, to provide context and insight into their world. Group Shots, capture friendships and social groups to highlight the importance of community and connection during the teenage years. Creative Composition, use framing, symmetry, or interesting angles to add visual interest and make the photos stand out, reflecting the energy of youth. Mood and Atmosphere, play with lighting and color palettes to evoke specific emotions—bright colors for joy and vibrancy, or muted tones for introspection. Action Shots, capture teens engaged in activities like sports, dancing, or hobbies to convey energy and passion. Mixed Media, combine photography with drawings, text, or other artistic elements to create layered representations of teenage experiences. By employing these methods, you can create a diverse and compelling representation of the teenage experience, capturing both the joys and challenges of this dynamic stage of life.
Why
Using various methods, techniques, and processes to portray teenage life in photography allows you to create a rich, nuanced representation of this unique stage of life. Here are some reasons why it’s beneficial: Authenticity: Different methods, like candid photography or lifestyle shots, help capture genuine moments and emotions, making the representation more relatable and true to life. Diversity of Experience: Teenagers experience a wide range of emotions and situations. Using various techniques allows you to explore and portray these complexities, from joy and friendship to identity struggles. Visual Storytelling: Different photographic methods can help tell a compelling story. For example, documentary-style photography can highlight the everyday realities of teenage life, while portraiture can focus on individual identity. Creative Expression: Experimenting with techniques like double exposure or mixed media allows for artistic expression, providing a platform for teenagers to convey their feelings and perspectives creatively. Emphasizing Context: Methods like environmental portraits place subjects in meaningful settings, adding depth to the narrative and showing how their surroundings influence their experiences. Engagement: Varied approaches can capture the attention of viewers, making the photographs more engaging and thought-provoking. This is especially important when trying to connect with a broader audience. Highlighting Relationships: Group shots and candid moments can emphasize the importance of friendships and social dynamics, showcasing the support systems that are crucial during adolescence. Exploring Identity: Techniques like self-portraits or thematic series encourage teens to explore and express their identities, leading to a deeper understanding of themselves and their peers. Mood and Atmosphere: Different lighting and compositional techniques can evoke specific emotions, enhancing the storytelling aspect and allowing viewers to connect on a personal level. Versatility: Using a range of methods and techniques enables you to adapt to different subjects and environments, making your work more versatile and impactful.
Photography turns the ordinary into extraordinary, with the use of different mediums it frames reality. One medium is the Daguerreotype, created by Louis Daguerre who is known as one of the fathers of photography. The Daguerreotype is a highly detailed image on a sheet of copper, plated with a thin coat of silver. The surface was polished until it looked like a mirror, which is also what the images are categorized as according to Szarkowski.Reflection of the Subject: Unlike the calotype, which is more about capturing a scene, the daguerreotype directly reflects the subject in a detailed and almost literal way. Intimacy and Presence: Szarkowski noted that daguerreotypes often convey a sense of intimacy. Clarity and detail can evoke a personal connection John Szarkowski said, ‘a mirror, reflecting a portrait of the artist who made it’.1 The Daguerreotype was mainly used for portraits and personal images, that created a narrative. Representation of Reality: Szarkowski suggested that the calotype, like a window, offers a view into the world. Subjectivity of Perspective: While a window provides a specific view, it also filters what is seen based on the viewer’s position and the window’s frame Szarkowski presents a binary theory of photography as an art, in agreement to this we have the Calotype created by William Henry Fox Talbot. It was an improvement of the daguerreotype. A sheet of paper coated with silver chloride was exposed to light in a camera obscurers. Henry Fox created outdoors images, as Szarkowski explains ‘a window which one might better know the world’.2 Overall, I agree with Szarkowski’s theory of binary opposites when it comes to window and mirror photography, opposites are what create a string, a pathway to create narrative throughout imagery. Although I do not agree that all photography stays within this binary line, I believe that some images may dip between either a mirror or a window creating a hybrid image.
Paragraph 1: Mirror Images
Max Pinckers
This image is a mirror due to the use of models, and the framework that has gone into it. Pinckers has used tableaux, a group of motionless models to tell a story, and the story being told here is clearly linked to romanticism which is another feature of mirrors. This image is very subjective, up to an individual’s ideas, this is created by using little to no anchorage, for example the use of covering the models’ faces but leaving the face of a young boy who is taking photos of the ‘couple’. The images look like fiction, it’s not a real story it has been invited, we can see this by the use of objects, by using the exact moment the boys flash went off and using scarf to cover them, creating a staged scene. Szarkowski describes mirrors as ‘ a romantic expression’3, which is clearly portrayed here by the closeness of the models, leaving to imagination what is happening under the scarf. When he refers to mirrors as “a romantic expression,” he likely delves into the idea of reflection—not just in a literal sense, but also metaphorically. Szarkowski’s appreciation for mirrors as a romantic expression underscores the transformative power of photography—how it can reflect not just the external world but also the internal landscapes of human experience. On the other hand, Jed Pearl critiques the use of mirrors in art by highlighting their dual nature.4
(add a quote here by Pearl as an example of his critique)
While mirrors can create compelling visual effects and engage viewers, Perl often points out that they can also lead to a superficial understanding of art.
Paragraph 2: Window Images
Edward Burtunsky
This image is a window using documentary, it consists of facts and isn’t staged, it is a fact that this place exists within the world, and this is what happens there. It is candid in the sense that it is straightforward, it portrays true realism, the actual situation it has no models within it that have had time to pose. This makes the images very objective, not letting people really put their personal opinions on it because it is so straightforward. It has a straight and optical view, with an open view it creates a public atmosphere, this landscape is not hidden to anyone or anything. Szarkowski describes windows as ‘ the exterior world explored in all its presence and reality’.5 Unlike mirrors, which reflect the self, windows invite viewers to engage with the world outside. They serve as frames that reveal the complexity of reality, capturing moments that are often rich with context, emotion, and narrative. They offer a glimpse into different environments, cultures, and experiences, enriching our understanding of the world. On the contrary Jed Pearl critiques, the use of windows in art by examining their potential to create a false sense of immediacy or authenticity. He argues that while windows can provide a view into the external world, they can also distance the viewer from the true essence of the scene being depicted. “An imperfect knowledge of the past” 6In essence, Perl’s critique serves as a reminder that while windows can enrich visual storytelling, they should be used thoughtfully to ensure that they enhance rather than detract from the depth and substance of the artwork.
Photography is an incredibly unique art, it’s like no other in the essence of how many different forms it can create not only how many different modes it can make for example portrait vs landscape, but also in the essence of windows vs mirrors. John Szarkowski and Jed Perl offer insightful frameworks for understanding these dual roles, allowing us to explore the complex relationship between representation, reality, and perception in photography. Szarkowski describes mirrors as reflective surfaces that reveal the self, emphasizing personal introspection and the subjective experience of the viewer. Conversely, Szarkowski’s concept of windows focuses on the external world as it exists in all its presence and reality. Jed Perl provides a critical lens through which to examine these concepts. He critiques mirrors for potentially fostering a sense of narcissism, where the viewer becomes more focused on their reflection than on the artwork itself. Perl also highlights the superficiality that can arise from the use of windows in photography. Pearl argues that windows do provide a view of the external world, but they can also lead to a representation that is almost rules over and portrayed in a specific style, which might belittle and gloss over the deeper emotional engagement and understanding. In conclusion, Szarkowski’s theory of mirrors and windows provides a very valuable framework for understanding the oppositions of photography. Mirrors open the door for a subjective exploration of identity and emotion, while windows assist an objective engagement with the external world. Perl’s critique enriches this discussion by reminding us of the potential pitfalls associated with each approach, emphasizing the need for a deeper exploration beyond mere surface representations.
Mirrors and Windows American Photography since 1960- John Szarkowski ↩︎
Mirrors and Windows American Photography since 1960- John Szarkowski ↩︎
Mirrors and Windows American Photography since 1960- John Szarkowski ↩︎
A Review Of Mirrors And Windows 1978- Jed Pearl ↩︎
Mirrors and Windows American Photography since 1960- John Szarkowski ↩︎
A Review Of Mirrors And Windows 1978- Jed Pearl ↩︎
What are the differences between photographs that are WINDOWS and MIRRORS.
“Mirrors” were images meant to mirror the photographer’s own sensibility. “Windows” were photos meant to act as a window for the viewer to see something that is primarily factual and external to the photographer’s own sensibility.
A mirror image would reflect the photographer. The photographer may be in the image, and it will reflect the photographers actions, displaying a clear meanigning.
A window image would be up to the viewers subjectivity, something that just sees straight through the camera lens without anything added.
“The two creative motives that have been contrasted here are not discrete. Ultimately each of the pictures in this book is part of a single, complex, plastic tradition. Since the early days of that tradition, an interior debate has contested issues parallel to those illustrated here.” – John Szarkowski, 1978
Consisting of facts or based on facts. Using pictures to provide a factual report.
objective
Not influenced by personal feelings or opinions in considering and representing facts.
realism
Rejects imagination and creates fact, a close observation of outwards appearance’s.
candid
Truthful and straightforward. A photo taken straightforward, maybe without the models attention that it was even happening.
public
Concerning people as a whole, perceived or portrayed in an open view.
straight
Photography that attempts to depict a scene or subject in sharp focus and detail.
optical
Utilizing light, straightforward.
views
The position in which the camera sees the scene.
Upload your chosen image and describe why the image is either a mirror or a window, or both.
I think that this image is a window. Due to it being documentary, it shows a factual story with the use of raw actions. I think it also connotates realism, something that is not subjective, its straight. It has a clear view using a clear optical lens. This image also seems very candid, like the models didn’t even know it was being taken.
Although the image could also be a mirror because, of its use of romanticism. And the way it looks almost staged and planned with the use of motionless characters (tableaux).
The reason I have chose this title is because of its strong connotations, the way that trade and communication flow together, like they are dependant on one another. I chose a black and white image o give a historic feeling, a visual element that makes you think something is old. I have relied heavily on contrast due to want to expose the granite wall and portray all of its cracks to exclaim how old it is.
I took this image in natural daylight, to portray it naturally rather than making it look unnatural by using things like a flash. The colour balance of the image is very cold and dark. There is a lot of texture within this image to show how the wall has changed throughout many years, creating a very 3D image. The 3D elements lead the eye to all the white and bright areas, due to there high contrast to the darkness of the image. I think that there is harmony with the image and the font of the title, due to the title being written in black and outlined in white, a bit like the image is, mostly black but that’s what pulls you to the white element’s. This image has a context with the light on the pole which lets traders know when the ports were open, green for go and red for stop, like a traffic light. The essence of my work was to create a historic meaning, making people think way back to the 1900s, while still allowing room to change the essence to something more modern.
Page Spread One
I chose these images so that I could stick with the black and white theme, and I wanted to leave some room for text so that I could explain my ideas, like an intro.
These images were taken in daylight, on a cloudy day. This gives a natural effect due to having a high level of control as the sun wasn’t exactly beaming. The images are quite short and sharp, they get straight to there point. I don’t think the images are either warm nor cold, I would describe them as very neutral, almost numb, just black and white. The images are quite 3D and textured allowing you to see the use on the boats, and the grainy sand. They both have a simple layout with the centre of the image being what you look at. They both have a similar historical context in the sense that they’re both used boats. The conceptual meaning behind my work on this page spread, was to gain historic value by adding text, to make peoples eye go toward the images, let them think about the image, and then get told the ‘answer’ within the text.
Page Spread Three
I am still keeping with the black and white historic theme, but slowly adding more shading to make a smooth transition to colour.
These were all taken in natural daylight, but you can see between the pier and the boat how the sun moves, going from a lit up area and dark skies, to a dimly lit area and a bright sky. The sun didn’t really give me a good level of control within these images, as the sun was behind clouds but still really bright making it difficult to evaluate what ISO to use. All these photos were taken on a very wide angle, some zoomed all the way out and some zoomed all the way in. For example the brick buildings were taken from very far away and all the way zoomed out in order to be able to fit all of the buildings into one landscape shot, whereas the image of the boat was taken very far away but very zoomed in to make the boat the main subject of the image. The images contain a lot of panning so that I could capture a wide area of space. There is a lot of tonal range within the three images, they contrast each other with there bright whites and dark blacks, giving them all a similar tone but also so different.
Page Spread Four
I have used colour popping to transition my images into colour and create a less historic feel, moving towards modernism.
This image was taken in daylight, with the sun coming from behind my camera lens. The image has a high tonal range, with a lot of blacks and whites but then also a pop of red, this creates a warm autumnal feel. I took this image in a portrait way with a small angled lens, due to already being very close to the object. The image has a sharp depth of field, focusing on the colour, and text, with main anchorage points. The image is mildly textured, with the anchor showing a lot of historic elements, but the board which explains the anchor is very smooth and minimal. I have used a clear organisation of visual element’s. I have selection cropped the image to create a clear element. This image has a high amount of historical context, with a lot of explaining that context but also justifying it by using the anchor. My idea behind my image was actually to just create anchorage by using an anchor, to create a meaning and dealing with text and imagery.
Page Spread Five
This image is colour popped again but creates some more brighter colours to crate a more intense shift into modernism.
This image was taken in daylight, you can see this through the reflection/glare on the water. It creates a more florescent atmosphere compared to all the other images in black and white. This image was taken in a very wide angle, taken very very far away but is also very zoomed in to really shift focus onto the signage. I think that by using colour popping within the image it has created a simple colour accuracy, something that flows, how the simple light greys go with the whites and the darker greys and the blues. By colour popping the blue it has also slightly coloured the sea, creating a smooth background with not much texture. There is a pattern and repetition of the blue within the sea and within the sign. There is strong containment within the frame, the sign being just the main thing, and an easy view of how everything else is outside of the frame, in the background. There is a wider narrative to this image, the sign says thank you for visiting creating a story that someone has gone to the harbour and got on a boat.
Page Spread Six
The is my first page spread with images that are all in colour, and it also has the most text out of all my images.
Both of these images were taken in natural daylight, but I love the contrast between them where you can see how the sun shifted throughout the day. I had a high level of control when taking these photos, which you can see through the bold bright crisp colours within my images. There both very focused photos, with signage which creates a pathway for me to write facts about the images. This page spread really all flows together. They both have quite a bright tone, with bold whites. The ferry speed image is a lot more textured than the pier sign, this is to portray all the wear and tear of trade, and how active trade still is over here. There is a lot of space within my images, creating a 3D open context, by not bombarding people with a million things in there face I have created a calmer environment where people can really use their brains and get there minds wrapped around the meanings of my page spread. I wanted to create something that showed how bustling the harbour and trade still is , without throwing it in peoples faces.
Page Spread Seven
This page spread is very minimal, to leave something to be subjective, rather than bombarding people with text.
The use of daylight and colour popping and also a white background creates a major contrast, a massively bright image that gave me a good level of control to make the whole images vibrant and pop but without looking messy or childish. I think the light reflects the distance in which the images were taken from, a up-close image which is reflected from a glare on the sign, or a further away image which is reflected by the length. There is a lot of patterned repetition within the images, repeated use of colour and anchorage. This creates a conceptual feeling or modernism, allowing me to create that smooth shift from black and white histories.
Page Spread Eight
I have laid out three images so that there us no text bombarding again, leaving this to be seen and interpreted.
These images were taken in three different instances of daylight, as you can see the shift of the sun between them, it creates a contrast of our stormy harbours. In this page spread I have included imagery of the riches, a golden boat and also a description of images that include simple trade. By using a café you are creating a trade, which shows just how alive it still is as these cafes are in use every single day. I used a layout which creates harmony between the three images.
Last Page
I have put this image sideways to crate a more out of the ordinary zine. A zine is basically a silly magazine, something that doesn’t really need to be formatted to influence and attract an audience, it is very informal.
This image is very technical it manipulates the brain by the use of texture and detail, but portraying hoe historic this is but also how real it is. It makes you think about what would happen if trade went under, us as a small island would be in the dark and have nothing. A lot of people see the harbour as something that is aged and old, although it is that it us important to incorporate how it is still vividly in use every day.
Overall Evaluation
Overall I think all my planning and work that went into my zine made it turn out to have the exact narrative I planned. I wanted my zine to be a timeline and I think that I have created that through the use of key things like conceptual feelings and colour popping. Although I did miss a photoshoot day I think that my other photoshoot made up for that, and gave me all the create tools that I needed to create a timeline narrative about trade in st heliers harbours.
I printed out all of my zine photos onto one big sheet of A3 paper, fitting 18 images to a page. I then cut the images out and laid them onto A4 paper which I had folded to create a small book.
The reason I did this was to create a smaller scale mock-up of my zine so I could see how my images worked together. I was not able to print my images in colour, and the images are of course not to the scale how I would have them in my final print, but I wanted to just create a small mock-up to really see if I enjoyed my storyline and how well it all flowed together. I also have not added my text anchorage to my mock-up because some people will just not even bother with reading the text, so I think this gives me more of a feel of what the real one would be like than if I did add my text.
**I took these photos on my phone and then emailed them to my school account so therefore they may not be the best quality. **
Cover Page
I will have this image fit the whole page and have a title but I think it is a good historic cover page.
1st Page Spread
These images will also have text, and create historic anchorage and cover both pages.
2nd Page Spread
For my second page spread I have kept with the black and white theme, but will include some colour popping to smoothly transition to newer modern photos.
3rd Page Spread
This image will be bigger across the page as a bold statement.
4th Page Spread
This image will be bigger with colour to create a better sharper transition
5th Page Spread
I want this page spread to be the start of the modernisms.
6th Page Spread
I want to use this page spread as a visual, something to make people think rather than just telling them the answer.
7th Page Spread
This will be a very factual page, meaning it will include text with facts about ferry speed and the pier.
Back Page
My last page is more of a loop, a final connection to the cover page.
I wanted my cover page to be in black and white so that I could tell a story through my work, having the last page being in colour. Almost like watching a film turn to colour. I have also chosen this title because I think that my story portrays Jerseys trade and the way people communicate to carry that out.
Page Spread 1
I want my first page spread to keep with the black and white theme like a story line. I wanted to include 2 images for contrast between modern and old ways of trade and fishing. I also wanted to include some text as an almost introduction to portray the story that I am trying to tell.
Page Spread 2
I wanted to have a page with just images to leave some things to peoples imagination before I add some text explaining what I am portraying. I wanted to allow people to have their own guess, but I have already interpreted in their minds a nostalgic/historic feeling due to the black and white elements and old brick building’s which have connotations of history.
Page Spread 3
I wanted my next double page to ease into colour, using a colour popping image to smoothly move into a modernist time. I wanted to still include some text to be able to explain the contrast and my reasoning why. I wanted my image to be big so that it would mostly catch someone’s eye.
Page Spread 4
I wanted to continue with the text to further explain and give people some facts about changes within the harbour to make it what it is today. I also wanted to include signage that says ‘goodbye’ because I wanted to shift peoples gaze and thoughts onto a different element of the harbour.
Page Spread 5
I wanted this page to have a massive contrast, a massive jump in time scale. I have included a lot of text so that I can really explain what I am doing and give a true meaning of out harbour today and why these things are so important.
Page Spread 6
I wanted my last double page to include only images. I wanted to leave things to the imagination.
Last Page
I wanted my final page to be a landscape side image. I wanted people to have to move my zine to see it in the way that they want.
I wasn’t able to make this trip so therefore my options for images was very limited, but I was still able to edit some too incorporate within my zine.
Selected and Edited Images
Reasoning
I chose these photos because I think they fit into the historical element of my storyline about trade. I have edited them to be black and white to give off more of that old school historic vibe. When people see images in black and white they get an instant feeling that the image itself is old, due to everything now being in colour. I think that having these images at the start of my zine will create and old timey feeling allowing for development to shift the motif to modernism.
The processes of making changes to images or text, deciding what will be removed and what will be kept in, in order to prepare it for being printed or shown.
a photo sequence means putting a bunch of pictures in the order the viewer will receive those images, it can be for a book, an exhibition walking tour, or just the reading order of a few photographs displayed on a wall, sequencing is ordering the visual flow, some will say storytelling.
Why?
I want to edit my images so I have both black and shite images and coloured images. This is so I can show the historic values of the St. Helier harbour and also the modern values.
I wanted to sequence my zine in a way that it would flow, almost like a time line.
Creating nostalgia for the viewer but also something or there time so they can relate too it, something they walk past everyday and take no notice of.
