I will be producing two photoshoots, with one being a document – (realism/ factual/ public) and the other photoshoot being tableaux (romanticism/ fiction/staged).

Documentary
For my Documentary/realism and factual photoshoot, I will be using ideas such as street photography and a mix of environmental portraiture going around town/popular places in Jersey and taking different photos of how different people live there life, or what they do for work and how their lifestyle is. For another photoshoot, I want to take multiple photos of how the traffic builds up either on the avenue or near the tunnel underneath the roundabout in town.

I have another better idea, of going to a bonfire night with a lot of people around watching the bonfire and fireworks and taking photos of random couples hugging, having arms around each other, maybe even kissing each other whilst a firework goes off. This may turn out not as good as I imagine because it will be very dark and especially because there will constant flashing lights from the fire works, plus the fire flames from the bonfire.

Tableaux
For my Tableaux photoshoot I have multiple ideas of either masculinity and femininity with showing different stereotypes or flipping the stereotypes around. Another idea would be about a story line with two friends meeting up to either sell drugs, or a different story line with them meeting up. Another idea links with the idea I just mentioned, but instead it could be a crime scene where one kills another and hides his body or similar thoughts to that. Finally, could do a photoshoot with either emotions or phobias such as claustrophobia with a photo of someone trapped in a small place surrounding themselves.

I went to the fireworks/bonfire night and these are some of the photos I took.

I selected a few photos I want to edit which are these photos.

Here I really liked the use of the bonfire with the grass almost path to the bonfire, which I can edit to create an essential ‘fake’ pathway which leads to the bonfire using Black and White on the outside of the photo with uplifting the green in the grass and the orangey/red bonfire.

In this photo I really like the use of both a male and female sat down watching the fireworks over them, I could of gotten lower to the ground and centred the fireworks in between them, but I have an idea of maybe either keeping them both ‘alive’ in the photo and in colour, or creating a B/W silhouette around one of the couple, with an idea of ‘The other partner wishing loved one was watching the fireworks with them’, but they are as a “ghost” sat next to them in B/W, sort of photo.

Something sort of like this where the male partner remembers when they watched the fireworks together in the past, she was next to him watching the fireworks but she isn’t physically there, just spiritually watching next to him.

Started by designing and drawing out a mood board, with explaining what each term, ‘Observe, Seek and Challenge’ meant. Then got stuck on ideas, so started to draw different icons around the title such as, hearts, lighting bolts, flowers, waves, genders, even square roots, to try give me ideas.

This ended up helping as now I have an idea that I want to do which involves waves and surfing or something alone the 5 mile road which involves a surfer with his board and next to this bungalow.

My next idea involves two basketball players, one being very tall whilst the other isn’t so tall and give a documentary photoshoot of how they get ready pre-games or how they play in-game.

Another idea is to showcase the difficulties and challenges between male and female basketball and why they can’t play in the same league. Also, how different athletes get ready before the game and play during the game.

Sam Taylor-Johnson spoke about how ‘Men act and women appear. Men look at women. Women watch themselves being looked at.’ This is showing and explaining the ‘Male gaze’ arguing that it has an indirect influence, forcing women to unconsciously ‘self-police’, their own behaviour.

Finally, I have an idea which I will go forward with, which involves using my friend who is very into basketball and plays it everyday and night. But, he gets injured a lot, so I am basing my idea for observe, seek and challenge around him and showing where he trains, (Langford/Beaulieu), where he started, (millennium park), who he plays with, (the coach, the team), his injury signs like, scars, stitches, casts, crutches.

Langford Sports Centre, which is the main place we train at and the place my Subject trains the most.

Beaulieu Sports Hall, which is where most of the games are held at and one of the main courts in Jersey.

Millennium Park, the outside court we all started playing basketball at especially my subject Bruce. It doesn’t have the skatepark in now so I will have to go take photos of it in the current time.

Introduction:
Photography can turn something ordinary into extraordinary, photography transforms what it describes. Early origin’s of photography starts with Camera Obscura, this is when you have a blacked out room, with a tiny hole from the outside world showing the light into the room. After around 1-2 hours of patiently waiting, there will show an upside down natural photo of exactly what is on the other side of the hole in the wall. A darkened box with a convex lens or aperture for projecting the image of an external object on to a screen inside, a forerunner of the modern camera. In the modern world, images can act as (emotions, memories, and identities), suchlike humans, offering a view into lives, places, and perspectives outside of our own. These dual roles make photographs complex and multi-dimensional objects and allow photographs to explore so many options. As mirrors, they allow us to see ourselves and our experiences through images. Whereas windows, they expose us to ideas, cultures, and ways people live their life’s, fostering a deeper understanding of the diverse world we live in. The balance between these two functions reveals how photographs can be both personal, but also explore the outside-world, intimately tied to the viewer’s own journey, while also broadening their view beyond them. The Daguerreotype and the Calotype are two early photographic processes, each with distinct characteristics and technical methods. The Daguerreotype uses a copper plated sheet with a thin coat of silver to create a detailed image on.
The Calotype is the original negative and positive process which was invented by William Henry Fox Talbot. This process uses a paper negative to make a print with a softer, less sharp image instead of the daguerreotype.

In my opinion and view, I feel like this photo is clearly classed as a ‘mirror’ photo instead of a ‘window’ photo because firstly, you can tell it’s staged with the young boys face being in one of the windows with the crack on it. But, also the fact that where a bullet or rock hit the window, (that’s what the shatter and damage looks like it could of been hit by), is exactly where the boys eye is, to perhaps symbolise the hurt within him or the struggles he has to live through everyday. Also, the fact that the photo is in black and white, also adds more thoughts and feelings on to the overall photo, whereas instead of it being in colour, being able to see the boys bright, vibrant clothes, with the house through the window which could’ve had a bright orangey/red roof or if there was grass on the floor. This would make the viewer not feel as bad and wouldn’t express the photo as sad as it should be. But, it is in black and white, to help persuade the viewer of the time, place and even the struggles that the boy had to live in everyday. Finally, a good factor that helps this photo, is that the boy is also very young, which helps photographs and ideas to showcase sadness and struggles from a young age.

“Photography was easy, cheap and ubiquitous, and it recorded anything: shop windows and sod houses and family pets and steam engines and unimportant people. And once made objective and permanent, immortalized in a picture, these trivial things took on importance.” – John Szarkowski.

“Authority and Freedom. A defense of the arts.” – Jed Perl

These quotes relate to each other with Szarkowski’s meaning how unimportant people are to be made as objective and permanent, immortalised people inside a photograph. Which is similar to Perl’s with his quote meaning that people aren’t free and do not have authority and so they are used in photos as well and that the lack of authority and freedom – objective and immortal, these circumstances act as a defense of the arts.

This is a window photo because the term ‘window’ means that it is not staged and it is natural. I can tell this is a window photo because the photographer is sat in a car and just snaps a women walking her dog with no expression in her face, in the middle of an area with trees and grass and with the dogs full body not in frame helps the idea of it not being staged because it was just a quick snapshot and just captured the dogs face.

Paragraph 2 (250 words): Choose an image that in your view is a window and analyse how it is an objective expression rooted in a sense of realism. Choose one quote from Szarkowski’s thesis and another from Jed Pearl’s review and follow similar procedure as above ie. two opposing points of view and commentary to provide a critical perspective.

Conclusion (250 words): Refer back to the essay question and write a conclusion where you summarise Szarkowski’s theory and Pearl’s review of his thesis. Describe differences and similarities between the two images above and their opposing concepts of objectivity and subjectivity, realism and romanticism, factual and fiction, public and private.

A Mirror reflects a portrait of the artist who made it, or a window, through which one might better know the world.

In the summer of 1835 William Henry Fox Talbot experimented with various chemicals to develop paper coatings suitable for use in a camera. He placed small wooden cameras that his wife called “mousetraps” all over his estate. The earliest surviving paper negative dates from August 1835, a small recording of the bay window of Lacock Abbey (left). In 1978, the German photographer Floris Neusüss visited Lacock Abbey to make photograms of the same window. He returned again in 2010 for the Shadow Catchers exhibition at the V&A to create a life-sized version of Talbot’s window.

The idea of photographs functioning like windows makes total sense. Like the camera viewfinder, windows frame our view of the world. We see through them and light enters the window so that we can see beyond. Photographs present us with a view of something.
However, it might also be possible to think of photographs as mirrors, reflecting our particular view of the world, one we have shaped with our personalities, our subconscious motivations, so that it represents how our minds work as well as our eyes. The photograph’s glossy surface reflects as much as it frames. Of course, some photographs might be both mirrors and windows.

“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. The prejudices and inclinations expressed by the pictures in this book suggest positions that are familiar from older disputes. In terms of the best photography of a half-century ago, one might say that Alfred Stieglitz is the patron of the first half of this book and Eugène Atget of the second. In either case, what artist could want a more distinguished sponsor? The distance between them is to be measured not in terms of the relative force or originality of their work, but in terms of their conceptions of what a photograph is: 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, 1978.

I started with the front cover being one of the ex-captain’s of the harbour as he is one of the main reasons for all of these boats and workers being able to be here.

We went to the maritime museum, taking photos of all of the history and facts from the boats and ships from the past and a lot of photos from the St Helier Harbour, showcasing fish such as crabs, lobsters and even a special lobster the fisherman brought out for us.

Here are some photos that are my favourite that I have taken and started to edit.

These photos are based around the harbour and the lobsters the fisherman caught. The man then let us take photos of him in his working environment with firstly his cafeteria with his dogs and work colleges, and then him lifting out a big lobster from the back-top to show to all of us and put it on the floor.

I took these photos of these old-fashioned, (some new) boats either being stored just waiting to enter the sea. Or, some boats being worked on as you see in the last photo, with a man sanding/drilling the bottom of it, potentially drilling holes or drilling something off of it.

These are some photos I really like with the B/W filter on top of it to create a dark/old style to them.

I like how the 3 faces are looking into the camera with a little grin/smile with the dog eyes peeking at the camera too. The men were in the back of the harbour which made it feel very sketchy with two blokes sat talking to each other with one on a bike with a dog on a seat.

These are some photos I have brought the saturation down and only shown the main colours of the photos, for example, the boots on the door, the door and window frames are all this orange/red colour, so I made everything else Black and white and brought out that colour a little more than standard.

The man moving the fish from the boxes into little plastic clear bags, I made the 3 bright lime green boxes stand out, but, I also wanted the mans boots and glove to be brought out as the lime green/orange is a nice opposite blend of colours that pops.

I felt that the mans apron was the main part of this photo for me, as the fish weren’t very colourful/bright, and that is the centre stage object/clothing. So, as I brought out the darkish-blue, I also saw that the air-con behind him was the same colour so I left that still blue to give the photo some front colour and back colour.

For the next photo, I saw the big pillar on the left side of the photo and knew, that this had to be the main coloured-part of the photo. So, I made everything else B/W but I saw this little barrel next to it and had to keep that with the navy blue to add a little clash of the colours.

Some other photos I have edited are these photos.

Photography can turn something ordinary into extraordinary, photography transforms what it describes.

Camera Obscura is when you have a blacked out room, with a tiny hole from the outside world showing the light into the room. After around 1-2 hours of patiently waiting, there will show an upside down natural photo of exactly what is on the other side of the hole in the wall. a darkened box with a convex lens or aperture for projecting the image of an external object on to a screen inside, a forerunner of the modern camera.

A Pinhole camera works because the small hole you made with your pin, paper clip, or pencil acts like a tiny camera lens. Light from the Sun enters the pinhole (or the holes in an object like a colander), it gets focused, and then it is projected out of the other side of the hole.

Photography captures live nature. Romantism is about nature too. The Camera’s were shoebox size and named mousetraps. Fix the shadows. They used the same plate in the camera that was the final plate with the image on that gets polished and cleaned.

Nicéphore Niepce & Heliography
In 1826, Niépce used his heliography process to capture the first photograph, but his pioneering work was soon to be overshadowed by the invention of the daguerreotype. Joseph Nicéphore Niépce was one of the most important figures in the invention of photography.

I took a total of 468 photos from the St Helier Harbour Trip we went one, I took a lot of photos slowly angling from left to right, or from one side to the other, so after when I open Lightroom, because they are so similar just slightly adjusted I can merge them together and it will work perfectly like this photo for example.

I used these photos to create this panorama, the easiest way to create a panorama is to start on one side of the subject, and whilst trying to keep the height the same, slowly glide the camera to the opposite side, taking multiple photos.

This Jersey harbour was created in the early 1700s century. The harbour dates back to 1680 when the then Governor Sir Thomas Morgan ordered a stone pier built at St Aubin’s Fort. Until this time, even though St Aubin was the island’s main port, ships were loaded and unloaded by carts at low tide.

This was the harbour, as recent as possible, with myself going on the 10/09/2024, I can clearly say that the harbour has increased in size, and the amount of boats that use the harbour, and bigger/taller, with even land being built.

The channel islands were created due to rising sea levels during the Neolithic period, creating Jersey, (the largest island), followed by Guernsey, Alderney, Sark, and a few more little islands. The first mention of fishing in the islands appears in the Norman Exchequer Roll of 1195. The King having the right to require conger to be landed at specific ports and sold to merchants to whom the King had granted a right of pre-emption.

What was the involvement of Jersey mariners in the Canadian cod-fisheries and the Transatlantic carrying trade?

The geographical location of the Channel Islands, where trade from the west of Europe and the Americas passed close by. Led to many becoming skilled mariners, firstly as fishermen then as traders. Jersey would trade with the Canadian fishers in want for Cod-fish.

Which ports did Jersey ships sail to and trade with?

It was during the early 19th century that stone piers were built at La Rocque, Bouley Bay, Rozel and Gorey, to accommodate the oyster boats. The harbour at Gorey also took passenger traffic from Normandy.

During the Roman period there was an established trade route between Alet (St Servan) and Hengistbury Head in Dorset. Guernsey was the favoured stop off point, because of the natural deep water harbour at St Peter Port, although these boats undoubtedly called in to Jersey as well.

What type of goods did Jersey merchants exchange for cod-fish?

Salt was essential for preserving cod, particularly the salted and dried variety that was a major commodity. Some others are textiles, Wine and Spirits, Agricultural Products, Fishing Equipment and Supplies, Clothing and Household Goods.

To what extend, has the island of Jersey benefitted from its constitutional relationship with Britain and the legacies of colonialism based on a slave plantation economy during the first Industrial Revolution (1760-1840)?

Triangular Trade was a crucial role in the export and import of various goods from Jersey.