How can photographs be both ‘mirrors’ and ‘windows’ of the world?

In the 19th century, the art of photography started to develop into what it is today. Louis Daguerre was a French artist and photographer who became known for his invention of the daguerreotype – a process of photography which is done with a silver-plated copper plate transferred to the camera after going through a particular procedure. After exposure to light, the plate was developed over hot mercury until an image appeared. Not long after this process was invented, William Henry Fox Talbot came out with the calotype which is a photographic process done by iodising a sheet of writing paper by applying different solutions under candlelight before washing and drying it. Then, you would sensitise the same surface and dry the paper and load it into a camera obscura, exposing it to light. After, you would remove the paper and use the same sensitising solution to develop the image. Lastly, rinse the negative with water, wash it with a solution of potassium bromide, and rinse it again before laying it out to dry. The difference between these two photographic ways, is that the calotype process first produced a ‘negative’ in the camera which many ‘positive’ calotypes could be made, whereas daguerreotypes were a one-off image. According to John Szarkowski, the images produced from both of these processes would be considered windows. This is because, the photographs would depict views of the outside world, trees, houses, hills etc. which is then giving the viewer another way to look at this view, causing it to be a window as the only thing you are seeing are external factors. They would also be portraits, continuing to make these classified as a ‘window’ as portraits portray a person (or people) in their state, peering into their life. John Szarkowski wrote, ‘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?’. I think this view of photography can be considered a good one however, photography is so subjective and without context, it can be hard to surmise whether a photograph is a ‘window’ or ‘mirror’.

– Nan Goldin

This image above, would be considered a ‘mirror’ image as it is a staged photograph of Nan and Brian in bed. As the photographer is in the photo, this image is reflecting her in, what we would assume, her natural environment. It is a subjective photo, there are different ways in which someone might observe this image, for example the story and meaning behind it can be interpreted different.

Jed Pearl’s review of Mirrors and Windows suggests that Szarkowski’s view of photography, ‘windows and mirrors’, is a binary theory which Szarkowski claims isn’t a fixed pattern but a “continuous axis”. Although he says this, his thesis still suggests that photographs only fit into these two categories. Photographs can be a ‘mirror’ reflecting the artist, who they are, what they stand for etc. and they can also be ‘windows’ – a way to show the world in another view and to document the external environment. But, photographs can also be a mix of both, photographers all have different intentions for their photographs and why they are taking them or why they are photographing their subject, making them fit into one category, both categories, or neither.

– Garry Winogrand

This image presented above, is what would be viewed as a ‘window’. This is because the image is capturing a real moment in time, including many different people and their different lives. The focal point I would say, is the three women walking in the centre of the street, the centre of the image. Our eyes are drawn straight to them and from this one image we can make assumptions about their lives and who they are. We can see the three women looking to the left of the image where we see a young man in a wheelchair, however with him, there isn’t much for the viewer to learn about him, leaving us wondering about his life. The last group of people in the foreground, is what appears to be a family sat on a bench although we can only see the little boys face and none of the others. This image isn’t portraying the photographer, it is a raw moment experienced by all of these different people, looking into their own lives.

To conclude, Szarkowski’s view of photography, ‘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?’, could be a nice way to look at photography as it is able to group images together or differentiate between them. However, I think that we should use this viewpoint as photography is such a subjective concept, even when images are objective, they can be taken in and interpreted differently from person to person. If a photographer wants to present their image in a certain way or in either of these categories (windows and mirrors) then it is a good way for them to do so but that isn’t always the case.

Introduction

With Photography originating through the use of the camera obscura, a tool believed to have been used since 400BC, this brought about this instantaneous form of ‘drawing with light’. As this optical phenomenon filled rooms of light with images, many pioneers of photography attempted to find more practical ways to invent processes that could fix the image on a surface.

One of these pioneers was Louis Daguerre in 1839, creating the visual experience now known as the Daguerreotype, creating ‘people on the edge of being present’. This would be done initially by polishing a metal plate and laying silver grains upon the surface of it due to them being light-sensitive. Then, this would be placed inside a large format camera and exposed to light from hours to days in order for the light to be reflected back through. After this, the plate would be heated, then cooled with water with extreme caution. This was because if the daguerreotype was touched in the slightest, the image would melt away and be destroyed, wasting the many tools that had to be used. These had high monetary value too, meaning that if the Daguerreotype had been melted away, the artist would have missed out greatly. Due to the fragile element of this photographic process, these would typically be placed into special housing such as wooden boxes, an open model or a folding case which included red velvet too for protection and luxury.

Then came the salted paper and Calotype production of Henry William Fox-Talbot. Talbot first began by applying “silver salts” onto salted paper, creating silver nitrate reactions from the light-sensitivity. This was then exposed to light for many days and then darkened producing negative images. These appeared like shoebox sized cameras and were named mousetraps and were very difficult to use because if it was disturbed it may just get darker and darker so that its only experienced momentarily. Overall, calotypes were better than Daguerreotypes due to it being easily distributed, reproduced and were much cheaper. Whilst they both used light sensitive silver salts, the Daguerreotypes required a lot more tools and metal plates which would have been extremely difficult to find and afford back in the 19th century.

In my opinion, I believe that Daguerreotypes should be categorised as mirrors, due to the fact that they are fictional and staged, with the subjects within the image sat posed in a tableaux-style. I feel that from a certain perspective, however, this can be perceived as a window due to it looking objectively and as if it is documenting someone of importance, yet I think that the loss of candidness makes the Daguerreotypes more of a mirror. I also think that the formal tone of these images pushes the Daguerreotypes to be categorised as a mirror because they can be interpreted in a subjective way, for example the people in the images pretending to be someone of importance and wealth when that’s not what actually defines them.

On the other hand, Calotypes can be majorly categorised as windows, due to these paper negatives documenting the landscape, for example, in an objective and truthful manner. These images identify with realism because their entire concept is external to the photographer with no personality behind it.

In accordance to John Szarkowski’s thesis, he states that ‘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.‘, which stood out to me as it looks at what photography actually is from a different perspective, being that photography isn’t defined by how original your images are or what is within the image, but focuses on the different perceptions of photography and the different associations made. I think this quote is really important because it shifts the narrative of photography from being technical and critical, and instead towards a more conceptual, intentional and meaningful form of expression.

Mirrors

For my example of photographs as mirrors, I chose this image by Gregory Crewdson named ‘Untitled’. Crewdson’s image of a girl in a unclean room followed by a trail of scattered, picked apart roses portrays themes of suburban anxiety, disorientation, fear, loss, and longing. Using a wide-shot angle, Crewdson paints this storyline of vulnerability and abnormality, with the image looking slightly disorientated. A woman sitting in her nightgown on the edge of the bed, emulating a child with her slumped demeanour, followed by piles of roses and thorns. This image is a mirror due to his use of teams of riggers, grips, lighting specialists, and actors in order to create a scene that looks like a film still or a tableaux vivant. The subjectivity in the image is immense making it open to interpretation, for example the roses and thorns being a symbol for the hard journeys that Crewdson has had to go through in his life to get to where he is now. The ambient lighting placed strategically around the room gives the walls a tone of grey and navy in order to emphasize the woman’s distress and lonesome, however this is also tactical in making the viewer feel the same emotion as her. With the final story of this woman remaining elusive and concealed, this image has its roots in Romanticism because of the fairy-tale like aesthetic it has and how it becomes affiliated with the classic horror aesthetic; something terrible has happened, is happening, and will likely happen again. The use of artificial lighting makes it evident that this is shot in a studio, with the lighting being dramatically centred around her like a spotlight, drawing the viewers eyes to her initially.

Szarkowski idealises that his thesis is not a rigid pattern, but a ‘continuous axis, the two poles of which might be described by the terms proposed above’ whilst on the other hand, Pearl’s review criticises this, arguing that ‘its very nature, presupposes a “generous and inclusive acceptance of fact, objective structure,” and that the selection among these facts is the romantic, personal opposite built into any photograph of merit.’. To an overall extent, I agree with Szarkowski’s viewpoint of mirrors and windows being a continual categorisation method because not all photographs can be defined by subjectivity or objectivity, and may sometimes be both. This is because some images can vary, being personal and idealising a romantic expression of the photographs own perspective on the world whilst still being documentary.

Windows

Henri-Cartier Bresson’s photojournalism is a key example of realism photographs, especially this one entitled ‘Baghdad1950’. This image stems from how, in 1950, Iraq was undergoing significant changes, transitioning from a monarchy to a more modern state. The emotional resonance that this image gives the viewer through documenting the great poverty among the people of Baghdad at the time evokes nostalgia, curiosity and contemplation on the privilege that we hold within our own lives in comparison to the overpopulation that this image reveals. Bresson’s success in showing the exterior world that goes unbeknowst to us is incredibly moving because it captures a truthful story in a raw and real way. The monochromatic palette that Bresson has included has emphasised the contrast and texture, the dry and cracked walls from the hundreds to thousands of people passing by everyday, in order to draw attention to the subject matter and the emotions of the people.

The importance of photographs categorised as windows is evident here, forcing their viewers to resonate with themes of community, connection and existence of these underfunded places. Additionally, this enables us as the viewers to learn visually about the cultures, architectures, attires and customs in places that would go unseen otherwise, embodying a tension between modernisation and tradition to show a distinct civilisation. This realist viewpoint archives a pivotal moment in a city’s history that would have been missed or forgotten without this reflection of unique culture and universal aspects of human life. Without images such as these, activism and awareness would not exist, whereas with window photographs, we can get rich insights into the reality of others lives. Through Szarkowski’s thesis of ‘a window, through which one might better know the world?’ and Jed Pearl’s review stating ‘It is the realist view that the world exists independent of human attention’, I feel that these both can define not only Bresson’s image above, but define the meaning being the category of windows on a whole. They outline how the form of photography within windows can spread messages of crisis, hardship and difficulty better than words can describe, and provide evidence to richly detail this.

Conclusion

To conclude, photographs construed as windows, such as Cartier-Bresson’s objective approach into the lives of the people of Baghdad in 1950, reveals the innermost complexities of the varying cultures around the world and ensures that the opportunities of activism are given. Without images such as these, the world would be unaware of not only the difficulties other face in order to appreciate their own, but also enables people with less to gain higher opportunities and gives them the chance for their stories to be told through a lens. Alternatively, these images classified as mirrors allow photographs to envision a story and produce it in order to share private things in their lives of which they may have not been able to find the words to explain. Additionally, due to the subjective nature of these images, viewers can interpret the photographs into their own lives and apply it in realistic situations as a form of comfort. Along the lines of fictional storytelling, this allows exploration of intimate and personal experience and allows us to connect with one another through fictional stories that may resonate with our own personal beliefs and matters.

These opposing concepts of photography; the subjective and objective; the public and private; the fact and the fiction; realism and romanticism, provide alternative perspectives of not only what a photograph is but concurrently reflect the personal experiences that we all uniquely inhabit within our lives and contextualise the wider social issues and conditions. Crewdson’s image resonates with Szarkowski’s explanations of mirrors being that they ‘largely reflected the subjectivity of the artist’ and Pearl’s review of ‘Romantic is used here … as a term that suggests the central and indispensable presence in the picture of its maker, whose sensibility is the photograph’s ultimate subject, and the standard against which its success is measured.’. Additionally, Crewdson’s representation of fictional tableau in a personal format can also be defined by Szarkowski’s thesis of ‘work largely sought to seek outside themselves’ and Pearl’s review disclosing ‘ a generous and inclusive acceptance of fact, objective structure, and the process of logic and system.’ because they highlight the dynamic and potentially controversial aspects of externally documenting the alternating experiences of everyday life. By establishing the connection between photographs and the views of windows and mirrors, this allows people around the world to connect and enhance understandings of different realities.

Szarkowski, J. (1978), Mirrors and Windows: American Photography Since 1960. Museum of Modern Art: New York

I want to use all my artists study’s as a reference but i have my own plan of reality that I want to express, such as sexism, sexual assault and depressing life as a teenager. I think through windows and mirrors I can show this very well, I also want to show the positive side.

After choosing my photos for my zine, I created the pages I wanted using the settings: width: 148mm,
height: 210, pages: 16, orientation: portrait, columns: 2, column gutter: 5mm, margins: top, bottom, inside, outside: 10mm, bleed: top, bottom, inside, outside: 3mm. and then experimented with the layout and where each photo was going to go. I had to find a few more images as the structure I was going for didn’t work for the amount of images I had.

I began adding writing which was focussed on the history and development of Jersey’s harbour which I thought was a good choice of topic as every picture was taken at the harbour. I used writing on a previous blogpost for this. I made sure to add the writing in empty spaces such as the one above where its positioned in the sky which means the image doesn’t look too busy or confusing. I made sure to keep the writing to a minimum so it doesn’t disrupt the image any further. In this particular page, I only wrote on one photo as it was the largest and the other images would’ve been too small to add writing and the image would be ruined and the writing probably would be lost.

After choosing each photo and making my final decision on them all, I chose where to arrange the photos and which ones worked well next to each other. I decided to keep a pattern of 3 photos on one page then 1 photo then 3 photos etc. I think this worked well because then the layouts were switched up a little and not completely the same throughout. I added two more photos at the end as I hadn’t completely filled up all the pages. I printed the booklet using the correct settings and then folded it over in the order it came out the printer in. After flattening the edge, i stapled the sides twice and then used the trimmer to get rid of all the white boarders around the booklet.

Evaluation

Overall, I think my zine turned out well however I think I could’ve improved it a lot more. I liked the selection of photos I chose and I think I did well will picking my best ones. I liked the layout that I picked as it did as isn’t just stay as a continuous page spread of one photo or 2 instead I alternated the layout by keeping a 1 photo then a 3 photo design. I made sure to keep my favourite landscape photos on the 1 photo page so that they are noticed more. I think keeping all the images in their original colour with some editing was a good idea as it makes the images pop more and draw more attention. However, I think I could’ve been more creative by adding som emote advanced editing to some of my images to make them more interesting and unique. I also think I could’ve tried to get more images that would work together to create a story in my zine as I don’t have much of a story for the images I chose. Each page has similarities but there isn’t an obvious story to it.

Where?

• Streets in jersey
• school environment
• home
• Studio

Who?

• teachers
• students
• friends
• family
• strangers
• landscapes

Aim

• To make photos that relate to my artist studies.
• To create creative photos that tell a story.
• To present images that show either ‘window’ or ‘mirror’

How?

• Go around school taking pictures.
• go around streets in jersey capturing the moment photos
• setting up the studio and taking pictures
• staging my home and taking photos

Artist Studies

• Jill freedman
• Henri Cartier-Bresson
• Gregory Crewdson
• Shirin Neshat
• more

Task: A creative response to documentary (realism/factual/public/candid) and tableaux (romanticism/fiction/private/staged) photography.

What is documentary Photography?

Documentary photography is a genre that captures real-life events, environments, and people to tell stories and convey truths about the world. It often aims to provide a candid and honest representation of subjects, focusing on social issues, cultural narratives, and everyday life. (window)

What is tableaux photography?

Tableaux photography is a style of photography that creates staged scenes, often resembling a painting or a theatrical tableau. This genre typically involves carefully composed arrangements of subjects, props, and backgrounds to convey a narrative or evoke a specific emotion. (Mirror)

• Base on the theme of observe, seek and challenge.

Relevance to artist study

Gregory Crewdson

Shirin Neshat

Jill Freedman

Gregory Crewdson

Gregory Crewdson is an American photographer renowned for his elaborately staged and surreal scenes that explore themes of suburban life, isolation, and the uncanny. Born on September 26, 1962, in Brooklyn, New York, he studied photography at the State University of New York at Purchase and later received an MFA from Yale University.

Crewdson’s work is characterized by its cinematic quality, often resembling stills from a film. He meticulously constructs his images, utilizing elaborate sets, dramatic lighting, and a variety of props to create a sense of narrative and emotional depth. His series, such as “Beneath the Roses,” “Twilight,” and “Cathedral of the Pines,” feature hauntingly beautiful depictions of domestic settings that evoke a sense of mystery and tension.

His photographs often comment on contemporary American life, merging realism with surreal elements. Crewdson’s approach has earned him widespread acclaim, and his works are held in major collections, including the Museum of Modern Art in New York and the Los Angeles County Museum of Art.

In addition to his photography, Crewdson has taught at various institutions and has contributed significantly to the field through his lectures and workshops. His unique vision continues to influence both photographers and filmmakers, solidifying his status as a key figure in contemporary art.

Shirin Neshat

Shirin Neshat is an acclaimed Iranian artist and photographer known for her powerful exploration of themes related to gender, identity, and cultural conflict, particularly in the context of Iranian society. Born on March 26, 1957, in Qazvin, Iran, she moved to the United States for her education in the late 1970s, attending the University of California, Berkeley, where she studied art and later earned her MFA.

Neshat’s work often combines photography, video, and installation art, utilizing striking imagery and complex narratives to challenge stereotypes and provoke discussions about the role of women in Islamic culture. One of her most notable series is “Women of Allah,” which features portraits of women adorned with calligraphy and symbols, addressing issues of femininity, martyrdom, and the interplay between oppression and empowerment.

Her films, such as “Taste of Cherry” and “Fervor,” further delve into these themes, earning her numerous accolades, including the Silver Lion at the Venice Biennale in 1999. Through her art, Neshat continues to engage audiences worldwide, sparking dialogue on the nuances of identity and the complexities of cultural heritage.

Jill Freedman

Jill Freedman was an influential American photographer known for her poignant and intimate portrayal of everyday life, particularly in urban settings. Born in 1939, Freedman began her career in the 1960s, capturing the essence of street life and the human experience. She gained recognition for her work documenting the lives of the marginalized, including her notable series on the New York City firehouse culture and her empathetic portrayals of homeless individuals.

Freedman’s style combined a strong sense of storytelling with a keen eye for detail, often blending elements of photojournalism and fine art. Her photographs were characterized by their emotional depth and authenticity, allowing viewers to connect deeply with her subjects. Over the years, she published several books and exhibited her work internationally, earning accolades for her contributions to documentary photography.

In addition to her artistic endeavors, Freedman was dedicated to teaching, sharing her passion for photography with aspiring photographers. Her work continues to resonate, inspiring new generations to explore the complexities of the human condition through the lens. Freedman passed away in 2021, leaving behind a rich legacy that highlights the power of photography to capture truth and evoke empathy.

1. Read two texts above (John Szarkowski’s introduction and review by Jed Pearl) and select 3 quotes form each that is relevant to your essay.
2. Select two images, one that represent a mirror and another that represents a window as examples to use in your essay.
3. Use some of the key words that you listed above to describe what the mirrors and windows suggest.

My three quotes from Jed Pearl’s review:

• ‘A photograph provides, to use Szarkowski’s word, an “autobiographical” response to a realist situation.’
• ‘Much of the work included in the show is meant to strike us with its surprising imagery – a private vision so riveting as to leave a permanent imprint on the mind.’
• ‘that use of the medium, by its very nature, presupposes a “generous and inclusive acceptance of fact, objective structure,” and that the selection among these facts is the romantic, personal opposite’

My three quotes from John Szarkowski’s introduction:

• “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?”
• “a mirror – a romantic expression of the photographers sensibility as it projects itself on the things and sights f this world; or as a window – through which the exterior world is explored in all its presence and reality.’

Essay plan
Introduction (250 words): Reflect on the origin of photography and describe in your own words the difference between the two photographic processes, Daguerreotype and Calotype. Consider how they could be viewed as either a mirror or a window of the world according to John Szarkowski’s thesis. Choose one quote from Szarkowski’s text and comment if you agree or disagree.

Paragraph 1 (250 words): Choose an image that in your view is a mirror and analyse how it is a subjective expression and staged approach to image-making. Choose one quote from Szarkowski’s thesis and another from Jed Pearl’s review which either supports of opposes Szarkowski’s original point of view. Make sure you comment to advance argumentation in providing a critical perspective.

Paragraph 2 (250 words): Choose an image that in your view is a window and analyse how it is an objective expression rooted in the notion 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.

Photography, in the early 19th century, has evolved into a profound medium of expression, allowing both documentation and artistic interpretation. Among the earliest methods, Daguerreotype and Calotype stand out for their distinct approaches. The Daguerreotype, introduced by Louis Daguerre in 1839, produced a unique, highly detailed image on a silver-coated copper plate. This process emphasized precision and clarity, often resulting in strikingly lifelike portraits. In contrast, the Calotype, developed by William Henry Fox Talbot shortly thereafter, utilized paper coated with light-sensitive chemicals, allowing for multiple prints from a single negative. This method, while less detailed than the Daguerreotype, embraced a softer, more ethereal quality, capturing a broader range of tones and textures. According to John Szarkowski, photography can serve as both a mirror and a window to the world. He argues that it reflects personal perspectives while also providing a glimpse into reality. One notable quote from Szarkowski states, “The photographer is not only a recorder but also a maker of meaning.” I agree with this assertion, as it highlights the dual role of the photographer—balancing subjective interpretation with objective representation, which is crucial in understanding the complexities of photographic imagery.

Photographs as Mirrors

When we consider photographs as mirrors, we recognize that they often reflect the photographer’s perspective, emotions, and identity. Each image is imbued with the subjective experiences of the photographer, revealing personal truths and cultural contexts. For instance, a portrait taken by a photographer may not just capture a person’s likeness but also convey their inner thoughts, feelings, and social environment. The choices made in composition, lighting, and subject matter contribute to this reflection, allowing viewers to glimpse the photographer’s worldview.

Moreover, photographs can serve as mirrors for the audience as well. When we engage with an image, we project our own experiences and emotions onto it. A photograph of a serene landscape might evoke memories of a peaceful vacation, while a candid shot of a bustling street can remind us of our own experiences in urban life. This personal connection creates a sense of intimacy, enabling viewers to see aspects of themselves reflected in the image. In this way, photographs not only depict reality but also invite introspection and self-discovery.

I chose this photo by Gregory Crewdson as a mirror image. Gregory Crewdson’s photograph of a girl floating in water in a house at twilight serves as a profound mirror, reflecting viewers’ inner emotions and subconscious thoughts. The surreal and haunting imagery invites introspection, prompting personal connections to themes of vulnerability, isolation, and nostalgia.

The floating girl, suspended in an otherworldly scene, evokes a sense of helplessness and tranquility simultaneously. This juxtaposition allows viewers to project their own experiences and feelings onto the image, creating an intimate dialogue between the artwork and the observer. The stillness of the water, combined with the twilight setting, enhances the emotional weight of the photograph, suggesting a moment of transition and uncertainty.

John Szarkowski’s quote, “What a photograph is is a thing that has been touched by light,” underscores the essential relationship between light and photography, emphasizing how light influences the perception and emotional resonance of an image. In Gregory Crewdson’s photograph of the girl floating in water in a house at twilight, this concept becomes particularly relevant.

The interplay of light in Crewdson’s work is critical to its emotional impact. The twilight setting creates a soft, ethereal glow, enveloping the scene in a dreamlike atmosphere. This manipulation of light not only enhances the visual appeal of the photograph but also evokes a sense of mystery and introspection. The way light reflects off the water and the girl’s figure adds depth to the image, creating a delicate balance between reality and surrealism.

By emphasizing that a photograph is shaped by light, Szarkowski’s quote suggests that the viewer’s experience is fundamentally influenced by this element. In Crewdson’s photograph, the haunting quality of the twilight and the reflective surface of the water serve as metaphors for emotional vulnerability and the subconscious. The gentle illumination invites viewers to explore their feelings of isolation and uncertainty, allowing the image to function as a mirror of their inner lives.

Conversely, Jed Perl, in his critique of staged photography, argues, “The carefully constructed tableau can create a distance between the viewer and the subject, leading to a sense of artificiality.” This comment suggests that while staging can evoke certain emotions, it can also risk alienating the viewer from a genuine connection to the subject. Perl’s perspective raises an important point about the potential limitations of Crewdson’s approach: the meticulous staging may create a barrier that can detract from the immediacy of emotional engagement.

While Perl’s critique highlights a valid concern regarding the artificiality of staged photography, it is essential to consider that Crewdson’s work deliberately embraces this quality as a means of exploring deeper emotional truths. The tension between reality and artifice is central to understanding the complexities of human experience. By crafting an overtly staged scene, Crewdson invites viewers to question the nature of their own perceptions and the narratives we construct around them. The photograph does not merely reflect a moment in time but serves as a catalyst for exploring broader themes of existential uncertainty and the search for meaning in modern life.

Photographs as Windows

Conversely, photographs also function as windows, providing viewers with glimpses into lives and experiences beyond their own. This capacity to capture and communicate reality enables photography to serve as a powerful documentary tool. For instance, photojournalism can illuminate social issues, such as poverty, conflict, and environmental challenges, by presenting stark visual narratives that demand attention. Images from war zones, refugee camps, or communities affected by natural disasters offer insights into human suffering and resilience, fostering empathy and understanding.

Furthermore, photographs can transport viewers to different cultures, places, and moments in time, enriching their understanding of the world. A photograph of a traditional festival in a remote village can introduce viewers to customs and practices they may have never encountered, broadening their horizons and challenging preconceived notions. This ability to act as a window into diverse realities underscores the importance of representation in photography; it is essential for capturing a wide array of experiences to foster a more comprehensive understanding of humanity.

Henri Cartier-Bresson’s photograph of children fighting alongside another child on crutches exemplifies how photography can function as a window, offering viewers a glimpse into the realities of childhood experiences and social dynamics. These images encapsulate moments that reflect broader themes of conflict, vulnerability, and resilience, allowing viewers to engage with the complexities of human life.

Cartier-Bresson is renowned for his ability to capture the decisive moment—those fleeting instances that reveal deeper truths about society. The photograph of the children fighting captures a raw, unfiltered moment of childhood aggression, embodying the spontaneity and intensity of youthful interactions.

John Szarkowski once said, “The camera is an instrument that teaches people how to see without a camera.” This quote highlights the camera’s power to reveal the ordinary in extraordinary ways, allowing viewers to observe and reflect on life’s complexities. Cartier-Bresson’s photographs exemplify this idea by portraying unembellished moments that prompt viewers to consider the social and emotional realities of childhood. The authenticity of these images fosters a connection with the viewer, inviting them to engage with the subjects’ experiences without the interference of artistic manipulation.

Conversely, Jed Pearl critiques the notion of realism in photography, asserting that “the great danger of realism is that it can lead to a kind of banality, reducing the subject to mere documentation.” This perspective raises concerns that while Cartier-Bresson’s images capture real moments, they may lack the emotional depth or narrative richness that elevates them beyond mere observation. Pearl’s critique invites a critical examination of whether these photographs truly convey the complexities of childhood or simply document fleeting instances.

While Pearl’s concern about the potential banality of realism is valid, it is essential to recognize that Cartier-Bresson’s mastery lies in his ability to elevate everyday moments through his keen observational skills and timing. The spontaneity of the children fighting and the vulnerability of the child on crutches evoke emotional resonance that transcends mere documentation. Rather than reducing the subjects to banal representations, these images challenge viewers to confront the realities of childhood, prompting reflection on the joys and struggles inherent in growing up.

In conclusion, Cartier-Bresson’s photographs function as a window into the lives of children, revealing their complexities and vulnerabilities. Through objective expression rooted in realism, these images invite viewers to engage with the social and emotional dimensions of childhood experiences. By juxtaposing Szarkowski’s perspective on the camera as a tool for observation with Pearl’s critique of realism, we gain a nuanced understanding of how Cartier-Bresson’s work transcends mere documentation, ultimately enriching our perception of the human experience.

In conclusion, the discussion surrounding how photographs can serve as both “mirrors” and “windows” of the world reveals the nuanced interplay between personal expression and social commentary in visual imagery. John Szarkowski’s theory underscores the idea that photography is not merely a record of reality but an interpretation shaped by the photographer’s vision, making the medium a powerful tool for conveying deeper meanings. Conversely, Jed Pearl critiques this approach, cautioning that a focus on realism can sometimes result in a banal representation of subjects, stripping away emotional depth.

The contrasting images of children fighting by Henri Cartier-Bresson and the girl floating in a house at twilight by Gregory Crewdson exemplify the dual nature of photography. Cartier-Bresson’s work embodies a moment of raw, unfiltered reality, portraying the chaotic energy of youth in a way that reflects the objective social dynamics of childhood. This image serves as a window into the public sphere of childhood interactions, while also acting as a mirror reflecting the viewer’s own experiences with conflict and camaraderie.

In contrast, Crewdson’s photograph, while rooted in a staged narrative, invites subjective interpretation through its dreamlike quality. The floating girl evokes themes of isolation and vulnerability, highlighting the private struggles that often lie beneath the surface of everyday life. This image embodies a blend of realism and romanticism, as it invites emotional engagement while also challenging perceptions of reality.

Both images explore the tension between objectivity and subjectivity, realism and romanticism, factual representation and fictional narrative. Cartier-Bresson’s photograph is more grounded in factual depiction, reflecting the public aspect of childhood, whereas Crewdson’s work leans towards the subjective, exploring the intimate and private realms of human experience. Together, they illustrate how photography can simultaneously reflect personal perspectives and provide insight into broader social contexts, ultimately enhancing our understanding of the human condition. Through this lens, photographs indeed become both mirrors and windows, enriching our engagement with the world around us.

Introduction (250 words): Reflect on the origin of photography and describe in your own words the difference between the two photographic processes, Daguerreotype and Calotype. Consider how they could be viewed as either a mirror or a window of the world according to John Szarkowski’s thesis. Choose one quote from Szarkowski’s text and comment if you agree or disagree.

Draft Introduction: In the early 19th century, photography emerged as a powerful medium for both documentation and artistic expression, with Daguerreotype and Calotype as key photographic processes. The Daguerreotype, created by Louis Daguerre in 1839, produced highly detailed images on silver-coated copper plates, emphasizing clarity and lifelike portraits. Conversely, the Calotype, developed by William Henry Fox Talbot, used light-sensitive paper, allowing for multiple prints and offering a softer, more ethereal quality. John Szarkowski described photography as both a mirror and a window, reflecting personal perspectives while revealing reality. He emphasized that photographers act as both recorders and creators of meaning, underscoring the importance of their dual role in shaping photographic imagery.

Potential quote:

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

Paragraph 1 (250 words): Choose an image that in your view is a mirror and analyse how it is a subjective expression and staged approach to image-making. Choose one quote from Szarkowski’s thesis and another from Jed Pearl’s review which either supports of opposes Szarkowski’s original point of view. Make sure you comment to advance argumentation in providing a critical perspective.

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.