Photography as we know it was created with two entirely different processes: the Daguerreotype and the Calotype. One could be described as a ‘mirror’ and the other a ‘window’, a theory created by John Szarkowski. “the distance between 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, … or a window?”¹ The Daguerreotype, created by Louis Daguerre, acts as a mirror. This is both in a literal sense, being created with metals and glass, but also in a more subjective matter. A mirror is a synthetic, staged and manipulated while also holding personal meaning. A Daguerreotype only yields one final product (kept in a wooden box lined with velvets) which will result in more manipulation in the pre-production. The final outcome is a highly personal and unique ‘mirrored memory’. As the photographs were largely portraits resembling paintings it was a long process requiring manipulation of pose and expression. Additionally a mirror “reflects a portrait of the artist who made it”². Louis Daguerre not only named his process after himself but also released his findings months after Henry Fox Talbot as direct competition making the Daguerreotype inherently a mirror of himself. The Calotype, created by Henry Fox Talbot, is the opposite in many ways. It represents the window meaning documentary, authenticity and realism. These images are objective, like looking through a window which is described as: “through which one might better know the world?”³ A calotype creates a negative which can be mass produced meaning the images produced are more public and less private then a Daguerreotype.

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This image, by Szarkowski’s system, is a window. It acts as a snapshot of a road in Los Angeles in 1969. This image is a style of street photography and showcases realism. Realism is the accurate and detailed depiction of life. Garry Winogrand philosophy when it comes to photographs should clearly align with windows as he does not interfere and doesn’t believe in inserting himself and his motivations into his photographs. Additionally this photograph is like literally looking through a window. It is an authentic view of the streets of Los Angeles in 1969, letting us “better know the world” ⁴ as all ‘windows’ do. However the process of taking a photograph requires some level of a personal response. The photographer must see and decide to want to take the photograph, unconsciously letting bias influence the images. Jed Perl stated that “A photograph provides … an “autobiographical” response to a realist situation.”⁵ No image is going to fit either group perfectly. Despite how much this image might seem to fit the ‘Window’ group, no image is entirely separate from the photographer.

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This image is a mirror. It was taken by Cindy Sherman of herself making it an obvious reflection. It is manipulated as she was photographing herself to reflect film stills, meaning she was embodying a character and acting a part. Since a mirror “reflects a portrait of the artist who made it”⁶ This image fits the category by reflecting her own opinions and feelings towards being a woman such as the glamour as well as expectations she might feel influenced by such as cooking/cleaning in a kitchen making it subjective and personal. Jed Perl stated that “The very technology of photography contains an admission that the “world exists independent of human attention” —a photograph is, after all, a record of nature, of the world’s lights and shadows.”⁷ This means that all images are in some way a documenting the subject. This means that even if the subject is ‘manipulated’, all photographs are real and in some ways a ‘window’ as a camera cannot lie. What a photograph shows cannot be a ‘lie’ and accurately shows what it was pointed at regardless of whether or not the subject was adjusted previously.

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All images are in a way both mirrors and windows. Although a form of categorising these images can be helpful and make ‘reading’ them easier there is a dilemma that no image will fit one category completely. The categories works better as a spectrum however as all images are varying levels of objective and subjective as the categories are set on “uncertain foundations”⁸. Jed Perl stated that photography should be viewed as an “abstract art.”⁹ as abstract art doesn’t attempt to represent external reality and uses colours, shapes and textures to achieve its purpose. It isn’t easily categorised between two binary opposites. Both of these images cover similar themes and showcase American women around the 1970s. Both could act as a representation of the time period acting as documentary snapshots. Both showcase glamour and tell a similar story. Cindy Sherman’s image seems much more personal and intimate as it is just her in her kitchen. It feels like were getting to know her character. Garry Winogrand however is looking at the women from a distance. Its not personal and we don’t feel as though we get to know the women. Both images are very different and would sit on opposite ends of the spectrum but don’t appear like polar opposites instead just seem like slightly different approaches to tell a similar story. The images shouldn’t be shoehorned into a category since “The possibilities of photography, like the possibilities of any art, are as great or as small as the visions of artists.”¹⁰

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1. John Szarkowski, 1978 ↩︎
2. John Szarkowski, 1978 ↩︎
3. John Szarkowski, 1978 ↩︎
4. John Szarkowski, 1978 ↩︎
5. Jed Perl, 1978. Mirrors And Windows: Messages From Moma. ↩︎
6. John Szarkowski, 1978 ↩︎
7. Jed Perl, 1978. Mirrors And Windows: Messages From Moma. ↩︎
8. Jed Perl, 1978. Mirrors And Windows: Messages From Moma. ↩︎
9. Jed Perl, 1978. Mirrors And Windows: Messages From Moma. ↩︎
10. Jed Perl, 1978. Mirrors And Windows: Messages From Moma. ↩︎

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.

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.

My Essay

The origin of photography started back in 1822, when Nicephore Niepce created the Niece Heliograph, which is the earliest photograph produced with the aid of the camera obscura. In 1829 Niepce partnered up with Louis Daguerre, who continued to experiment and improve the heliograph after Niepce’s death in 1833 and he went on to create the Daguerreotype. To create a daguerreotype image a daguerreotypist polished a sheet of silver-plated copper to a mirror finish, then he would use an air gun, so that there was no dust on this plate, that would ruin the photograph. Then it is exposed in a camera for as long as was judged to be necessary, which could be as little as a few seconds for brightly sunlit subjects or much longer with less intense lighting. Next, he torches it, with mercury vapour, so that the image is visible. Then, he removed its sensitivity to light by liquid chemical treatment, which was rinsing it with cool water to cool the hot metal plate down and dried it and then sealed the easily marred result behind glass in a protective enclosure.

The images produced by a daguerreotype tend to represent a mirror in photography, because the image is on a mirror-like silver surface, so light was reflected back through the image. The image was also on the edge of being present, as it was on the surface of the metal mirror, instead of like paper, where the image sinks into it. This meant that the metal one could be wiped away with a finger. These images were also described as, ‘a mirror with a memory.’ This images were often also portraits of people, which has a very personal element to them. They were also often tableaux images that were taken, as the image was staged and manipulated, instead of a candid shot. The daguerreotype also took a lot of time and effort to use to create the images, so the images taken by it also are also very personal to the photographer, because of the time taken and the effort they put in to produce these images. This makes it represent a mirror also, because of how personal the images now become to the photographer due to the daguerreotype.

In 1841, Henry Fox Talbot created another photographic process, which was called the calotype. Talbot first began with a piece of high-quality writing paper, which was first washed with a solution of sodium chloride (table salt), left to dry, then evenly coated in the dark with a solution of silver nitrate, and left to dry once more. When objects such as lace or ferns were placed on the sensitized side of the paper and exposed to sunlight, a negative silhouette would be created. Exposure times were fairly long, and areas not protected from the sun gradually darkened. Since the silver deposits on the paper reacted and changed tones during exposure, this was called a “printing-out” process. The print would then be washed in another solution of sodium chloride, which stabilized the image and reduced its sensitivity to light. Overall, calotypes were extremely 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 had high monetary value.

The images produced by a calotype tend to represent a window, because they were most commonly used for taking pictures of the external world. These images were documentary images, because they were candid images and not staged, but instead truthful. These images have a level of realism to them, as they are objective. Henry Fox Talbot also tended to take images of the external world, such as ferns and trees etc. which are window images, as the lens is like the window that you are looking through onto the world. Compared to the daguerreotype these images could be produced quicker and many positive images could be produced from the negative image, whereas with the daguerreotype this wasn’t the case. This meant that it didn’t take as much time and effort for the photographers to create the photos, so this also takes away that deep personal element of the images, because they didn’t have to work as hard or put as much time into creating these images. This represents a window even more so now, because there is even less of a personal element to the images now.

Mirrors

For my example of photographs as mirrors, I have used an image by Cindy Sherman. Cindy Sherman is a female photographer, who took images of herself dressed up as many different female stereotypes. In this image the stereotype that she is presenting is a generic housewife, who is in the kitchen. This image is a powerful image, because back in 1970-1980, which is when this image was taken, the ‘norm’ for women and the social standard for women was to be very domestic and stay at home to cook, clean and look after the children, while the men went out to work.

This image is a mirror, because it is a reflection of herself as a women and a reflection of her identity, because this is the stereotype she had to live through and this is what was considered to be socially acceptable of her and all other women in this time. This is also very personal and internal to her, as she is the one who has lived her life this way and being told she must live her life this way. She has also manipulated this image and staged the image, by using kitchen props in a kitchen setting. She has manipulated and positioned the props in the way she thought was best. She is also dressed up wearing an apron to really portray the housewife stereotype. She is also posing in this image, which makes it not a candid shot, but instead a tableaux image. This image is also very subjective and can interpreted in many different ways by the viewer, because it is such a simple, yet powerful image of her stood in the kitchen, with an apron on. This image is also a mirror, because it is a self-portrait of herself, that she had taken on a timer for her camera.

Szarkowski idealises that ‘a mirror, reflecting a portrait of the artist who made it,’¹ however, Jed Pearl suggests that ‘Szarkowski thesis gives little value to photography’s a priori status as a realist activity. The very technology of photography contains an admission that the “world exists independent of the human attention”- a photograph is, after all, a record of nature, of the world’s light and shadows. A photograph provides, to use Szarkowski’s word, an “autobiographical” response to a realist situation.’²

Windows

For my example of photographs as windows I have used an image by Rafal Milach. He took this image during a road trip across Iceland. He travelled across Iceland stopping at certain point to take images. This was a image he took in either a bar/ diner of a couple and their friend.

This image is a window, because he travelled across Iceland taking documentary candid images of whatever he saw that interested him, and in this image it was these three people. This image is very external to him, because he does not know these people, and most likely never saw them again, but he spotted a decisive moment and acted. He is looking out onto these people for this image, instead of looking at his reflection, or onto himself. There is also an element of realism and truthfulness in this image, which is what makes it a window, because it is a documentary image, instead of a candid image, which is staged or fictional.

Szarkowski’s thesis of ‘a window, through which one might better know the world?’³ and Jed Pearl’s review stating ‘It is the realist view that the world exists independent of human attention,’⁴ support this image as a window, because this image is a ‘realist view,’ because this image was not staged, but instead a documentary image, instead of a candid shot.

To conclude, photographs can be both windows and mirrors of the world, because windows, such as Rafal Milach’s image above, are realist documentary images, which present the truest form of the exterior world. Window images are candid images, so they present the world in it’s truest form. These images present to the viewer our exterior world. The importance of these images is that they are objective, they are used to present to the viewer the exterior world, and this can be really important for specific issues, such as war etc. These window images present issues of the world, as well as just landscape images. These images are metaphorically known as window images, because it is like you are looking out of a window (the camera lens) onto the exterior world. However, mirror images, such as Cindy Sherman’s image above, are tableaux images that are subjective to the viewer, so the viewer can interpret the image in any which way. This is important, because the viewer can interpret this intimate image, and may be able to relate to it and apply it to their own lives, as well as the photographers. These images are metaphorically called mirrors, because they are a reflection of the artist who made it, so this can be really important for photographers, so that they can display a sense of themselves through their work. They can also be used to display issues that are important and relate to the viewer, similarly how window images can be used to spread awareness.

The opposing concepts of photography: objectivity, subjectivity; documentary, tableaux; interior, exterior etc. provide alternative perspective of what photography is. However, these opposing concepts can overlap and cause ‘blurred lines.’ For example, these opposing concepts can overlap when the photographer takes documentary images that also reflect themselves etc. Therefore, photography may not be as split as Szarkowski and Jed Pearl state. The function and purpose of the photographs can and will change depending on who wields the camera and what they point their camera at, and how these images are presented.

1. Szarkowski John. (1978). Mirrors and windows. New York; Museum of Modern Art  ↩︎
2.  Jed Pearl. Review published in the photography magazine, Aperture in spring 1978. ↩︎
3. Szarkowski John. (1978). Mirrors and windows. New York; Museum of Modern Art ↩︎
4.  Jed Pearl. Review published in the photography magazine, Aperture in spring 1978. ↩︎

What are the differences between photographs that are WINDOWS and MIRRORS?

Photographs that are windows and those that are mirrors are binary opposites to each other, being metaphorical in order to categorise them. Binary opposites are words or concepts which are opposed in meaning, being set off by one another and mutually exclusive terms. Images that are categorised as windows are those that take an objective stance and have a perspective that is documentary-style. This allows the exterior world to be explored in all its presence and reality, getting to know the world around us better. On the other hand, mirrors are images which are personal to the photographer and have an element of privacy. These images are curated in order to be reflective of the photographer to create a subjective viewpoint instead. This paints a romantic picture of the photographer’s sensibility, making them open to personal interpretation. This raises the question of whether an image is external of the photographer or an internal reflection.

John Szarkowski:

Szarkowski curated this exhibition of American photography at the Museum of Modern Art, New York (MoMa) in July of 1978 in an attempt to categorise the work which largely reflected the subjectivity of the artist in comparison with those whose work largely sought to see outside themselves. Szarkowski wrote a catalogue essay to accompany the exhibition:

“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.”

The quote above by Szarkowski stood out to me because it is looking at photography 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 more conceptual, intentional and meaningful.

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

SYNONYMS OF WINDOWS & MIRRORS:

Images that are mirrors are associated with the word tableaux – this is known as a static scene in acting containing actors or models silently, typically with scenery or props and posed in a cautious way. This word is applicable to images categorised as mirrors because they are manipulated scenes of fiction that are staged. The topic of romanticism is also associated with these reflective images due to its subjective nature, emphasizing imagination and emotion.

One the other hand, the topic of windows is associated with realism due to its straightforward, truth-telling tone. These images are also associated with words such as optical and candid because they are documenting external matters.

This self-portrait image above of Cindy Sherman comes from her ‘Untitled Film Stills’, in which she depicts stereotypical roles of women, gaining inspiration from films of the 1950s and 1960s. I see this image as a mirror due to it being staged, representing a fictional character in a manipulated environment. Additionally, this may be an internal reflection of Sherman’s emotion, feeling stereotyped and prejudiced due to her gender, hinting that she may have a distorted perception of herself alone. This reveals a private side to herself, letting the viewer know of her inner thoughts and feelings. The setting of this image may have been taken in a studio with props set up however, Sherman may have also taken this in her home for example as that is a domestic area and would be able to convey the message well. This would also have helped make the image a mirror as her home is a personal area that she is sharing with the viewer. I think that her expression of looking over her shoulder surrounded by this large empty space on her left suggests that she may feel as if she is forced to fit into these traditional roles against her will, for example representing women in the 50s and 60s as a female photographer when in these times, this would have been frowned upon and unheard of. Because she has turned to look over her shoulder, large diagonal shadows have been created behind her which may connote her hidden rage or distress, representing how these stereotypical viewpoints can be damaging and hurtful. The black and white tones of this image also help portray her emotions well as this is a more dynamic approaching, perhaps draining all the colour from the image to show the seriousness of the message she is sending, making the concept behind it more solemn.

Studying photography enhances your creative, social and cultural understanding, while developing your specialist technical knowledge around equipment, techniques and style

Job options

Jobs directly related to your degree include:

• Advertising art director
• Film/video editor
• Graphic designer
• Magazine features editor
• Medical illustrator
• Photographer
• Press photographer
• Television camera operator

Jobs where your degree would be useful include:

• Art therapist
• Digital marketer
• Media planner
• Multimedia specialist
• Museum/gallery curator
• Stylist
• VFX artist
• Visual merchandiser
• Web content manager
• Web designer

Remember that many employers accept applications from graduates with any degree subject, so don’t restrict your thinking to the jobs listed here.

Work experience

You’ll need a portfolio of your work to demonstrate your ability and style. You can develop this through work experience or volunteering, as well as getting involved in university projects, local competitions and final year degree shows.

Degree courses may provide opportunities for you to get work experience through placements and to undertake live briefs. Use these experiences to build up a network of contacts that can be helpful for finding work. Attending industry talks can also provide access to contacts.

You may be able to find relevant opportunities in image archiving, print services, framing services and photo developing centres within pharmacies, supermarkets and department stores.

Interpersonal skills are critical for photography careers, so any experience which promotes customer service skills will be useful, as is experience at events, particularly social ones, where you can observe structure and organisation and practise your photography skills.

There are many online courses and tutorials available which could help you to develop skills in photo editing and image processing.

Search for placements and find out more about work experience and internships.

Typical employers

Relevant employers can depend on your specialist area, which may cover:

• architectural
• commercial advertising
• documentary
• fashion
• fine arts
• landscape
• portrait
• press
• scientific and medical
• sports
• wildlife.

Employers include:

• media organisations such as newspapers, magazines, film and television
• publishing companies
• wedding photographers or high street photography companies
• advertising agencies
• design companies
• large organisations such as universities, hospitals or airports
• cruise liners, holiday and leisure companies and theme parks
• the police – for ‘scene of the crime’ photography

A large number of photographers are self-employed and work in a freelance capacity.

It’s also possible to use your creative skills in related areas such as marketing and digital marketing, advertising, web design, graphic design, publishing and curating, where opportunities exist with a range of businesses and consultancies. Teaching is another option for photography graduates.

Find information on employers in creative arts and design, marketing, advertising and PR, media and internet and other job sectors.

Skills for your CV

Studying photography provides you with expertise in sophisticated photography techniques, such as composition, manipulation, editing, processing, colouring and visual effects, as well as practical skills in relevant technologies.

You learn how to curate and exhibit your photography and develop the marketing skills needed to sell and promote it. You also learn about the key legal, ethical and cultural issues around taking, editing and selling photographic images.

The course also allows you to gain confidence in relationship building between image maker, subject and client.

In addition, you acquire a range of skills that are highly valued by employers. These include:

• critical, analytical and practical problem solving
• risk taking and making use of failure
• rigorous self-evaluation and critical reflection
• organising, planning and time management
• working independently and in collaboration
• presentation
• project management
• literacy and communication through technical descriptions, reports, essays and a dissertation.

Further study

There are a range of photography-related postgraduate courses available both in the UK and internationally. These courses may help develop the skills you need for self-employment, or improve employability in what is a very competitive field.

Some courses focus learning into a specific area of photography, such as clinical photography or photojournalism, while others offer a more in-depth look at photography generally.

Other areas of postgraduate research, study and training commonly taken up by photography graduates include advertising, design, film, editing, journalism, teaching and creative enterprise.

For more information on further study and to find a course that interests you, see Masters degrees and search for postgraduate courses in photography.

What do photography graduates do?

Over a third of graduates working in the UK six months after graduation are working as photographers or audio-visual and broadcasting equipment operators.

Destination	Percentage
Employed	78.9
Further study	7.8
Working and studying	3.8
Unemployed	4.3
Other	5.2

Graduate destinations for photography

Type of work	Percentage
Arts, design and media	42.9
Retail, catering and bar work	20.3
Marketing, PR and sales	7.9
Secretarial and numerical clerk	4.5
Other	24.3

• 3 words
• A sentence
• A paragraph

NARRATIVE: How will you tell your story?

• Images > New St Helier Harbour photographs
• Archives > Old photographs of St Helier Harbour from SJ photo-archive or JEP Photographic Archive
• Texts > Write a short introduction or statement about your picture story, image captions
• Typography > creative uses of words, letters, font-types, sizes

Add a selection of your final 10-16 images as a moodboard/ gallery to the blog post too, including any archive material too.

story

3 words: past and present

a sentence: the history of the jersey harbour, what its jobs is, and who is doing the work that we don’t see, and the locals that take in the site.

A paragraph: Jersey Harbour, once a bustling hub of maritime trade and fishing, has evolved significantly from its historical roots. In the past, the harbour served as a critical gateway for commerce and a refuge for fishing boats, its quays lined with warehouses and bustling markets that reflected the island’s vibrant economic activity. Today, while still a functional port, it has transformed into a picturesque destination, blending its rich maritime history with modern amenities. Visitors can now enjoy waterfront cafes, art galleries, and recreational activities alongside traditional boat moorings, illustrating how Jersey Harbour has adapted to contemporary needs while honouring its storied past. This juxtaposition of history and modernity makes the harbour a compelling focal point for both locals and tourists alike.

how are you going to tell your story?

images: old photos provided to me and present photos taken by me

texts: write short texts in the begging and end of the

typography> use creative words, fonts, letters and sizes

mood board of images I might use:

Jeff Wall The Drain 1989

For my first photoshoot I will look into the idea of Jeff Wall’s ‘The Drain’ I really like the narrative the photos tell, they appear quite nostalgic in a way people playing in the stream. Equally they also have a creepy undertone as it looks like some of the people have appeared from the tunnels.

Photoshoot Plan

‘Window’ Photoshoot Plan

I have always had an interest in capturing candid sports photos, when researching this project, mirrors and windows, my first thought for windows was motorsport pit lanes or service photos. A true insight into raw emotion, small details, the machines themselves and how teams work.

Mood Board

A photo zine, or a photography zine, is a small, self-published booklet or magazine that features photography. Zines are a tool used by photographers to tell a story in a visually capturing way to inform an audience about a specific topic or issue, to showcase and advertise a new idea or simply create a preview of an ongoing project. 

To begin a zine, the photographer would decide on a range of photos that relate to each other. Zine’s generally will tell a kind of story or will at least have something in common.

Zines can be made on InDesign or can be handmade. For example, the settings I used for InDesign were: 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. When you fold your sheets, your front cover and back cover should always be the first and last pages of your layout.

My Own zine:
My zine is going to be focussed on the photoshoot from St Helier Harbour which focusses on the new and the old harbour. I am planning to keep my zine all in colour and keep a brighter tone to the overall piece. I think I could make the old harbour photos black and white but I have decided to keep it all in colour so that all images have something in common.

windows

Windows into the mortality of being.

Paul Caponigro

Keith Dotson

mirrors

A mirror in to the fragile beauty of life.

Ralph Gibson

Robert Mapplethorpe

windows shoot.

I’m going to go out and get some pictures of trees mainly focusing on dead ones and maybe get some of abstracts of leaves on the floor depending on how damp they are cause if they are mushy it wont look brilliant. I’m going to look for mushrooms whilst I am out as they don’t have a very long lifespan. I will also look for weeds that have pretty flowers though it might be the wrong time of year or this.

mirror shoots

I’m gonna buy some flowers and use some that we already have in a vase at home and stage them to look romantic I may even get my father to hold some. And I may even experiment with shutter speed.

I am going to ask a friend if she would pose for me as we like late-night walks and especially in cemeteries

For this topic, I would like to focus my photographs on identity and feminism. I want the result of my photographs to depict the ins and outs of girlhood, and show the difficulty within the lives of women.

Photoshoot 1: For this photoshoot, I am planning to use the photography studio to take photos for window and mirror photography. I am looking to focus on the story behind the photographs by making them unique and understanding. I will use different lighting and angles to accentuate my ideas.

Photoshoot 2: For my second photoshoot, I will go to the studio again and aim to improve my creative skills within the photography. I will try and use different props, like a microphone for example, to present different narratives. I will also make sure my model is using a range of different body language and facial expressions to exert different moods to do with personal identity and individuality.

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.

Introduction:

Looking at the basics of photography and trying to gather the difference between Daguerreotype and Calotype helps us identify the Mirror or Windows theory. A Daguerreotype is a ‘positive’ image that creates a highly detailed image in a sheet of copper plated with a thin coat of silver. Whereas Calotype is seen as a negative and positive process where the image is printed using paper coated with silver iodide, the texture of the paper limits the ability to see low contrast details and textures on the image. The easiest way to identify a Calotype is due to the lack of clarity in the details and a mottling of tones and a Daguerreotype is identified by its mirror-like, highly polished silver surface and its dually negative/positive appearance when viewed from different angles or different shades of lighting. The concept that an image is either a window or a Mirror creates this idea of the photo whether its personal and foreshadowing something or its just taken unexpected. The mirror image would portray a Daguerreotypes as it made from a highly polished silver-plated sheet of copper that appears to look like a mirror. This creates an image but still allows you to see yourself due to the copper. This image is captured by its reflective surface echoing the surrounding scenery. The photographer Szarkowski came up with the theory of the windows and mirror and suggested that windows are not seen to be personal as when you look through a window what you see has nothing to do with you where as a mirror is seen as your reflection although there may be a debate about this as a window could be a path through to what is important to the photographer. A specific quote stated by Szarkowski “Whatever else a photograph may be about, it is inevitably about photography, the container and vehicle of all its meaning’s.” This quotes suggest that there is a lot of information about each photograph taken and it has a deep meaning whether it is a basic photograph. The idea that the photo does not just have one meaning, it can put multiple things together to create the real story of the image. Though this could also show that Photography was not invented to serve a clearly understood function, sometimes it would be better to not understand the concept of the photograph and have a basic understanding to be able to visual your own ideas towards the image, sometimes the real meaning of the image doesn’t justify the actual shot of the image. Photography is so widely spread to any topic that any image could have any deep meaning towards it. 

Hannah Starkey, Untitled – May 1997

Mirror Reference:

The idea of an image identifying as a mirror could vary in many ways; the main reason this image could be a mirror is because the people in the photograph are looking through it. Some people could suggest that the older lady in the image is looking through the mirror at her younger self, as if she is looking through her memories. Though looking at Hannah Starkey’s work, she states that her work is staged and based on women in London based on fake sceneries, she uses actors within carefully considered settings, Hannah Starkey’s photographs reconstruct scenes from everyday life with the concentrated stylization of film. Starkey’s images picture women engaged in regular routines such as loitering in the street, sitting in cafes, or passively shopping. Starkey captures these generic ‘in between’ moments of daily life with a sense of relational detachment. As Starkey is a women she may the need to portray the idea that women don’t get enough recognition, or she simply wants to explore all the stereotypes women have been pinpointed to do such as shopping and sitting cafes, which isn’t the case for every women’s daily life, it could be an analysis of what women are seen to be doing everyday making their roles useless and quite in vain. Though that could depend on analysis does not mean the be dependent. This may not have a specific meaning as said by Szarkowski that photography is not purposed to provide a meaning to each photograph taken. Most of Szarkowski concepts stated, “The hard part isn’t the decisive moment or anything like that—it’s getting the film on the reel.” This could imply that the photograph does not have to be the best captured image but it needs to be taken at a certain point to prove that something happened, this could be similar to Starkey’s concept of staged photography, she isn’t capturing the real moment of the event happening but she recreating it to the best of her ability portraying the events as happened but without capturing it in the right moment as its being replayed with different people, possibly in a different scenery, at a different time of the day but the event is still getting shown. this therefore represents the idea that this image is a mirror as Starkey may have seen these event happen and that is why she recreates them, this makes the images real meaning feel more personal to Starkey than other people as they don’t know the real story behind the image of the lady holding her hand to the mirror with an older lady behind her. One quote stated from Jeds review notes that at some length, “Szarkowski writes about the death of the pictorial press (Life, Look) which supported public documentary photography” .This can tie in with the fact that Szarkowski’s quote states that some images aren’t always the best but they take a picture of the moment. Almost like a documentary, they don’t really get people to pose for their images, they just want to get the message across. This Image could also represent the imagery of the lady’s downfall as you pay attention to the mirror it seems to be cracking, and the lady behind her is looking quite concerned. Therefore, the point of an image being identified as a mirror is to show the personal aspects, the fact that this image is foreshadowing the future or even just replaying past events. 

Henri Cartier-Bresson, Seville, 1933

Window reference:

The windows theory of identifying a photo is context based. This image is almost created like a window, it is like a scene is happening behind the closed wall, but the small hole is letting us see the perspective of what is happening behind closed doors. This is seen as a window because this might not be personal to the photograph, this image is based on small children playing around. This image is of a poorer place or country at war. The photographer Henry Cartier Bresson is known as a humanist photographer considered a master of candid photography, Bresson focuses on street photography and produced the idea of a decisive moment. Bresson described his photography journey as hunting without killing, he describes photography as a passion, he used his passion to turn images into the unexpected, Bresson goes out an takes photo of what is walking past him, the people in his surrounding, he is not looking for a specific thing. As seen in the image none of the little boys are looking straight at the camera, there seem to be occupied playing around as little children do, this image could represent a nostalgia of one’s childhood, as none of the children are on their phones messing around doing negative things exactly like when we were children and then the world grew bad. The concept that all children are innocent as they do not know the cruelty of the world, they do not have anything to focus on except playing around. the purity of this image shows how generations have changed the word of childhood, childhood to older generation would mean playing in the garden with your friends, drawing, doing fun activities whereas these days a childhood is which child had the best phone at the youngest age, all everyone focuses on is social media and knowing about the latest news. A way of linking Henri Cartier’s work to Szarkowski concept of windows. An important quote stated by Szarkowski “They were … pure and unadulterated photographs, and sometimes they hinted at the existence of visual truths that had escaped all other systems of detection.” This could link in with the idea that social media has taken over people’s minds, all people want to do is go on their phones and message people or scroll on apps brain washing people to believe fake news. This quote shows us that this image is an example of the purity of the world, showing us that these children look grateful for everything things may get, they do not seem to be complaining, these children are content. We are letting the truth slip away that social media is slowly taking over and no one is stopping it. Another quote stated by Szarkowski was ” Photography’s failure to explain large public issues has become increasingly clear… most issues of importance cannot be photographed.” this shows us that this photograph may have contextual factors to it, these children look like they are playing in a dangerous place, all the walls are broken, there are pieces on the floor scattered everywhere. But the idea that these children look happy navigates us away from the idea that they are in danger. The impression that the war isn’t really major here as everyone looks happy, safe and there isn’t any graphic images shows us how inhumane we have become, the world wants to forget the fact that war is happening and just because the image doesn’t capture the actual moment of the bombing an shooting happens then everyone is safe and not in danger anymore. one quote from Jeds review states that “realism,” involved with the “exploration” of a private “window” on the world. This states that window is meant to represent the struggles of the world and how war is effecting us. This ties in with Szarkowski thoughts that some photographs are gonna be revealing the visual truth of the world. Therefore, the concept that windows are all about the concept of the image shows how forgotten some of the key concepts are left behind due to the atmosphere being content and not graphic. 

Conclusion:

Overall, the idea of mirrors and windows describing an image has been looked at in depth, by allowing us to understand how to identify what image symbolises a mirror or a window. The main point that photographs can be both ‘mirrors’ and ‘windows’ of the world, is all dependant on how you may look at the photo. Many believe that a photograph is a mirror and window, but they let their imagination control their thoughts. The photographers that have helped me understand the concept of windows and mirrors have opened my eyes to see different perspectives. The idea that a window is a way to portray the events of something historical, it’s almost a way to spread news without writing anything but just presenting an image that has a historical background. The concept that a mirror is to be presented as a documentary is quite a reasonable way of stating what a mirror image is, as it is meant to portray life events about the photographer, or the model, or ever yourself. It’s meant to reflect a past or future event or making the image personal and reflective. Although an image can be seen as both mirrors and windows it shows us that not all images are meant to represent their purpose, sometimes images are taken for memories, for positive or negative reasons. Although some images could be taken to spread news, like war and violence that people need to be cautious about, it’s a way of presenting an image with expressions that tell a story without displaying it with words. Both images show different people and also show different emotions, the coloured image shows a sense of mystery and confusion as to why the image is cracking. Whereas the black and white image shows a sublime moment, the concept of the image is to report the damage of the war, but the point of the image is taken over due to the joy on the boy’s face, playing in the image. The image almost gives us a sense of romanticism as it captures the beauty of the image, the way these boys turn the downfall of the country in a positive way, without causing problems but they know they can’t for anything to save their countries so they try to see the positives of the situation where as the first image in colour automatically shows a personal side, something you can try and pick out to make a story, the story seems more familiar and homelike, not that the scene is cosy, but it shows a day to day scenario in London that would be seen on a daily whereas the black and white photo is not an image that is displayed worldwide as it is seen as a negative image, the way the world is at war and nothing in the world is peaceful whereas the first image in colour shows a sense of relaxation, even though its seems to a mysterious image of the two ladies, it does feel more comforting, also with the fact of the colour. The colour can create visual contrast, direct attention, evoke mood, this image makes the mood fee quite bewildering, and makes the audience want to pay attention to the detail whereas the black and white image is quite straight forward. Therefore, the overall idea that each image tells a story whether it’s personal or not is decided by if it’s a mirror or window, or possibly both.