For this project I want to explore my connection and love for cars and bikes, from my passions for racing my own bike to my parents love for enduro events and rally cars. I want to capture the intensity and stress of racing events to the tinkering that is always going on. Particularly I want to showcase the difference loves and passions for the sport but in all we are all connected and have built a community. A large part of my family is involved in motorsports to a degree which has had influence on my own enjoyment and interest in the sport. I remember when I was younger my father would be watching moto GP while making me lunch, I never understood it until I got older and started to understand the bikes, teams, and actually understanding the concept of racing. When I was younger I have always been around cars and bikes, I watched my father take his bike away for enduro events in Spain and before that I heard all about the adventures he had been on. One I particularly enjoy hearing about is when he brought a motorbike, a Royal Enfield, in India and then rode it back to Jersey by himself, he still has this bike to this day! Alongside growing up involved in bikes I grew up around farming communities, with tractors and 4X4 which sparked my interest in off-road cars, having driven my first manual car at 10 to put fence posts in a field, since then I haven’t looked back with now having my own 4X4. Both my parents taught me how to ride/drive and I have pushed myself and tried different riding styles of my own and have my own bikes. So while I would like to reflect on their current use of cars/bikes I would also like to show sentimental things, from when they were my age or slightly older and now they don’t have as much time for but I do. I aim to show, almost the handing down of passions, remembering the good times and now their daughter (me) having me own fun and creating memories with my bikes.

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

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

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

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

Links used:

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

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 or 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.

Final draft:

The Daguerreotype and Calotype are two photographic processes which were widely used during the 1840s and 1850s. The Daguerreotype was said to be the first ever successful photographic process in the history of photography. It was created in 1839 by the inventor Louis Jacques Mandé Daguerre. A daguerreotype is made on a sheet of silver-plated copper, which is polished to a mirror finish. Then, the sheet is treated with iodine to make them sensitive to light and it is exposed in a camera. Finally, to develop the image, warm mercury vapour is used. The Daguerreotype is very accurate, detailed and sharp. As it is created on a metal plate, it is delicate and needs to be well looked after. Unlike the Calotype which is not as delicate as it is created on a sheet of paper. The Calotype was introduced in 1841 and was created by the inventor William Henry Fox Talbot. Talbot was best known as the British inventor of photography and in 1834 he discovered how to make and fix images through the action of light and chemistry on paper. This led him to the discovery of Calotypes. Calotype is made using paper coated with silver iodine. It produces a monochrome, blue coloured print on a range of supports, often used for art, and for reprography in the form of blueprints. According to John Szarkowski’s thesis, I believe that the Daguerreotype can be seen as mirror photography because it is ‘reflecting a portrait of the artist who made it’- John Szarkowski. In contrast, I think that the Calotype is viewed as window photography because it is showing the external world, and the realism of it.

Mirrors- chosen image:

Cindy Sherman- 1954 “UNTITLED FILM STILL #84”

This particular image, created by Cindy Sherman, is an incredible representation of mirror photography. It clearly portrays the story behind it through the body language and facial expressions of the female model. Cindy Sherman bases her photography around depicting herself in many different contexts and as various imagined characters. She does this by reflecting on stereotypical femininity through a series of black-and-white photographs. The construction of this image shows an idea of the narrative behind this image, but her photographs never actually deliver a specific plot. This keeps viewers engaged and allows them to create their own narrative for the photographs. The clear facial expression of tiredness shows the harsh reality of the lives of women. Also, the bag full of shopping food, which is lying on the kitchen floor, clearly reflects on the stereotypical idea that it is a woman’s job to provide food for the household. Furthermore, I think that this image looks quite natural, although we know as the viewers that it is staged to reflect the artist. I think that this image reflects not only the artist, but all women around late 1950s, to provide a clear understanding of the gender roles around this time, and how women felt as a whole. In John Szarkowski’s thesis, he says that ‘a mirror reflects a portrait of the artist who made it’ (Szarkowski, 1978), which supports my image here as Sherman’s photograph not only reflects herself, but women as a gender. When a photo is resembling a mirror, it is not clear what the message and main theme of the photo is, and viewers must interpret in their own ideas what they believe the story is.  Szarkowski believes that mirror photographs are personal and romanticized, which is portrayed as powerful and meaningful for viewers.  

Szarkowski, J., 1978. Mirrors and windows: American photography since 1960. https://www.moma.org/documents/moma_catalogue_2347_300062558.pdf

Windows- chosen image:

Garry Winogrand, World’s Fair, New York City, 1964

Garry Winogrand was an American street photographer, known for his portrayal of U.S. life and its social issues in the mid-20th century. American photographer and curator, John Szarkowski, called Winogrand the central photographer of his generation. Winogrand was one of the most prolific, and passionate, street photographers of his time; he shot over 5 million photographs in his career. However, Winogrand hated the term “street photographer” and would rather have been known and seen as simply a “photographer”. As he was born and lived in New York, he spent most of his life photographing city streets, recording crowds and individuals and capturing the tension and exuberance of public life. Therefore, it’s clear that this image is an example of window photography as he captures the realism and spontaneity of New York city life. This photograph reflects the chaotic aspect of New York, and it examines humanity and social interaction between, what it looks like, close friends. The photograph looks quite natural and brings a sense of reality as no one is posing, or even making eye contact with the camera, therefore it hasn’t been staged or manipulated. These types of photos make it easy for viewers to understand the outside world and they act as a window into diverse realities, which reflect the importance of other experiences in the real-life world. It’s clear that this photo was taken during the mid-20^th century due to the clear clothing style worn by the women in this photo. John Szarkowski once said, “is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?” (Szarkowski, 1978). This links back to Winogrand’s photograph, as it suggests that we are viewing New York City through Winogrand’s eyes during the 20th century, depicting a story behind it. The fact that the bench of people is mainly made up of females, apart from the two men on either side of them, reinforces an idea of femininity and shows this idea around “second wave feminism”, which focused on feminist activity and gender inequality. I believe that this particular photograph shows the importance of females as a gender, and it was very powerful for viewers around this time.  

Szarkowski, J., 1978. Mirrors and windows: American photography since 1960. https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/5624/releases/MOMA_1978_0060_56.pdf?2010

Conclusion:

In conclusion, both images portray an aspect of the 20th century, and they give us a glimpse into reality around this time. Overall, Szarkowski’s theory is that, in metaphorical terms, mirror photography is seen as a romantic expression of the photographer’s sensibility as it projects itself on things and sights of this world; whereas, window photography is seen as the exterior world being explored in all its presence and reality. Among the “mirrors” photography, there are a few leading practitioners, who are Paul Caponigro, Jerry N. Uelsmann, Robert Heinecken and painter Robert Rauschenberg. Foremost, among the “windows” group is Garry Winogrand who Szarkowski feels will be “the central photographer of his generation”. Sherman’s photograph presents a more personal feeling as there is only one woman in it, whereas, in Winogrand’s image there is a few people, mainly woman, which shows an aspect of publicity and spontaneity. In my opinion, I prefer Winogrand’s photograph because it is natural, and it hasn’t been manipulated into a way that makes it look staged and fake.

Observe

Definition:

• Notice or perceive (something) and register it as being significant.

How do you observe in photography?

It requires being present in the moment and fully engaged with the environment and the subjects within it. Observing in photography is key to capturing the perfect image.

Seek

Definition:

• attempt to find (something).

How do you Seek in photography?

To seek in photography includes finding the perfect location, timing and subject to create the ideal image. Photographers will plan out their shoots and seek certain places and objects they want to obtain they don’t just go for everything and anything

Challenge

Definition:

• a call to someone to participate in a competitive situation or fight to decide who is superior in terms of ability or strength.
• a call to prove or justify something.
• invite (someone) to engage in a contest.
• dispute the truth or validity of

How do you Challenge in photography?

Photographers get their photographs noticed when they have produced a diverse piece of work that may have taken extra abilities to obtain. This could include getting dangerous shoots wand challenging themselves to do things that will make their photographs stand out from the rest and participate in a kind of competition to produce the most interesting pieces of work.

Danger

Wildlife

The Planet

The Human Psyche

Topic that interests me for a personal study

(Unfinished)

1. Read two texts above (John Szarkowski’s introduction and review by Jed Pearl) and select 3 quotes from 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.

Essay draft

Mirrors and Windows, an exhibition of American photography since 1960, is John Szarkowski’s attempt to categorise the work of photographers which largely seek to explore outside of themselves. Whether an image is a mirror or a window is dependent on the photographer’s own sensibility, and whether or not it is a reflection of self.

Photography was said to be invented in 1839, that was the year that Louis Daguerre, a Frenchman, and Henry Fox Talbot, an Englishman, played an important role in announcing rival processes that would ‘fix the shadows’, to adopt a physical form to these images. The beginnings of photography were ultimately about the struggle to see which method would thrive. With how money and industry was a huge focus within the early beginning of photography, and had huge impact on what photography looks like at the present date, the method which photographs could be reproduced at a quick and commercial rate triumphed.

One of these processes innovated by Louis Daguerre, daguerreotypes, are photos which have a different kind of connection which is more intimate, as the process features no separation between the material the image is being shot with and the finished result. This is because the same plate within camera is the same plate which is eventually displayed as the photograph. Despite this method’s unbelievable range of values and detail, presenting the brightest whites and the deepest blacks, these photographs, if not gilded, could easily be wiped off with the slightest touch. Although a downside of this method was that only one image could be made from daguerreotypes, which was not ideal for the market photography was creating, which focused on money and industry.

The other process innovated by Henry Fox Talbot, calotypes, are photos much more reproduceable, ‘Talbot recognised that human communication was through paper’. Ultimately, Talbot’s method of making photographs dominated the Daguerreotype as multiple copies of the same captured image could be created, instead of one which could be lost quite easily, which was not in the market for photography at the time, as businesses wanted photographs for commercial use instead of sentimental purpose.

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.

(key words) tableaux, subjective, romanticism, fiction, staged, personal, reflective, manipulated

Images that are mirrors in photography are a romantic expression and a personal reflection of the photographer’s sensibility, as they project themselves onto things and sights of this world. Cindy Sherman, a photographer who explores this intimate aspect of photography, explores a personal perception of self identity and behaviours within the world around her. The collection of photographs named ‘Untitled Film Stills’ which Cindy Sherman produced in the 1970s and 1980s seem to deliberately rely on caricatures of female subjects in movies, staging these photographs by taking on the role of the actress, instead of adopting a performative approach in the creation of her works. She stated, “Once I set up, the camera starts clicking, then I just start to move and watch how I move in the mirror. It’s not like I’m method acting or anything. I don’t feel that I am that person. I may be thinking about a certain story or situation, but I don’t become her. There’s this distance. The image in the mirror becomes her—the image the camera gets on the film. And the one thing I’ve always known is that the camera lies.” (C. Sherman, quoted in Ibid., p. 23).

Sherman delves deep into exploring an enhanced personal perspective of self identity and the world around her, aiming to address how she perceives the projective eye which invokes a violent penetrative gaze on women during the 1970s and 1980s for the viewer, rather than expressing her own identity. Her performative artistic production of what could be an untitled film still of a woman under the pressure to act for the male gaze in film and other types of media relates directly to the concept of a mirror photograph, reflecting Sherman’s own sensibility. The idea of Szarkowski’s mirrors and windows theory is a very binary stance on photography, and I believe Cindy Sherman’s photographs, whilst objectively being viewed as a mirror extend further than simply that, and are able to criticise a much deeper issue within the world of public media.

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.

(key words) documentary, objective, realism, candid, public, straight, optical, views

Henri Cartier-Bresson

Images that are windows in photography act as a window for the viewer to see something primarily factual and external to the photographer’s own sensibility, where the exterior world is explored in all its presence and reality. Henri Cartier-Bresson, a photographer who coined the term ‘decisive moment’, explores a factual and documentary-based way of photographs, and capture a moment in time which is usually not staged.

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.

Bibliography:

Cindy Sherman Retrospective – Thames & Hudson p.33

Romanticism

Romanticism in photography consists of capturing sublime scenes and dramatic landscapes which create a sense of awe for nature. For this topic, I created HDR Merge Images of the cliffs at Plemont and L’Etacq. This was inspired by Ansel Adams as he would photograph picturesque landscapes, mainly mountains. He also used the Colour zonal system which is a system of tonal values from black to white as his images were in B&W. This is why I used HDR Merge so that my images displayed a range of tones and colours. I really liked this project because I enjoyed capturing the beauty of the natural landscape and, at the same time, it can nice to go out and take the photos.

My Images:

The New Topographics

The New Topographics is a project which explores how humans have altered the natural landscape. For this project, I walked around Harve des Pas and captured images of buildings and a combination of both the natural and built environment. I really enjoyed this project and it inspires me to photograph the urban environment for my personal project.

My Images:

Anthropocene

Anthropocene is a word used to describe the impact of human activity on Earth’s climate and ecosystems. For this project, I photographed industrial areas of Jersey such as La Collette, Bellozanne and the Quarry at Sorel. I enjoyed this project as it allowed me to be creative whilst also illustrating the Island’s impacts on climate change. This project inspires me to capture photographs of positive actions that the island is taking towards climate change such as the construction of sustainable buildings.

My Photos:

Mirrors photoshoot Bill Henson inspired:

Bill Henson is an influential Australian photographer known for his evocative and atmospheric images that often explore themes of youth, identity, and the passage of time. His work typically features moody, dreamlike compositions with a distinctive use of light and shadow, creating a sense of intimacy and emotional depth. Henson often incorporates elements of the surreal and the sublime, blurring the lines between reality and fantasy. His subjects frequently include young people in ambiguous settings, prompting viewers to reflect on the complexities of adolescence and the human experience.

Bill Henson’s images can also be analysed through the lens of the male gaze (which refers to the way visual arts are often constructed from a masculine perspective, objectifying women and presenting them for male pleasure). In Henson’s work, the representation of young subjects, particularly adolescents, often invites scrutiny regarding their portrayal. While his images are celebrated for their beauty and emotional depth, they can also evoke discomfort due to their sexualised undertones and the ambiguity of the relationships depicted. The focus on youth and vulnerability may reinforce traditional gender dynamics, prompting questions about power, agency, and the viewer’s role in interpreting these images. However, Henson’s approach also complicates the male gaze by imbuing his subjects with a sense of complexity and introspection, often portraying them in contemplative, ambiguous situations. This can challenge viewers to reflect on their own perceptions and assumptions, rather than simply consuming the images in a passive manner. Thus, while his work may engage with the male gaze, it simultaneously subverts and critiques it, inviting a deeper examination of the relationships between artist, subject, and audience.

photoshoot Plan:

For this photoshoot, we decided to go into the studio, turn off the main lights and decided to rely on the smaller dim lights to get a darker, moody tone to our images as seen in Bill Henson’s images. The model also wore revealing clothes eg a skirt as the girls depicted in his images often wore short dresses. This helped to bring a sense of vulnerability to our images. We then experimented with different complex, abstract positions such as laying over a chair etc and different angles eg a Birds Eye view, straight on etc. We decided to keep the models face covered for the majority of the images to convey the idea of male gaze in which men tend to objectify women and look at them as objects instead of real people. By having her face covered, you are more drawn to her body which represents the idea of the male gaze.

we also wanted to incorporate the idea of a distorted reality by taking some images of the model lying on top of a chair. Then, once we had the images uploaded onto the computer we then used photoshop to remove the chair in order to give the effect of the person floating. I did this by using the remove tool. However, due to the white floor in the studio, it ruined the idea as in Bill’s images it looks like they’re in the middle of the air but in our you can still see the cut between the floor and background, destroying the illusion of floatation.

Once I had removed the stool legs from the image, I then wanted to try and fix the floor issue. So, I went onto google and looked for images of fairy lights with a background. I did this as in his images, you can see small dots of light around the model. When I had found an image, I then copied and pasted it into photoshop and dragged into on top of my original image. Next, I used the eraser tool to get rid of the part of the image which was covering up the girl behind. I then used the blur tool to try and make the contrast between the two images move smoother but it still looks quite obvious. If I were to do this photoshoot again, I would try and get a black floor instead of white so that it actually looks like she’s floating and have fairy lights already in the image instead of transporting a photograph from google which then makes it look clearly edited. I think this was a good first experimentation but has a lot of improvements to be made.

These are my final attempts of recreating his original idea.

For these next images, I decided to experiment with my own ideas. I wanted to add an image into the mirror seen beside the model so I searched up empty dark streets on google and picked an image which I thought linked to the aesthetic of Bill Hensons images. I then copied and pasted it into photoshop and put it in a layer below the mirror layer. I then used the eraser tool once again and made a hole in the mirror so that the bottom layer would show through it. Finally, I wanted to make the line between the two layers more smoother so used the blend tool to do this. I then experimented with turning the top layer black and white to add further to creepy vibe of the image. Overall, I like how this experimentation came out although it doesn’t directly link to any of Bill’s pieces.

In these last four images, you can see yellow and black tape in the background. I didn’t like this as it was distracting and took the focus away from the model. If I were to improve these images, I would get rid of yellow lines in background.

Improvement:

Here, I decided to go back to this photoshoot and corrected this by using the remove tool on photoshop. This got rid of the black and yellow line and made the background all one colour which means the attention is now on the model only.

Windows photoshoot

These are 3 examples of window images that I have taken. They show the exterior world and are objective and real. I took the photograph without making any adjustments to the landscapes; they’re all natural.

To start this project read through the exam boards notes on the theme observe, seek and challenge. I then made a mind map with all my ideas, I also used a dictionary and thesaurus to understand different concepts and add other words in relating to subtitles. I found with collaborating on the mind map helped me experiment and try new ideas, it also added knowledge and each others understandings of the words so I learnt different perspectives and ideas.

Mood boards

Abstract

Following on from the harbour project I liked the detailed, abstract shots I had taken and then used in my zine. I like the way they can add to story and make people notice the smaller parts within a bigger picture.

Tableaux

I looked at this type of photography in my mirrors and windows project and found I liked the effect of my photos. I could choose the shot down to the smallest details, making the photos powerful as I had complete control over what I wanted the photos to show.

Documentary

I really enjoyed taking photos in a documentary style for the mirrors and windows project. I photographed the twisty sprints and found I could be really creative and create dynamic, interesting photos capturing the even and how people went about it.

Studio Portraits

Having previously done studio portraits I found I could create interesting, detailed photos using the different lighting techniques. I like the drama and intensity you can create in the photos and I think it would be beneficial in any project with portraiture as it helps provide a solid starting point for any other types of portraits for a project.

Ideas

Potentially for my project I’d like to explore motorsport in Jersey, having been brought up around rally cars and motorbikes I have always have an avid interest in the motorsport in Jersey. I have always found there are great pictures of individual competitors but I found no one has quite captured the atmosphere of all the aspects of the sport, from the last minute rush to get to a part fixed or the intense wait, waiting for the scrutineering to be passed. The mood board above has a rough idea of what I would like to capture, the actual racing to the ‘behind the scenes’.

1. Read two texts above (John Szarkowski’s introduction and review by Jed Pearl) and select 2 quotes form each that is relevant to your essay.

John Szarkowski quotes: “reflecting a portrait of the artist who made it” and “the exterior world is explored in all its presence and reality”.

Jed Pearl quotes: “potential toward either self-expression or exploration in the unique sensibility of each photographer” and “a photograph is not a window; it is a mirror”.

1. Select two images, one that represent a mirror and another that represents a window as examples to use in your essay.

1. Use some of the key words that you listed above to describe what the mirrors and windows suggest.

Window: documentary, objective, realism, candid, public, straight, optical, views.

Mirror: tableaux, subjective, romanticism, fiction, staged, personal, reflective, manipulated.

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.

The origins of photography can be first seen through the lens of the camera obscura. This was where a small hole was made in a dark room allowing the light from outside to travel through it which then produced an upside down image of the outside world onto the wall opposite the hole. This then lead to further ways of developing photographs onto surfaces. The first example of this is the daguerreotype, invented by Louis Daguerre. This process allowed for images seen inside the camera obscura to be preserved as an object. In this process, a highly detailed image is produced on a sheet of copper with a thin layer of silver. This process is very delicate, and the sheet of copper and layer of silver must be cleaned before you start the process and must look like a mirror. The daguerreotype produces positives meaning it is a one off and cannot be copied. I think that the daguerreotype can be perceived as both window and mirror due to its documentative style and personal relation to Louis Daguerre. This is because the images often capture a variety of different people from a different period of time where this was the only way of making images into an object. So in a sense, the images are a document of how images used to be produced. On the other hand, the daguerreotype is also a mirror as the people seen on these images had personal relations to Louis. This means his images are giving people a personal insight into his life and his family/ friends, which is a key concept of mirror photography. Similarly, the images could be seen as subjective as the viewer has to try and figure out how the person in the image is related to Louis. Additionally, in the images of his family members/ friends, they are staged as they are purposefully posing for the picture. Therefore it can be seen more as a mirror image than window image which are typically naturalistic. Shortly after the Daguerreotype, the calotype was invented by Henry Fox Talbot. In this process, the sheet of paper needs to be iodised by applying solutions of silver nitrate and potassium iodide under candlelight. The same surface needs to be sensitised using a “Gallo-nitrate of silver” solution. Lastly, the piece of paper needs to be dried and loaded onto the camera obscura. This type of photography produced negatives (which means copies can be made). Calotypes made by Henry often depict photographs of windows there meaning that his images are window instead of mirror as it is not manipulated in any way and is a way of exploring the exterior world instead of things personal to him.

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.

This image by Cindy Sherman is a mirror image. In the image, you can see a stereotypically attractive woman in the right side of the image who is glammed up and put together. However, on the other side of the image you can see pots, pans, dishes etc which implies the woman is in a kitchen. This feeds into the stereotypes at the time where woman were ‘destined’ to be housewives and to cook and clean for men. Szarkowski stated in his book about mirrors and windows that a mirror is “reflecting a portrait of the artist who made it”. This relates to Cindy’s image as she explores what it was like at the time to be a woman in society as she was. She shows a clear contrast to how women want to be perceived and treated though the use of makeup, clothes and hair compared to how men actually view them (as merely servants) through the use of objects and environment the woman is placed in. Jed Pearl also states a similar thing about mirror images saying its a “potential toward either self-expression or exploration in the unique sensibility of each photographer” in which Cindy clearly displays self-expression as she reveals her opinions and thoughts on how women are viewed at the time. Additionally, this image clearly takes a staged approach as Cindy Sherman deliberately chose the environment in which the model is in (a kitchen) and the pose of the model. The idea that her head is facing away from the pans and dishes could be Cindy Sherman’s way of rejecting societies perception of what a woman is and trying to separate the idea of women being seen as workers rather than real people.

Similarly, this image made by Shirin Neshat is also a mirror image with a similar concept behind it. In this photograph, you can see a woman with a hijab and a riffle going up the middle of her face. To me, this could be highly provocative to the country in which she is from and ones with similar morals. This is because in these countries eg Iraq, women are often seen as inferior to men and weak so it will come as a shock to see a women from that sort of place pictured with a riffle in front of her, implying she now has equal power to men. However, this piece could also be referring to the stereotypes society has on Muslim people. By having a riffle up to her face, it combines the idea of people associating Muslims with terrorism and how harmful these connotations can be to innocent people. This evidently shows how subjective the image is as it can be interpreted in multiple ways therefore meaning it is a mirror image. Similarly to the other image by Cindy Sherman, this image was evidently staged in a way to cause a reaction in the person that views it (which is another feature of a mirror image).

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.

This image by Ansel Adams is an example of a window image. His work serves as a window into the natural world, revealing the beauty and majesty of landscapes which are untouched by humankind. This is a window image as its objective and a display of reality rather than something that has been manipulated (which you would typically see in a mirror image). There is no trace of humankind or any specific objects that might link the artist to this image; it’s simply showing off the beautiful scenery. This therefore supports John Szarkowski’s idea that a window image is where “the exterior world is explored in all its presence and reality”, as Ansel Adams has just captured what he’s seen in-front of him without altering anything or adding anything which would connect himself to the images. However, Jed Pearl opposes this idea by suggesting that “a photograph is not a window; it is a mirror”. This can also be seen in Ansel Adams image as there is clearly a specific reason he choses to photograph the landscapes he does; suggesting there’s a personal relationship between his images and himself, therefore making his images potentially mirror images instead of window as they give the viewer an insight into his passions and thoughts. For example, Ansel Adams photographs these natural, scenic places in order to bring awareness to how these beautiful places exist and we could actually see them with our own eye but due to our constant expansion and destruction of nature as a species, these places are going to become non-existent if we carry on at the rate we are. Therefore, the images he takes actually have a more personal meaning than what is initially thought. 

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.

In conclusion, I believe that an image can be both a mirror and a window contrary to John Szarkowski’s theory where he suggested that a photograph is either a mirror or a window. This can be seen in his book on window and mirror images where he described mirror images as “reflecting portrait of the artist who made it” and “a romantic expression of the photographer’s sensibility as it projects itself on the things and sights of this world”. Whereas he described window images as a way “one might better know the world” and “through which the exterior world is explored in all its presence and reality”. John Szarkowski believes that artists find themselves somewhere along a “continuous axis” from romantic to realist. In contrast, Jed Perl critiques Szarkowski’s thesis by stating ‘Szarkowski is fond of creating categories’ at the start of his review, suggesting he doesn’t agree. He goes onto say that a photograph is not just a transparent window but rather a mirror that reflects the photographer’s own perspective, emotions, and interpretations. Perl argues that photographs are inherently subjective and can distort reality, inviting viewers to consider the personal context behind the image rather than seeing it as a straightforward representation of the world. This clearly shows Jed doesn’t agree with the idea that an image is either a mirror or window. Instead, he believes that the two can exist simultaneously in the same image.

The images I chose to illustrate the idea window and mirror images have a lot of similarities and differences, the main difference being one is a window image and the other a mirror image. However, depending on the way you interpret the images, this can be proven to be false. This is because Ansel Adam’s image of the mountains could be seen as a mirror instead of window as he has a personal interest in photographing these places, making the image a reflection of his passions as a person rather than a photograph just exploring the exterior world. This highlights to me that idea that a photograph can be both a mirror and window image, depending on how one interpreted it. Another similarity between these two images is that they are both in black and white. However, Ansel Adams dramatizes the different shades of grey in his images to create a romanticised image. Another difference between the two images is that the mirror images made by Cindy Sherman and Shirin Neshat are subjective whereas Ansel Adams images are objective. This is because his images just consist of different landscapes. This leaves no/ minimal room for interpretation from the viewer. On the other hand, the mirror images can be interpreted in many ways. For example, some people may view Cindy Sherman’s images as her displaying the ‘perfect wife’ (attractive and doing the dishes) whereas others may interpret as her bringing awareness to the ridiculous standards set for women in society. Overall, although the two images are majorly different at the first look, as you look closer and understand the image more, you find there are more similarities between the two than you would expect. This may explain why John Szarkowski suggested that an image is either a window or mirror as he hadn’t properly inspected each image first and figured out how close they actually are to each other. 

Still Life

The first photoshoot that I did was on the topic of still life and nostalgia. Our summer task was on this topic so we brought in items that were nostalgic to us and were able to photograph them in different ways with different lighting. The items i decided on bringing were:

• Baby Book
• First pair of shoes
• Photo (Grandad, Brother and myself)
• Photo (My Brother and I)

I quite liked how this photoshoot for this topic turned out, the lighting was warm and brought across a nostalgic feeling which worked well. I think I did well with experimenting different things to include in the photoshoot by using different levels and objects such as the sheet.

Photos:

Portrait & Lighting

The next topic photoshoot was studio portraits where we focussed on the different types of lighting techniques such as Rembrandt, Butterfly and Chiaroscuro.

Rembrandt

Rembrandt lighting is a technique utilizing one light and one reflector or two separate lights. It can make images look dramatic but at the same time still natural. It’s usually characterized by a lit-up triangle underneath the subject’s eye

Butterfly

Butterfly lighting is a pattern in photography where the lighting sits above and pointing down on the subjects face. This creates a dramatic form of a shadow under the nose and chin which gives it a pattern on a butterfly. It is also given the name “paramount lighting” named for the Hollywood studio for how they lit up the actresses.

Chiaroscuro

Chiaroscuro lighting technique was used in films very commonly. It’s common that the lighting used is natural light coming for, certain places such as through a window or a gap where the sky is visible.

Femininity & Masculinity

This photoshoot was my favourite one to explore, shoot and edit. The artist I decided to focus on was Cindy Sherman who focussed on female stereotypes, She regularly alters her appearance beyond recognition through makeup, prosthetics, and costumes. To create her images, she assumes the multiple roles of photographer, model, makeup artist, hairdresser, and stylist. She becomes the character in the story she is attempting to portray through her images.

Mood Board of images

My photoshoot was focussed on female stereotypes and I picked the topic of dance which is stereotypically considered more of a female sport.

Romanticism

The characteristics of romanticism photos include a focus on individualism, an emphasis on nature, emotion over reason, freedom of form, an exploration of the Gothic and unknown, a return to the past, the awe and wonder, the idealization of women, the purity of childhood, and the search for subjective truth.

Many photos focus on tranquillity like a photo of a sunset or calm seas. As well as this, photos that focus on dramatic and dangerous conditions such as a stormy sky or rough seas are also very popular when it comes to romanticism.

I liked this photoshoot but I struggled to take as many as I did on other photoshoots so it wasn’t my favourite.

The artist I focussed on was Ansel Adams who was the most important American landscape photographer and environmentalist who created famous black and white photographs mostly based in the American West.

My inspired images:

Urban/industrial photoshoots

This photoshoot was done as a class during our lesson time. the location was harve de pas swimming pool and round to La Collette. I think these locations were good as it gave you different variations of building types and sceneries. For example, we reached the modern built apartments which contrasted to the older buildings that stood behind them.

I enjoyed these photoshoots and editing them. The main edit I did was making most/ all of the images black and white because in my opinion the black and white works better with the theme of industrial theme.

Anthropocene

Anthropocene simply describes the time where humans had a substantial impact on the earth. The effects of human activities on Earth can be seen for example in biodiversity loss and climate change. Many people would link this with the effects of climate change as the warming of our atmosphere, air and oceans caused by using fossil fuels which are created by humans.

I researched two artists who were Michael Marten and Yves Marchand & Romain Meffre. I did a small shoot focussed on Michael Marten’s images. Marten’s interest in photography went towards natural changings of the earth and how the push and pull of tides create very different landscapes even though they are in the same place. He usually took the photos at about 6 or 18 hours apart.

Mood board of Michael Marten

My response

I then did my own shoot where I focussed on litter and pollution. I enjoyed this shoot because it was simple but still effective

Observe, Seek & Challenge (St Malo)

This shoot was done on a class trip to St Malo where we were focussing on observing other people and getting photos. The main focus was people and making sure this didn’t involve any posing as we needed the photos to be natural and unexpected like Henri Cartier-Bresson’s photos. I decided on editing many of my photos into black and white however kept some in their original form as I didn’t want to do everything in black and white. My photos include both camera photos and also photos taken on my phone.

I really enjoyed this photoshoot because it focussed on people rather than still images of landscapes or objects. I think taking photos of people is much more interesting as you can interpret the image in different ways and observe other people and see what they do in their day to day life.

Harbour & Maritime Museum

The photoshoot of the harbour included many different areas which meant I was able to get a large range of images. This included the new harbour and the old harbour. personally I prefer the old harbour photos and I also put some of them in black and white to match the more older theme to the photo.

I think this was one of my least favourite shoots as it was something that didn’t interest me like observing others, focussing on people did.