Artist Research:

1. Claude Cahun (1894–1954) was a French surrealist artist, photographer, and writer, best known for her exploration of gender, identity, and self-representation. She is recognized as a pioneer in challenging traditional gender norms, often presenting herself in androgynous or ambiguous ways in her self-portraits. Cahun’s work questioned fixed gender roles long before such ideas were widely accepted, making her a significant figure in early feminist and queer art.
2. Born Lucy Schwob in 1894 in Nantes, France, she later adopted the name Claude Cahun, choosing a gender-neutral identity that reflected her rejection of binary gender categories. This name change was part of her broader exploration of identity as something fluid and self-defined, rather than tied to societal expectations.
3. Cahun’s primary artistic goal was to challenge the societal norms surrounding gender and identity. She used self-portraiture as a tool to deconstruct and explore various personas, often presenting herself in androgynous or fragmented forms. Through costumes, makeup, and props, Cahun blurred the lines between masculinity and femininity, demonstrating that identity is not fixed but rather fluid and performative. Her work aimed to provoke viewers to rethink conventional notions of gender and self-expression.
4. In 1937, Cahun moved to Jersey with her partner, Marcel Moore. During World War II, they became active in the anti-German resistance, using their artistic skills to create and distribute anti-Nazi propaganda. Jersey became an important base for their political activism and creative work, and Cahun’s legacy on the island is commemorated today, highlighting both her artistic achievements and her courage during the war.

Image Analysis

‘I am training don’t kiss me’

Visual Analysis

The image features Claude Cahun herself, an artist known for exploring themes of gender, identity, and self-expression through self-portraiture. In this photograph, Cahun is posed facing the camera, yet her gaze is directed downward, with her face partially obscured by her hands. This creates a sense of mystery and ambiguity, which challenges the viewer’s ability to categorize her into a traditional gender role. The obscured face also speaks to Cahun’s exploration of the fluidity of identity, rejecting fixed, conventional representations.

Cahun’s attire is simple and androgynous, contributing to the blurring of gender boundaries in the image. She wears a loose, neutral outfit, steering away from the traditional feminine dress of the time. This ambiguity in dress further challenges societal expectations of how women should present themselves in the 1920s.

The object Cahun holds in her hands is a dumbbell, an unexpected item for a female figure during the 1920s, a time when women were often portrayed as delicate and passive. The dumbbell symbolizes strength, power, and physicality, which is in stark contrast to the more passive, ornamental role often assigned to women. The choice of this object reinforces Cahun’s rejection of gender norms and her embrace of physicality, autonomy, and control over her identity.

On her chest, a sign reads: “I am training – don’t kiss me.” This statement is both a literal and symbolic declaration of independence. It suggests that Cahun is focused on personal growth or training—whether intellectual, artistic, or physical—and rejects traditional romantic or sexual roles. The sign speaks to her resistance against being objectified or defined by external expectations, emphasizing her control over how she is perceived and the boundaries she wishes to set.

Technical Analysis

The photograph uses artificial lighting, likely studio lighting, given the sharp contrast between light and shadow. The lighting accentuates the contours of Cahun’s face and hands, guiding the viewer’s attention to the expression and gesture while adding a sense of mystery through the shadows. This high contrast effect contributes to the surrealist quality of the image and reflects the tension between visibility and concealment.

The background is blurred with a shallow depth of field, which suggests that a wide aperture (low f-stop) was used. This sharp focus on Cahun’s figure, contrasted with the soft, out-of-focus background, directs the viewer’s attention entirely on her and the symbolic elements she presents, such as the dumbbell and the sign.

The image is captured from a straight-on or slightly elevated angle, which eliminates any power dynamics between the subject and the viewer. This neutral angle emphasizes the subject’s autonomy and suggests that Cahun is presenting herself on her own terms, without relying on traditional hierarchical positioning.

The shot is a three-quarter body shot, focusing on Cahun’s torso and hands. This framing allows for a detailed examination of the subject and the symbolic elements in the image, while also emphasizing the performative nature of Cahun’s self-representation. The three-quarter shot also allows for a sense of intimacy while keeping the viewer at a slight distance, further playing with the boundaries between self-expression and public perception.

Contextual Analysis

In the 1920s and 1930s, women were navigating a complex shift in societal expectations. The 1920s, known as the “Roaring Twenties,” saw the rise of the “New Woman,” who was more independent, more mobile in public spaces, and more outspoken about her rights. This period also marked the victory of women’s suffrage in many Western countries. However, societal pressures remained, especially as the Great Depression in the 1930s ushered in a return to more traditional, conservative gender roles. In this context, Cahun’s work responds to these shifting dynamics, particularly the tensions between newfound freedoms and the persistent constraints on women’s roles.

Conceptual Analysis

Cahun’s work challenges the rigid roles imposed on women in the 1920s and 1930s, using her art to critique both gender expectations and the broader societal limitations placed on individuals. By adopting an androgynous appearance and rejecting traditional representations of femininity, Cahun subverts conventional notions of gender and identity. Her self-portraits, particularly this one, show that identity is not fixed but can be fluid, fragmented, and self-constructed.

The sign on Cahun’s chest, “I am training – don’t kiss me,” serves as a direct declaration of independence and autonomy. It suggests that Cahun is focused on her personal growth—whether intellectual, artistic, or physical—and rejects the idea of being defined by romantic or sexual attraction. The phrase “don’t kiss me” implies a refusal of objectification and a desire to assert control over how others interact with her.

The words “Totor” and “Popol” inscribed on the dumbbell may refer to private nicknames between Cahun and her partner, Marcel Moore. These playful names could represent the multiple identities Cahun navigated in her personal and artistic life. They may also allude to Cahun’s quote, “My soul is fragmentary,” suggesting that she viewed herself as a collection of overlapping, sometimes contradictory identities. This complexity is mirrored in the image, where Cahun presents herself as both a powerful, physically engaged figure (through the dumbbell) and an introspective, vulnerable individual (through her facial gesture and body language).

The juxtaposition of the feminine pose and the dumbbell in the image creates a powerful contradiction. On one hand, Cahun’s soft, contemplative pose suggests femininity, vulnerability, and passivity. On the other hand, the dumbbell, an object associated with strength, masculinity, and action, challenges traditional gender roles. This contrast reflects Cahun’s broader critique of fixed gender categories and her exploration of identity as something fluid, performative, and complex. By combining these elements, Cahun emphasizes that identity and gender are not defined by external expectations but are multifaceted, negotiable, and ever-evolving.

What is Identity?

Identity- the qualities, beliefs, personality traits, and characteristics that make an individual or group distinct from others.

Types of Identity:

Personal Identity: A person’s understanding of who they are, based on their experiences, values, memories, and self-image. (What makes a person ‘them’)

Social Identity: How a person defines themselves through their association with various groups, such as family, ethnicity, nationality, gender, or profession. This is influenced by societies expectations.

Cultural Identity: A sense of belonging to a particular culture or ethnic group, shaped of shared morals, values, language, and traditions.

Femininity:

What is Femininity?

Femininity- the qualities, behaviors, and attributes traditionally associated with being female or womanly in society. For example traits like nurturing, sensitivity, empathy, and emotional expressiveness. However, femininity is culturally and socially constructed, and its definition can vary across different cultures and historical periods.

Traits associated with Femininity:

1. Appearance: Societal expectations about how women should dress, or present themselves, such as wearing dresses or makeup (though these have changed through time.)
2. Social Roles: The roles women are often expected to take on, such as care-giving (traditionally to their husbands and children), homemaking, or being emotionally supportive.
3. Behavioral Expectations: Traits like politeness, compliance, and being nurturing toward others are often associated with femininity.

Masculinity:

What is Masculinity?

Masculinity-the qualities, behaviors, and roles that are traditionally associated with being male or manly in a given society. Like femininity, masculinity is socially and culturally constructed, meaning that what is considered “masculine” can vary across cultures and historical periods.

Traits associated with Masculinity:

1. Strength: Physical power or resilience, often in traditional masculine roles (physical work ect.)
2. Independence: Ability to be self-reliant, and the ability to manage things alone.
3. Assertiveness: A tendency to take charge, express opinions confidently, or lead.
4. Stoicism: The ability to remain emotionally controlled or unaffected, particularly in tough or challenging situations.
5. Courage: A willingness to take risks or face danger, often seen as a sign of manliness.
6. Dominance: A tendency to assert authority or leadership, sometimes linked to traditional gender roles in which men hold power over women.

How different aspects of Identity are influenced by your environment/ upbringing:

Gender Identity: The culture and environment in which someone is raised can affect how they express and understand their gender. In some places, traditional gender roles are strict, while in others, there’s more freedom to explore your gender.

Cultural Identity: Where you grow up shapes your connection to culture, language, and traditions. In a community that shares the same values, language, religion ect, cultural identity might be strong, while in diverse areas, people may adopt multiple cultural influences.

Social Identity: The groups we belong to, such as family, social class, or religion, are influenced by our surroundings. The values and norms of these groups shape our sense of self and how we relate to others.

Geographical Identity: Your sense of self can be tied to the region or country you’re from. For instance, a person from a bustling city like New York might identify with the fast-paced, diverse, and modern lifestyle. They may see themselves as part of a larger, diverse culture .On the other hand, someone raised in a rural village might identify with a quieter, more community-centered lifestyle, valuing close relationships and a connection to nature.

Political Identity: The political environment of where you live can influence your beliefs and values. Growing up in a particular political climate can strongly shape your political views and affiliation.

Loss or Lack of Identity: Migration, or rapid societal change can lead to a sense of lost identity. People who move away from their home cultures may struggle to fit into new environments, leading to confusion or social isolation.

Stereotypes and Prejudices: Stereotypes based on race, gender, or background can impact one’s identity. Living in an environment where prejudice is common can cause people to challenge these views.

Studio Lighting Mood Board

What is studio lighting?

Studio lighting in photography involves using artificial lights to shape and control how a subject is lit. This allows photographers to create specific effects, moods, and emphasize details that natural light can’t achieve.

The main components are:

1. Key Light: The main light that highlights your subject.
2. Fill Light: A softer light that reduces harsh shadows from the key light.
3. Back Light: Light behind the subject, adding depth and separation from the background.
4. Background Light: To light up the background and create texture or mood.

Why do we use it?

Studio lighting gives photographers control over how a subject is lit, allowing for specific looks and effects. Unlike natural light, it offers:

1. Control: Consistent lighting regardless of time or weather.
2. Flexibility: Different modifiers create various lighting styles.
3. Creativity: You can highlight details and create moods that natural light can’t.
4. Consistency: Reliable results, important for commercial or portrait work.
5. Detail: It brings out textures and features more clearly.

What is the difference between 1-2-3 point lighting?

1. One-Point Lighting:

• Setup: Just one light
• What it does: Creates strong shadows and a dramatic look, with high contrast.
• When to use: Good for moody or minimalist shots.

2. Two-Point Lighting:

• Setup: Key light + fill light to soften shadows.
• What it does: More balanced lighting, keeping some shadows for depth.
• When to use: Great for flattering portraits or when you want softer light but still some contrast.

3. Three-Point Lighting:

• Setup: Key light + fill light + back light (creates separation from the background).
• What it does: Well-rounded, balanced light with depth and dimension.
• When to use: Ideal for professional portraits or video, giving a natural, detailed look.

The types of lighting we are exploring:

1. Rembrandt Lighting

Rembrandt lighting is a classic portrait lighting style named after the famous painter. It creates a triangle of light on the shadowed side of the face. To set it up:

• Position the light at a 45-degree angle, slightly above the subject.
• This setup casts a shadow on one side of the face and forms a small triangle of light under the eye. It’s often used for dramatic, moody portraits.

Lighting Set Up:

2. Butterfly Lighting

Butterfly lighting is named for the butterfly-shaped shadow it casts under the subject’s nose. To achieve it:

• Place the light directly above the subject’s face.
• The result is a shadow under the nose that looks like a butterfly, with the rest of the face well-lit. This style is popular in beauty and fashion photography because it’s flattering and emphasizes the cheekbones.

Lighting Set Up:

3. Chiaroscuro

Chiaroscuro is a technique where light and dark are used in strong contrast to create depth and drama. It’s a concept from painting but is also used in photography and film. It involves:

• Lighting parts of the subject while leaving other parts in deep shadow.
• The contrast between light and dark adds a sculptural, dramatic feel to the subject. It’s great for creating a strong, artistic look or a mysterious, intense mood, like in noir films.

Lighting Set Up:

In summary:

• Rembrandt Lighting: Creates a triangle of light on one side of the face.
• Butterfly Lighting: Makes a butterfly-shaped shadow under the nose.
• Chiaroscuro: Uses light and shadow contrasts for depth and drama.

What is Fill lighting?

Fill lighting is used in photography or video to brighten up the shadows created by the main light. It helps soften harsh shadows, making the overall lighting more balanced and natural looking.

The idea is to add just enough light to the darker areas without making them too bright, so the image doesn’t look too contrasty. Fill light is usually dimmer than the key (light about half or even less) so it doesn’t overpower the main light.

You can use things like reflectors or even a second light set to a lower power to create fill light. The aim is to make the shadows less intense while keeping the overall look nice and even.

First Photoshoot

Editing

Chiaroscuro Lighting

This image shows chiaroscuro lighting. I achieved this by only having a light source on one side of the image and having a black background to exaggerate the contrast between light and dark.

Here Chanell put her hands in the middle of her face in order to show and exaggerate the clear distinction between the light and dark parts of her face.

Butterfly Lighting

I put the light source high up to create the butterfly shaped shadow under her nose.

Second Photoshoot

Contact Sheet

Butterfly Lighting

Chiaroscuro Lighting

I got her to scrunch her face to convey emotion but also to exaggerate the shadows formed by the lines on her face.

Rembrandt Lighting

Fill Lighting

Experimenting with photoshop

Final Images:

Formal Elements:

• Colour
• Line
• Shape
• Space
• Repetition
• Texture
• Value/Tone

Colour

Colour is a phenomenon of light

It has 3 properties:

• Brightness
• Hue
• saturation

Colour creates atmosphere, contrast, vibrancy ect amongst images. It usually has the most immediate affect.

Line

Line creates a visual path across an image and it can be used to covey a message within an image

It can be used to create movement, direction, pattern ect

Shape

Shapes can be used to define an image and create focus points. Shapes can be used to make silhouettes by paying attention to shadows.

Space

Shape can add depth to an image and allow space around the main point of focus.

Repetition

Repetition allows an image to have balance and a sense of rhythm throughout.

Texture

Texture allows you to capture the colours, shape and movement upon the surface of an object.

Value/Tone

Value/tone in an image creates definition amongst different elements in an image and it can create a 3D affect.

Texture is how colours and shapes are captured in an image, allowing you to visualize the texture and quality of an object/objects.

Minor White

Minor White was a key American photographer and writer who made a big impact on photography. He was especially known for his artistic approach and the way he explored deep themes in his work.

Minor White’s nature textured photos are a really interesting l part of his work and they have inspired me to use natural forms for this texture experiment.

He had a knack for capturing the little details and beauty of the natural world. His images often focus on textures in landscapes, plants, and other natural forms, playing with light and shadow to create depth, which I have utilised in my images.

By getting up close and using shallow depth of field, he makes those textures stand out, giving his nature shots a really intimate feel. His love for nature comes through in his photos, making them not just pretty pictures but also something to think about. They evoke feelings and spark contemplation, making them relatable on many levels.

Contact sheet – all photos I have taken

Strongest Images – with preliminary editing

I took the majority of these images up-close in order to capture the texture of the materials. This resulted in a couple of the images become abstract and unrecognizable which I like. Many of the images are deadpan images which create a sense of detachment and sharpness throughout.

My Best Images

This is my favourite version of the image that I edited on my phone. I like this image because it creates a sense of ‘golden hour’ as it looks like the sun is casting golden light over the pebbles. I did this by increasing the warmth in the image and turning up the exposure which exaggerated the light areas. I like how the light hits the high points of the pebbles because the light creates shapes on the pebbles surfaces, enhancing the image. I also increased the contrast which allows the texture of the pebbles to become more apparent.

This is the edited version, I like this image because you can’t immediately recognize what it is, so you aren’t distracted by the material itself, your only focused on the texture. I like how there is a vague pattern in the texture which enhances the impact of the image. With editing the silvery colours are exaggerated which gives the surface a metallic appearance.

This is the image after I edited it on my phone. I like this image because of the texture created by the overlapping of the sea weed. I increased the exposure in order to contrast the lighter and darker areas. I also increased the saturation and vibrancy which made the dull colours become brighter.

I love this image as you can clearly see every line and crack in the wood. I contrasted the light and dark in order to make these lines stand out even more and create an even wider range of tone. I also like how there is a ring of warmer colours which fade into lighter, cooler colouring. The focus is on the wood whilst the stones around it have a softer focus, I think this creates sharpness and definition as it is being contrasted with the background.

Edits on lightroom/photoshop

Original Image

I edited this image to be black and white to take the focus of the colours in the image and allow the texture to be the main point of focus.

Experiments

I used photoshop to experiment with editing this image:

Using the sepia tool to change the colours in the image:

My Final 3 images

Cropping

Here I cropped each image 3 times to see which version was the best.

Layout Experimentation

Final Images

Images in Virtual Gallery

Evaluation

Overall, I have used organic shapes, combined with busy textures and a vibrant use of highlights and shadows. All these elements enhance the formal elements throughout my photos.

Throughout my images I have focused on organic natural shapes and enhances the highlights, which creates a consistent warm tone throughout the group of photos. Throughout this collection I have also tried to achieve consistent shadows to add depth which also enhances the organic textures and shapes.

My first image I edited multiple times, this version is my favourite due to the use of textural lines that create a path that pulls you through the image. adding depth and perspective. The foreground of the photo has a darker tone of deep burnt orange which blends to a bright yellow towards the top (background) of the photo. This variation in tonal range adds balance to the composition. This creates a wide tonal range within the image. The lines also break up the texture of the sand by enforcing some areas to seem smother and others to appear more texturized. The bumps of sand exaggerate the shadows and highlights as they are raised and some areas are hit by the light and others aren’t, this adds to the overall texture of the image.

In contrast, this image has less depth to it and it’s been taken at a deadpan angle. Unlike the first image which takes you on a path, this image focuses solely on the shapes of the pebbles and the reflective surface of the water. The vibrant areas on the pebbles stand out which creates a bright formation of colours, beneath the rippling water. These colours are framed by the shadows around the pebbles, this creates texture and contrast within the image.

Adobe Lightroom is used to organize, store and edit images.

Importing Images

On Lightroom there is an import button in which you can import photos to store in Lightroom.

On Library mode, you can flag images and give them a rating out of 5 stars. This makes it easier to organize which images are the best or which images you want to edit.

Navigator Tool

Navigator tool gives you presets, which give you pre-made filters that you can add to your images.

Develop Mode

Develop mode lets you manually edit your images by adjusting the contrast, saturation ect.

Here is all my images in lightroom.

Here I made a folder for all my texture images, so my images are more organised and easier to access.

Shutter speed is the speed in which the shutter of the camera closes.

Fast Shutter speed

• Shorter exposure
• Lets in less light
• No motion blur

Slow Shutter speed

• Longer exposure
• Lets in more light
• Motion blur

Eadward Muybridge- fast shutter speed

Eadweard Muybridge was a groundbreaking photographer who made a name for himself in the late 1800s with his studies of motion. His biggest achievement was using high-speed photography to capture how animals and people move, which was pretty revolutionary at the time.

One of his most iconic works is The Horse in Motion, where he documented a horse running through a sequence of images. This not only highlighted how the horse moved but also prompted fascinating questions about the nature of movement itself.

Muybridge’s techniques opened up new doors for photographers. He proved that photography wasn’t just about snapping still shots, it could also capture movement and explore how things actually move. His work also impacted sport science, biomechanics and animation.

In summary, Muybridge’s clever use of shutter speed and his technique of capturing movement in a series really shook things up in photography.

Harold Edgerton- fast shutter speed

Harold Edgerton was an American engineer and photographer famous for his groundbreaking work in high-speed photography. He created techniques and gear that let him capture super fast events, allowing him to freeze motion like never before.

Edgerton created the electronic flash, or strobe light, which let him produce a quick burst of light. This was key because it allowed him to freeze motion in an instant, making it possible to snap photos of fast-moving things like bullets, dancers, and falling objects.

He used super short exposure times to reduce motion blur. By syncing the strobe light with the camera’s shutter, he could get exposure times in the microsecond range. This allowed him to capture details that you wouldn’t normally see.

By mastering shutter speed and lighting tricks, Edgerton really took photography to the next level, showing off the beauty and intricacies of motion like never before. His work opened up new paths for both science and art.

Hiroshi Sugimoto- slow shutter speed

Hiroshi Sugimoto is a famous Japanese photographer and artist known for his awesome and thought-provoking work. He often explores cool themes like time, memory, and how we see things in his photos. One of his popular series is “Theatres,” where he takes long-exposure shots of old movie theatres, really capturing the vibe of light and shadow.

Hiroshi Sugimoto plays around with slow shutter speeds in his long-exposure photography. This technique lets him capture moving light and shadow over a longer time, giving his images a cool sense of time and movement all in one shot.

In his “Theatres” series, for example, he keeps the shutter open long enough to let the projector’s light hit the screen while the rest of the theatre stays dark. This creates dreamy images that mix stillness with a sense of motion, making you think about time and memory.

In his “Seascapes,” the slow shutter speeds smooth out the water, creating peaceful, almost abstract landscapes that feel really calm and timeless. Overall, his approach with slow shutter speeds adds a lot of depth and a unique vibe to his work.

Francesca Woodman

Francesca Woodman was an American photographer known for her haunting, dreamy black-and-white shots. She often used herself as the subject and explored themes like identity, femininity, and the passage of time. Her work really captures feelings of vulnerability and has a unique vibe.

Francesca Woodman often played with slow shutter speeds in her photos to create a sense of movement and a dreamy vibe. This technique let her blur parts of her body or the background, giving her images a magical quality. By capturing herself in motion, she highlighted fleeting moments and the passage of time, which really adds to the emotional punch of her work.

In a lot of her shots, the long exposure creates ghostly effects, since she’d move around or let the light linger in the frame. This not only brings attention to her presence but also adds a layer of vulnerability and depth. The mix of sharp and blurry elements in her photos makes you think about identity and existence, giving her work that haunting, personal touch.

My experiments with shutter speed:

Studio

Outside

Different ways of focusing on a camera 

Manual Focus– close ups and fine detail ( use the focus ring on the end of the lens and adjust for each shot) 

Auto Focus– general focus 

What is focal length? 

The focal length of a lens is the optical distance (usually measured in mm) from the point where the light meets inside the lens to the camera’s sensor. 

When light enters the lens, the light gathers at the focal point. Light travels in a straight ray whereas, when it travels through a lens it refracts.
 

What is Aperture? 

Aperture is the opening in a lens which light passes through.  

Aperture is like the “pupil” for your camera system, it can open and close to change the amount of light that passes through. 

What is Depth of field?

depth of field is how much of your image is in focus. Its the distance in an image where objects are acceptably in focus.

Saul Leiter

Saul Leiter was a photographer who used abstract expressionism. He started out as a painter and he was influenced by shapes and colours. He used photography to create his own visions using reality.

He used depth of field in order to have different parts of his image in focus and others out of focus.

Here are some examples:

Lots of his images use large amounts of out of focus areas, drawing our eye to a particular detail or splash of colour.

A window covered with raindrops interests me more than a photograph of a famous person.

Saul Leiter

Images I took

My Images: Outside

Edited Photos

Inspired by Ralph Eugene Meatyard

Origins of Photography

Camera Obscura

Camera obscura is a dark room with a hole in one wall. When it’s light outside, light shines into the hole and projects an upside-down image of the outside world onto the wall. The image is projected upside down due to light travelling in a straight line through the hole. 

Camera obscura built the groundwork for light and optics used in photography. Due to it being a natural phenomenon it makes it hard to pinpoint the exact origins of photography.

Henry Fox Talbot

William Henry Fox Talbot was made the British inventor of photography. Photogenic drawing paper was invented by Henry Fox Talbot in 1834. Silver Nitrate and Sodium Chloride were used to make the light-sensitive Silver Chloride. Before he got into using small wooden cameras, nicknamed mouse-traps by his wife, he made images using plants (he studied plants). Unless it was fixed, the image would fade as fast as it was created. He used Sodium Chloride, Potassium Iodide, and Potassium Bromide for his early fixers. His Early images are very rare and priceless.

Daguerreotype

Daguerreotypes are direct positives, made from copper plated with silver without needing a negative.

The Daguerreotype was not as successful as Talbot’s system because it had serious limitations, the mirror like surface of the image could only be viewed from a narrow angle and the process produced a one of a kind image that did not permit printing duplicates.

George Eastman

George Eastman was born on July 12th 1854. He was an American entrepreneur who introduced the first Kodak camera.

He formed the company Kodak by spending decades developing a camera that was much smaller in size and accessible for everyone to use. He publicly launched the first successful roll-filled hand camera in 1888. Which was known as the Kodak camera.

Kodak (Brownie)

The Brownie was a series of cameras first released in 1900 which were developed by Eastman Kodak. These cameras were so significant as they were the first to allow average middle class people to buy and use them. People would take photographs then return them to Kodak where the images were developed and printed. Kodak would re-fill the film and return the images and camera back to the owner. This created a sustainable system for the general public to create their own images.

Digital Photography

The first digital image was created by Russell Kirsch in 1957.

The image was of Kirsch’s son Walden, the image only measured 176 pixels on a side and was just 5 cm by 5 cm.

The foundation for digital photography was built in 1969 by the Eastman Kodak team. Engineer William Boyle and Physicist George E. Smith created the charge-coupled device (CCD). This enabled electronic images to be captured.

In 1975, Steve Sasson invented the world’s first self- contained digital camera for Kodak, which changed the future of photography. He made the camera using a movie camera lens, a handful of Motorola parts, 16 batteries and some electronic sensors.

William Collie

In Jersey, William Collie was most likely the first to use Fox Talbot’s calotype process. He was from Scotland but had business in Jersey in Belmont road and Bath street from before 1850 to 1878. He held an important position in Britain’s early development of photography but sadly, he isn’t well known and very few of his images are available.