ANSEL ADAMS

Ansel Adams was an American landscape photographer and environmentalist, widely known for his black and white images of the American West. He was a co-founder of Group f/64, an association of photographers advocating for “pure” photography. This approach emphasized sharp focus, a full tonal range, and precise attention to detail. To achieve this, Adams developed the Zone System, a technique designed to ensure all tonal values were represented in an image ; from pure black to pure white, with 11 shades of Gray in between.

Beyond his contributions to photography, Adams was a passionate advocate for environmental conservation. His work in national parks helped to highlight the beauty and power of nature, reinforcing the importance of preservation for future generations.

His Photography

Ansel Adams’ photographic style is characterized by its sharp focus, exceptional detail, and dramatic use of light and shadow. He sought to capture the grandeur and beauty of the natural world, emphasizing the importance of preserving these pristine landscapes.

One of Adams’ key compositional techniques was to position the horizon about two-thirds up the frame. This choice placed emphasis on the landscape rather than the sky, enhancing the sense of scale and drama in his photographs.

Ansel Adams Photography Mood Board

Ansel Adams Photo analysis

The Tetons – Snake River

Technical Analysis

Lighting: The image features natural lighting, with strong contrasts between highlights and shadows. The light emphasizes the rugged texture of the mountains and the flowing river.

Aperture: Likely a small aperture (high f/stop), ensuring deep depth of field so that everything from the foreground to the distant mountains appears sharp and clear.

Shutter Speed: Given the clarity of the image, a fast shutter speed was likely used to prevent motion blur in the river and trees. likely above 1/200.

ISO: Likely low ISO to maintain fine detail and minimize grain, enhancing the crispness of the photograph. ( eg 100 iso)

White Balance: The black-and-white palette emphasizes tonal contrast rather than colour .

Visual Analysis

Colour & Tone: The monochrome scheme highlights the tonal range, from deep blacks in the trees to bright whites in the clouds. Which can be linked back to Ansel Adams zonal system.

Texture & Shape: The rough textures of the mountains contrast with the smooth curves of the river.

Pattern & Line: The winding Snake River creates a leading line, guiding the viewer’s eye through the landscape and into the mountains.

Composition: The river serves as a strong focal point, creating depth and movement in the image. The placement of the mountains follows the Rule of Thirds, while the sky and clouds add visual weight to the upper part of the image.

Contextual Analysis

Historical Context: Taken in 1942, this image is part of Adams’ work for the National Park Service, promoting conservation and appreciation of America’s natural beauty. It was also a period when photography was being used to document and preserve landscapes.

Personal Context: Ansel Adams was deeply committed to environmental conservation. His work played a role in shaping public perception of national parks, influencing conservation efforts.

Visual/Conceptual Contexts: This image aligns with the traditions of early landscape photography but elevates it through Adams’ mastery of composition and darkroom techniques. His use of the Zone System ensured precise control over contrast.

Cultural/Social/Political Contexts: The image embodies the American ideal of untouched wilderness, reinforcing the significance of national parks. At the time, the U.S. was involved in World War II, and Adams’ work offered a sense of peace and national pride.

Conceptual Analysis

Meaning & Idea: The photograph captures the scale and majesty of nature, emphasizing the power and beauty of the American landscape.

Theoretical Construct: Adams’ work is rooted in the philosophy of environmentalism and the idea that nature should be preserved and appreciated. His approach contrasts with the New Topographics movement, which documented human-altered landscapes in a more detached manner.

Early Life

One of Adams’ earliest memories was witnessing the devastation of the 1906 San Francisco earthquake. At just four years old, he was thrown face-first into a garden wall by an aftershock, leaving him with a broken nose that remained crooked for the rest of his life.

In 1907, his family moved to a home near Seacliff, just south of the Presidio Army Base, with a striking view of the Golden Gate and the Marin Headlands. As a child, Adams was hyperactive, frequently ill, and prone to hypochondria. He had few friends but found solace in nature. He spent much of his time exploring Lobos Creek, Baker Beach, and the rugged coastline of Lands End; an area notorious for shipwrecks and landslides. These early experiences in the natural world would later influence his lifelong passion for landscape photography and conservation.

Comparison of Ansel Adams and Edward Weston

Ansel Adams and Edward Weston were both pioneers of American photography, yet their artistic approaches, techniques, and subject matter were distinctly different. The Photo Literacy Matrix provides insight into their contrasting styles through the uses of technique, composition, subject, and their philosophy.

Influence and Approach to Nature

Adams on Weston’s Influence:

“I can’t tell you how swell it was to return to the freshness, the simplicity and natural strength of your photography … I am convinced that the only real security lies with a certain communion with the things of the natural world.” -Letter from Edward Weston to Ansel Adams, 1936.

While both photographers were deeply inspired by nature, Weston’s approach was more intimate and abstract, focusing on form and texture. Adams, on the other hand, sought to capture vast landscapes with unparalleled precision. This letter reflects Adams’ appreciation for Weston’s minimalist style and direct relationship with nature.

Adams on His Own Technique (Zone System)

“I developed the Zone System as a way to create consistency and accuracy in the photographic process. It was about controlling exposure and development to produce the exact tonal range I wanted. I wanted the photographs to be as precise as possible.” -Ansel Adams

Adams’ Zone System was a highly technical method, allowing photographers to control exposure and tonal values with scientific precision. In contrast, Weston was more intuitive, relying on his eye and emotional response rather than strict technical guidelines.

Weston on Adams’ Work

“There is a grandeur in Adams’ work, an extraordinary definition, but it is more than that – it is the clarity with which he sees, the care with which he interprets, and the immense patience with which he waits for the perfect light.” – Edward Weston

Weston admired Adams’ meticulous craftsmanship, patience, and ability to capture nature’s grandeur. This highlights the contrast between Adams’ structured approach and Weston’s more spontaneous, emotional engagement with his subjects.

Critical Perspectives on Adams and Weston

“Ansel Adams captured the majesty of the American West with unparalleled clarity and precision, while Edward Weston’s work transcends documentary, transforming simple forms into complex works of art that explore the depths of human experience.” -Photography Critic

This comparison underscores Adams’ reputation for technical excellence and breath-taking landscapes, while Weston is celebrated for his abstract, intimate compositions that evoke deeper artistic and emotional responses.

ANSEL ADAMS PHOTOSHOOT

What is Meant by a topographic?

Relating to the arrangement of the physical features of an area. “a topographic map of the site” Anything topographic has to do with the surface of the earth, including every valley and hill. A topographic map includes lines that show the elevation of the land.

What is meant by the term New topographics in relation to photography during the industrial revolution?

“New topographics ” was a term created by William Jenkins ( An Art Critic.) in 1975 to describe a group of American photographers (such as Robert Adams and Lewis Baltz) , New topographics can be seen as another way to describe landscapes: how they are structured visually/physically and composed. For this era of photography it was used as a label to generalise a style of photography which included pictures that had a similar banal ( lacking originality, freshness) aesthetic, in that they were formal, mostly monochrome ( black and white) prints of the urban landscape.

Photographers associated with the New topographics.

Overall, Most The Photographers Associated with new topographics including Robert Adams, Lewis Baltz, Nicholas Nixon, Joe Deal, Frank Gohlke, Bernd and Hilla Becher, and Stephen Shorer, Where clearly inspired by the man made , selecting subject matter , that was matter-of-fact. This included urban structures like parking lots, suburban housing and warehouses were all depicted with a unique stark austerity ( sternness or severity of manner or attitude) , Almost in the way early photographers documented the natural landscape.

An exhibition at the international museum of photography located in Rochester, New York featuring these photographers also revealing a story of a growing unease about how the natural landscapes where being eroded by industrial development.

The new topographics also had a decisive influence on later photographer including those artists who became known as the Düsseldorf school of photography.

What Was the New Topographics a Reaction To?

The New Topographics was a response to the romanticized and dramatic landscape photography that dominated earlier styles, particularly in the works of Ansel Adams and the American West tradition.

This movement emerged in reaction to the rapid industrialization and suburban expansion of the 20th century, shifting the focus from untouched nature to human-altered landscapes. Instead of capturing spacious wilderness, these photographers documented the everyday, man-made environment, portraying the stark reality of urban society, industrial sites, and suburban developments.

Characteristics of the New topographics style Photography.

Robert Adams, Lewis Baltz, Nicholas Nixon, Joe Deal, Frank Gohlke, Bernd and Hilla Becher, and Stephen Shore ; shared a common aesthetic:

Banal Subject Matter: They depicted ordinary, functional landscapes such as suburban housing developments, highways, warehouses, and industrial zones.

Matter-of-Fact Presentation: Their images were often formal, detached, and devoid of overt emotional or political statements.

Monochrome & Colour Photography: Many photographers used black-and-white photography, reinforcing a documentary-like objectivity, while others, like Stephen Shore, explored the potential of colour.

Stark Composition : The compositions were often simple, symmetrical, and methodically structured, emphasizing repetition and geometry.

Minimalist Aesthetic: The photographs had a clinical, neutral tone, rejecting romantic standards set by the romanticism era.

The Influence of New Topographics

The movement significantly influenced later photographers, particularly those of the Düsseldorf School, including Andreas Gursky and Thomas Struth. Their approach to large-scale, detailed images of contemporary urban life echoes the conceptual and aesthetic principles established by the New Topographics.

CASE STUDY: Stephen Shore, Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975, chromogenic colour print

Technical Analysis

Lighting: The image is illuminated by natural daylight, casting strong shadows and enhancing contrast. The even lighting ensures all elements remain visible and well-defined. The bright, clear sky provides a solid backdrop for the man-made structures in the foreground.

Aperture: The deep depth of field keeps every element sharp, from the Chevron sign in the foreground to the mountains in the distance.

Shutter Speed: The presence of motion blur in the orange and yellow cars in the foreground suggests a slightly slower shutter speed, emphasizing movement in contrast to the stillness of the signage and architecture.

ISO: The fine grain and sharp detail indicate a low ISO, maintaining clarity in both bright and shadow areas.

White Balance: The cool blue sky contrasts with the warmer tones of the signage and pavement, reinforcing the separation between natural and man-made elements.

Visual Analysis

The foreground is heavily cluttered with signs, traffic lights, and fuel station, while the background is an open, expansive sky with distant mountains. This juxtaposition emphasizes how even though urbanization occurred , natural landscapes are always in part present and not forever lost, however very much dominated and overwhelmed by the man-made structures

Colour:

The dominant red, white, and blue in the Chevron sign echo American nationalism, reinforcing the idea that corporate branding is deeply embedded in American identity.

Tone:

The photograph balances light and dark tones, using contrast to define structures. The solid blue sky acts as negative space, making the signs stand out prominently.

Texture:

The smooth, reflective surfaces of signs and vehicles contrast with the rough pavement

Shape & Form:

The strong geometric composition features rectangles, vertical lines, and directional signage, creating leading lines which help your eyes through the image.

Pattern & Repetition:

The repetition of corporate signage (Chevron, Texaco) and road signs emphasizes the omnipresence of consumer culture.

Line & Space:

The road acts as a leading line, guiding the viewer’s eye toward the mountains.

The Chevron sign’s arrows direct the gaze further into the scene

The low horizon line places emphasis on the sky while anchoring the cluttered urban environment below.

Contextual Analysis

Historical Context:

The low fuel prices indicate a time when gasoline was significantly cheaper, reflecting an era of car dependency.

The 1970s American Dream was heavily associated with freedom, travel, and consumerism, all fuelled by the oil industry.

Personal Context

Stephen Shore, a key figure in the New Topographics movement, deliberately photographed mundane, everyday American scenes to challenge traditional ideas of beauty in photography.

Cultural/Social/Political Contexts:

The signage pollution symbolizes corporate intrusion into public spaces.

The American car culture and oil industry are central themes fuel companies profited from the nation’s reliance on cars , influencing infrastructure and lifestyle choices.

Wider Connections:

The tension between national pride (symbolized by American colors) and corporate dominance raises questions about whether commercialism has overtaken cultural identity.

Conceptual Analysis

The Chevron sign is a dominant signifier, larger and more prominent than any natural elements in the frame, symbolizing corporate power.

The use of red, white, and blue in the Chevron sign mirrors the American flag, blending corporate branding with national identity.

The large-format camera allows for a vast depth of field, ensuring every detail is crisp and visible. This enhances the documentary nature of the image, making the viewer engage with all elements rather than focusing on a singular subject.

Identity self portrait mini project.

This series of photographs delves deeply into themes of identity, self-discovery, and the conflict between societal expectations and personal desires. The illuminated balloon replacing the subject’s head becomes a powerful metaphor, serving both as a mask and a representation of the subject’s emotions and turmoil. The balloon, glowing with a surreal, almost childlike quality, evokes nostalgia for the simplicity and freedom of childhood; a time unburdened by the rigidity and monotony of adult life. Its weightlessness contrasts sharply with the heavy symbolism of the suit the subject wears, a uniform of professionalism that hints at his role as an office worker trapped in the endless loop of societal conformity. The suit signifies the oppressive nature of his identity, reduced to being just another cog in the machine, an “ant” in the larger structure of a system that suppresses individuality.

The balloon also serves as a visual representation of his inner conflict. its glow suggests fleeting moments of clarity and self-awareness, while its fragile, impermanent nature symbolizes his longing to escape the identity forced upon him. The balloon’s presence acts as a mask, concealing the emotions and dissatisfaction beneath, while amplifying his hatred toward the person he has become. The use of colour strengthens this narrative: blue evokes sadness and the monotony of routine, purple reflects introspection and the deep yearning for escape, and yellow hints at fleeting hope or memories of a happier, untainted self.

The subject’s body language, tense and reflective, paired with the dramatic interplay of light and shadow, further emphasizes his internal struggle. The darkness around him reinforces his feelings of isolation, while the illuminated balloon stands out, as if mocking him with its surreal brightness, a symbol of both his desire for freedom and his inability to achieve it. By removing the subject’s facial features, the series universalizes its narrative, inviting viewers to project their own feelings of nostalgia, dissatisfaction, or longing onto the imagery. Ultimately, the photographs capture the haunting idea of a man who despises his identity and longs to shed the mask of adulthood, yearning to return to a time when life was defined by freedom, playfulness, and authenticity.

Statement of intent

The intention behind this series of photographs was to explore themes of identity, nostalgia, and the conflict between personal desires and societal expectations. The images were created in my living room, using household lamps as lighting sources to craft dramatic and moody atmospheres. I utilized a tripod to keep the camera steady and relied on a timer to capture self-portraits. To achieve the surreal illusion of the balloon replacing my head, I held a lit-up balloon in my mouth, allowing it to appear as though it were my head glowing with emotion and inner turmoil.

By wearing a formal suit, I aimed to symbolize the restrictive nature of adulthood, particularly the monotonous life of an office worker. The suit represents societal conformity and the feeling of being trapped in an endless cycle of professional obligations, reducing individuality to just functionality. The illuminated balloon, serving as both a mask and a metaphor for my emotions, embodies the tension between self-awareness and dissatisfaction. Its glow evokes dissolving moments of clarity, while its fragility and playful, weightless nature reflect a yearning to return to the innocence and freedom of childhood.

The colour choices and lighting were intentionally dramatic to convey specific emotions: blue suggests melancholy, purple reflects introspection, and yellow symbolizes fleeting hope or moments of happiness. The series aims to capture the struggle of defining one’s identity within societal constraints while expressing the longing to shed the burdens of adulthood and rediscover childhood and joy.

What was Romanticism?

Romanticism ( also referred to as the Romantic era or Romantic movement ) Was a artistic and intellectual driven movement which originated in Europe towards the latter 18th century.

The objective of the movement was to Highlight the importance of Subjectivity , Imagination , and to cherish the importance of nature in society and culture ,marked by a focus on individualism, an emphasis on nature, emotion over reason, freedom of form, and an exploration of the Gothic and unknown in response to the ” Age of Enlightenment” , the industrial revolution , and the whole idea of physical materialism in general.

( The Enlightenment, also known as the Age of Reason, was an intellectual and cultural movement in the eighteenth century that emphasized reason over superstition and science over blind faith. – Wikipedia)

John Constable

John Constable (1776–1837) was a key figure in the Romantic movement, known for his emotional and expressive landscape paintings that captured the beauty of the English countryside. As part of Romanticism, which emphasized emotion, individualism, and the Sublime, Constable focused on nature’s power , but in a more intimate way compared to other Romantic artists.

Rather than depicting violent forces, Constable’s work captures the shifting moods of nature through dynamic skies, changing weather, and atmospheric light. Paintings like Salisbury Cathedral from the Meadows (1831) showcase nature’s vastness, evoking a sense of awe and humility. His landscapes communicate the Sublime not through destruction, but through the beauty and grandeur of nature, reflecting both calm and intensity.

Constable’s use of “plein air” painting (En plein air, or plein-air painting, is the act of painting outdoors. This method contrasts with studio painting or academic rules that might create a predetermined look.)

he worked directly outdoors, allowed him to capture the fleeting qualities of light and weather, adding immediacy to his works. His ability to convey nature’s raw beauty, like in The Hay Wain (1821), helped reshape landscape painting by making it more authentic and emotionally charged, aligning with Romantic ideals.

The Sublime

The idea of The Sublime , nature’s power to overwhelm, inspire, and even frighten , became especially important during the Industrial Revolution (late 18th–19th century). As cities grew and machines took over, people longed for nature and began romanticizing its wild, untamed beauty. Artists and photographers used their work to capture this sense of awe and wonder.

The Sublime in Landscape Photography through history

For example, J.M.W. Turner, a sublime artist of the Romantic period, captured the awe and terror of nature’s forces in his paintings. His works, like Snow Storm: Steam-Boat off a Harbour’s Mouth, depict violent storms and vast, turbulent seas, where the viewer feels the raw power of nature. The dramatic use of colour and light conveys not just the beauty of nature but also its ability to frighten and humble.

• Carleton Watkins – Took stunning photos of Yosemite, showing its towering cliffs and deep valleys, making people feel both amazed and tiny in comparison.

• Ansel Adams – Used dramatic lighting and deep contrasts to highlight the power of nature, especially in American national parks. His images of mountains and storms perfectly captured the Sublime.

• Gustave Le Gray – Photographed powerful seascapes, using long exposures to capture dramatic waves and skies, creating an almost otherworldly effect.

Personal Connection to the Sublime: The Jersey Coastline

Living in Jersey, the coastlines offer a perfect example of the Sublime in nature. The vast tides, golden beaches, and ever-changing skies along the island’s shores provide a tangible link to the sublime landscapes of the Romantic period. The way the sea crashes against the rocks, particularly during storms or at high tide, can evoke that same feeling of awe and fear. There’s something about standing on a high point and looking down at the vastness of the ocean that puts everything into perspective , reminding us of nature’s immensity and unpredictability.

Edmund Burke, an 18th-century philosopher, described the Sublime as something “productive of the strongest emotion which the mind is capable of feeling.” In this context, the Sublime has both beauty and terror, as it overwhelms the senses and leaves one feeling small and insignificant in comparison to the vastness of nature.

When photography was invented in 1839, it offered a new way to explore and share the Sublime. Early landscape photographers like Carleton Watkins captured towering cliffs and deep valleys in Yosemite, evoking a sense of both amazement and insignificance. Similarly, Ansel Adams used dramatic lighting to highlight nature’s power in American national parks, particularly in his black-and-white images of mountains and storms, portraying the raw force of nature. Gustave Le Gray, known for his seascapes, captured the sublime quality of the ocean with long exposures, creating images of crashing waves and dramatic skies that seem almost otherworldly.

These photographers didn’t just document landscapes; they made people feel the sheer scale and force of nature, much like Romantic painters did.

The Industrial Revolution and the Rise of Landscape Photography

As factories and cities spread, many people felt disconnected from nature. Photography became a way to preserve and appreciate landscapes that were rapidly changing. Some key effects of the Industrial Revolution on landscape photography included:

• Increased travel – Trains and steamships made it easier for photographers to reach remote, dramatic landscapes.
• Environmental awareness – Photographs of untouched landscapes, like those by Watkins and Adams, helped inspire conservation efforts, leading to the creation of national parks.
• Contrast between nature and industry – Some photographers used landscapes to highlight the loss of wild spaces, showing smoke-filled skies and factories creeping into natural areas.

What is a Landscape?

A landscape is a picture of natural scenery, like mountains, trees, rivers, and skies. It can be realistic, abstract, or stylized, showing the beauty of nature or how people interact with their surroundings. In photography, landscapes focus on composition, lighting, and perspective to create a mood, highlight nature’s beauty, or even make a statement about the world.

Google definition

Landscape photographs typically capture the presence of nature but can also focus on human-made features or disturbances of landscapes. Landscape photography is done for a variety of reasons. Perhaps the most common is to recall a personal observation or experience while in the outdoors, especially when traveling.

When Did Landscape Art Become Popular?

Landscape painting started gaining attention during the Renaissance (15th–16th century), but at first, it was mostly used as a background for religious or mythological scenes. By the 17th century, artists—especially Dutch painters like Jacob van Ruisdael—began painting landscapes as the main subject, making it a recognized art style.

What are Classical Landscapes?

Classical landscapes became popular in the 17th century, thanks to Italian artists like Claude Lorrain and Nicolas Poussin. Their paintings showed idealized, peaceful scenes with balanced compositions, inspired by ancient Greek and Roman art. These landscapes weren’t just about nature; they aimed to create a perfect, dreamy version of it.

When Did Landscape Photography Begin?

Landscape photography started in the mid-19th century, soon after photography was invented in 1839. Early photographers like Carleton Watkins and Ansel Adams used large cameras to take detailed images of nature. Their work helped people see landscapes in a new way and even influenced environmental movements. Unlike paintings, photography could capture nature exactly as it was, making it a powerful tool for sharing the beauty of the world.

Why Did Landscape Art Become More Popular in the 18th and 19th Centuries?

During the late 18th and 19th centuries, the Romantic movement changed how people saw nature. Artists like J.M.W. Turner and John Constable wanted to capture the power and emotion of landscapes, from dramatic storms to peaceful countryside scenes. The Industrial Revolution also made people long for nature as cities grew and machines took over daily life. Many artists were inspired by The Sublime, a concept that described nature’s ability to be both beautiful and overwhelming.

Claude Cahun (1894–1954)

Who:
Claude Cahun, born as Lucy Schwob in Nantes, France, was a pioneering photographer, poet, and writer. She adopted the name Claude Cahun as a gender-neutral persona, reflecting her resistance to societal gender norms and her exploration of identity beyond the binary. Cahun’s work was highly experimental, challenging conventional notions of gender, sexuality, and the self.

What:
Cahun is best known for her self-portraiture, which she used as a tool for gender exploration and identity fluidity. She transformed herself into various personas using makeup, costumes, and props, blurring the lines between masculine and feminine. Her works often included surrealist elements, utilizing symbolic imagery and dreamlike compositions to challenge perceptions of reality and identity. Cahun’s photographs also explored the performative nature of identity, questioning how roles and gender are constructed.

When:
Cahun’s most significant photographic work was created in the 1920s and 1930s, during her involvement with the surrealist movement in Paris. Her later works, particularly during the 1940s, became politically charged as she and her partner, Marcel Moore, were involved in resistance activities during World War II.

Where:

Born in Nantes, France, Cahun moved to Paris during the 1920s, where she became part of the avant-garde and surrealist circles. In the late 1930s, she and Moore relocated to the Channel Island of Jersey, where they lived during the German occupation in WWII. It was in Jersey that Cahun’s work took on a more political tone as she used photography for resistance propaganda.

How:
Cahun’s photography was deeply performative, with the artist using herself as the subject to create multiple constructed personas. She utilized props, costumes, and makeup to transform her identity, playing with gender ambiguity and challenging the traditional notions of the feminine and masculine. Her works often included surreal, dreamlike compositions and symbolic imagery. Cahun’s approach to self-portraiture was collaborative, particularly with Marcel Moore, who assisted in capturing many of her most iconic works.

Why:
Cahun’s photography was a direct challenge to societal norms around gender and identity. By using self-portraiture as a tool for experimentation, she questioned the fixed nature of gender roles and explored how identity is shaped by culture. Cahun’s work, much of which was feminist in nature, critiqued the traditional expectations placed on women and offered an early commentary on gender fluidity and sexuality. Her photographs also explored the performative aspects of identity, positioning her as a significant figure in the history of self-representation and early critiques of fixed gender norms.

MOODBOARD

World war II activism

In 1937, Cahun and Moore moved to Jersey, where they became active in resisting the German occupation during World War II. Opposed to war, they produced anti-German propaganda, including rhythmic poems and critical messages derived from BBC reports on Nazi atrocities. Using the pseudonym Der Soldat Ohne Namen (The Soldier With No Name), they secretly distributed these flyers at German military events, placing them in soldiers’ pockets, on chairs, and in cars. One notable act was hanging a provocative banner in a church that mocked Hitler’s authority. Their resistance was not just political, but also artistic, reflecting their desire to challenge and undermine authority.

In 1944, they were arrested and sentenced to death, but the sentence was never executed due to the liberation of Jersey in 1945. Despite this, Cahun’s health suffered from her imprisonment, and she died in 1954. During her trial, she reportedly told the German judge that they would have to shoot her twice, as she was both a resistor and a Jew, which led to laughter in the courtroom and may have saved her life. Cahun and Moore are buried together in St Brelade’s Church. Their resistance efforts were a deeply personal, lifelong fight for freedom.

LEGACY

Claude Cahun’s work, which remained largely unrecognized during her lifetime, has since gained significant attention for its social critique and revolutionary impact on art and gender norms. She used her photography and writing to challenge societal expectations, particularly those related to gender, beauty, and logic, destabilizing conventional notions of reality. Cahun’s involvement in the Surrealist movement added new perspectives, especially with her portrayal of women not as erotic symbols but as fluid, gender-nonconforming figures. Her work has been described as “prototransgender,” with some considering her a precursor to modern trans self-representation.

Cahun’s life and legacy have gained renewed recognition in recent years. A street in Paris was named after her and her partner Marcel Moore in 2018. Cahun’s WWII resistance work, along with Moore’s, was highlighted in the 2020 book Paper Bullets. She was also honoured by Google in 2021 with an animated Doodle for her birthday. A novel based on her life, Never Anyone But You, was published in 2018, and in 2023, a graphic novel about her life, Liberated: The Radical Art and Life of Claude Cahun, was released, further exploring her artistic and political activism.

Image Analysis

Visual Aspects

Claude Cahun’s black-and-white self-portrait immediately draws you in with its strong composition and exploration of identity. The image is split between two versions of Cahun: her physical form on the left and her reflection in the mirror on the right. This duality feels deeply personal, almost like a visual representation between how she sees herself and how the world perceives her.

Her androgynous appearance is striking. The short hair, checkered shirt, and upturned collar challenge conventional ideas of femininity. The raised collar seems to suggest she’s hiding a part of herself, while the reflection, showing her bare neck, hints at a more vulnerable side. Creating a interesting contrast between what’s concealed versus what’s revealed.

Her serious expression adds emotional weight. She looks directly at the viewer, almost challenging us, yet she turns away from the mirror, as if rejecting her own reflection. The plain background keeps all the focus on her, amplifying the intensity of her presence and the interplay with the mirror.

Technical Aspects

The soft, natural lighting in this photo enhances the fluency of the photograph , Shadows are gentle, giving depth to her face and texture to her clothing. The absence of harsh contrasts makes the image feel intimate and smooth.

The composition feels deliberate, with the mirror perfectly aligned to create balance. The camera is at eye level, making the connection between Cahun and the viewer feel direct and personal. Her sharp focus ensures both she and her reflection demand equal attention, forcing us to at least acknowledge the tension between the two.

Conceptual Aspects

This portrait is a conversation about identity, duality, and self-perception. Traditionally, mirrors in art symbolize vanity or beauty, but here, Cahun flips the script. She doesn’t admire her reflection. she seems to reject it. Her pose suggests discomfort with what the mirror reveals, yet she confronts the viewer head-on, as though asking us to consider the same questions about identity.

The raised collar adds layers to this narrative. It hints at concealment. something she’s choosing not to show us. But the mirror exposes her neck, a symbol of vulnerability and openness. This interplay between hiding and revealing feels universal. Highlighting the internal conflicts we all face about how much of ourselves we show to the world.

Cahun’s choice of clothing and androgynous style were radical for her time. By rejecting societal expectations of femininity, she challenges us to think about gender as something fluid , not as a fixed and deeply cemented concept. This bold self-representation speaks to themes that feel just as relevant today as they did during her time, as she battles her own physical reality with how she really feels.

Contextual Aspects

Cahun created this photograph in the early 20th century, a time when gender roles were rigid and societal expectations weighed people down heavily. As a French artist associated with Surrealism, she was part of a movement that loved to explore dreams, illusions, and hidden truths. This aligns perfectly with her use of mirrors to delve into identity and self-perception.

During this period, photography was gaining traction as an art form, and Cahun used it not just to create striking images but also to push boundaries. Her work feels like a quiet rebellion/ refusal to conform to the era’s strict ideas of gender and identity.

Emotional Response

Looking at this photograph, you can’t help but feel a mix of unease and empathy. The direct gaze pulls you in, almost demanding your attention, while the turned-away reflection creates a sense of conflict. It’s as if Cahun is wrestling with self-acceptance, a struggle that feels both deeply personal and universally human.

The raised collar and the mirror deepen this emotional tension. They remind us of the parts of ourselves we keep hidden and the vulnerability of having them exposed. Her serious expression feels heavy, as though she’s carrying the weight of these questions. questions we might ask ourselves, too. In the end, the portrait leaves you thinking about the complex, often contradictory nature of identity, making it as impactful today as it was then.

Clare Rae: Exploring the Body, Landscape, and Performance

Melbourne-based artist Clare Rae is known for her evocative photographs and moving image works that challenge traditional representations of the female body by exploring its relationship with physical environments. In 2017, Rae participated in the Archisle International Artist-in-Residence programme in Jersey, where she delved into the Claude Cahun archive. During her residency, she created new photography and film, ran workshops, and examined Cahun’s connections to Jersey’s cultural and physical landscapes.

Her residency culminated in the creation of the series Entre Nous (Between Us): Claude Cahun and Clare Rae, which debuted at the Centre for Contemporary Photography in Melbourne (March 22–May 6, 2018) and later exhibited at CCA Galleries in Jersey, UK (September 7–28, 2018). Accompanying the series, Rae published Never Standing on Two Feet in April 2018, featuring an introduction by Susan Bright and an essay by Gareth Syvret.

Never Standing on Two Feet: A Feminist Perspective on Landscape and Identity

In this series, Rae investigates how Claude Cahun’s engagement with Jersey’s landscapes shaped her work, particularly in relation to its coastal geography and Neolithic ritual monuments. Rae reflects:

“Like Cahun’s, my photographs depict my body in relation to place; in these instances, sites of coastal geography and Jersey’s Neolithic ritual monuments. I enact a visual dialogue between the body and these environments and test how their photographic histories impact upon contemporary engagements.”

Rae builds on Cahun’s legacy of using self-portraiture to critique the male gaze, positioning her work as a feminist exploration of self-representation. Her practice integrates gesture and performance to reimagine the female body in landscapes, contrasting and unsettling traditional depictions.

Artistic Influences and Methodologies

In an artist talk, Rae contextualized her practice, drawing connections to artists such as Claude Cahun, Francesca Woodman, and Australian performance artist Jill Orr. She highlighted the role of performative photography in her work, where gesture and the body become tools for disrupting conventional narratives. Rae also discussed her engagement with architecture and the body, her methodologies for image-making, and the conceptual outcomes of her projects.

Her work invites viewers to reconsider the interplay between identity, landscape, and performance, building on historical contexts while addressing contemporary feminist concerns. For a deeper exploration of her process and its influences, see the blog post Photography, Performance, and the Body.

Danny Lyon is an American photographer and filmmaker. All of Lyon’s publications work in the style of photographic New Journalism, meaning that the photographer has become immersed in, and is a participant of, the documented subject. He is the founding member of the publishing group Bleak Beauty. 

One of the most original and influential documentary photographers of the post-war generation, Danny Lyon forged a new style of documentary photography, described in literary circles as “New Journalism,” an unconventional, personal form of documentary in which the photographer immersed himself in his subject’s world.

Inspired by his work in Middle America, Lyon built a house in New Mexico, where he’s lived since 1970. Lyon continues to work, with his new book This is My Life I’m Talking About releasing in 2024

This is the artist which i will be basing my masculinity photoshoot on. It will be centrered around how motorbikes highlight masculinity and character

What is Masculinity?

Definition : Masculinity involves displaying attitudes and behaviours that signify and validate maleness, and involves being recognised in particular ways by other men and women.

Society : Masculinity

There is no universal set of expectations around masculinity: within societies, there are dominant codes that exert pressure on, and create expectations around men – with consequences for women, children and society as a whole.

 The understanding of masculinity varies across time and socio-cultural contexts, and within groups and networks; and men also ‘perform’ their masculinity differently and inconsistently. Just as masculinity is defined by its relationship with femininity, women too have an important role to play in the interpretation and understanding of masculinity, particularly in their interaction with men and boys.

Different studies acknowledge four facets of masculinity: hegemonic, complicit, marginalized, and subordinate masculinities

Hegemonic Masculinity

This refers to the dominant, culturally idealized form of masculinity, which emphasizes traits like strength, toughness, independence, and risk-taking behaviour., men who adhered to hegemonic masculinity were more likely to engage in harmful behaviours like excessive alcohol consumption and smoking, as these actions were seen as ways to affirm their masculinity. They often re direct the responsibility for their health to women, as the preparation of food, in particular, was perceived as a feminine duty. However, hegemonic masculinity also had protective elements. Moreover , men who followed this ideal were more likely to engage in physical activity to maintain physical strength and muscle mass, which is linked to better health outcomes.

Complicit Masculinity

This group refers to men who may not fully embody hegemonic masculinity but still benefit from the social privileges that come with the dominant gender norms. They may not actively engage in all of the behaviours associated with hegemonic masculinity, but they are still complicit in the broader system that privileges these traits. In terms of health, men with complicit masculinity might not engage as heavily in risk-taking behaviours like drinking or smoking, but they may still hold some of the traditional views about food preparation and health that could affect their choices.

Marginalized Masculinity

This form of masculinity is associated with men who are marginalized due to factors such as race, class, or socioeconomic status. These men may struggle to meet the idealized standards of hegemonic masculinity. While the study didn’t focus extensively on marginalized masculinity, it’s possible that men who fall into this category might face additional challenges when it comes to health behaviours. For example, they may experience greater barriers to accessing healthcare, nutritious food, or opportunities for physical activity, which could make it more difficult to adhere to healthy lifestyle practices.

Subordinate Masculinity

Subordinate masculinity refers to men who deviate from or do not conform to the traditional masculine ideals. These men are often looked down upon by those who adhere to hegemonic masculinity. This could include men who are less physically competitive or who do not engage in behaviours like heavy drinking. In the context of the study, subordinate masculinity might align with men who are more willing to take responsibility for their health, particularly around food preparation or seeking medical care. However, the study suggests that these men might still struggle with societal expectations and gender roles that discourage healthy behaviours, particularly when it comes to being the primary caregivers or decision-makers regarding health.

Femininity

Femininity (also called womanliness) is a set of attributes, behaviours, and roles generally associated with women and girls. Femininity can be understood as socially constructed, and there is also some evidence that some behaviours considered feminine are influenced by both cultural factors and biological factors.

Identity

Identity is the set of qualities, beliefs, personality traits, appearance, and/or expressions that characterize a person or a group. Identity emerges during childhood as children start to comprehend their self-concept, and it remains a consistent aspect throughout different stages of life

How identity can be influenced by “place”, or belonging, your environment or upbringing.

There are many factors that shape identity, and they can be both external and internal factors. Society, family, friends, ethnicity, culture, location, media, interests, self-expression, and life experiences are all common factors that shape identity.

Multiple pathways exist through which families may influence adult identity formation, including levels of social control and monitoring, warmth and closeness, responsibility, and hierarchical family relations 

When we are in familiar surroundings, we tend to feel more secure and strengthen our sense of identity. We feel more in control of our lives and boost our self-confidence. On the other hand, when we lack an established place, a home, we may feel lost and disconnected.

“Placefulness” is an awareness of the place—where one is or where one comes from. And remembering that places shape one’s expectations and understandings of the world. Feeling a sense of belonging is very important. Without it, we’re unmoored in the world.but it can also lead to a lack of awareness.

Our sense of identity and belonging is impacted by various factors, including our experiences, relationships, and our environment. The journey to find identity and belonging can often be a struggle, since we ask ourselves, ‘who am I?

Engine Photos

Mechanic 1 series

mechanic 2 series

mekanik 3

mekanik 4

Motorcycle

motor love

MotorMenace

masking to make subject stand out

Motor Aura

Faceless series

Helmet in hand

All together

Surrealist photography is experimental. Photographers employ manual camera settings, imaginative composition, and unusual photo editing techniques to represent unconscious ideas, dreams, and emotions. “Surreal images tend to be dreamlike and tap into people’s unconscious.

Artists who utilise these techniques.

Dora maar

Henriette Theodora Markovitch (22 November 1907 – 16 July 1997), better known as Dora Maar, was a French photographer, painter, and poet. A pioneering Surrealist artist and passionate antifascist activist, Maar’s work spanned a wide range of subjects, from commercial photography for fashion and advertising to documenting the social and economic struggles during the Great Depression. Her art frequently explored Surrealist themes, and her innovative darkroom techniques delved into psychology, dreams, and inner states.

In the 1930s, Maar was one of the few photographers to exhibit alongside prominent Surrealists like Man Ray and Salvador Dalí in major exhibitions in Paris, New York, and London. Her bold and experimental approach to photography was central to the Surrealist movement.

Maar’s political activism and distinctive photographic style also had a significant impact on Pablo Picasso, especially during their romantic relationship. Many believe her influence contributed to Picasso’s creation of Guernica (1937), his powerful anti-war masterpiece. According to Amar Singh, curator of the Amar Gallery in London, “She influenced Picasso to paint Guernica – he had never entered political painting before.”

Picasso depicted Maar in several of his paintings, such as Portrait of Dora Maar and Dora Maar au Chat. However, Maar herself remarked, “All his portraits of me are lies. They’re all Picassos. Not one is Dora Maar,” suggesting that the images Picasso created of her did not capture her true essence.

Man ray

Man Ray (born Emmanuel Radnitzky; August 27, 1890 – November 18, 1976) was an American visual artist who spent most of his career in Paris. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known for his pioneering photography, and was a renowned fashion and portrait photographer. He is also noted for his work with photograms, which he called “rayographs” in reference to himself.

jerry Uelsmann

Jerry Norman Uelsmann (June 11, 1934 – April 4, 2022) was an influential American photographer, renowned for his surreal and enigmatic photomontages. Emerging as an artist in the 1960s, Uelsmann gained international acclaim for his unique approach to composite printing, which he used to explore and express the emotional depths of the human experience. Over his six-decade career, his work was showcased in major exhibitions, earned him prestigious awards, and was widely published.

Among his many honors were a Guggenheim Fellowship, a National Endowment for the Arts grant, a Royal Photographic Society Fellowship, and a Lucie Award. Uelsmann described his creative process as a journey of discovery in the darkroom, which he considered a “visual research laboratory.” Rather than adhering to the previsualization technique popularized by photographers like Ansel Adams and Edward Weston, Uelsmann coined the term “post-visualization,” creating his final image after taking the photograph, rather than planning it in advance. This allowed him to construct visual narratives akin to dreams, resulting in works that often felt emotionally more truthful than the physical world itself.

By the 1980s, Uelsmann became one of the most collected photographers in the United States, influencing both analog and digital photographers. Although he admired digital photography, Uelsmann remained firmly dedicated to the craft of black-and-white film photography, preferring the darkroom’s alchemical process.

ERIC Johansson

Erik Johansson (b. 1985) is a Swedish photographer and visual artist based in Prague, Czech Republic. He is known for creating surreal worlds through the combination of photographs. He primarily focuses on personal projects and exhibitions, and his approach to photography is unique in that he seeks to capture ideas rather than moments. Using his camera and imagination, he strives to create a single, realistic image that tells a story, even if it includes elements that seem impossible. Essentially, he works to solve the problem of how to capture the impossible.

WORK PROCESS

Erik places a strong emphasis on realism in his work and aims to make the viewer feel as though they are part of the scene. While much of his process involves post-production and combining photographs, he also makes an effort to capture as much as possible on location. This often involves building props and carefully planning the shoot.

Lighting and perspective are crucial in creating realistic compositions through the combination of images. If certain elements cannot be captured on location, Erik recreates them in a controlled environment. He has a thorough understanding of every aspect of the process, from idea and planning to photography and post-production, in order to ensure that everything comes together seamlessly. Each photograph and element serves a purpose in the final image.

Erik handles all post-production himself in order to have complete control over the final result. The idea, photography, and post-production are all interconnected, and the final image does not surpass the quality of the photographs used to create it. Similarly, the strength of the photographs is derived from the underlying idea.

Erik does not use computer- or Ai-generated material, nor illustrated- or stock images, relying solely on complex combinations of his own photographs. This process is time-consuming, and he produces only about ten new works per year. To learn more about how his images come to life, you can watch his behind-the-scenes videos as well.

My attempts at using Coloured gels in the studio.

I used coloured gels and strategic lighting to emphasize contrasts and create a sense of mood and depth in the portraits. Here’s how I approached the process:

Lighting Setup

I placed coloured gels over two types of lights to achieve this effect:

1. Spotlight: Used to direct focused light on the subject’s face or create striking highlights. The gels added bold, saturated colours, like red and blue, which helped shape the mood of the image.
2. Honeycomb Light Modifier: This was key to controlling the spread of light. By narrowing the light beam, I could focus on specific areas of the subject while preventing unwanted spill into the background, allowing for sharp contrasts between light and shadow.

Creative Process

• Colour Selection: I chose complementary colours (e.g., red and blue) to create visual tension and contrast in the portraits. These colours helped highlight the contours of the face and added a dynamic energy to the shots.
• A red gel on the side light created a strong outline of the subject.
• A blue gel from the opposite side added cool highlights.

Camera Settings

1. ISO 100: I selected a low ISO to ensure the cleanest possible image with minimal noise. Studio lighting provides ample light, so a higher ISO wasn’t necessary.
2. Shutter Speed 1/125: Studio flashes have a sync speed limit, and exceeding this (e.g., going faster than 1/125) could result in a partially exposed frame, as the camera shutter might not fully open during the flash. Keeping it at 1/125 allowed me to properly sync with the studio lights without losing any of the exposure.
3. Aperture (f-stop): I set the aperture based on the intensity of the studio lights and the desired depth of field. A moderate aperture (e.g., f/8) helped maintain focus on the subject while keeping the lighting balanced across the face

Shooting Process

• Flash Syncing: The studio flash provided consistent light bursts, so I ensured my settings were in sync with the flash duration for even illumination.
• Colour Gels: The gels absorbed some light, so I occasionally adjusted the aperture to compensate and maintain the correct exposure.

Creative Portraits

Creative Montages

Montages in photography, often referred to as photomontages, are a creative technique where multiple photographs or visual elements are combined to create a single composite image. This approach allows photographers and artists to transcend the boundaries of traditional photography, crafting narratives, exploring symbolism, or simply creating visually striking compositions. Here’s a deeper look into photomontages:

History and Origins

Photomontage originated in early 20th-century Dadaism, where artists like Hannah Höch and Raoul Hausmann used it to critique political, social, and cultural norms. Höch’s works, in particular, challenged gender roles and societal hypocrisies through cut-outs from mass media. Beyond Dadaism, photomontage became a powerful tool for propaganda and political critique, using juxtaposed images to deliver subversive messages.

Techniques

Photomontage techniques include the traditional cut-and-paste method, where photographs or printed materials are physically assembled on a canvas for depth. Modern digital tools like Adobe Photoshop have transformed the process, using layers, masks, and blending modes for seamless integration. Adding textures or frames enhances the montage by providing richness, depth, and a tactile or vintage feel.

Aesthetic and Conceptual Elements

Photomontages can evoke surreal, dreamlike imagery by combining unrelated elements, a technique often associated with artists like Max Ernst. They also carry symbolic meaning, with juxtapositions like a human hand and machinery exploring themes such as labour or technology. Additionally, montages can craft narratives by blending details and scenes that wouldn’t naturally coexist in a single image.

Applications in Modern Photography

Photomontages are widely used in fine art to create thought-provoking or abstract pieces for gallery displays. In advertising and media, they craft visually engaging content by blending lifestyle imagery with product shots. For personal projects, photographers use montages to explore conceptual ideas or enhance storytelling.

Examples of Artists

• Hannah Höch: Pioneer of photomontage, known for her feminist and political critiques during the Weimar Republic era.
• John Heartfield: Another Dadaist, whose montages were explicitly anti-fascist, criticizing the Nazi regime through powerful imagery.
• Jerry Uelsmann: A modern pioneer of surreal photomontages, Uelsmann used analogue darkroom techniques to combine multiple negatives into seamless compositions long before digital tools existed.

El Lissitzky

El Lissitzky (1890–1941) was a Russian artist and designer, a key figure in the avant-garde movements like Constructivism and Suprematism. His work spanned painting, graphic design, and architecture, and he sought to reflect the social and political changes in post-Revolutionary Russia.

Lissitzky is especially known for his photomontages—artworks that combine photographs with other graphic elements like typography and abstract shapes. These montages often carried political messages, supporting the Bolshevik Revolution and promoting socialist ideals. His style was bold and geometric, blending dynamic visuals to capture the energy of modern, industrial society.

One of his most famous works, Beat the Whites with the Red Wedge (1919), used a simple red wedge to symbolize the victory of the Bolsheviks over their enemies. Lissitzky’s innovative use of space, color, and form extended beyond montages, influencing architecture and design.

Lissitzky contributions to modern art continue to inspire graphic design, typography, and architecture, and he remains a crucial figure in the history of 20th-century art.

Here is my attempt at recreating some of his work.

My Attempt at recreating his work.

-John Heartfield

(1891–1968), born Helmut Herzfeld, was a German artist and pioneer of political photomontage, renowned for his sharp critiques of fascism and social injustice. A member of the Berlin Dada movement, he used innovative cut-and-paste techniques to create bold, satirical works that exposed Nazi propaganda, such as Adolf, the Superman: Swallows Gold and Spouts Junk and Hurrah, die Butter ist Alle! His photomontages, often published in leftist magazines like AIZ, combined visual allegory and typography to advocate for socialist ideals and workers’ rights. Forced to flee Germany in 1933 due to his anti-Nazi stance, Heartfield lived in exile before returning to East Germany after World War II. His legacy as an artist-activist continues to inspire contemporary visual and political art.