Part 4 Reflection

The feedback for Part 4 highlighted both strengths and areas for development in my recent work on lighting and long exposure photography. I was pleased to see that my reflections on lighting and its impact were acknowledged, particularly through the exercises where I experimented with different artificial light sources. This process helped me begin to understand how various types of lighting can dramatically change the mood and outcome of a photograph.

One of the key suggestions was to explore lighting not just as a tool, but as a subject in itself. Meaning I could consider how lighting can create atmosphere, evoke emotion, and contribute to storytelling within a still life or indoor setting. While I had started to do this in the banana exercise, it was noted that the image of the “banana sunbathing” felt disconnected from the others. In hindsight, I could have embraced the humorous tone more fully by developing that narrative across the whole set. Perhaps through actions like peeling the banana or introducing props that enhanced its character. This would have created a more cohesive and playful approach.

Technically speaking, I need to improve my handling of exposure when using experimental light sources. Some of the banana images were underexposed, which resulted in a loss of tonal range. Going forward, I’ll pay closer attention to exposure and consider bracketing shots or adjusting lighting placement to ensure that the full range of tones is captured, especially in low-light setups.

In assignment 4, I was encouraged by the feedback on my choice of subject and the development of the theme through a consistent visual approach. I found Marcus Doyle’s work especially inspiring, particularly the way his use of artificial light suggests a human presence that’s just out of frame. His cinematic style gave me a new perspective on how urban night photography can feel narrative-driven even when no people are present. I need to build on this by comparing the visual strategies of different photographers more directly in my reflections, deepening my analysis.

The feedback also pointed out that the first two images in my cityscape set were brighter and quite similar to each other, which affected the overall cohesion. This reminded me of the importance of curating a final selection that feels consistent not just in subject but also in tone. I plan to reflect more critically on what each image brings to a set and explore alternative combinations of images to better understand how small tonal or compositional changes can shift the impact of the work.

I acknowledged that working without a tripod limited the sharpness of my images. In future shoots, I will either secure a stable position, using a wall or another surface, or fully embrace the motion blur, using it creatively as seen in Dominic Pote’s work. This would allow me to lean into the expressive potential of movement rather than see blur as a flaw.

In summary, this feedback has shown me that I’m on the right path with my experimentation and reflection, but there is much more I can do to push my creative and technical development. I need to treat lighting as both subject and storyteller, refine my technical control, reflect more deeply on image selection, and become more intentional about presentation. These next steps will help strengthen both the visual impact and the conceptual depth of my photographic work.

Part 3 Reflection

Reflecting on the feedback for my (In)Decisive Moment section has been a valuable experience, both in terms of refining my approach to street photography and in understanding how to strengthen my final set of images. My tutor noted the two images that stood out most: the man photographing while I photograph him and the figures focused on a camper van in the car park. These images caught my attention too, and it’s clear to me now how their composition and narrative work well as decisive moments. What I didn’t realise before was just how much potential these moments have for storytelling and for further developing the direction of my street photography.

The idea of photographing people as they photograph others is an interesting avenue to explore. There’s something captivating about capturing the interplay between photographer and subject, especially when the roles are reversed in the image. This moment gives the viewer a glimpse into the act of photography itself. Similarly with the camper van image, despite its flatness creates a solid narrative and provides a subtle story about what these people are doing. I see how these images fit into a coherent set, and this is something I want to build on as I move forward.

One of the key takeaways from my tutor’s feedback is the importance of being open to refining my work. The suggestion to reshoot and expand my ideas is something I’ll be putting into practice. I’ve already started thinking about how I can add more variety to my approach. There’s a need to capture more “decisive moments” that feel authentic, and I’m now aware of the power of getting closer to my subjects. Street photography can often benefit from a certain level of intimacy, and I’m keen to push myself out of my comfort zone in this regard. By getting physically closer to the action and exploring more varied lighting and locations, I’m confident I’ll add more depth and diversity to my imagery.

I also appreciate the suggestion to incorporate contact sheets into my process. This would give me a way to demonstrate how I am refining my choices throughout the process. I’m starting to see the value in reflecting on my contact sheets, not just as a documentation of what I shot but as a way of visually tracking my thought process and decision-making. Additionally, I’ll be using these reflections as part of my ongoing practice of sustaining creativity, as suggested by Gibbs’ Reflective Cycle. This method could help me gain deeper insights into my work, offering a more structured approach to my reflections, which will ultimately support my creative growth.

The feedback also mentioned to include images from other photographers whose work I admire. I see how this can add further depth to my own creative process. For example, street photographers like Alex Webb, Garry Winogrand, and Bruce Gilden have had a significant impact on my approach. Their ability to capture fleeting moments with a sense of narrative is something I want to emulate. Reflecting on their work, comparing their compositions, and understanding their techniques will provide valuable lessons as I refine my approach to capturing the decisive moment.

In conclusion, I’m excited to build on the ideas from this assignment and explore new ways to develop my street photography. I look forward to pushing myself further and producing a stronger, more refined set of images that truly communicate the essence of the decisive moment.

Part 2 Reflection

Working through Part 2 and Assignment 2 has helped me push my technical skills further, especially with using perspective, line, and compositional techniques in my photography. I’ve started noticing how small choices like the angle I shoot from, or the way light hitting the ground can completely change the feeling of an image.

One of the big takeaways from my tutor’s feedback was the encouragement to keep applying these techniques across different subjects, locations, and lighting conditions. As I keep practicing, I can already feel myself becoming more aware behind the camera. I’m realising that it’s not just about taking a “good” photo but about understanding what the environment gives me each time I go out to shoot. Weather, time of day, even the mood I’m in, all these things affect the image.

The reflection around the roads appearing in my final set of eight images was interesting to think about. Five out of the eight photos include the curve of a road, creating strong leading lines and offering a real sense of the ground beneath our feet. I hadn’t fully noticed this pattern when selecting them, but looking back, it feels very connected to the act of walking and moving through the landscape, which was a subconscious part of this project. It’s something I want to be more deliberate about in future assignments: reflecting on the balance of recurring elements in a set and making sure they support the story I’m telling, rather than feeling repetitive.

The feedback also pointed out the importance of visually evidencing my process more clearly through showing contact sheets, thumbnail selections, and reflections on my planning stages. I can see how this will help me deepen my creative process, by not just choosing my final images instinctively, but understanding and explaining why I’m drawn to certain frames over others. It’s about documenting the thinking behind the choices as much as the choices themselves.

Research has been another important area of focus. The advice to look at photographers whose work connects to my own ideas has opened up new possibilities. Exploring the work of Charlie Waite, Richard Long, and Matthew Chase-Daniel has already shown me how different approaches to landscape can influence not just technique, but the meaning behind an image. Including this kind of research alongside my own practice will help me build a stronger critical and contextual base for my projects. It also feels exciting to know that I can borrow methods, styles, and ways of seeing from a wide range of artists and mould them into something that feels like my own voice.

Overall, Part 2 has been a chance to slow down, look more carefully, and start layering more thought into every stage of the photographic process. I’m looking forward to planning more intentional shoots, experimenting with different locations and lighting, and paying attention to both the grand views and the tiny details under my feet.

This reflection marks an important point for me. Moving from simply capturing moments to consciously creating a body of work, built on technique, thought, and personal interpretation.

Part 1 Reflection

Reflecting on the first part of the course, I’m realising how important it is to let go of overthinking and just start making images. The Square Mile exercise was a gentle but valuable reminder that there’s creativity to be found in the familiar. I didn’t need to search for something extraordinary or travel far, just stepping outside and paying attention to what’s around me was enough to get going.

My tutor’s feedback highlighted the contrast between the diagonal, dynamic compositions and the more flat-on building shots in my early work. That observation made me pause and think about how different compositions guide the viewer’s eye, and how intentional or instinctive some of my choices were at the time. The diagonal shots that draw the eye toward the horizon carried more energy, while the head-on images offered a quieter, more contemplative feel. Noticing this contrast has made me want to be more deliberate with how I frame scenes moving forward, depending on the story or mood I’m trying to convey.

The artist research section really helped me begin to explore where my interests lie. Looking into the work of Gawain Barnard, Roni Horn, Tom Hunter, and Karen Knorr was like unlocking different corners of photography that speak to different parts of my curiosity. From atmosphere and subtle storytelling to more conceptual or staged approaches, each artist brought something different into focus for me. What stood out most was how they each made the ordinary feel worthy of attention, something I hope to carry forward in my own work.

The feedback also reminded me that this assignment was about simply beginning. The Square Mile was never meant to be perfect; it was about developing an eye for themes, connections, and the potential in local surroundings. I can already feel how valuable it’s been to view my photography as a series, not just isolated images. That way of thinking, seeing my photos as part of a set or story, is something I want to build on throughout the course.

In many ways, this first part felt like the foundations being laid. Paying attention to my surroundings, exploring what grabs me visually, and taking inspiration from artists who help me look differently. From here, I’m excited to keep building confidence in both my technical skills and my creative intuition.

The Power of Context In Photography

As I’ve been exploring the current course materials and reading Terry Barrett’s essay “Photographs and Context”, I’ve been thinking a lot about how meaning in photography isn’t fixed. It changes depending on so many factors, from where an image is displayed to what surrounds it. This idea really resonates with something I’ve always believed: anything can be art if you give it context.

Barrett breaks down context into three types: internal, external, and original. Internal context is what we see in the photograph itself. Its subject matter, composition, colors, and emotions. External context is all about how the photograph is presented, whether it’s hanging in a gallery, posted online, or printed in a newspaper, and what words or images accompany it. Original context involves the story behind the photo, why it was taken, who took it, and under what circumstances.

This has made me realize that a photograph isn’t just about what’s captured inside the frame. It’s also about the world that surrounds it, both at the moment it’s taken and later when it’s shown to others. Its meaning can shift depending on when, where, and how we experience it.

I also found Quentin Bajac’s conversation with Paul Graham really inspiring. They talked about how even if you set out with a strong idea in mind, the real world will inevitably change it. You have to stay open and let yourself be “seduced” by what you encounter. This fluid relationship between planning and perception feels really important, not just for photography, but for creativity as a whole.

Reflecting on all this has made me more aware that as I continue photographing, I’m also building a context around my work. It’s not just about taking “good” photos, it’s about telling a story, creating a feeling, and deciding how I want my work to be seen and interpreted. And I love that. It reminds me that even the smallest, most everyday moments can become meaningful art if they are framed and presented thoughtfully.

Moving forward, I’m excited to embrace this more intentional way of working. Holding space for both my ideas and the unexpected beauty of real life.

Assignment 4 – Languages of Light

For this assignment, I revisited the theme of artificial light, using my local environment in Woodend as my subject. I’ve always been drawn to the dark, moody aesthetics created by ambient lighting and neon signs, particularly at night when artificial lights stand out more vividly. This fascination became the foundation for my project, where I explored the relationship between light, space, and atmosphere. I wanted to show how everyday spaces, when lit in certain ways, could evoke feelings of isolation, nostalgia, or quiet beauty.

Developing the original exercise from Part 4 into a full assignment helped me move beyond simply documenting artificial light. Instead, I used light as an emotional device, crafting scenes that felt cinematic rather than purely observational. I had to adapt quickly when unexpected rain began falling, but I embraced it, allowing reflections and wet surfaces to amplify the atmosphere I was trying to capture. This challenged me to be more resourceful and observant, pushing my creative thinking further.

My work was strongly influenced by several practitioners. Todd Hido’s House Hunting series had a major impact on my approach. His images of suburban homes at night, often softly glowing in otherwise dark landscapes, capture an emotional stillness I wanted to reflect in my own photographs. His use of light to isolate subjects and create atmosphere informed many of my compositional choices.

Alongside Hido, Edward Hopper’s paintings, especially his night scenes of diners and gas stations, also shaped my thinking. Hopper’s work evokes solitude through light, space, and the way figures, or their absence, are framed within settings. I aimed to recreate a similar quiet tension without relying on obvious narratives.

The staged, cinematic lighting in Gregory Crewdson’s work also provided some visual inspiration. It reminded me to be deliberate about how artificial light defines mood, even though my approach was far less staged.

Finally, Sinziana Velicescu’s minimalist cityscapes and use of car light trails inspired me to experiment with movement and reflections, seeking beauty in otherwise overlooked urban scenes.

Technically, I shot using manual settings to manage the challenging lighting conditions. I kept ISO on auto to focus on aperture and shutter speed adjustments. I opened the aperture between f/4.5 and f/8 to gather more light, depending on the available illumination. For scenes involving light trails or very dark environments, I used slower shutter speeds, between two and five seconds, to allow movement to blur into glowing streaks. Without a tripod, I stabilized the camera on railings, car roofs, or handheld the shots as steadily as possible. As a result, some natural motion blur appeared in a few images, but rather than detracting from the work, I believe it contributed to the ethereal, cinematic quality I was aiming for.

The final series includes ten images. Rain falling on a car window at traffic lights created dreamy, abstract colors. A light trail shot captured movement across the street corner. A house porch illuminated by an outdoor light yielded a slightly blurred but ghostly image, enhancing the feeling of otherworldliness. Other photographs included a car and garage lit starkly by a single bulb, a train pausing at a wet, reflective platform, and the local pub corner shimmering with neon green light and fairy lights. I also photographed a warmly lit shopfront, a solitary neon sign in a window, and water droplets on my car window to conclude the sequence.

In assessing my work, I believe the strongest aspect is how the rain unified the images, adding consistent texture, mood, and reflection across the series. The contrast between the dynamic light trails and the stillness of other scenes created a strong visual rhythm. I am particularly happy with how composition and reflections helped build depth and layering within the frames, often leading the viewer’s eye naturally through the scene.

The main weaknesses stem from the technical limitations of not having a tripod. Some images, like the porch scene, contain more blur than I intended. However, upon reflection, these imperfections contribute to the dreamlike atmosphere I sought. In a few cases, framing could have been wider to create more breathing room around the subjects. Some compositions feel a little too tight, slightly disconnecting the scene from its environment. In hindsight, varying focal lengths more might have improved the sense of space and enhanced the cinematic quality I wanted.

Overall, I feel this project successfully captures the intimate, often overlooked relationship between artificial light and everyday spaces in Woodend. By focusing on small moments—the glow of a streetlamp, reflections on wet pavement, or the neon flicker of a pub sign, I aimed to transform ordinary settings into something emotionally resonant. I also feel I met the criteria for Creativity by adapting to conditions, experimenting with light and movement, and developing a personal, imaginative response to the brief. This assignment helped build my confidence in crafting atmosphere through photography and deepened my connection to the subjects I photograph.

Bibliography

Hido, T. House Hunting. At: http://www.toddhido.com/househunting.html [accessed 27/4/2025]

Crewdson, G. Gagosian Gallery. At: https://gagosian.com/artists/gregory-crewdson/ [accessed 27/4/2025]

Hopper, E. Edward Hopper – Official Website. At: https://www.edwardhopper.net/ [accessed 27/4/2025]

Velicescu, S. Exteriors – Commercial Architecture. At: https://www.sinzianavelicescu.com/commercial-architecture/exteriors [accessed 27/4/2025]

Contact Sheet

4.3: Egg or Stone – Ex Nihilo

This exercise was about creating light from scratch, building it “ex nihilo” instead of discovering it out in the world. With no natural lighting to rely on, I had to build an environment where I could fully control the light’s quality, contrast, direction and colour to reveal the form of a simple, organic object.

I chose to work with an egg, focusing on how light could bring out its shape, surface and presence within the frame. I placed the egg on a small lid so that it would stand up by itself. My “studio” was minimal. I used a desk with a lamp as my main light source. Two pieces of white paper created the background.

The first image was a classic soft portrait, with the lamp placed just above and slightly behind the camera, directly facing the egg. This created soft, even lighting that gently wrapped around the egg, producing minimal shadows and a neutral, balanced mood. It felt clean and simple. A kind of lighting you might use for a traditional headshot or product photo.

For the second shot, I moved the light to a 45-degree angle to the side of the egg. This created a much more dramatic look, with strong contrast between the illuminated and shadowed areas. The hard light brought out the shape and curvature of the egg more clearly, carving it out from the background and giving it a sculptural, intense presence.

In the third shot, I kept the light in the same 45-degree side position but changed the camera angle to a bird’s eye view. Looking down on the egg from above created a more abstract composition, where the sideways shadows fell across the surface in interesting ways. It felt less like a portrait and more like a study of form and space.

The fourth shot used backlighting to shift the mood completely. I positioned the lamp behind the egg, angled slightly toward it, so that the light created a glow around the edges. The front of the egg fell into shadow, which made exposure a bit trickier, but the result had a soft halo effect and a mysterious, dramatic feel. It almost looked like the egg was silhouetted, which was a nice change from the earlier setups.

Finally, the fifth shot placed the light directly overhead, while the camera returned to a front-on portrait position. This setup created a symmetrical spotlight effect, with soft shadows falling evenly around the base of the egg. It flattened the form a little but gave the image a clean, graphic look, almost like a product shot, but with a more focused, isolated mood.

What really stood out to me in this task was just how much impact small lighting changes can have. Shifting the position of the lamp or changing the angle of the camera altered the entire feel of the photo. Even with a simple object and a minimal setup, there were endless possibilities. It reminded me that in studio photography, the light becomes the subject in many ways. It’s not just what you’re photographing, but how you reveal it.

This was a great chance to practice being deliberate and thoughtful with lighting, and I came away with a deeper appreciation for how light behaves and how much control you really have over it, even with the most basic tools.

Assignment 3 – The (In)decisive Moment

For this assignment, I wanted to explore the photographic concept of the decisive moment. A term famously associated with Henri Cartier-Bresson, while also reflecting on the opposite: the quiet, unresolved indecisive moment. Both ideas fascinated me, especially as I noticed that the world around me is constantly moving, yet most human behavior falls somewhere between pause and flow. By observing people in public spaces, I became aware of just how many seemingly uneventful moments can hold visual tension and emotion.

My photographic series was captured around Melbourne, specifically near the waterfront, parks, and urban streets. I allowed myself to photograph whatever naturally unfolded rather than wait too long for the “perfect” moment. This approach allowed me to observe how the two themes emerged organically in the everyday.

Decisive Moments:

I define a decisive moment as that instant when all elements in a scene such as light, shape, subject, and background, align to create a visually complete and emotionally satisfying image. These images don’t require explanation; their strength lies in the clarity of the moment.

One example is a photo of a couple sitting on a bench as the world moves past behind them. Their stillness creates a powerful contrast against the life flowing around them. Similarly, another couple sat on the grass nearby, absorbed in their own world, creating an intimate moment that felt timeless even in a busy setting. A third example captured a man raising his camera to photograph the Melbourne skyline. A split-second alignment of human intention and environmental beauty.

Indecisive Moments:

The indecisive moments in this series focus on the unspectacular but quietly telling in-between states. These are fragments of time where the narrative feels incomplete or paused, inviting curiosity.

One image shows a woman stopping mid-walk to check her phone. Her stillness hints at disconnection from her surroundings, almost as if the world kept moving while she stood still. Another photograph shows people waiting at a crossing, their postures loaded with anticipation. Finally, a family captured just before climbing into a minivan reflects a similar idea: the moment before action, where energy is held rather than released.

Perhaps the most compelling example of this theme came about unintentionally. As I descended an escalator onto a train platform, I captured people waiting for the train below. The resulting image had a grainy texture, partly due to the lighting conditions and motion, which echoed the aesthetic of a film camera. The grain, combined with the quiet, anticipatory scene, enhanced the sense of suspended time.

Reflection:

Throughout this assignment, I was reminded of Alberto Giacometti’s insights on the conflict between seeing the whole and focusing on detail. Despite Giacometti being a masterful draughtsman, he found it almost impossible to concentrate on the entire figure without losing sight of its individual parts and vice versa. He learned that rather than forcing concentration, the answer was to allow the eye and brain to flow naturally between the two. I felt a similar shift when photographing this series. The most successful moments came when I stopped trying to “control” the scene and allowed instinct to guide me.

Photographically, this project has taught me that both decisive and indecisive moments hold value, and both require patience and observation to capture. The key isn’t always about seizing action, but rather recognizing when a composition, whether resolved or suspended, can hold emotional or visual interest.

This assignment allowed me to reflect on the everyday with a new eye, noticing patterns and pauses I’d usually overlook. By embracing both sides of the moment, I feel my understanding of photographic timing and visual storytelling has deepened.

Influences

Henri Cartier-Bresson — The Decisive Moment
Alberto Giacometti — on perception and the relationship between part and whole
Ruth Bernhard — “If you are not willing to see more than is visible, you won’t see anything.”
Street photographers such as Joel Meyerowitz and Matt Stuart, who celebrate both the unexpected and the understated in public scenes.

Bibliography

Cartier-Bresson, H. (1952). The Decisive Moment. New York: Simon and Schuster.

Lord, J. (1965). Giacometti: A Biography. New York: Farrar, Straus and Giroux.

Meyerowitz, J. (n.d.). Joel Meyerowitz. [online] At: https://www.joelmeyerowitz.com/ [accessed 12/04/25].

Stuart, M. (n.d.). Matt Stuart Photography. [online] At: https://www.mattstuart.com/ [accessed 12/04/25].

Photographers

I looked into the methods used by the photographers that are mentioned in the course brief, and I found several reoccurring themes that I will explain at the end.

Wim Wenders:

Wenders highlights the power of focus in guiding the viewer’s gaze, suggesting that the choice of where to direct attention within a frame is a significant decision. He remarks, “The most political decision you make is where you direct people’s eyes.” – Wim Wenders (1997) quoted in Broomberg & Chanarin, 2008

This quote from Wim Wenders highlights the power of directing the viewer’s gaze, which is a significant aspect of using depth of field in photography. The choice of focus (shallow or deep) can subtly influence how a photograph is read, much like how a director in cinema uses focus to guide the audience’s attention.

Andre Bazin:

Bazin discusses how deep focus cinematography allows viewers the freedom to choose where to direct their attention within a scene, promoting a more personal engagement with the visual narrative. He notes, “Deep focus gives the eye autonomy to roam over the picture space so that the viewer is at least given the opportunity to edit the scene himself.” – Bazin (1948) quoted in Thompson & Bordwell, 2007

Ansel Adams:

Adam and his contemporaries championed the use of small apertures to achieve sharpness throughout the image, aligning with their belief in photography’s independence from traditional art conventions. They viewed this approach as a means to “remain independent of ideological conventions of art and aesthetics that are reminiscent of a period and culture antedating the growth of the medium itself.” – F64 Group Manifesto, 1932

Fay Godwin:

Fay Godwin, a British landscape photographer, also used depth of field as a political tool. Her photobook Our Forbidden Land (1990) used deep focus to convey the expansive but restricted nature of the countryside in Britain. This visual technique helped to communicate the message of restricted access to nature, which played a part in changing laws governing public access to the countryside in Britain.

Gianluca Cosci:

Cosci’s use of shallow depth of field in his series Panem et Circenses employs selective focus to comment on corporate influence in urban environments, using “slivers of sharpness” to represent the impact of corporate power on public spaces.

Mona Kuhn:

Mona Kuhn’s Evidence series is a profound exploration of the human form, capturing both young and old subjects in intimate, sensual compositions. Her photographs present individuals who are nude yet not naked; they appear completely relaxed, as if their own skin offers the utmost comfort. Kuhn’s unique style combines sharply rendered portraits with blurred backgrounds, guiding the viewer’s eye and stimulating the imagination.

Over eight years, Kuhn photographed friends and family in Southwest France, creating images that balance light and shadow, gestures, and gazes. The accompanying publication begins with the statement: “The most immediate form of evidence available to an individual is the observations of that person’s own senses.”

In her portrayal, Kuhn emphasizes the natural essence of her subjects, inviting viewers to engage with the images on a sensory level. This approach aligns with the notion that photographs can adapt to various interpretations based on context and presentation, a concept that will be further explored later in the course.

Kim Kirkpatrick:

Kirkpatrick utilizes a restricted depth of field to direct the viewer’s attention to specific details within his compositions. This technique not only highlights particular elements but also adds an abstract quality to the images, encouraging viewers to engage more deeply with the scene.

Kirkpatrick’s photography has been exhibited in various prestigious venues, including the Strathmore Hall Arts Center and the Maryland Art Place. His work has been recognized for its sensitivity to light and color, with gallery owner Sally Troyer remarking, “I have never seen work so sensitive to light and color.”

Guy Bourdin:

Bourdin’s application of deep focus allowed every element within his frames to be sharply defined, compelling viewers to engage with the entire composition rather than focusing on a singular subject. This technique, combined with his strategic placement of models and objects, often elicited feelings of unease and contemplation. As noted in his work, “he created images laced with undertones of psychological tension.”

Bourdin’s photographs often subverted traditional narratives by presenting models in provocative poses within unsettling environments. This approach not only challenged conventional notions of beauty and fashion but also invited viewers to explore deeper psychological themes. His work, as described in a Phaidon article, “put shock, suspense, and surrealism into fashion photography.”

Common Themes:

Across these photographers, depth of field is used deliberately to guide the viewer’s attention, whether through selective focus on specific details or deep focus that keeps the entire frame sharp. This technique influences how the viewer experiences the image, adding emotional or intellectual depth.

Many of these artists also use their work to comment on societal issues, aiming to provoke thought and sometimes inspire change. For instance, Mona Kuhn’s intimate portrayals of the human body and Fay Godwin’s expansive landscapes touch on themes like identity, vulnerability, and our relationship with nature, offering reflections on complex topics.

From Kuhn’s intimate portraits to Godwin’s landscapes, there is a shared interest in exploring the human experience, both literally and symbolically. These photographers capture not only their subjects but also broader themes about society and the environment, using photography as a tool for both artistic expression and social commentary.

Ultimately, these insights show that photography is not just about capturing the world but also about engaging with audiences through deep, thoughtful narratives. By combining technical skill with thematic depth, these photographers use their work to provoke, question, and communicate complex ideas.

Exploring Aesthetic Codes

For this exercise, I selected a photo from my archive featuring a single boat floating on a calm, blue sea beneath a bright, blue sky. The image is sharp throughout, capturing the natural tones and textures of the scene with clarity. I’ve titled it Clear as Day, a name that reflects both the weather conditions and the clean, unfussy composition.

This photo aligns with the Straight Photography aesthetic code, which emphasizes accurate, detailed representation. There’s no soft focus or dramatic manipulation—just a real moment, crisply observed. The depth of field allows everything in frame to be seen clearly, inviting the viewer to appreciate the simplicity and peacefulness of the scene.

Although I didn’t take this image with a particular aesthetic in mind at the time, revisiting it through this lens has helped me understand how technical choices like aperture and depth of field contribute to the overall feel and message of a photo. It’s a gentle reminder of how even a straightforward shot can be rich in visual meaning.

Bibliography

Evidence – Mona Kuhn (2007). At: https://steidl.de/Buecher/Evidence-0020293453.html [accessed 21/03/2025]

Mona Kuhn | Works (2007). At: https://www.flowersgallery.com/exhibitions/515-mona-kuhn-works/ [accessed 21/03/2025]

Wikipedia (2024) Kim Kirkpatrick. At: https://en.wikipedia.org/wiki/Kim_Kirkpatrick [accessed 21/03/2025]

Guy Bourdin (2018). At: https://eledhwen.blog/guy-bourdin/ [accessed 21/03/2025]

Phaidon (2014) How Man Ray helped Guy Bourdin put shock, suspense and surrealism into fashion photography | Photography | Agenda | Phaidon. At: https://www.phaidon.com/agenda/photography/articles/2014/august/12/how-man-ray-helped-guy-bourdin-put-shock-suspense-and-surrealism-into-fashion-photography/ [accessed 21/03/2025]

Campany and Colberg

David Campany’s review talks about how technology has changed photography, especially with digital formats and image manipulation. He focuses on JPEG compression, where reducing image data leads to a loss in quality. This results in pixelation or a blurry, abstract look in heavily compressed images, which creates a unique aesthetic. Rather than seeing this as a flaw, Campany argues that it’s a defining feature of digital photography today. He suggests that this degradation actually highlights the fleeting nature of digital images, shifting them from perfect representations to temporary, data-driven moments. For Campany, compression is part of the experience of modern photography and helps us see images in a new light.

Joerg Colberg takes a slightly different perspective. He’s more interested in how artists use digital tools like compression to make a statement about the digital world. He highlights works like Thomas Ruff’s JPEG series, where the intentional pixelation critiques the mass consumption and spread of images online. For Colberg, the distortion caused by compression challenges how we think about the “truth” of a photo. The more abstract, less realistic images force viewers to reconsider what it means for a photo to be real. Colberg also stresses that understanding the technical side of photography—like resolution and compression—is key to appreciating how artists use these tools to push back against traditional ideas of what photography should be.

Both Campany and Colberg argue that compression in digital photography isn’t just a technical issue; it’s a creative tool that changes how we see and think about images. They highlight how technology shapes our understanding of photography, from how it’s made to how we interpret it in a world full of digital images.

Below are 3 images from Thomas Ruff’s JPEG series.

Thomas Ruff. (n.d.). Thomas Ruff. At: https://www.thomasruff.com/en/works/jpeg/ [accessed 12/03/2025]