Topic 1: Mirrors and Windows

I believe the mirror and window analogy to be good for photography. It relates to the concept of seeing a window into another world, as people experienced with The Underwood travel System (Haberstich, 2012), and also as a reflection of the photographer, their stereotypes, concepts, framing  and positioning choices and reasons for producing the image. Photography can be more complex than just mirrors and windows though. It allows for an understanding and starting point into discussions of photography, however there can be greater and more complex readings of photographic images. A good example of this is reflected on by Soutter in ‘Why art photography?’

‘Foster describes photography as perpetually restaging the trauma of our missed encounter with the real. Thus, following Roland Barthes, he regards all photographs as traumatic on some level, piercing our sense of self.’ (Soutter, 2018.)

This offers up a deep and complex suggestion that people’s relationship with photograph goes beyond seeing through a mirror or merely reflecting back information. It gives emotion, particularly in the negative, and the idea of psychological elements at play within photography. I can relate to this in my image, I once photographed Rachael and made her cry, she has never since allow me to photograph her in a formal setting, so to a point I am trying to repair previous trauma.

When it comes to my practice as a photographer I lean more towards the window side of the analogy. I like to observe and learn through my photographs and the images of others. I want to bring these experiences to audiences and share my perspective. I am keenly aware that through displaying my own view I am also providing a reflection of myself in the image and the things I find important. My mirrors/reflections image is carefully constructed. I reveal some things about myself and my family but not others, reflecting and giving a window onto aspects of our lives that I want to show, or potentially, what I think people will want to know.

I like the metaphor of the camera and photography being like a passport. The camera can give access to locations, people, industries and ideas that would not be normally open. The image does this to an extent too and the passport analogy reinforces the window, giving access and a view.

What is your motivation for photography? What do you want to learn about and how can photography help you get a greater understanding of it?

Photography has been a true constant in my life, I am motivated by the opportunity to explore, get lost and communicate. I want to learn to be freer with my work, I have a set of ideas and perspectives that work well for me but need challenging. I also want to learn to be a better writer on photography. Photography will help me gain a greater understanding of wider practices, ethical and sustainable discussions and new concepts that will develop me as a practitioner and creative.

HABERSTICH, David. 2012 ‘Photography Changes What We Long To See’ in HEIFERMAN, Marvin (ed.) 2012 Photography changes everything. New York: Aperture.

POYNOR, Rick. 2015 ‘Exposure: Portrait of Space by Lee Miller’ 20 September [online] Available at: https://designobserver.com/feature/exposure-portrait-of-space-by-lee-miller/39101

SOUTTER, Lucy. 2018 What art photography? Oxford: Routledge

SZARKOWSKI, John. 1978 ‘Mirrors and windows: American photography since 1960.’ New York: The Museum of Modern Art.