reflections
lisette model
"The camera is an instrument of detection. We photograph not only what we know, but also what we don't know".
Model chooses to photograph many different things when photographing reflections, however the use of the figure is ever-present and the contrast between what is animated and is not is also shown through the thorough use of manikins, suggesting a will to define and question the nature of city life.
the view of the city
Lisette Model's view of the city may be very apparent when analysis of her images is undertaken. This is shown through her perspective literally, as is shown by the image on the left. There may, although it is open to dispute, be a sociopolitical agenda underlying within her photographic work.
The image on the left makes two things apparent through suggestion. Firstly that the enormity of power held within capitalism and the capitals of America, and also an inferiority that is inherent in humanity when compared with these structures.
Furthermore the act of taking photographs through windows suggests many things also, such as how viewpoints can be skewed through consumerism and simply just observing rather than being active in participation.
The image on the left makes two things apparent through suggestion. Firstly that the enormity of power held within capitalism and the capitals of America, and also an inferiority that is inherent in humanity when compared with these structures.
Furthermore the act of taking photographs through windows suggests many things also, such as how viewpoints can be skewed through consumerism and simply just observing rather than being active in participation.
the view of the subjects
Model, as has been shown in the previous image, photographs her subjects in a variety of interesting ways mainly based around perspective and depth, along with the superimposing of images and subjects upon one another through using reflections, like a double exposure.
This is shown on the image on the right, in which shadows of figures are superimposed upon smaller people, as if their shadows are observers, or rulers, creating very dark atmosphere and potentially political statement, depending on the way it is to be interpreted.
This is shown on the image on the right, in which shadows of figures are superimposed upon smaller people, as if their shadows are observers, or rulers, creating very dark atmosphere and potentially political statement, depending on the way it is to be interpreted.
photographic analysis
Within this photograph I see figures, more specifically their silhouettes, set against a rich urban neighbourhood. To describe this photograph, I would use words such as dark, atmospheric, melancholy, and political. This image is very abstract in many ways as it takes advantage of reflections to abstract natural subjects, like the street and figures by combining them. I recognise all of the subjects in the background of the photograph, yet the figures which are being photographed in the window are obscure in the way that I wouldn't be able to differentiate whether one of them was the photographer or a manikin, adding a very new meaning.
The photograph, in many ways, reminds me of the aesthetics within noir films, often with the use of throwing shadows in order to create eerie and mysterious atmospheres, and the use of pure silhouetted shadows to show movement rather than the filming of the person themselves. The old fashioned cars and stone buildings also add to this. I would describe the lines in the images as organic, concerning the figures and passing cars and as straight and patterned in the background, the shapes sporadic and random, mainly due to the reflection of light. The textures in the image are also rather flat, the figures lacking all texture to simply retain just their form. The tones are also interesting, as their is in many ways a combination occurring in the photograph of two separate photographs, the one containing the figures with high contrast and the other, the background, with many mid tones, bar the reflections on the cars. The play on light, in my opinion is what makes the image. The protruding light from the center-bottom of the image perfectly contrasts the almost rising silhouettes, blending perfectly with the background. The surrealism of the overall image is what keeps me interested in it, due to all the previously mentioned reasons.
Space is represented in the photograph in many an interesting way, specifically in gaps, such as between the figures in which there is a small gap, similarly to the columns in the background. Yet space in this image is complicated, as it is made from reflection, the figures appearing both in front of the background an as a part of it as they are translucent which I believe to be one of the most interesting element of this photograph. If I were able to talk to Model, I would ask her true intention with the photograph, whether atmospheric, political or another option as it would interest me to know this, due to the very ambiguous and interpretive nature of the image.
If I am to evaluate the photograph, I would say that the most effective thing would be the composition and luck that produced the very equidistant figures growing and decreasing in size. However, to criticism, I would say that the head on the right of the photograph is slightly obstructive compositionally, as well as the car imposed in the background which is rather large. Other poeple, hypothetically may describe the image as very dark and intimidating, however I see the variables that point to this, such as shadows, large stone walls, the rich ect as actually more melancholic and unknown rather than scary, as it being unknown inspires a rich curiosity. I think it is worth remembering in this photograph, both the depth and simplicity in the composition of it, showing that even without any unusual event occurring, awe-inspiring photographs can be created.
The photograph, in many ways, reminds me of the aesthetics within noir films, often with the use of throwing shadows in order to create eerie and mysterious atmospheres, and the use of pure silhouetted shadows to show movement rather than the filming of the person themselves. The old fashioned cars and stone buildings also add to this. I would describe the lines in the images as organic, concerning the figures and passing cars and as straight and patterned in the background, the shapes sporadic and random, mainly due to the reflection of light. The textures in the image are also rather flat, the figures lacking all texture to simply retain just their form. The tones are also interesting, as their is in many ways a combination occurring in the photograph of two separate photographs, the one containing the figures with high contrast and the other, the background, with many mid tones, bar the reflections on the cars. The play on light, in my opinion is what makes the image. The protruding light from the center-bottom of the image perfectly contrasts the almost rising silhouettes, blending perfectly with the background. The surrealism of the overall image is what keeps me interested in it, due to all the previously mentioned reasons.
Space is represented in the photograph in many an interesting way, specifically in gaps, such as between the figures in which there is a small gap, similarly to the columns in the background. Yet space in this image is complicated, as it is made from reflection, the figures appearing both in front of the background an as a part of it as they are translucent which I believe to be one of the most interesting element of this photograph. If I were able to talk to Model, I would ask her true intention with the photograph, whether atmospheric, political or another option as it would interest me to know this, due to the very ambiguous and interpretive nature of the image.
If I am to evaluate the photograph, I would say that the most effective thing would be the composition and luck that produced the very equidistant figures growing and decreasing in size. However, to criticism, I would say that the head on the right of the photograph is slightly obstructive compositionally, as well as the car imposed in the background which is rather large. Other poeple, hypothetically may describe the image as very dark and intimidating, however I see the variables that point to this, such as shadows, large stone walls, the rich ect as actually more melancholic and unknown rather than scary, as it being unknown inspires a rich curiosity. I think it is worth remembering in this photograph, both the depth and simplicity in the composition of it, showing that even without any unusual event occurring, awe-inspiring photographs can be created.
why are reflections important?
Reflections are not simply a concept to be thought of in one specific way, rather they may be used in many ways, literally or metaphorically. In the literal sense, a reflection is defined as the throwing back by a body or surface of light, heat, or sound without absorbing it, yet in my opinion simply working using this definition wouldn't achieve anything concerning the work of photographers such as Model, as all perception of tonal value through the eye, the feeling of an increase in temperature, or hearing a sound is caused by some type of reflection. Preferably. I would like to look at the more conceptual angle to reflections. Reflections are, in their conceptual forms still lifted from the experience of the event of a reflection. To reflect is to think and observe post-event so as to secure understanding and specifics, to try to live again an experience so as to improve oneself through the subsequent new found knowledge.
Yet, this interpretation does not satisfy me fully. Is the reason for reflection perhaps a simple attempt at finding the objective? But when we do in fact reach back into experience, we find pure emotion more than anything, be it regret or happiness, and thus our purely relative and subjective experience. This discord between the nature of reflection being a tool for truth and it also being entirely abstract and alien is shown not just through the concept and through process of reflection, but in the photographs created with reflections. Reflective surfaces may be the best medium for capturing what is seen and therefore present, in mirrors and cameras, yet they can also create illusions as light can differ so extremely due to the surface it reflects onto. These thoughts and feelings I hope to understand more thoroughly and in more depth as I explore them in response.
Yet, this interpretation does not satisfy me fully. Is the reason for reflection perhaps a simple attempt at finding the objective? But when we do in fact reach back into experience, we find pure emotion more than anything, be it regret or happiness, and thus our purely relative and subjective experience. This discord between the nature of reflection being a tool for truth and it also being entirely abstract and alien is shown not just through the concept and through process of reflection, but in the photographs created with reflections. Reflective surfaces may be the best medium for capturing what is seen and therefore present, in mirrors and cameras, yet they can also create illusions as light can differ so extremely due to the surface it reflects onto. These thoughts and feelings I hope to understand more thoroughly and in more depth as I explore them in response.
response
This was the first part of the response to Lisette Model. These in my opinion are the most similar set of images to her style. They were shot in black and white, not simply because Model did, but because it would be far too difficult to easily comprehend the amount of visual information in the images. Furthermore, monochrome allows for illusions of depth when it comes to reflections, as colour doesn't exist as an indicator of specific types of light and placing within surroundings.
This is a group of images I took on the same day but on my phone's camera as my battery had ran out. I would rather see the images as tests rather than response to Model as they are very experimental considering the amount of different textures and odd experiments like colour combinations in the reflections, lack of focus and deep zooming.
This is a small group of images taken that day not particularly in response, but as a test, as I saw a man creating huge bubbles, thus I took some street photographs to capture the reactions to them. What I found from them however was that if looked upon intently, many of the spherical bubbles reflect their surroundings, which would be a fascinating motif and general idea to explore, perhaps with fish eye cameras, spherical or curved reflective surfaces, or shooting images through a sphere or transparent object such as a prism.
This is a series taken of the split between two large joined mirrors where they were placed together. I focused my lens on the people passing, so that the touching point of he mirrors were also not in focus, thus distorting the passers by in a specific portion of the resulting image, allowing me to time their approach and capture the distortion, doubling or tripling the figures as they walked past.
lee friedlander
Lee Friedlander studied photography before moving to New York, first photographing portraits and figurative modelling work. However once within the world of street photography, he shot primarily with only a 35mm Leica and black and white film. His style was incredibly detached, clean and angular, commonly incorporating diagonal lines and large shapes compositionally, abstracting the considerably bland scenery and landscape. Due to this style and his own perceived interest in specific motifs, such as fences, reflections in glass, structures, fences and posters, which captured a very specific viewpoint on modern life that appealed to many at the time.
This is a series of photos I have collected of Friedlander's that I personally enjoy and admire. These non-serential photographs of his often have a more atmospheric approach than they are attentive to the subject.
This is a collection of Friedlander's, similar to Model, that is comprised of photographs of mannequins and the reflections in their shop windows.
this is a series by friedlander which includes only photos of wing mirrors and their background.