I made this blog back when I was in art college doing my foundation degree, it was a way for me to critically analyse works that I came across to show my tutors I wasn’t just sat about watching stupid videos on youtube all day with my peers. It seemed like a chore at the time and I didn’t really understand why my tutors thought it was important to do, but now in my last year at university I now understand what it means to be critical of others work, more than I did before anyway. It is slowly helping me to refine my own work and understand why I like what I like and will eventually help me realise and establish what kind of artist I want to be. I just wish I had continued posting my analogies here for the past two years rather than in sketchbooks which the whereabouts are unknown…

Hopefully now my journal posts will be two years better than before.. if not I will be asking my tutors what has gone wrong with my education and might give up for another two years…


Im plan to no longer be the boy in the red anorak standing watching but the feisty blonde lady who gets things done even if its messy and two feet taller than me.


Juergen Teller


‘a prominent fashion photographer, known for his unique portraits of fashion models’ intermingling celebrity lifestyle with the everyday, in examinations of social constructions of beauty.

Teller’s work is distinctive for its candid feel; he often photographs models in isolated surroundings with a washed-out, overexposed light, and often with unguarded expressions, seemingly unposed.’


His photographs remind me of high quality images seen in vogue but the out takes of the chosen image, they are quite playful and catch the models at ease having a bit of fun along side their usual poses. His images are always very over exposed and bright, Im not massively keen on this look but it does fit in with his style of photography, its matches the fun ‘random’ vibe in the images.


Nan Goldin

I have been told by quite a few people now to look at Nan Goldins work as apparently my work looks as though it is inspired by it. When first looking on google images at her work I was quite shocked by the nature of the photographs, mostly images of people with black eyes, transvestites and prostitutes.

Nan one month after being battered 1984 by Nan Goldin born 1953

Nan Goldin: ‘I didn’t care about “good” photography, I cared about complete honesty.’`

When reading more about Nan Goldin I started to understand the images, they all mark different points in Goldins life. She said she became ‘obsessed’ with new friends that she would constantly meet in New York, she would photograph them to ‘show them how beautiful they were’, she said she ‘accepted them as they saw themselves; I had no desire to unmask them with my camera.’ I like this, she was just documenting what she saw and what she wanted to keep as a memory of that time. She was completely involved with her photographs, she was living this life documented in her photographs.


‘There is a popular notion that the photographer is by nature a voyeur, the last one invited to the party. But I’m not crashing; this is my party. This is my family, my history. My desire is to preserve the sense of
people’s lives, to endow them with the strength and beauty I see in them. I want the people in my pictures to stare back. I want to show exactly what my world looks like, without glamorisation, without glorification. ‘

– Nan Goldin (Quoted in The Ballad of Sexual Dependency)


Philip-Lorca diCorcia

‘Photographs by American photographer Philip-Lorca diCorcia feel like an out of body experience, as though you’re floating above your own life and seeing fresh the banality of every day. He humanises people you’ve ignored, or never thought about. His pictures are profoundly moving. Not that they’re entirely real. He’s the master of set up. His famous Hustler series is an ambiguous fiction of real life Los Angeles rent boys posing in hotel bedrooms or on the street. They’re staged but the characters are real, and were paid for their time.’

I like how he can set up these images to look like they are real moments, which they kind of are but he has ‘rearranged’ them to an image he likes better. I like this mix of using real people, not models, in their comfort zones and making them into an interesting image.



I love the lighting used in his images, he uses the light available to achieve the look of the image not being set up, even if they are some times quite dark the image is still as powerful. The images of the pole dancers are incredible, they have been frozen in time with dramatic shadows on their bodies showing their muscles tensed and highlighting their contours while they are dancing.

Philip-Lorca-diCorcia (1)

He is currently exhibiting at the Hepworth in Wakefield which I am looking forward to visiting during the next month.

I really like this image, it is quite different compared to his other images in the sense that it is quite light and the colours are mostly white.  I think its quite a symbolic picture though, ‘the calm before the storm’, she looks as though she has seen this hurricane on the news and is watching out for it to arrive. Its quite sad, you can see her straight expression in the windows reflection, it makes me think of equality between rich and poor, natural disasters like this cant be stopped by your wealth.


Which way is the front line from here?


This documentary is an insight to photo-journalist, Tim Hetherington’s life. It shows his life in photography and who he was.
‘James Barabazon saying ‘He was just Tim… its very hard to find that’; and this is the key message of the film, ‘Hetherington wasn’t political or war orientated, he was a humanitarian trying to make the world a better place.’

‘Other photo-journalists capture what they see, Hetherington captures what the audience needs to see to bring humanity to the situation and try and make a change. ‘
His photos didn’t just show the war zones and disaster sites that he visited, he captured moments that brought clarity to the situation, a different light to the disaster. A good example of this is his ‘sleeping soldiers’ images that challenge our previous perceptions of soldiers being these brave strong men and remind us that they are just boys, this moment of innocence captured in the soldiers bunkers is unlike any other images captured by war photographers.



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‘Photographer Ari Versluis and profiler Ellie Uyttenbroek have worked together since October 1994. Inspired by a shared interest in the striking dress codes of various social groups, they have systematically documented numerous identities over the last 19 years.’

‘They call their series Exactitudes: a contraction of exact and attitude. By registering their subjects in an identical framework, with similar poses and a strictly observed dress code’

I like how these images have been presented, the way they have matched up the similar looking people and arranged them in to grids is interesting. They almost look like the same photo or at least the same person, but in fact they are most likely strangers. I like the grid formation, I feel this could be an effective way to present my polaroids in a book.

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David Armstrong


‘Night and Day presents a series of colour photographs by David Armstrong taken over a period of less than a year during 1979, as he was driving back and forth between New York and Provincetown. Known for his portraits, particularly of young, pretty men, Armstrong is true to form in this work capturing the style and lives of his friends and the scene at the time. With the hard flash of night shots, the excessive use of blush and bright pink lipstick characteristic of the period, and the feeling of freedom in old cars, the work comes across as a time of youth and parties.’


I like that the focus of his photographs is his friends at the time and the people he was around. It gives the photographs more of a personal feel, like an insight to his life and what he experienced. I like the series as a whole, I like the content and the composition on the subjects in the frame, however, I didn’t like how harsh the flash was in some of the images, it made them loose the atmosphere and makes you remember that it is just a photo- you don’t feel as connected to the image.

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I really like this image how he has taken it from above so it feels like you are stood watching the girl cut his hair as he is staring at you in the mirror. I like how he has included all these aspects to make it feel like you are part of the photograph.