Martin Parr

Martin Parr’s work did not interest me much on first look, I thought it was a bit too spontaneous and not technically impressive and they just seemed like everyday snapshots. However looking in to his work more and reading articles about his work I started to like his work more and more. I started to realise the shots he produced were one of a kind, funny and weird things you see everyday but don’t think about twice. He manages to capture these moments by taking thousands of photos every year and filtering out the good ones. He said in an interview that “If there are 10 good ones, it would be a good year”. This definitely made me appreciate his work a lot more, especially giving me confidence in my own photographs, not every day shooting will produce good photos.


I really like this image, its not a typical holiday photo, but is taken of people taking typical holiday photos. Its funny, they are doing the same pose to recreate the photo everyone does, but takes the photo from a different angle, completely changing the focus, making a completely ridiculous photo.

His hilarious clichés, filled with irreverence and sarcasm, often focus on a grotesque detail that allows the viewer to take a broader perspective on today’s world.’


I found this interview with Martin Parr extremely interesting, it showed an insight to how he works and what he thinks about photography. He talks about his work and the controvasy it creates relating t0 class and money.

He also says about his influences and how he began photography- this introduced me to his idol, Garry Winogrand, the interview (second youtube video) showed a clip of a documentary about him. It was interesting to see how much this photographer inspired him and influences his work. This is one of his more famous images, it has this same idea of spontaneous and natural every day circumstances. The people are unaware, or ignoring him and not looking at the camera, they are all using hand gestures and it looks very natural.


“a photograph doesnt have to have a narrative ability. You know what something looks like, you dont know whats happening… It can be well described but you dont know whats happening.” – Garry Winogrand


Raymond Depardon

‘Raymond Depardon captures his first impressions of life in 12 of the world’s most populous cities in a new exhibition opening in London today. Setting out to lose himself in each place, the resulting photographs show unguarded images of people going about their everyday lives’



I really like this image.  I like the guys pose, You cant tell if he is angry and cursing or just happy and praising the sky. Its a powerful image him looking out over the river to the Shanghai sky line, makes me think of how little we are and what incredible things we are capable of  achieving.


He doesn’t stay in the cities for long, so all the pictures are quite ‘touristy’ never the less his good use of colour and framing makes the images interesting and thought provoking. They have a exploring element to them, where he is getting his first glimpses of the city and shares with us what he finds which explain his feelings of the city and people.



Paolo Pellegrin: Storm






Paolo Pellegrin is a documentary photographer that usually shoots natural disaster and war zones, his book ‘Storm’ was his chance to “challenge to see if I could create something worthwhile in another field”. Although fashion is featured in the book his main idea of this series was to “make a more general statement on the environment and the state of the planet”. He has shown this through combining portraits and landscapes that tell a story of transformation.Image

“The story of the model is one of transformation. So she starts at the beginning of the magazine as nearly naked which works in parallel with the semi-deserted landscapes. Throughout the book, she is transformed as the landscape changes and becomes more man-made and at the end she is that woman with an armor. Also, I treated these fashion shoots more like a portrait session. I tried to introduce a psychological layer.”

I like this concept of the transition of the model with images of the landscapes becoming more man made. It shows natural beauty in both aspects (people and places) and how society is evolving.


The images are all very dramatic, the lighting being the key part in this. He uses singular direction lighting in a lot of his photos, creating dramatic shadows on the models I like this high contrast style he uses in his work.


Copyright ©

Double Exposure on 35mm Film

I wanted to write about how to take double exposures and what techniques I want to try. I looked at numerous blogs and websites and collected information that I thought might help me.

Things to remember:

Avoid Overexposure by Underexposing Multiple Images- The more times you expose the film the more light is let through the camera lens, therefore more light hits the film. The image will get lighter and lighter as more exposures are made. For example, if you are exposing two images on a single frame, you should set your first shot for a slight underexposure and the second shot for even more underexposure so the image isn’t bleached out.

‘Because it’s exposing the film twice you’ll have better results in lower lighting conditions. If your camera has fstop settings, you can get more detail if underexpose by 1 stop.’

Andre De Freitas

Andre De Freitas.

Black or dark areas in the first image will be a ‘blank canvas’ in the second image. It hasn’t been exposed to much light so in the second image you should consider what will fill this area.

‘Shadows on one exposure will allow the details to show through from the second exposure. You can compose your double exposure by keeping a mental note and lining up shadows and highlights.’



Keep the images simple, busy backgrounds can make the image crowded and hard to see. If you plan ahead it is easier to decide what images will go well with what.

You can either take a roll of images then go to the dark room and rewind the film and then take another set of images on the same roll. This is more unexpected and the pictures, unless you remembered all the photos you originally took, will be hit and miss.

Or you can use the ‘three finger method’, So you take the exposures for one image at the same time. This makes it easier to plan and organise the image.

First, depress and hold the rewind button on the bottom of the camera.
Second, use one finger to keep pressure on the rewind knob.
Third, gently advance the film advance lever. If you don’t feel any resistance on the rewind knob continue until the shutter is set and ready to be released. Now make the second exposure. NOTE: If you feel any resistance STOP! You’ll either tear the film or damage the film advance mechanism.

Jessica Backhaus

‘Backhaus takes photographs of left-behind objects and rooms devoid of people, lending significance to things usually cleared away or overlooked. Her images ask the viewer to imagine where, why, and who — writing a story that illustrates the transience of time.’

What Still Remains is a project by Jessica Backhaus where she explores lost or forgotten objects that seem to take on a life of their own and pose the question of how they got there. Its interesting how she can make these still life images of banal objects so intriguing. I think its really clever how she can take an image of rubbish like this bottle littered on the street and make it look surprisingly lovely. The colours and reflections make this image, they give a pastel, pretty look with the clouds reflecting in the puddle.



Her photographs are all very simplistic and minimal. I like this as even though the photo is of something we would normally overlook she manages to make them interesting and as though they have a story.

‘She manages to create a composition and a muted color palette out of random items, shadows and puddles. She picks details and meticulously frames the shots, centering on just enough information to incite the viewer’s imagination. ‘

I like that she uses reflection to give the photo more depth and detail, giving more clues to the background story of how the tennis ball got there.


I think this is my favourite images in this set, it is the one that makes me want to visit, find out who is there, where it is and what it is all about. It poses the question, what kind of people come to this remote cafe in the middle of nowhere? The table is set as they expect visitors but in the windows reflection you cant see anyone, no workers, just traces of life. I like the hand written sign on the window saying ‘ please don’t stand in front of the window!’, I don’t understand why this would be a necessary thing to state, its funny and confusing. Its almost a photograph of the beautiful landscape but given these small details of the cafe setting to make it more thought provoking and give it a sense of life.



Viviane Sassen


‘Bodies became part of a sculptural investigation, were linked to extensions in the form of objects and clothing, and were turned into an amorphous tangle.’

I like Sassens unusual way of photographing models, she creates unusual and confusing shapes that trick your mind. She shoots a lot of her models out doors where they don’t look like they belong, they don’t fit in with the surroundings, I like this idea of using these clashing variables.

The model isn’t in the obvious focus of the picture, but still stands out as she is pulling a very “fashion model’ pose. She is hidden by what looks like a random passer by, possibly not the photographers intention yet her boisterous pose and bright outfit draws attention away from the foreground woman and to the model. This is a very different way of photographing the subject but I quite like how spontaneous and odd it is that Sassen chose to use this picture rather than have just the model and the soul focus.




She uses mirrors in a lot of her images to get these surreal and confusing images. I think they work really well, they look as though the model is peaking out of a gap from a different universe. The angles of the horizon are really confusing and an interesting aspect to the images.



She manipulates the photos to confuse you and show a different and very contemporary angle to fashion photography. They dont make sense but still show what you want to see (the clothing) but adds an adventurous abstract theme. I like how much is considered in the images, she uses lighting, colour, reflection and most importantly composition to make these aspects all come together.


‘ Sassen can carry out a modernist research into form that has much in common with the formal experiments of cubism, surrealism and minimalism. Sassen can blithely cut out her models’ limbs and have them fly away into the background, add areas of colour to her images to stimulate the viewer’s imagination, or rotate her pictures to free them from the constraints of gravity.’


Jon Rafman


Jon Rafman uses Google’s street view camera to find his images.  He searches through the countless shots of empty streets and landscapes for bizarre events that almost went unnoticed. They are so interesting, you see so many different things happening, some uplifting and funny, others quite concerning and uncomfortable.


I like this image, it is definitely something you would expect to see, it looks like a film still. I like how the image has the police officers eye contact, makes me feel like I shouldn’t be looking. Image


“I might be the first person to ever gaze upon a scene that happened in the past. It’s almost like looking at a memory that nobody really had. Photographs are so connected to human memory, but these are photographs of no one’s memories.”


“People like prostitutes, people living on the street, they have much more of a chance to be captured by the camera. With the prostitutes, I don’t think it’s a licentious or erotic gaze. There’s something about the camera that gives respect to the subject being photographed, something about the fact that it is this robotic gaze restores this balance that I feel like would be exploitative if it were a human photographer taking the picture. Even more sentimental images, like a couple kissing, which I would think would be cheesy now, or clichéd — somehow the fact that it was captured by a robot spontaneously, by chance, restores a certain balance to the image.”

Jon Rafman

I think this is an interesting take on something that most people would find uncomfortable and morally wrong to photograph. But since its a robot, that has no preference of what its photographing it seems less intrusive, its there on the street for everyone to see so whats so bad about it being captured.