# data[].attributes.body
This is the final layout after the group critique, and I have to say I much prefer it as it is laid out now, as it feels more complete and straight. The other picture wasn't fitting at all because there was no text.

# data[].attributes.body
This is how I laid it out before the group critique. I didn't put any text in the food one because I couldn't really find any sentence to match the photo.

# data[].attributes.attachment_caption
Poulomi Desai - Our Asian Lesbian Gay Black Bodies, Our Tea, Our Chintz 1989

# data[].attributes.body
While browsing the exhibition, I came across a stunning series by Poulomi Desai. The collection features the artist and her then-girlfriend enjoying a leisurely afternoon at home. The title of the work boldly asserts their ownership of their bodies as lesbians of color, as well as their embrace of English traditions such as tea-drinking and decorating with chintz floral fabric. These traditions are often associated with England but also have roots in its colonial past. Desai's work is a joyful assertion of her right to occupy any space in this country. It's not just the powerful message that resonates with me, but also how the black and white prints harmonize perfectly with the pink background, inspiring me to experiment with similar color schemes for my own non-textual prints.

# data[].attributes.body
Michels was born in 1932 in Pennsylvania and spent his childhood there. In the 1960s, he broke away from established traditions of documentary and fine art photography by adding handwritten messages and poems to his prints. If it fits what I am trying to convey, I might consider incorporating it into my project as I would love to experiment with it. This created surreal photographic narratives that resemble dream sequences. I appreciate the artist's work because each image he creates is both subjective and objective. For instance, take the photo I uploaded above. Objectively, we can see that it depicts a man sleeping with a clock beside him. By doing so, the photographer removes any emotional influence. However, by adding text, the photographer introduces a subjective element that comes from his biased perspective. This erases any potential interpretations, making us read the image as he intended. Therefore, we could say that it is subjective, but it also conveys a sense of objectivity.

His work includes meditations on the mind's interior world, from childhood and imagination to desire and death. He also has a particular love for Pittsburgh and Paris, which is evident in his exploration of their beauty, quirks, and particularities.

# data[].attributes.body
We discussed the hierarchy of meaning today, as well as how to avoid using "fake" lights by making the most of the ones that are available. We also discussed how to interpret images and the various interpretations that they can have depending on the viewer's background, including their gender, race, and class. In addition, we looked at images of the same politician taken on the same day but featured in two different magazines, and we found that the way two magazines present the same person in the same circumstance can vary greatly. Light, text, colour, and face expression are all responsible for this. I thought it was fascinating how many ways one could portray the same person in the same situation, with one being incredibly positive and the other one extremely negative. I also thought it was amazing how subjective photographs are, given that each person's decision is influenced by a unique set of outside influences.

# data[].attributes.body
Overall, I'm happy with the way these photos came out. As noted on the contact sheet, there is room for improvement, as several images are out of focus, overexposed, or include the studio in the frame. It's not terrible for a first attempt, but if I had to do it over, I would focus more on the lighting and composition of the shot because, for example, high-key images have the same lighting as regular white background shots. However, I am rather happy with the low-key ones because I was able to capture half of the model's face in shadow and the other half in the light. I had fun experimenting with light, but I think I need to experiment more to understand how lighting works.

I used a light metre, reflectors and a Pentax K100 with an Ilford HP5 ISO 400 for this task. An additional consideration that I could have made would have been to ensure that any light entering the lens was blocked, preventing any accidental flaring that was noted by the contact sheet. Playing around with various types of lights, including reflected, diffused, and direct, was something else I enjoyed.

Based on my observation, the images that I find to be more successful are the ones which are circled in red. As I explained earlier, the low-key technique works significantly well in number 19, the images numbered 6, 7, and 8 work well in terms of light, making the background white instead of grey, which cannot be said for images numbered 23 and 24. On the other hand, image number 14 is overall good as it is a simple black background portrait and it does the job effectively without any flaring.

# data[].attributes.body
We created the first task contact sheet that was previously displayed in the Padlet during this lecture. I liked working in the dark room and learning how it operates. For us to create the contact sheet, Egle taught us the fundamentals of a darkroom. To determine the ideal amount of light to let through for the best outcome, we used test strips. The process was enjoyable because it gave me a better understanding of how light works and what constitutes a "conventionally" good photograph in terms of lighting.

Our class brought in images from magazines or social media to discuss. Although my image wasn't selected, we had engaging conversations about how we perceive images. It was interesting to see what my classmates liked and to try to decipher the meaning behind the images. Later on, we compared our interpretations with what the artist intended to express. Overall, it was a great experience.

# data[].attributes.body
I selected this particular image for its composition, as well as the vibrant colours used. Given that we are currently working in a studio, I thought it would be fitting to choose something that reflects our environment. The picture is a recreation of Botticelli's "The Birth of Venus," which has been featured in Elle Brazil's final issue of 2017. The model in the photograph made history as the first openly transgender woman to participate in the Olympic Ceremony, representing her country in the Rio opening parade back in 2016. I find this photo to be impressive not only for its lighting but also because it rewrites history by presenting a stunning new version of Botticelli's painting. The original work of art featured a shell as a symbol of the female form, and recreating it in a photograph with a transgender model is a groundbreaking and innovative reinterpretation of a timeless masterpiece. This photograph celebrates both the beauty of classical art and the inclusivity of contemporary society. Unfortunately, I was unable to find the name of the photographer as I discovered the image on Pinterest.

# data[].attributes.attachment_link.readable_text
Elle Brazil has recreated five famous works of art for its last issue of 2017

Among them is a recreation of Sandro Botticelli's The Birth of Venus, a 15th century painting that has become an emblem of the Italian Renaissance

Lea T, a Brazilian-born model who grew up in Italy, posed as the goddess standing nude on a giant shell while arriving to the shore after being born

Brazilian-American actress Sônia Braga recreated Leonardo Da Vinci's Mona Lisa

Actress Taís Araújo and her husband, actor Lázaro Ramos, can be seen together in a powerful recreation of Gustav Klimt's The Kisst

Stage actor José Celso Martinez Corrêa stepped in as the protagonist of Edvard Munch's The Scream, giving the worrisome painting a joyful twist

Composer Caetano Veloso posed in a new version of English pop artist David Hockney's Joiners series of collages

A transgender Brazilian model is rewriting art history with a stunning new version of Sandro Botticelli's The Birth Of Venus.

Lea T, 36, can be seen in one of five newly released Elle Brazil covers posing as the goddess, who in the 15th-century painting stands nude on a giant shell while arriving to the shore after being born.

On her cover, the model mirrors the goddess' famous pose and sporting a similarly long mane of hair that reaches all the way down to her calves.

Lea also dons a negligee falling down her arms, although this touch isn't included in Botticelli's painting, which has become an emblem of the Italian Renaissance.

The model, who was raised in Italy, made history when she became the first openly transgender woman to take part in an Olympic ceremony by representing her country in the Rio opening parade back in 2016.

Also included in Elle Brazil's five December covers is Brazilian-American actress Sônia Braga, who morphed into Leonardo Da Vinci's Mona Lisa.

The 67-year-old star flashes the same discreet smile as the Italian polymath's iconic painting, which dates back to the 16th century.

Her right hand rests on top of her left hand, just like the painting's subject, and her long black hair is parted in the middle.

Elle Brazil's trip throughout art history continues with a powerful recreation of Gustav Klimt's The Kiss.

Actress Taís Araújo and her husband, actor Lázaro Ramos, posed together as if they were seconds away from locking lips while in a passionate embrace, to replicate the Austrian symbolist's iconic 20th-century work.

Araújo and Ramos, both 39, are wrapped in golden fabric that echoes Klimt's original design.

Their eyes are closed, in keeping with the painting that has become an iconic representation of Viennese Art Nouveau.

Stage actor José Celso Martinez, 80, stepped in as the protagonist of Edvard Munch's The Scream.

The Brazilian performer gave the expressionist masterpiece a joyful twist, far from the worrisome feel expressed by Munch's 19th-century drawing.

Composer Caetano Veloso, 75, posed in a new version of English pop artist David Hockney's Joiners series of collages.

He can be seen hugging one of his music instruments in a deconstructed image, which mirrors Hockney's patchworks of photos, which began arranging in the 1980s.

# data[].attributes.attachment_link.title
Transgender model Lea T poses nude as Botticelli's Venus

# data[].attributes.attachment_link.description
Lea T, 36, can be seen in one of five newly released Elle Brazil covers posing as the goddess, who in the 15th-century painting stands nude on a giant shell while arriving to the shore after being born.

# data[].attributes.body
Today, we had a lecture on the subjects of Subjectivity, Objectivity, and Power, which are the themes that our project is going to be based on. During the lecture, we discussed the term "visual language," which is a system of communication that uses visual effects to convey a message, which is then interpreted by our brain.

We also talked about the concept of "canon" in art history, which I found interesting and useful. Knowing what is considered a conventionally good picture is great, but it's equally important to know what to challenge when faced with ambiguous tests that determine whether a work is worth studying or not. It is important to know how to challenge conventional structure to convey a certain message.

Additionally, we went through some artists, and one that stood out to me was Juno Calypso and her project "The Honeymoon." I enjoyed this project because she critiques the way women's bodies are represented and highlights the problematic nature of it.

# data[].attributes.attachment_caption
Carrie Mae Weems from the series 'Kitchen Table'

# data[].attributes.body
During our discussion of artists, I mentioned that I particularly enjoyed the work of Carrie Mae Weems. I appreciate how she uses family as a storytelling device in her projects. By utilizing the domestic space, the audience can connect with her work on a more profound level. Additionally, I admire how she takes different pictures in the same location, which reinforces the connection between all the images and the viewer. As a result, the more pictures you look at, the better you understand what is happening, and what the artist is trying to convey.

# data[].attributes.attachment_caption
New Objectivity Movement - August Sander - 1928

# data[].attributes.body
Moreover, we went through the distinction between objective and subjective images. An objective photograph attempts to remove the photographer's emotions, such as those seen in the 'New Objectivity' movement, exemplified by August Sander's work. In his project, Sander presents people with minimal personal information, just enough for viewers to infer their profession. On the other hand, a subjective image reflects a biased perspective and can be interpreted in multiple ways. I appreciate both objective and subjective images; however, in my opinion, most images are subjective since each viewer is unique and has had different experiences that influence how they interpret an image or piece of artwork.

# data[].attributes.body
During our last conversation, we discussed two important concepts in photography - Depth of Field (DOF) and Shutter Speed. DOF refers to the area surrounding the focal point that appears visibly sharp to our eyes. We control DOF by adjusting the aperture. Additionally, we learned that if we want to blur an image, we need to increase the exposure time by using a slower shutter speed. Conversely, if we want to capture fast-moving objects, we need to use a faster shutter speed. The speed of the shutter directly impacts the amount of movement that is captured in the image.

# data[].attributes.body
DOF

During this task, we were required to create images by adjusting the field depth by focusing on different points. However, the first two pictures didn't turn out as expected. They were overexposed and out of focus, which made it difficult to convey what I intended. The first picture was meant to focus on the hand, and the second on the model's face. On the other hand, I was satisfied with the outcome of the extended depth of field (n16). I appreciated the fact that the lower part of the face and the hand in the background were in shadow, making the DOF exercise successful. The picture's success was also evident as it was possible to tell that the hands were on two different levels. If I had to do it again, I would pay more attention to lighting and take more photos with different aperture and shutter speed settings to ensure that at least one of the shallow DOFs A & B is in focus and not overexposed.

We were also asked to work on our composition skills by experimenting with a high-angle (n17), eye-level picture (n18), and low-angle (n19). I was content with the outcome of N18, as the lighting was excellent, and I managed to get a white background instead of grey, which was an issue during the first shot. However, the studio was in the frame, something I need to work on in future shoots. N18 and N19 are pretty standard pictures, but with number 19, I enjoyed playing with the angles and points of view, using a pillar to emphasize the context of the low angle. It is something I might consider incorporating into my next studio shoots.

SHUTTER SPEED

For the frozen motion (n21), I asked the model to jump to try to freeze her movement, but it was unsuccessful. Additionally, the picture was overexposed. However, I liked how her shadow gave the impression that she had multiple arms. Another unsuccessful shot was the blurred motion one (n22). My goal was to capture the main model still and the people walking around her blurred. If I had to do it again, I would ask the models to run instead of walk to see if that would work.

Overall, it was an unsuccessful shoot, but I learned that next time, I need to take more pictures of the same exercise to ensure that I get at least one shot right and to allow more room for errors. I made quite a few mistakes in this one, but there were no backup photos for any of the exercises.

# data[].attributes.body
In 2012, Michals began creating hand-painted tintypes and experimented with double and triple exposures, motion blur, and multi-image narrative sequences. Ferrotype or tintype is a form of collodion positive photography that uses a similar process to wet plate photography. A very underexposed negative image is produced on a thin iron plate, which is then blackened and coated with a collodion photographic emulsion, resulting in a positive image. Ferrotype plates are cheap and resilient, which is why they became a preferred 'instant' process used by itinerant photographers, replacing collodion positives. However, the resultant images are reversed, very dark, and often of poor quality. (says: et al., 2020)

His extensive portfolio of commercial photography and portraiture spans several decades and includes assignments for Neiman Marcus, Esquire, Vogue, and Gap, as well as commissioned portraits of figures like Nancy Reagan, Sting, and Willem de Kooning. One of his notable projects is "Photographs with Text," in which he creates sequences of images that explore intangible human dilemmas.

# data[].attributes.attachment_link.readable_text
In our next post about dating your old family photographs, Colin Harding shows you how to identify a ferrotype, more commonly known as a tintype.

The photographic formats we've examined so far in this series showing you how to date your old family photographs are daguerreotypes and collodion positives. Next up: ferrotypes, also known as tintypes.

I'll show you how to identify a ferrotype using just a few simple clues, and will then take a look at some examples of ferrotypes in our collection.

About the ferrotype process

Ferrotypes first appeared in America in the 1850s, but didn't become popular in Britain until the 1870s. They were still being made by while-you-wait street photographers as late as the 1950s.

The ferrotype process was a variation of the collodion positive, and used a similar process to wet plate photography.

A very underexposed negative image was produced on a thin iron plate. It was blackened by painting, lacquering or enamelling, and coated with a collodion photographic emulsion. The dark background gave the resulting image the appearance of a positive. Unlike collodion positives, ferrotypes did not need mounting in a case to produce a positive image.

The ability to utilise a very under exposed image meant that a photographer could prepare, expose, develop, and varnish a ferrotype plate in just a few minutes. This, along with the resilience and cheapness of the medium (iron, rather than glass), meant that ferrotypes soon replaced collodion positives as the favourite 'instant' process used by itinerant photographers.

Why are ferrotypes also known as tintypes?

The ferrotype process was described in 1853 by Adolphe-Alexandre Martin, but it was first patented in 1857 by Hamilton Smith in America, and by Willian Kloen and Daniel Jones in England.

William and Peter Neff manufactured the iron used for the plates, which they called 'melainotype plates'. A rival manufacturer, Victor Griswold, made a similar product and called them 'ferrotype plates'.

The term 'ferrotype' was in common use, but the public tended to prefer the less formal 'tintype', implying the cheap, tinny feeling of the material.

Use these clues to identify a ferrotype

Material
These were made using a thin sheet of iron coated with black enamel and can be identified using a magnet.

Image
Because they are not produced from a negative, the images are reversed (as in a mirror). They are a very dark grey-black and the image quality is often poor.

Case
Ferrotypes were sometimes put into cheap papier-mâché cases or cardboard mounts, but today they are frequently found loose.

Size
Most ferrotypes are fairly small, about 2×3 inches.

Rust spots
Because they are made on thin sheets of iron, ferrotypes often show evidence of rust spots or blisters on the surface where the enamel has started to lift off.

Examples of ferrotypes in our collection

Further reading and interesting links

Edward M. Estabrooke, The Ferrotype and How to Make It, 1903

Audrey Linkman, 'Cheap Tin Trade: The Ferrotype Portrait in Victorian Britain', Photographica World, No. 69, January 1994

Steven Kasher, America and the Tintype, Steidl, 2008

The history of photography in pictures

In this video, Mark Osterman from George Eastman House demonstrates how to make a ferrotype:

More in the series

# data[].attributes.attachment_link.title
How to spot a ferrotype, also known as a tintype (1855-1940s)

# data[].attributes.attachment_link.description
In our next post about dating your old family photographs, Colin Harding shows you how to identify a ferrotype, more commonly known as a tintype.

# data[].attributes.attachment_caption
Magritte c. 1965 -  Gelatin silver print with hand-applied text 6 5/8 x 10 inches  

# data[].attributes.body
Michals did not own a studio so he photographed people in their environment, unlike other photographers of that time. (Duane Michals | photography and biography) As I discussed with Dafna earlier, I am planning to incorporate the same idea into my project as well. My project aims to showcase queer love, with a specific focus on lesbian love. To emphasize the concept of intimacy between my chosen couple, I plan on taking pictures of them in their natural environment. However, I understand that at least 3 photos need to be taken in a studio, so I will have to carefully plan how to incorporate the studio photos into my project with meaning, while also connecting them to the photos taken outside, similar to what Michals did in his multi-image narrative sequences.

# data[].attributes.attachment_link.readable_text
Duane Michals has always been battling with himself about what affect does a still picture has, and thus he pushed his work beyond the boundaries of a single photograph. Initially he used progression of staged photos, however later he incorporated text to say what the picture lacked in saying. Michals was fond of stories, telling people about subjects and ideas that have been ignored in terms of photography from the 1960s and 1970s.

When he was fourteen, Michals developed fondness towards art while learning about watercolor in Pittsburgh at the Carnegie Institute. In 1953, he did his Bachelor in Arts at the University of Denver. After three year, he went to Parsons School of Design to study graphic designing. Unfortunately he couldn't complete his education there.

Michals believes himself to be a self-taught photographer. In 1958, while he was visiting the USSR, Michals discovered his curiosity and interest for photography. During this trip whatever he photographed was displayed in his first exposition in New York at the Underground Gallery in 1963.

For a while, Michals did commercial photography for Mademoiselle and Esquire and for Vogue magazine he photographically recorded the making of The Great Gatsby. Michals did not own a studio so he photographed people in their own environment unlike other photographers of that time, like Irving Penn and Richard Avedon.

The Mexican government hired Michals to cover the Summer Olympics of 1968. Two years later, his work was shown in MoMA. In 1976, the National Endowment for the Arts gave him a grant.

Michals's work represents aspect of beauty, sex, religion, spirituality and death. In The Spirit Leaves the Body, 1968 a figure was exposed twice in order to show how the body leaves the supine positioned body. Michals feels that he dislikes a part of photography that only records facts. Thus, he tried to represent more than what's on the surface.

Duane Michals has always experimented with photography and he kept expanding the range of tools. After playing around with writing, he began painting on photographs from the 1980s by adding objects to his photo prints. Michals brought the two ends of arts - photography and painting together in a unique and harmonizing manner.

For an exhibition at New York's DC Moore Gallery, Michals turned his attention to melainotypes from 19th century. For the show, he collected 25 melainotypes.

For the portraits of people he made, Michals included bright graphic add-ons in oil, such as checkered, multicolor objects, polka dots and many other embellishments.

Moving on, homosexual themes can be seen in Michals's work as well although he has never been a participant fighting for gay rights. He feels that if a person needs to be political about issues then he should leave his camera and do something.

For his artwork, Duane Michals gained influence from Lewis Caroll, René Magritte, William Blake, Balthus, Walt Whitman and Thomas Eakins. Apart from this, he has also made an influence on photographers, like Francesca Woodman and David Levinthal.

He is credited for the following artistic innovations in photography: 1) he tells stories using a sequence of images, 2) he wrote text on his images, and 3) he paints on photographs.

He had many other solo exhibitions in places like George Eastman House in Rochester, 1971; Odakyu Museum in Tokyo, 1999; International Center of Photography in NY, 2005; Thessaloniki Museum of Photography in Greece, 2008; and Scavi Scaligeri in Italy, 2008. Apart from this, he has participated in group shows as well.

# data[].attributes.attachment_link.description
Duane Michals biography - Duane Michals has always been battling with himself about what affect does a still picture has, and thus he pushed his work beyond the boundaries of a

# data[].attributes.attachment_link.readable_text
Storyteller: The Photographs of Duane Michals is a comprehensive retrospective opening on November 1, 2014 at the Carnegie Museum of Art (CMOA). The show will be the largest presentation of this pioneering photographer's work, and is organized by Linda Benedict-Jones, curator of photography at CMOA. The exhibition draws from select loans and the museum's holdings, which constitute the largest single collection of Michals' work, and span six decades. The works in Storyteller include Michals' classic sequences from the early 1970s as well as rarely seen images from later in his career.

Born in 1932 and raised in a steelworker family in McKeesport, Pennsylvania, Michals broke away from established traditions of documentary and fine art photography in the 1960s when he added handwritten messages and poems to the prints, produced multi-image narrative sequences and experimented with double and triple exposures. His work was poignant, provocative and sometimes sentimental, flying in the face of the dominant photographic aesthetics of the time.

Storyteller unfolds in thematic groupings ranging from portraiture to meditations on the mind's interior world: from childhood and imagination to desire and death. Michals' love of Pittsburgh and Paris is evident in sections exploring the beauty, quirks and particularities of these places.

A section called The Mind's Eye shows Michals' absorption with photographing things that cannot actually be seen, such as A Man Going to Heaven or The Human Condition. One theme, Painted Expression, shows how Michals has picked up a brush to apply oil paint to both B&W photographic prints as well as to 19 th century tintypes, resulting in unique photographic works.

Storyteller also touches upon Michals' extensive portfolio of commercial photography and portraiture, which spans several decades, and includes assignments for Neiman Marcus, Esquire, Vogue, and Gap, as well as commissioned portraits of such figures as Nancy Reagan, Sting, and Willem de Kooning.

CMOA has acquired 139 of his works, ranging from his earliest images made in Russia in 1958 to hand-painted tintypes that he began creating in 2012. Michals always felt an attachment to Pittsburgh, a subject of many of his photographs, and of 2 books, the sequence The House I Once Called Home (2003) and the book-length A Pittsburgh Poem (2013). Lending institutions to Storyteller include Musée d'Art Moderne de la Ville de Paris, Museum of Fine Arts, Houston, Musée des Beaux Arts (Montreal), High Museum of Art (Atlanta), and Museum of Modern Art (New York). While Michals has had several solo exhibitions throughout Europe in the past decade, this is his first major museum exhibition in the United States since 1992.

Presented alongside Storyteller will be the exhibition Duane Michals: Collector, which highlights works from Michals' private art collection that are promised gifts to the museum. Storyteller: The Photographs of Duane Michals represents a reexamination of a historically significant photographer. Michals' pioneering photography infused the medium with a personal, critical approach that translates universally.

The Carnegie Museum of Art is located at 4400 Forbes Avenue in the Oakland section of Pittsburgh.

More info about the show here.

# data[].attributes.attachment_link.title
New Photo Show: Storyteller, The Photographs of Duane Michals

# data[].attributes.attachment_link.description
Image: Duane Michals; Madame Schrödinger's Cat, 1998; From the series Quantum, Three gelatin silver prints; The Henry L. Hillman Fund; Courtesy of Carnegie Museum of Art, Pittsburgh

# data[].attributes.body
This week's exercise involved printing six full-size 8x10" images which allowed me to carefully examine the results of the first three exercises.

# data[].attributes.headline
From Exercise 1 - Studio Lighting & Metering Task 

# data[].attributes.subject
From Exercise 1 - Studio Lighting & Metering Task 

# data[].attributes.body
This portrait photo is one of the first ones I took in the studio when I was experimenting with lighting, meter readings, and backgrounds. I chose this picture because, out of the ones I took with a white background, it is the only one where the model is in the middle, naturally smiling, giving the impression that the picture was taken when the model was off-guard and the shot wasn't planned at all. This is what I want my pictures to look like - I don't want anything planned; I just want to capture people's essence. Although the photo is out of focus (which I didn't notice in the contact sheet), I still prefer it over the others because it conveys a natural and spontaneous vibe that I want to achieve in my art.

I circled a few other white background pictures in the task 1 contact sheet, which were probably as good as this one, if not better. For instance, number 7 looks more in focus, and the model is also in the centre. However, the model's facial expression is forced, and he looks like he doesn't want to be there, which is not the impression I want to convey through my art. Moreover, I didn't choose frame n6, even though the model was smiling and looked relatively good, because he wasn't in the middle, and I didn't like the composition as much as frame n8.

# data[].attributes.body
For this particular print, I decided to expose the paper for 20 seconds. However, in hindsight, I realize that I should have only exposed it for 4 seconds instead. The reason being that the background of the print turned out to be grey rather than white, which was the intended result. I made a mistake while printing the 8x10 print, as the contact sheet was white, and I should have adjusted the exposure time accordingly. Therefore, I plan to head back to the darkroom as soon as possible to reprint the photo and adjust the exposure time to 4 seconds, to see if that produces the desired white background.

# data[].attributes.body
I adore this picture, everything in it works perfectly. It's a low-key photo from task 1. What I love most is the contrast between the left and right sides of the model's face. The left side is in deep shadow, while the right is perfectly lit, allowing you to see every facial feature. This contrast works perfectly as a low-key shot and a black background print. I noticed that the contact sheet's background looked more dark grey than black. However, when I printed it in the darkroom, I adjusted the exposure and lighting to make it look more black, which is what we were asked to do in the task. I also chose this picture because it has a balanced composition. The model is perfectly centred, leaving equal space on both sides. Although there were two other black background pictures I circled in the contact sheet, I chose this one because frame 14 had a perfectly black background but I wasn't a big fan of the model's pose. As for n19, it had similar good characteristics as the one I chose but the model was too close to the camera, resulting in a not-as-good result.

# data[].attributes.body
As we discussed last week, I attempted to capture Shallow DOF in either A and/or B, but unfortunately, I made an error while taking the light meter reading. As a result, the photos turned out overexposed and out of focus. Nevertheless, I decided to print n15 from Task 2's photoshoot, adjusting the light and exposure to see if I could reveal more details in the print using the enlarger. I'm quite satisfied with the outcome considering the initial state of the image. Even though the picture may not have turned out as expected, I'm glad I attempted to print it anyway. In the previous lectures, we learned that it's better to overexpose a picture than to underexpose it. An overexposed negative will be denser, allowing it to reveal more details than an underexposed one. With an overexposed picture, all you need to do when passing light through it with an enlarger is to extend the exposure time to reveal the details, which isn't possible with an underexposed photo.

This picture, although out of focus and not a good example of Shallow DOF, managed to reveal more details than what was observed in the contact sheet. I'm still pleased that I tried to print it, as it showed me how to adjust overexposed images using the enlarger in case I encounter similar issues in the future. Hopefully, that won't be necessary.

I am actually quite pleased with the "mistake" of overexposing this picture. To me, it gives the photo a sense of spookiness and horror, which I find appealing. Additionally, the black line at the bottom of the image adds to the overall aesthetic and gives it an older, vintage feel.

# data[].attributes.attachment_link.title
Film Photography: Better to Under or Overexpose?

# data[].attributes.body
I am really happy with this print, it might even be my favourite so far. Everything in it just works so well together. The extended depth of field turned out great. However, upon closer inspection of the contact sheet, I realized that I didn't let enough light through the enlarger. This made the final print appear quite different from the contact sheet. In the print, the closest hand looks overexposed and some of the details are lost, whereas the contact sheet is well-lit. What's more, the shadows on the contact sheet work well, only showing the top part of the model's face, leaving the bottom half a mystery, which I find very intriguing. But in my print, I exposed just a little bit of light, and the bottom half of the face is visible, which gives the picture a completely different feel and meaning. Therefore, I am planning to return to the darkroom to try and re-print this picture, so that it looks more like the one on the contact sheet. I find it fascinating how much light you let through the enlarger can define the mood of a picture.

# data[].attributes.body
As I mentioned in last week's description of the contact sheet, I have already discussed this particular picture. Underexposed pictures are generally more challenging to work with than overexposed ones, and this shot was no exception. I made my best effort to extract some details from it, but unfortunately, there wasn't much I could do.

# data[].attributes.body
As we went through in Task 2 & 3's contact sheet, this particular shot is not working as a blurred motion. However, I decided to print it anyway since it was the only shot I had for a blurred motion. I believe that this print is correctly exposed as everything is visible and it is focused correctly, as I was able to see the grains when looking through the lens. This applies to all the prints I have made so far, and everything is visible in detail, except for the model in the background. However, that was the intended result as she is covered by the shadow.

This particular print could have had a bit more even white borders, as there is less border on the right-hand side and more white border on the top. But for some reason, I find it working well anyway, so I don't think I will redo it. Additionally, the edges are not sharp when examined closely, but it doesn't bother me as it looks like it is made on purpose.

Since the photograph didn't turn out to be a blurred motion, I find it only fair to experiment with non-conventional borders to better understand what I like and what I want my final prints to look like.

# data[].attributes.attachment_link.readable_text
It might seem like our obsession with beauty has never been greater, but looking to the past tells a different story. Making Up The Past is a column looking at great women from history and how they used cosmetics to shape their identities, from ancient queens to modern artists.
For most of human history, cosmetics have been a rarefied luxury. Even if the social mores that shape our understanding of beauty have constantly shifted, make-up has always served as a means of acquiring and expressing power: walk into any museum around the world and you will see women represented as goddesses and saints, empresses and queens. What, then, of the quieter voices? The outsiders and pioneers whose radical understanding of beauty was so ahead of their time that they have, ironically, been forgotten?

In the early 1980s, French essayist François Leperlier was researching for a book on the history of the Surrealist movement when he noticed a name continuing to crop up in marginalia: Claude Cahun. Even if the name Claude is gender non-specific, it says much of the masculinist spirit of Surrealism that Lerperlier assumed she was male; yet somehow, even after discovering she was born a woman, Cahun proved herself to be neither. Every time Leperlier felt he had pinned down this elusive figure, he began to realise that - to paraphrase her creative predecessor Arthur Rimbaud - for Cahun, the self is always something other.

Born into an intellectual Jewish family in Nantes as Lucy Schwob, Claude Cahun was experimenting with gender from her teenage years, using the limited toolkit of a dressing-up box, a make-up drawer and a camera. Her self-portraits date back to the age of 18 when she moved to Paris to study at La Sorbonne and encountered the Surrealist revolution that was sweeping through the Left Bank. With his chance discovery, Leperlier had, in fact, found a goldmine that revealed a new side to the heady creative decadence of 1930s Paris: a gender revolutionary in their midst, described by André Breton himself as "one of the most curious spirits of our time".

Even by today's standards, the images are striking explorations of the diktats of female beauty and the mutable nature of queer identity. In one of her most famous self-portraits, Cahun has painted two hearts on her cheeks and slicked her fringe into two neat curls. But she is more than just a pierette - or, perhaps, a pierrot - with the words 'I AM IN TRAINING DON'T KISS ME' scrawled across her chest. What is she in training for? To become a man, or to reify her womanhood, or both? Gazing directly down the lens of the camera she creates her own miniature theatre, using make-up to slyly satirise the narrow understanding of gender held by her peers. "Shuffle the cards," she wrote in her autobiography, Disavowals. "Masculine? Feminine? It depends on the situation."

Cahun's obscurity wasn't just a result of her progressive philosophy of gender, but also her extraordinary life story. She fell in love with her stepsister, Suzanne Malherbe, after their father and mother married; despite attempts to keep them apart, they fled the city in 1937 for the island of Jersey. Malherbe soon recast herself in Cahun's androgynous mould by adopting the name Marcel Moore, and they would later launch a resistance movement during the island's Nazi occupation, convincing German officers an underground network of hundreds was operating across the island when it was really just two bohemian artists. While they were eventually discovered by the Nazis in 1944 and sentenced, they managed to escape death thanks to the abrupt end of the war. One of Cahun's most subversive images is a self-portrait with a Nazi badge between her teeth, shot immediately after her release - yet following this traumatic episode, the two women became increasingly reclusive.

"It is only after many attempts that we can firm up the moulds of our masks," says Cahun in her autobiography. It's a sentiment that extends not just to her broad body of work, but the many different characters she crafted. The rediscovery of Cahun's body of work came at a time when women Surrealists were being revisited by scholars of art history like Whitney Chadwick and Penelope Rosemont. Despite being kept at arm's length by the male leaders of the movement, their female counterparts were producing work that was just as subversive and intoxicating: but where Cahun's female peers used the paintbrush and the chisel to express their vision, she adopted the traditionally feminine tool of the make-up brush as a direct challenge to the male-dominated world of art.

Using cosmetics to, quite literally, craft a series of masks, Cahun's chameleonic presence echoes the fraught paradigms of womanhood that feminist writers would pick apart many decades later. In a famous series of photographs, Cahun captures herself with a shaved head, a male suit and pale make-up that washes out her features to appear as an ungendered blank canvas. Project onto that whatever you want, she seems to say. In others, she ties braids around her head to form a crown, wearing a dress with a corseted front and laying on dark eyeshadow, rosy cheeks and lipstick to be almost comically thick - a creepily adult interpretation on the exaggerated femininity we are introduced to from childhood with heavily made-up dolls.

"What we can take from Cahun isn't just her radical take on gender or her political courage, but a reminder of the simple pleasure of putting on make-up in the first place"

We expect the decisions somebody makes when putting their appearance together to explain to us who they are. We want to parse those choices like psychics mastering the art of cold reading. Cahun's magic is her unknowability: with her carousel of masks and make-up, she somehow becomes a stranger. Will we ever truly know the real Claude Cahun? Maybe we should just be thankful we know her at all: in 1972, upon Malherbe's death, the bulk of their archive was sold for just £21 at auction.

Today, defining ourselves through beauty has become inextricably tied up with social media or performance. It's easy to forget the power of make-up to shape our inner lives and open up new perspectives on ourselves, without the need for any audience. What, after all, is more emotionally seismic than the first time an adolescent girl, boy or future drag queen is left home alone to try on their sister's heels or their mother's mascara, hastily wiped off before they get home from work? When they look in the mirror for the first time, perhaps they see a stranger too - even if it's a stranger that will soon become an integral part of who they are.

It's these secret encounters with beauty that can be the most powerful. What we can take from Cahun isn't just her radical take on gender or her political courage, but a reminder of the simple pleasure of putting on make-up in the first place. "Behind the mask is another mask," Cahun continues in Disavowals. The application of paint on the body can reveal an entirely new side of yourself, whether anyone sees you or not. Any true outsider can relate to that.

# data[].attributes.attachment_link.title
The radical Surrealist who challenged gender norms with make-up

# data[].attributes.attachment_link.description
Looking back at the extraordinary self-portraits of Surrealist Claude Cahun and her unusual relationship with make-up, we unpick what she can teach us about beauty today

# data[].attributes.attachment_link.title
Perché Claude Cahun è ancora oggi l’artista più innovativa di tutti i tempi

# data[].attributes.attachment_link.description
È stata scrittrice, fotografa, artista a 360°, ma soprattutto un’anticonformista, pioniera di una sessualità fluida e di uno stile di vita rivoluzionario.

# data[].attributes.attachment_link.readable_text
"Under this mask, another mask. I will never be finished removing all these faces." That's what Claude Cahun wrote in Disavowals, her autobiography. The groundbreaking French artist, writer and photographer, renowned for her exploration of gender, used the lens and her body as weapons in portraying her ideas about gender - rejecting existing narratives and conventions. This all sounds pretty fantastic now - 61 years after her death - but being an androgynous artist in the early 20th century wasn't easy. Challenging notions of beauty and gender came hand-in-hand with the title of criminality, not the creator of radical art that acted as a looking glass into what gender and its exploration means today.

In many ways the Surrealist (though she never became a fully fledged member, due to the movement's 'boys' club' nature) shaved-head artist cherry picked her identity, along with her several pseudonyms, to coincide with the self-portraits she produced with her mirror. The tool was utilised to depict the persona she'd chose to explore that day. Where the majority of Surrealist artist positioned women as sexual objects, Cahun ventured the visual possibilities of genders and how they are portrayed on the human body.

Alongside her 'questionable' artworks, Cahun also tread on the wrong side of the law with her writing. Her and partner Suzanne Malherbe were both investigated for their protest poems that undermined the German authority controlling the Isle of Jersey at the time, where they both lived, and ultimately led to them facing the death sentence - something they were relieved from when the island was liberated in 1945. Cahun would pass away 11 years later, but her influence has carried on to inspire the iconic works of strong female artists in their own rights, such as Cindy Sherman and Nan Goldin. Now, almost six decades after Cahun's death, publishers Laurence King have teamed up with Mary Warner Marien to celebrate Cahun's gender ambiguous creations in their latest book, Photography Visionaries, from which we share a couple of images from here.
Photography Visionaries, published by Laurence King, is out now. Click here for more

# data[].attributes.attachment_link.title
The early 1900s artist who rejected gender constructs

# data[].attributes.attachment_link.description
Pioneering French art radical Claude Cahun used the lens to explore the many faces of gender in the early 1900s

# data[].attributes.attachment_link.title
Overlooked No More: The Art of Claude Cahun

# data[].attributes.attachment_link.description
Claude Cahun has been cited as an inspiration by countless creators, including David Bowie. Esme O’Keefe looks back at the French artist’s life and work.

# data[].attributes.attachment_link.readable_text
Self Portrait as a Young Girl

This photograph is one of the earliest known examples of a self-portrait by Cahun and displays an intense and penetrating outward stare. The artist's head is strikingly and disconcertedly disembodied, suggesting an imbalance, as though the head is disproportionately heavy and the body somehow redundant. Lying in bed with the sheets pulled up to the chin, Sarah Howgate, an art historian specializing in Cahun's work, argues that "she looks like an invalid in a hospital bed", and suggests that this may be a visual reference to the periods of acute depression from which both Cahun and Cahun's mother suffered. Indeed, this line of enquiry can be taken further, for it appears that the woman lies dead in a morgue. Unusually though, apparently deathly, Cahun's eyes are wide open and definitely alive, perhaps though constantly burdened by interior knowledge of the darker and more hidden aspects of life.

The artist's abundant flowing hair has a life of its own and immediately recalls Medusa, the Greek mythical and powerful woman/monster who had a head full of snakes, and whose gaze had the power to turn men to stone. It is clear from this interpretation that Cahun has no intention, as was typical of the time, to please men. Instead the artist challenges the viewer and asks questions of them, acknowledging the emotion of female rage that societies and individuals continue to struggle to express today. Although in bed, Cahun is not sleepy, convalescing, or sexually available as may be expected/accepted for a woman in 1914. Instead the image is likely of a combination of depressed, enraged and active artist, all of which were unheard of characteristics for a woman at the time and are still ones struggled with today. In resolute contrast to a painting such as Manet's Olympia (1863), Self Portrait As a Young Girl is quietly revolutionary, re-introducing the complex and staunch presence of an ancient female figurehead, long since silenced by patriarchal hierarchy.

Photographic print

Self Portrait, Head Between Hands

In this striking photograph, the artist has further transitioned from the childhood/teenage identity of Lucy Schwob to the gender-neutral persona of Claude Cahun. The long hair is gone, and is replaced by a shaved scalp, stripping away traditional associations of allure made between women and their flowing locks. The bald-headed portrait is one of a number made in the same year. This version bears reference to Edvard Munch's existential image of The Scream (1893), whilst another depicts Cahun hand on hip dressed in a man's suit, and a further hairless picture shows the artist cross-legged in profile meditating in a monk-like pose. All three of the images present a vision of gender-neutrality, which - produced whilst immersed within a flourishing Parisian lesbian avant-garde community - well illustrate Cahun's personal journey at the time. Indeed, it is noteworthy that throughout post-war Europe, an overall questioning of gender constructions becomes significant. This was definitely the case for Frida Kahlo, who typically wore a man's suit in family photographs during the 1920s and then later, in 1940, painted Self Portrait with Cropped Hair.

By contrast to the highly expressive face repeatedly painted by Munch, Cahun here has an air of detachment and general lack of feeling. Thus most likely, the way in which the artist's hands are placed on either side of a vacant face is done not only to recall the intensity of lived experience like The Scream, but also to create the illusion that Cahun holds a mask. Influenced by involvement in contemporary experimental theater, Dada performativity, and a general interest in African art, Cahun makes references to masks in many artworks. The mask motif is explored as early as 1905 when Picasso portrays Gertrude Stein, the lesbian poet at the center of early-20 th-century Parisian salon culture, imbuing her presence with timeless weight and androgyny. The mask, as such, alludes to the hidden depths of identity that societal conformity regularly denies. Cahun embraces this metaphor and seems to touch upon contemporary theoretical discussions that associate masks with one's daily acceptance/rejection of identity and gender performances.

The photograph, however, is not only a comment on shifting gender politics. As a Jewish person, with a physically stripped-down identity made sexless by hair removal, the image hauntingly looks forward to the heinous crimes of the holocaust. Furthermore, it universally mourns past, present, and future abuse suffered/to be suffered by women who stood/stand out as 'different'. For example, those labeled as 'witches' in the 16 th century or women who took German lovers during World War II, as 'punishment' for what in reality was free living, they were all required to remove their offending hair.

Photographic print

Photograph from the series "I am in training don't kiss me"

Unlike in earlier works, in this image and others made in the latter years of the 1920s, Cahun presents an obviously constructed identity using props, highly stylized clothing, and make-up. The photograph comes from a series of images in which Cahun adopts the paradoxical representation of a feminized strongman and performs various poses as such. Using this persona, Cahun conflates masculine and feminine stereotypes: Cahum holds charmingly painted weights, psuedo-nipples are sewn onto the flat costume shirt, and even the traditional weight-lifter handlebar mustache has been displaced onto the curls of cropped hair. With coquettishly pursed lips, the English words across Cahun's chest humorously read: "I am in training don't kiss me." With a gaze coy and inviting, it is at the same time contemptuous and mocking, ridiculing the viewer for being attracted to what is blatantly not on offer. The theatrical nature of the strongman series combines contradictory notions of gender to highlight the interesting space of slippage between opposite poles of identity. Indeed, it was not long after this photograph was taken, in 1929, that Cahun published articles in journals stating controversial theories that introduced the possibility of a third sex, uniting masculine and feminine traits but existing as neither one nor the other.

Once rediscovered and subsequently written about by art historian, François Leperlier, from 1994 onwards it was Cahun's experiments with constructed identity that set the prescient for a post-modern performative sentiment. The highly staged photographs look forward to Cindy Sherman's identity-shifting self-portrait photographs (e.g. Untitled Film Series, 1977-80), and Gillian Wearing's more recent 'mask' work. Cahun's images are a product of their artistic and social milieu, but also paradoxically deal with issues of identity that recur through all ages. I am in training, don't kiss me can be viewed in context with Coco Chanel's fashion forward boyish look, Josephine Baker's provocative performances, Romaine Brook's androgynous self-portrait (1923), and the many unruly flappers who bobbed their hair, shortened their skirts and started enjoying a newly found sexual freedom. As feminism was making headway, including suffrage, which was sweeping across the USA and most of Europe, the concept of the "New Woman" emerged with vigor during the Roaring Twenties. As a part of this moment in history but also apart from it, Cahun breaks through gender boundaries and represents oneself simply as an active human rather than as a woman or man defined by their sex.

Photographic print

Plate no.1 from Aveux non Avenus

This is the first illustration found in Cahun's autobiographical text Aveux non Avenus (translated as "Disavowals"). It shows several different pairs of hands holding an eye, a globe, and a magnifying glass or hand mirror. There is also a pair of isolated lips where one pair of hands are severed and a double-headed bird at the pinnacle. There is a possible breast, a shell, and an abundance of folded fabric all pasted on top of a dark, star-filled sky. The overall effect is evocative, celestial, and dream-like. It demonstrates the phase when Cahun was most engaged with the ideas behind Surrealism and was open to outside influences. Indeed, the image is made using a popular Surrealist technique known as photomontage. The technique was pioneered by Hannah Hoch, Max Ernst, and Hans Arp, and it is possible that Cahun may have encountered this work whilst living in Paris. Ernst and Arp used lots of birds in their early collages whilst Hoch often used eyes, and like Cahun (in other photomontages), would transform a multitude of eyes into the petals of a flower. This work is actually signed "Moore", illustrating that although much of the re-appropriated photographs have been made by Cahun, that it may have been Marcel Moore who put them together to create a coherent composite work. The collage/photomontage was photographed upon completion to make it reproducible in Disavowels.

A short text accompanies the plate, which starts with a description of taking a photograph:

"The invisible adventure.
The lens tracks the eyes, the mouth, the wrinkles skin deep... the expression on the face is fierce, sometimes tragic. And then calm - a knowing calm, worked on, flashy. A professional smile - and voilà!
The hand-held mirror reappears, and the rouge and the eye shadow. A beat. Full stop. New paragraph."

In summary, this is a seminal work for Cahun for it not only connects writings to visual works, but also unites a clutch of recent photographs. The artist's 1928 portrait, What Do You Want From Me? is the image that we see through the hand-held mirror, whilst the hands encircling the globe are cut directly from the untitled self-portrait of 1927, in which Cahun has a bat-like hairline and holds a reflective silver ball. The eye at the centre of this photomontage recalls illustrations from André Breton's novel, Nadja (1928), and also Dali's film, Un chien andalou (1929). The repetition of the eye for many Surrealist artists points towards a shared interest in the unconscious and is also suggestive that through deep reflection that it is possible to 'see' more clearly. Following on from this initial plate, Disavowels continues to unite photographs, prose-poems, poem-essays, and photo-collages. Both the book format and the photomontage technique have the ability to successfully bring together what are otherwise quite disparate elements of scattered mind and a fragmented career.

Re-photographed Photomontage

Untitled (Self-Portrait with Mirror)

Here, Cahun is bold, androgynous, and doubled by a mirrored-reflection. The image is lush with textures and tones: the checkerboard jacket, highlighted hair, and smooth sun-kissed skin all make the image vivid with the abundance of life. Traditionally, the inclusion of a mirror in art was used as a convenient way to expose two enticing views of a female subject or, alternatively, as a way to emphasize a woman's vanity. In this case however, the 'real' Cahun looks away from the mirror and engages with and meets the viewer's gaze. Cahun rejects being typecast as a passive woman who is visually consumed by self-admiration. There is no sin of vanity at work here, and instead qualities of thoughtfulness, exploration, and self-assurance confront the viewer. Art historian Shelley Rice argues that "'refusing to be imprisoned in her[/their] own glass, Cahun decided to live the imaginary life within the jealously guarded walls of her[/their] own introverted mental theatre." As such, the 'false' Cahun, the one in the mirror, by virtue of the reflection, seems to look away and out of the frame, perhaps feeling a greater freedom in the world of imagination than in everyday society.

By nature of the angle of the reflection, Cahun in the mirror looks different to the one we see in the foreground. The closer image has the collar raised to hide the neck, whilst the reflected Cahun knowingly reveals a beautiful and erotic neck. Cahun presents two different opposing personalities - one more confident and carefree and the other coy and somehow caged - and suggests that themes of both femininity and selfhood must be considered through a multi-faceted lens. The illusion of the mirror, and of photography itself, suggests an exploration of the 'real' versus the artificial. There is a parallel to this photograph; an exact replica in composition but the woman visible is Moore rather than Cahun. Indeed it is not only a division within oneself that Cahun explores, but also our reflections when compared to those of 'others'. Noting that we also know of Moore in this pose is to further emphasise the importance of Moore's role in Cahun's career, a sure artistic collaborator rather than straightforward love interest.

Photographic print

Self-Portrait with Masked Face and Graveyard

Interested in the constant oscillation between life instinct and the death drive, Cahun explores a cemetery in this relatively late work. Sadly, it is in fact the church yard where the artist would be buried seven years later, when Cahun died at age 60. Prior to this image being made, Cahun had spent a horrific year in a Nazi prison, only to be freed in 1945 with health irrevocably damaged by the experience. While imprisoned, thoughts of mortality likely plagued Cahun, especially as health deteriorated and loneliness increased. Cahun's face is hidden behind a soft, blank mask - features only vaguely suggested through the fabric-like covering. Hands are raised; holding the mask on either side, echoing the earlier pose of Self Portrait, Head Between Hands (1920), making Cahun's work, life, and worldview, all cyclical.

Indeed, the place of the individual in the grand scheme of nature becomes Cahun's main focus in the artist's last decade. In this photograph, the artist's legs are obscured by thick foliage conveying the idea that Cahun has sprouted from the leaves. In other works Cahun is even more enveloped by plants, or can be found submerged in water wrapped in umbilical-looking seaweed. A wonderful parallel between Cahun's later works and that of the career of Francesca Woodman grows before our eyes. Suddenly, we observe that both artists use the setting of the graveyard, both present themselves as angels, as becoming nature, and even as parts of furniture and walls. Enigmas for Feminist art historians, who would like to neatly propose that Cahun and Woodman fight with the constructs of gendered identity, such an argument does not work well for the artists' outdoor works. For here, Cahun and Woodman display a typical, stereotypical, and feminine 'knowing' due to their intuitive connection with the earth. Ever subversive however, as active artists they reveal that such insight does not come without trauma as well as peace. For in becoming so involved with nature, Cahun and Woodman enter into an ongoing dialogue with death as well as with life.

Photographic print

The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.

# data[].attributes.attachment_link.description
Claude Cahun's photographic, gender-bending self-portraits present a dizzying mix of mystery, exuberance, and sobriety.

# data[].attributes.headline
Beyond Labels: Capturing Authentic Queer Love

# data[].attributes.subject
Beyond Labels: Capturing Authentic Queer Love

# data[].attributes.body
The term "queer" used to only be used as a derogatory term. Since the term "queer" first appeared in the English language in the eighteenth century, it has been used to identify people whose actions, deception, or eccentricity could potentially undermine the integrity of the social order. "Queers" included people who were dishonest, thieving, inebriated, the black sheep and the bad apple, as well as anybody who didn't immediately identify as a man or woman because of their quirks or strangeness. However, the evolving history of a slur's applications, users, and utterance contexts also contributes to its political history. The meaning, users, and context of the word "queer" have drastically changed in less than 200 years. It was not until the AIDS crisis in the mid-1980s that a group of micro-groups decided to reclaim the term "queer" and use it as a platform for political action and resistance against normalisation.

For queer women, the sexualisation and commodification of their relationships is violently obvious; it permeates into their romantic and personal lives. As a result, representations of women in same-sex relationships in mainstream media will not be represented in a natural, egalitarian light. Everything is made to pander to the male gaze

In this project, I intend to challenge the way lesbian love is portrayed in mainstream media by experimenting with different photography techniques and capturing intimacy and queerness. I intend to do so by photographing a couple in their daily lives. I want to be able to express the mutable nature of queer identity through one's body through photography.

With this project, I want to break free of society’s preconceptions of lesbian love, which are widespread in modern media and society. Along with usual stereotypes, which can include ideas about short haircuts, flannel clothing, or specific hobbies, fetishization is common among media depictions of lesbian relationships. The most common example of this is the belief that straight men find lesbians as a turn-on or obstacle rather than a genuine sexual choice and I want to challenge that by expressing intimacy. These stereotypes don’t accurately represent the experiences and identities within the lesbian community. My initial plan was to take pictures of different queer (Lesbian\ Bisexual) couples to showcase a variety of relationships, embracing different ages, ethnicities and backgrounds, to highlight the minorities that are not being represented in mainstream media. On top of that, I would have wanted to explore the intersectionality of identity by featuring couples of different gender identities, with the inclusion of transgender and non-binary women, as it is the only way to fully represent the wide scope and spectrum of sexuality in our society, as Claude Cahun does. However, after a talk with Dafna and our 1:1 tutorial, we concluded that focusing on just one couple would be more time-efficient given that this is only a 10-week project.

I intend to break free from stereotypes by capturing moments that defy the traditional stereotypes covered at the beginning of this text, which are associated with lesbian couples, showcasing individuality, intimacy and uniqueness. I want to focus on everyday moments to emphasise the universality of love and relationships, transcending societal preconceptions.

I intend to accompany the visuals with short interviews or narratives from the couple, sharing their story, challenges and triumphs in their own words. I will write down some questions I want to ask them so that the viewers and I get to know them better, such as their names, how they meet, where they meet etc. I plan to have set questions but would also like to integrate some questions that come to my mind when talking to them, to better understand their relationship.

Location-wise, I am planning to do an initial shoot in the studio but I would also like to include diverse settings such as urban landscape.

The LGBTQ+ community is more visible in the twenty-first century. However, reports of people being abused because of their sexual orientation continue to surface. doubting the extent to which the community has truly changed despite increased visibility and information accessibility. (Kynoch, 2021)

# data[].attributes.body
I am planning to take the first shoot in the studio and take candid shots to capture the raw and genuine emotions, fostering a connection between the viewer and the subjects.

# data[].attributes.body
I started with these images in order to get ideas and learn more about how to photograph intimacy. The pictures, which resemble the artwork of Duane Micheals, not only tie in with the theme but also represent how I want my final prints to appear. These images speak to my project idea, which is why I find them appealing. I also believe that having them as a constant source of inspiration will help me capture intimacy in times when I'm at a loss for ideas.

# data[].attributes.attachment_link.description
‘I take issue with the heterosexual male directors who claim they are working hard to ensure cinema based on women’s same sex relationships is accurate’ - Millicent Stott analyses how the male gaze permeates itself in films featuring queer relationships.

# data[].attributes.body
I'm not completely satisfied with my work. Although some pictures turned out well, I found that some of them show the studio, which is something I need to work on. Additionally, the film is overexposed, which is a careless mistake that I should have avoided.

Although the interview helped me to create a bond with the couple, the first pictures I took were not good enough. I should have taken more time to understand the environment and the subjects before proceeding with the shoot as you can see the chairs. I also forgot to take a picture of Kris and Lauren alone, which is a major oversight on my part.

Out of the pictures I took, I believe I'll use three of them as the first three pictures of my final project. I want to use one of them to present the couple together, and one each of Kris and Lauren to create a relationship between the viewer and the subject. However, the lack of a picture of Kris and Lauren alone may affect the overall effect of my project, I will try the techniques I learned in the past in the darkroom to make two individual prints with Kris and Lauren singularly. I will try to do so by adjusting the enlarger.

While I have some concerns about my work, there were also some positive aspects. I was pleased with how some of my pictures turned out (the ones I circled), and I believe I was able to capture genuine intimacy between the couple. During the interview, I quickly recognized that the way the couple was looking at each other was very intimate, and I was able to capture some candid shots of them. I think these pictures worked well for both composition and conveying the intimacy I was aiming for. As I took more pictures and asked more questions, I was able to create a better rapport with the couple. This helped me to create better pictures and capture their emotions more effectively. Although there were some mistakes, I am confident that I can use the skills I learned in this project to improve my work in the future. By paying more attention to detail and taking more time to understand the environment and the subjects, I can create better work that truly reflects my vision.

# data[].attributes.body
I couldn't find anyone for mock photos during the two days I had free, so I don't have any pictures to show the class for this group tutorial. Since I couldn't find a way to shoot intimacy without using people, I decided to spend the time I would have spent in the studio researching and organising my project as well as the necessary next steps. Because it is hard to find a time when both the models and I are available, I find it hard to rely on others for photoshoots. Every day, one of the models works until five o'clock, and the studio closes at four. I had to make plans for the evening because we can't even take pictures outside now that it's winter and it gets dark at 4 p.m. with little natural light. I was able to schedule a late session at the studio tomorrow after talking about my project with the group, which will finally let me start taking pictures.

# data[].attributes.body
In this shoot, I am planning to interview them not only so I can record the interview and get to know them better and for the other reasons I explained earlier and so I can engage with them in meaningful conversation in the hope that I can inspire in them natural displays of affection and emotion as the less staged an image is, the more intimate it feels.

Secondly, I would like to zoom in on Details. Intimate photos don’t have to involve touching, or even more than one person. A shot of a hand or foot, or smaller details such as tears and sweat, offers a unique perspective—a detailed look at a subject that is typically reserved for a loved one—and creates a sense of closeness and trust.

Consider a First-Person POV

Taking photos from the first-person perspective is a captivating approach that can make the viewer feel like they’re interacting with the subject. The implied connection drives a greater sense of intimacy as the viewer feels they’re experiencing the scene.

Focus on the Eyes

Shooting at eye level with the subject allows viewers to feel more connected to the person they’re looking at, especially if that person is staring directly into the camera.

# data[].attributes.body
Armet Francis, a Jamaican-British photographer, has been on a mission to document the African diaspora for over 40 years. He has a deep understanding of the black consciousness and his pictures capture life-affirming moments that celebrate the resilience and survival of African diasporic cultures.

In the 1950s, Francis migrated to Britain as a young child from Jamaica. This experience of being uprooted and politically alienated had a significant impact on his life, causing a profound sense of dislocation. To connect with the rich and diverse Pan-African world, Francis turned to photography as an aid.

After World War II, the British government invited thousands of people from its colonies to move to the UK and help rebuild the country. The first group arrived in 1948 on the ship HMT Empire Windrush, and they and their descendants are now known as the Windrush generation. In 2008, Autograph commissioned a series of portraits by Francis to put a face to these people and their journey, which had a profound impact on Britain's history.

I was particularly taken by the series of portraits that Francis produced for Autograph in 2008, but I loved all of his work in the "The Black Triangle" series, which is why I decided to write about him. I liked how Francis humanised the Windrush generation and highlighted the significance of their journey to the history of Britain. In addition to being stunning works of art, the portraits inspired me because they exuded a sense of respect and dignity for the subjects. All things considered, I believe Francis' work was a superb illustration of the ability of photography to tell stories and forge connections between individuals and their pasts—a message I hope to portray through my work.

A striking illustration of how subjectivity and objectivity can coexist in photography is found in the work of Armet Francis, not only in the pictures above but in the whole 'The Black Triangle' series (see some of my favourite pictures below). Francis's images have a distinct subjectivity on the one hand because of his profound comprehension of black consciousness and his own experience of displacement and political alienation. He celebrates the beauty and humanity of his subjects while capturing the tenacity and survival of African diasporic cultures through his lens.

However, Francis's work also exhibits a certain level of objectivity. Through his documentation of the African diaspora, he produces a visual history that is both collective and personal. His images grow to be an effective tool for sharing and conserving cultural heritage, upending popular belief systems, and fostering relationships between individuals and their pasts.

It is this combination of subjectivity and objectivity that gives Francis' work its power. His ability to capture the unique experiences of his subjects humanises them and lends relatability to their stories. In addition, he fosters a sense of solidarity and shared experience among the African diaspora's members, which can empower those who feel alone or marginalised.

Francis's body of work is proof of the ability of photography to convey meaning and forge connections across distance and time. It demonstrates how objectivity and subjectivity can coexist peacefully to foster a better understanding of each other and ourselves.

Francis used various techniques such as composition, light, aperture, depth of field, and shutter speed to create highly impactful and emotional images. In his 'Windrush' series, he intentionally used darker tones to emphasize the significant impact of the subjects in rebuilding England after World War II. All of the photographs are close-up portraits, which I believe help us connect with the subjects in a more intimate way than just standard portraits. Francis manages to convey a deep understanding of the person through a single shot, with the focus solely on the person who is often the only visible subject in the photograph. By eliminating distractions, he creates a connection between the Windrush generation and the viewer, fostering a better understanding of the person and their story.

To create powerful and captivating images for my project, where I also want to use portraiture to tell a story, it could be helpful to comprehend and apply the techniques used by Francis to communicate emotions and connections through his photographs.

# data[].attributes.attachment_link.readable_text
I really threw myself into Herstory Month, in June, eating every accessible herstory archive on the internet and spending hours in the library, accumulating massive stacks of borrowed books which I stored at the foot of my bed. My girlfriend was not a big fan of the stacks of books at the foot of the bed.

I was looking for words but eventually, also, for pictures. Honestly before tumblr it was difficult to find very much lesbian imagery at all online - it was always the same ten or twelve stock photos - let alone pictures of lesbians taken prior to 2000. I wanted to see an evolution of our community, how we'd grown and changed over the years - and not just in a montage of famous out actresses and models, but pictures of actual people, pictures of women who were active in the community - regular human beings, writers and social activists.

So I started collecting them. I scoured tumblr, discovered regional library archives online and visited websites like fuck yeah queer vintage, the new york public library digital archives, out history, and know homo. Unsatisfied with the racial diversity present in the imagery I found online, I began scanning books, screenshotting google books and even screenshotting documentaries. It took months, but every time I look at this post and the faces after faces of queer women throughout history... I get really excited!

Four quick disclaimers: 1) Obviously it's impossible to verify the sexual orientation of some of the subjects of earlier photos I found on tumblr, the pre-1920s photos especially. But because I found them on vintage queer tumblrs, etc., I went ahead and used them, but some of these photos may just be of cross-dressers or super-close friends. 2) Obviously it's also difficult to find photos of women of color prior to the 1950's, because America sucks. 3) I focused on America because doing the entire world is really hard/impossible. It's possible pics from Canada or The UK [ETA: or France, apparently!] found their way in here, though. 4)I've tried to credit where I found these photos and who took them. Unfortunately, because I'm an idiot, I erased the text-edit document where I was keeping track of photo credits. If you see anything here that is improperly credited or if you can identify the origin of any photos that weren't credited at all, please email me and let me know! (riese [at] autostraddle dot com).

I'd also like to thank the GLBT Historical Society in San Francisco for their permission using photos from their collection here.

150 Years of Lady-Loving-Ladies In The U.S.

1850s

1880s

1890s

1900s

1910s

1920s

1930s

1940s

1950s

1960s

1970s

1980s

1990s

Riese is the 41-year-old Co-Founder of Autostraddle.com as well as an award-winning writer, video-maker, LGBTQ+ Marketing consultant and aspiring cyber-performance artist who grew up in Michigan, lost her mind in New York and now lives in Los Angeles. Her work has appeared in nine books, magazines including Marie Claire and Curve, and all over the web including Nylon, Queerty, Nerve, Bitch, Emily Books and Jezebel. She had a very popular personal blog once upon a time, and then she recapped , and then she had the idea to make this place, and now here we all are! In 2016, she was nominated for a GLAAD Award for Outstanding Digital Journalism. She's Jewish and has a cute dog named Carol. Follow her on twitter and instagram.

Riese has written 3111 articles for us.

You May Also Like...

# data[].attributes.attachment_link.title
Epic Gallery: 150 Years Of Lesbians And Other Lady-Loving-Ladies

# data[].attributes.attachment_link.description
Photographs of lesbian, bisexual and otherwise-identified women, 1850-1999. Seriously this is really cool.

# data[].attributes.attachment_link.readable_text
Maria Bailey is a New York City-based writer and editor with over ten years of media and marketing experience from across the world. After leaving the U.K., her career began as a news journalist in Australia. Looking for a new challenge, she set her sights on New York City to pursue opportunities at leading news organizations and brands, and she hasn't looked back ever since.

With Valentine's Day just around the corner, check out these tips for creating a genuine sense of closeness in your images.

We all know what intimate momentsfeel like, but capturing them in photos presents a challenge, in part because cameras don't belong in these moments-they threaten to disrupt or dismantle the delicate and nuanced exchange altogether.

And yet, when intimate exchanges are captured successfully, there's an undeniable emotional pull to them. So, how can you get the shot you're after?

Here are some tips.

1. Shoot in Familiar Spaces

Your subjects are more likely to drop their inhibitions, feel their most relaxed, and show signs of intimacy if they're somewhere familiar or inviting.

Think about setting your shoot in a place that offers them comfort-whether that's their home, the beach, or an outdoor cafe.
Consider shooting in environments that put your subject at ease. Images via Olena Yakobchuk, anon_tae, Olena Yakobchuk, and GaudiLab.
2. Engage Your Subjects in Meaningful Conversation

By asking your subjects about, say, their wedding day or the arrival of their first grandchild, you may inspire natural displays of affection and emotion. You'll also distract them from the lens and prevent them from consciously or unconsciously posing for the camera.

The less staged an image, the more intimate it feels.

Encourage your subjects to reminisce about a meaningful event to capture genuine emotions behind the lens. Image via Rawpixel.com.

3. Zoom in on Details

Intimate photos don't have to involve touching, or even more than one person.

A shot of a hand or foot, or smaller details such as tears and sweat, offers a unique perspective-a detailed look at a subject that's typically reserved for a loved one-and creates a sense of closeness and trust.
Intimacy doesn't always have to involve touching. Images via oluuuka, Master1305, Z2Marketing, Zolotarevs, bezikus, and Jayakumar.
4. Consider a First-Person POV

Taking photos from the first-person perspective is a captivating approach that can make the viewer feel like they're interacting with the subject. The implied connection drives a greater sense of intimacy as the viewer feels they're experiencing the scene.

Images via oneinchpunch and Sergii Sobolevskyi.

5. Focus on the Eyes

Shooting at eye level with the subject allows viewers to feel more connected to the person they're looking at, especially if that person is staring directly into the camera.

6. Anticipate Intimate Moments

Capturing genuine moments of intimacy means being on the lookout for emotional and unguarded moments as they arise. That could mean capturing tearful reunions at the airport arrivals gate or a couple enjoying a beautiful sunset at a popular lookout spot.

So, remain alert-and have your camera settings ready to go!
Images via Olga Vladimirova, Dragon Images, Fergus Coyle, and Rawpixel.com.

Recently viewed

# data[].attributes.attachment_link.description
With Valentine's Day just around the corner, check out these tips for creating a genuine sense of closeness in your images.

# data[].attributes.body
In this tutorial, Dafna and I concluded that the work I have so far is merely a beginning and doesn't feel developed. I agree because, up until now, all I've done is one studio photo shoot. If I don't start relating to my theme and the overall theme in some way, it could easily look like a standard couple photoshoot and that is not what I am trying to convey. I made a list of things to do to make sure that doesn't happen based on Dafne's advice:

1. Listen intently to what they say when I play back the recording of their interview to see if they bring up any specific items that I can photograph in the studio in an interesting way (even without them, so I can convey a sense of intimacy and relationship with those objects, eg necklace). I don't have enough studio photo shoots, so I need to bring something that connects to them.

I will photograph them in their home in four days, along with these particular items, and if it is feasible, I will ask to borrow them so I can take pictures of them in the studio. To know which settings these objects function best in once the photos are developed, I want to take pictures of them both in the studio and their natural habitat.

2. In addition, I have to pay close attention to some of the phrases they say and choose which ones, like Duane Michels, I want to be noted on the prints.

3. Since cooking is their favourite activity, I'm going to take pictures of them while they're in the kitchen. It would be nice if they could prepare their favourite dish to highlight their bond.

We discussed Tate Britain's "The Women in Revolt" Exhibition in addition to what to do with the project and how to develop it to its full potential. In-depth examinations of feminist art by more than a hundred female UK artists are featured in this exhibition. It draws attention to the ways in which networks of women contributed significantly to British culture by utilising radical ideologies and rebellious tactics. The women's liberation movement benefited from their art during a time of profound social, political, and economic transformation. We specifically discussed Del LaGrace Volcano, whose series "Queer Dyke Cruising" (seen in the above photo), as an artist who will contribute to and inform my project.

Volcano is a pioneer in "using the world as a backdrop for the staging of queerly precarious pleasures," as evidenced by this series, which is a photo study that emphasises the dynamics of cruising while encapsulating the spirit of queer and dyke culture. The series explores the complex ways that sexuality, gender, and identity are expressed in these settings, providing a visually striking and provocative portrait of the varied people who engage with and influence these subcultures. The artist states that they created their pieces 'for ourselves, for the camera and for the sheer thrill of occupying places we were not meant to inhabit'.

I intend to visit the exhibition in two days, and my next step is to investigate their work. I am also going to research Poulomi Desai and Ingrid Pollard, two other artists whose work is in the exhibition and who might have something in common with my work. This will help me with my project.

In general, the meeting proved to be highly beneficial in helping me identify the next steps necessary to advance the project and in discovering ways to broaden its focus beyond relationships to include queer love.

# data[].attributes.body
Female photographer Ingrid’s artistic practice involves questions of representation concerning issues of race and ‘difference’. As a multi-media artist, Ingrid Pollard uses different photographic processes alongside printmaking, artist books, installation, audio and video to offer insights and remind us that LGBTQ+ culture is alive, thriving and at the forefront of activism.

I love her work, not just the photographs but also the illustrations, but I am not too sure how to incorporate it in my work, just yet.

# data[].attributes.body
Indian transmedia artist, photographer, and activist Poulomi Basu is well-known for her work supporting women's rights. Additionally, she explores the politics of perception, listening, and identity, drawing inspiration from her DIY post-punk and activist upbringing. She combines kitchen knives, axes, massage tools, circuit-bent toys, altered cassette decks, optikinetic instruments, and broken sitars to create new electronic instruments for improvised performances. She explores the idea of "electromagnetic black noise," accepting chance, losing control, and challenging "authenticity" through her use of collage, field recordings, VLF radio noise, and petri dish bacterial photography.

Poulomi has spent many years documenting the global South Asian queer community by linking the streets of Southall, London with locations in Dhaka, Bangladesh, and Gujarat, India. These diverse queer communities were brought together in the exhibition and book Red Threads: The South Asian Queer Connection in Photographs (1980 – 2003). Although her work does resonate with mine, I don't think I will use this artist as inspiration for my project, but she is still deserving of recognition. I will conduct further research on her if, upon visiting the exhibition, I discover anything further about her work that is relevant to my project.

# data[].attributes.body
While reading and viewing the book Desai, P.D., and Sekhon, P. (2003) Red threads : the South Asian queer connection in photographs. London: Millivres Prowler, I came across these two pages with Poulomi Desai's photography on the left and an interview with the artist and writer on the right. Because my project includes an interview with the models, I could try to incorporate a similar layout when finishing my project, perhaps as a final image.

# data[].attributes.body
Gender variation, sexual connectivity, and body mutations are themes that Del LaGrace consistently addresses. Volcano is a remarkable photographer and thinker whose work presents gender and sexuality as deeply embodied and highly performative. Thus, their work has influenced discussions about nature and nurture in transgender, intersex, and queer studies.

Since Volcano creates their images by exchanging looks of identification, affiliation, and desire with their subjects, more than any other artist, their work has portrayed queer, trans, and intersex people as subjects rather than objects. What interests me and I believe will help shape my project is their mastery in portraying queer people as subjects rather than objects. As the project proposal discusses, I want to show queer people and relationships as subjects instead of objects of desire, which is how lesbian couples are typically portrayed in mainstream media.

"Queer bodies are ‘Bodies That (don’t) Matter’. Bodies that are disposable and often disowned. Bodies that are not valued or valuable. Bodies that through the simple act of existence personify resistance."

Volcano frequently employs portraiture to highlight their subjects' individuality and capture people's spirit. Additionally, they frequently explore and question gender and sexuality-related societal norms in their work to capture various identity expressions. Furthermore, Volcano has used a documentary approach to photograph the world around them, preserving genuine moments and experiences that can lend authenticity to their work. Volcano is renowned for exploring a wide variety of visual expressions by experimenting with various formats, styles, and techniques. I want to modify some of these strategies to use them for my project because they have the potential to produce a compelling story that dispels misconceptions and promotes understanding. I'm having trouble finding more information about their work, but maybe the exhibition will help me develop that understanding.

I chose the images in the moldboard above that spoke to me the most and would benefit my projects in some way. For example, I like the ones at the bottom because they incorporated the name, location, and date at the bottom of the print and gave it a polaroid feel, which is something I'd like to try for my composition because I'm already thinking about writing down words, and that would be a great way to incorporate both Volcano and Michels' works in my project. In addition, the second image displays two pictures in the format of a contact sheet, which gives off a polaroid vibe due to the edges and printing technique—another printing technique I'd like to try. The top right image is my favourite as well because it features a print without any white borders, allowing the viewer to see the film itself. For pictures where I don't think any writing is necessary, I'll try this print technique.

# data[].attributes.attachment_link.readable_text
The first of its kind, this exhibition is a wide-ranging exploration of feminist art by over 100 women artists working in the UK. It shines a spotlight on how networks of women used radical ideas and rebellious methods to make an invaluable contribution to British culture. Their art helped fuel the women's liberation movement during a period of significant social, economic and political change.

In the 1970s and 1980s a new wave of feminism erupted. Women used their lived experiences to create art, from painting and photography to film and performance, to fight against injustice. This included taking a stand for reproductive rights, equal pay and race equality. This creativity helped shape a period of pivotal change for women in Britain, including the opening of the first women's refuge and the formation of the British Black Arts Movement.

Despite long careers, these artists were often left out of the artistic narratives of the time. This will be the first time many of their works have been on display since the 1970s.

Through their urgent and powerful art visitors will encounter a productive, politically engaged set of communities, who changed the face of British culture and paved the way for future generations of artists.

# data[].attributes.attachment_link.description
The first of its kind, this exhibition is a wide-ranging exploration of feminist art by over 100 women artists working in the UK. It shines a spotlight on how networks of women used radical ideas and rebellious methods to make an invaluable contribution to British culture.

# data[].attributes.attachment_link.readable_text
"QUEER":HISTORY OF A WORD by PAUL B. PRECIADO

For those who grew up as lesbians in the years immediately following Franquismo, it's difficult to get used to the success of the artifact 'queer' and its transformation into 'cultural chic'. Let us remember, though, that behind every word there is a history, just as behind every history there is a struggle to fix or unmoor the words. To all who declare their sexual identity, Mia will sing in your ear: parole, parole parole...

There was a time in which the word 'queer' existed solely as an insult. In the English language, since its appearance in the eighteenth century, 'queer' served to name those whose condition of uselessness wrongdoing, falseness, or eccentricity might jeapordize the smooth functioning of the social machinery. 'Queers' were liars, thieves, drunks; the black sheep and the rotten apple, but also anyone who, due to their peculiarity or their strangeness, wouldn't be immediately recognized as man or woman. The word 'queer' doesn't seem to define a quality of the object to which it refers so much as to demonstrate the inability of the subject who speaks to locate a category in the field of representation that fits with the complexity of that which they are trying to define. Therefore, since the beginning, 'queer' is more the mark of a failure in linguistic representation than a simple adjective. Not this, nor that, neither fish nor fowl...queer. Which in some way amounts to saying: that which I call 'queer' poses a problem for my system of representation, leads to a disturbance, a strange vibration in my field of visibility that should be branded with the slur.

It was necessary to distrust the 'queer' as one distrusts a body that, by its mere presence, blurs the boundaries between the categories previously divided by rationality and dignity. In the Victorian society that defended the value of heterosexuality as the axis of the bourgeois family and foundation of the the reproduction of the nation and of the species, 'queer' would serve to name also those bodies that broke away from the heterosexual institution and its norms. The threat came, in this case, from those bodies that, through their forms of relation and production of pleasure, placed in question the differences between masculinity and femininity, but also between the organic and inorganic, the animal and the human. 'Queers' were homosexuals, the fag and the lesbian, the transvestite, the fetishist, the sadomasochist, the zoophile. The insult 'queer' didn't have a specific content; it sought to join all the signs of wretchedness. But the word served, in reality, to set a limit to the democratic horizon: those who called another 'queer' situated themselves comfortably on an imaginary sofa of the public sphere in tranquil communicative exchange with their heterosexul equals, while expelling the 'queer' from the confines of the human. Displaced outside the social space by the insult, the 'queer' was condemned to secrecy and shame.

But the political history of a slur is also the changing history of its uses, of its users, and of the contexts of its utterance. If we pay attention to this linguistic transit, we can say that it has shot the dominant language in the foot: in less than two centuries, the word 'queer' has changed radically in use, users, and context. We had to wait until the mid-80s of the last century for, impelled by the AIDS crisis, an assemblage of microgroups to decide to re-appropriate the insult 'queer' to make of it a place for political action and resistence to normalization. Activists from groups like Act Up (fighting against AIDS), Radical Furies, and Lesbian Avengers decided to wring the neck of the insult 'queer' and transform it into a regime of social critique and cultural intervention. What had changed was the subject of enunciation: now it was not the young hetero male who called the other 'fag'; now the sissy, the dyke, and the trans called themselves 'queer', announcing an intentional rupture with the norm. This intuition was present since the gay riots of the 70s. Guy Hocquenghem, for example, had already revealed the historical and constructed character of homosexuality: 'The capitalist society constructs the homosexual just as it produces the proleteriat, giving rise each moment to its own limit. Homosexuality is a construction of the the normal world". Yet he was not trying to ask for tolerence and keep a low profile in order to gain entry into the heterosexual institutions of marriage and family, but to affirm the political (but not to say policeable) character of concepts of homosexuality and heterosexuality, placing in question their validity to define the social field. In this second round, the word 'queer' has ceased to be an insult to become a sign of resistance to normalization, has ceased to be an instrument of social repression to become a revolutionary index.

The 'queer' movement is post homo-sexual and post-gay. Now it does not define itself with respect to the medical notion of homosexuality, nor settle for a reduction of gay identity to a lifestyle accessible within the society of neoliberal consumption. It is, therefore, about a post-identitarian movement: 'queer' is no longer an identity in the multicultural folklore, but a position of critique attentive to the processes of exclusion and marginalization that generate every identitarian fiction. The 'queer' movement is not a movement of homosexuals nor gays, but of gender and sexuality dissidents that resist the norms imposed by the dominant heterosexual society, attentive also to the processes of normalization and exclusion internal to gay culture: marginalization of dykes, of transexual and transgender bodies, of immigrants, of workers and sex workers.

Because to wring the neck of the insult is even more necessary than to have been the object of it. The blah blah of a conservative fag is no more 'queer' than the blah blah of a conservative hetero. Sorry. To be a fag is not enough to be 'queer': it's necessary to subject your own identity to critique. When we talk about 'queer' theory in reference to texts by Judith Butler, Teresa de Lauretis, Eve K. Sedwick, or Michael Warner we speak of a critical project, heir to the feminist and anticolonial tradition that holds as its objective the analysis and deconstruction of the historical and cultural processes that have brought us to the invention of the white heterosexual body as the dominant fiction in the West and to the exclusion of difference from the scope of political representation.

Perhaps the key to the success of 'queer' in the face of the difficulty of publishing or producing interpretations or representations that come from fag, dyke, transexual, anticolonial, postporno, and sex worker cultures lies, unfortunately, in its lack of connection in the Spanish language with the contexts of political oppression of those to whom 'queer' refers to in English. If we keep in mind that the political efficacy of the term 'queer' stems precisely from being the reappropriation of a slur, and its dissident use against the dominant language, we will have to accept that this displacement does not function when the word 'queer', deprived of historical memory in Spanish, Catalán, or Valencián, is introduced in these languages. We escape, then, to a brutal movement of decontextualization, but also deprive ourselves of the political force of the gesture. That explains, perhaps, why many of the new initiates that wish to identify themselves as 'queer' - as they wish to be in the circle of friends of Manu Chao or acquire the latest e-book - will not be so eager to be identified as 'transexuals', 'sadomasochists', 'crips' or 'dykes'. It will be necessary in each case to redefine the contexts of use, change the users, and above all mobilize political language that we have constructed as vile...otherwise, 'queer' theory will be simply parole, parole, parole....

Paul B. Preciado is a queer philsopher and activist. He pursued his studies in a number of universities in the United States. Currently he teaches gender theory in several universities in the Spanish State and abroad, participating in the Program for Independent Studies at MACBA. He is the author of the books: Countersexual Manifesto, Testo Junkie, and Pornotopia, and of numerous articles published in Multitudes, Eseté, and Artecontexto.

Interview with DEL LAGRACE VOLCANO

Hi Dell, To tell us how you started out as a photographer.
When I was a girl of 18 I hitchhiked around Europe with a girlfriend who had a medium format camera, which impressed me greatly. When I got back to California, where I grew up, I enrolled in all the photography and film classes my local community college offered. After 3 months I had a job in the photography lab and within a year I was the photographer for the theatre. I have always stuck close to home, no matter how far way I have been geographically. I photographed and filmed my family, who are all complete characters in their own right. When I moved up to San Francisco after a few years I continued to create images of my new family, sex positive SM dykes and fags. Expanding the definition of 'family' is still one of the primary movitivations in my work and life.

To talk to us about your books the difference between them and the important concepts in each of them.

LOVEBITES, Gay Men's Press, London, 1991

In the late 1970s when I started making photos it was rare that you ever saw images of lesbians and if you did they were completely de-sexualized. At the time I was on a scholarship at the San Francisco Art Institute and feeling completely alienated by the pervasive white middle classness of that environment. I started hanging out at Scotts Bar, a working class neighbourhood bar where the working class queers hung out and where I met the British dyke who I moved to London with in 1982. In 1987 I became part of Chain Reaction, a collective of SM Dykes that produced a sex/performance club once a month. Rather than photograph what happened in the club I created events where we went outside and climbed the highest buildings we could find and then performed our queer kinks, for our own pleasure, for posterity and as a way of claiming space for ourselves.

Serie Scott's Bar.Lovebites

THE DRAG KING BOOK amb Judit h "Jack" Halberstam, Serpent's Tail, London, 1999

It was around the mid 90s that the phenomenon of drag kings really started to take off and lots of my friends and lovers were well into it. I made the first images quite casually, not thinking about it becoming a book. I showed these images at some event and a publisher approached me and asked me to make a book. Judith Halberstam was already working on the subject and I invited her to write the main body of text for the book. I find it sad and alarming that 10 years later there has not been another photographic book on drag kings! There are 100s about MTFs and drag queens out there but only one about Drag Kings?! I know for a fact that there are so many other photographers making amazing Drag King images out there!

HeadscarfWS.The Drag King Book

SUBLIME MUTATIONS, Konkursbuc hverlag, Germany, 2000

Claudia Gerkhe approached me in the late 90s and asked me to make a book with her. I was pleased because although I love THE DRAG KING BOOK and LOVEBITES they are singular subjects and my body of work encompasses so much more. It was gratifying to produce a book that consisted of 10 years worth of work and was so beautifully reproduced AND hardcover AND not expensive! Unfortunately Konkursbuchverlag does not have good distribution or marketing so it's hard for people to get hold of it.

SEX WORKS con un texto de Beatriz Preciado, Konkursbuchverlag, Germany 2005

A lot of the work Konkursbuchverlag publishes is about sexuality and once again Claudia asked me to make a book which focused on my fetish and sex work. I asked the queer academic/activist Beatriz Preciado to write a text for it and so it was. Unfortunately this book is not what it could be and should be. I know I should not point it out how badly designed it is but I really can't help myself. I wish like hell I had been a control freak and not believed it would be okay because it wasn't.

FEMMES OF POWER: EXPLODING QUEER FEMININITIES amb Ulrika Dahl, Serpent's Tail, London 2008

I'm very happy with this book, both in terms of the collaborative process with Ulrika Dahl and others but also with the demographics of representation. We were both very aware of our privilege as white able-bodied educated queers and the responsibility that we believe comes with it. Femmes of Power was in part a response to the hype surrounding the drag king movement, which like mainstream society and the LGBT movement privileges masculinity at the expense of femininity. It was also created because there is a vital and growing femme movement out there that has all too often been overlooked and undervalued. Femmes of Power is a challenge to misogynist mindsets.

To tell us what you are working on at the moment.
Right now I'm preparing to perform at GENDER FUSION in Chicago this April, kick off the USA release of Femmes of Power in San Francisco and pay tribute to my mother who died two years ago this April. I'm also researching whiteness, writing about white privilege and working on a photographic/video project about creating community across cultures and explores issues connected to belonging, immigration and integration, starting in Sweden and hopefully spreading outwards.

What it means":" A gender abolitionist. A part time gender terrorist". (We like it!!!!!).

A gender abolitionist seeks to-wait for it-abolish the concept of gender. A gender terrorist is a person which refuses to conform to the contraints of gender presentation and therefore creates terror in others who inhabit belief systems based on a two gender paradigm. To be honest I'm not sure I'm either. I pass, as male, and most of the time no one would have the slightest clue that I am intersex or trans, but of course it depends on where you are! In San Francisco people like me are a dime a dozen. I make little interventions these days. When I go through customs I mark both FEMALE and MALE on my landing card. So far, after doing this over 100 times, no one has ever asked me about it or challenged me. I sincerely wish I lived in a world where it was safe for me to dress as I would like and wear make-up when I feel like it. The front line gender warriors out there, who don't or won't pass, like some MTF women, some 'bearded ladies' I know are people we all need to give more appreciation to. On the otherhand I believe it's super important NOT to create heirarchies of transgression but to be aware of one's privileges in respect to others. We all make choices about how to present and perform ourselves based upon many factors and no one should be vilified for not conforming to 'queer norms'!

Jax Revealed.Londres.1991

Torso Hermafrodita.Londres.1999

Interview with Lazlo Pearlman: "I would say that I USE my body as an artistic tool - all performers do, of course - I am specifically often using my naked body to illustrate the non-binary, non-fixed nature of gender, and from that the non binary, non-fixedness of the human experience. I use myself often as a kind of a sculpture, I guess, a moving one"

-Tell us about your beginning and how you approached your adaptation of the classic works such as: Macbeth, Medea, Romeo and Juliet.

My beginnings were long, long ago! I got involved in theatre when I was ten years old, and lots of my tastes are from that time - the absurd, the dark and the sexy - my favourite movie when I was ten was "Cabaret" with Liza Minella and Joel Grey, from the novel by Christopher Isherwood about Weimar Germany between world wars I and II. The dark sexiness and out queerness of that time (although, of course, I didn't know about that at ten and queer was not a word they used in 1930s Germany) really touched something in me - was the beginning of my finding both my theatrical and my sexual self.

Many years later, in Seattle, Washington (USA), I got involved with a queer theatre company called "Greek Active," - which was a play on words: it referred to classic Greek plays like Euripides' "Medea," and also to American gay personal add English from the 1970's through the 90's. "Greek" sex means anal sex and so to be "Greek Active" meant you were a buttfucker!

The first show we did was "Medea," which was the impetus for the company name. Our first theatrical approach was, in the tradition of companies like Charles Ludlam's "Ridiculous Theatricals" in New York City and others, to reverse the genders of all the characters, so Medea was a big tall drag queen, and I was Jason. There weren't many of us, so I played Creon and Ageus too - all the main male roles in fact.

With Medea, as well as with Macbeth, and Romeo and Juliet, we changed no dialogue (except to cut the long and 'boring' parts for club audiences), but we created a travesty of place and time and gender. The comedy came from the travesty, and often from fore-fronting the queer sex/sexuality - For example, in one scene in our Macbeth, Lady Macbeth buttfucked Macbeth on stage (simulated), which was travesty and genderfuck, but also a representation of the relationship between Lady and Macbeth that came from Shakespeare, so not gratuitous, but absurd, irreverent, exaggerated.

For my Romeo and Juliet, which was my directing debut, because I was in the lesbian community at that time, and all the other shows had been gay male centered, I set the show in a dyke bar (and we played the show in a bar). I made the Montegues and the Capulets into rival softball teams (softball in the US used to be a dyke cliché of a sport!). I liked to pull in (gay, lesbian) references from all over the place to raise the absurd factor, so we used Prince's "When Doves Cry," our nurse character was a dominatrix, Romeo was banished from the dyke bar to a gay male bar where he had to watch a traditional drag queen (played by a woman, the amazing "Swedish Housewife,") doing a classic (and fantastic!) drag lipsync; messengers were drug dealers, etc, etc, etc.

Madame X is a story that was first played on stage at the turn of the 20 th century and was made into a film 5 or more times, most famously with Lana Turner, directed by Douglas Sirk, in 1966. Douglas Sirk was a gay camp filmmaking icon, who's work most famously inspired Todd Haynes' 2002 film "Far From Heaven."

However, in 1999 (still in Seattle, but with my own company "Hell's Elevator Productions") when I found the film and adapted it for the stage, I didn't know anything about Douglas Sirk. I rented Madame X because it looked like it would be fun to watch, that was all - and immediately wanted to use it. I rewrote it, creating it as the lost "Film Noir" 1950s version, costumed it in lots of greys and blacks to create the illusion of a black and white film, used lots of "Noir" film techniques and parts of other noir films onstage, and cast it in a "gender blind" way, meaning I had auditions and cast actors in the roles I thought they were best suited for, regardless of what genitalia they had. We toured it to Vancouver, and played in Seattle. It's still one of my favourite shows. I only wish I had it on video!

-We have followed your progress for some time now and the various body transformations that you have adopted. How have these body transformations influenced your work?

For some years before I transitioned, I was always playing male roles. In these pre-drag king days, cross-gender casting in plays, particularly in alternative productions, was a common way to "queer up" a show, to make it absurd, fun and also to comment on gender roles and stereotypes. And as a "masculine woman" it gave me a place to be seen, and also roles to play, as I was never going to be cast in typical "female" parts. When I transitioned, and was then seen as a man, for a while I had no idea what roles to play! I didn't want to just play male roles, as that was no longer "queer" for me, and I had no interest in doing drag queen roles. For six years I just directed. When I went back to the stage I began to explore what it meant to have a non-visible trans body there. It meant I began trying to create work about the transgender experience - but I was never interested in strict biographical work, so I immediately began trying to find metaphors to use. One of the biggest changes for me was probably the fact that I no longer was adapting other scripts, because none existed that were useful. It was then that I started writing original works.

Lazlo Pearlman in "Le grand bouffe"

The first original script I wrote for the stage was "Unhung," which I created and performed at Highways Performance Space in Los Angeles, California, in 2000. Unhung was as close as I will ever come to putting my own story on the stage. It took place in a Carnival freak show, and the story was about a Freak (who had no name) who was kidnapped from his tribe of fellow freaks and put in a sideshow to help the carnival promoter make money selling products that would "fix" your gender - an elixir, like a hair tonic, to make you more masculine, a skin cream to make you more feminine, etc - but the freak could not be "fixed," so each time the products failed. In the midst of this, I also provided bits of history of gender "freaks," cross-dressers, trans folks, etc, and every so often would stop and answer a question about my own transition. Oh, and there were songs, too.

"Unhung Heroes" is my first film, and is only related to "Unhung" by the title. I wrote the script in a day while resting up from the production of "Unhung!" At that time (2001) I had gotten very tired of the fact that the only films out there about transpeople were tragic documentaries. I wanted some lightness, some fun, some "fiction." "Unhung Heroes" is a fifteen-minute comedy about five transguys who find an internet article announcing the first possible penis transplants. They then remember, through flashbacks what life has been like without a dick, imagine what it would be like if they got a dick, and then imagine how they'd get the enormous amount of money it would take to get one - or actually, to get one each, so five dicks(!). They imagine a jewelry store robbery, straight out of the film "Reservoir Dogs," which goes wrong. The film ends with them realizing having a dick is no big deal, which was my point at the time (and one of my points still) - that there is no tragedy in being "a man without a dick." I fictionalized a lot of my own experiences from transition, focusing on their humour and absurdity, rather than any sadness or tragic qualities.

-Would you describe your body as a work of art? And is it ok/permissible for us to use this phrase when writing about you?

I would not say that my body IS a work of art, but I would say that I USE my body as an artistic tool - all performers do, of course - I am specifically often using my naked body to illustrate the non-binary, non-fixed nature of gender, and from that the non binary, non-fixedness of the human experience. I use myself often as a kind of a sculpture, I guess, a moving one. These days I do a lot of "strip" shows, to confront the audience expectations of me as male - I often play with masculinity, and with sexual expectations (phalluses of various kinds) and then end up naked in the end. And yes, if you want to call my body a work of art, I won't complain!

Lazlo Pearlman en "Le grand bouffe"

-What is the origin of your fascination with absurd theatre and where does your particular approach come from? We love it!!!!!

Hmmmm... I think I like the absurd because it is - and does - a lot of things at once - First, it offers another/alternative/upside down view of the world, but doesn't tell us what or how to think of that world, this world, our world. The absurd doesn't preach, doesn't offer answers, it poses questions. It is funny, it is usually poignant, it's playful, it is not always nice, or sweet, but is not (rarely? Never?) "angry," or "preachy." It is the ridiculous - and it ridicules itself while it ridicules its subject. Perhaps it's that - there is some way in which the absurd does not judge. It makes us look at things differently, but it does not tell us what to think about them. Absurdist theatre, absurdist material is always human, always has a strange kind of compassion for its subject, its audience, itself. That's important to me as an artist. I believe in questions, not answers, compassion, not anger, and I am in the midst of this world, these issues, these problems, not above or outside them, so I cannot and won't judge - and I LOVE the playful, the dark and the silly together.

Lazlo Pearlman in "Devil"

-Nowadays you are working with Jo Sol, can you tell us more about your working partnership with Jo Sol.

(Jo Sol and Lazlo Pearlman premiered the film"Fake Orgasm" in 2010)

I met Jo when I was performing one of my absurdist strips at Arteleku in San Sebastian, through Beatriz Preciado, and he contacted me a couple of months after that asking me to take part in a film project. From our first conversation we hit it off right away. He has opened my mind to new ways of seeing political and philosophical ideas and work - particularly around anarchy - though not only that - in part through his film "Taxista Ful," and especially through our many conversations. He has been a big catalyst in my finding the next stage of my work AND my politics!

In practice, Jo makes work very differently than I do, he is a very improvisational filmmaker, so creating this film has been a new, exciting and ongoing collaborative process. We are about to go into the third round of creation, and the film has changed many times since we began. Even though this is the first partnership between us and we do not know the outcome yet, I have a feeling it will be a fruitful one, and that we will work together again. I love the fact that his perspective is both compatible with and completely different from mine - I think our partnership has changed and expanded both of our minds and our work!

And I think the film will be something special - in fact I am sure it will be, but because of the process we are in, and the improvisational nature of it, I can't tell you much about what it will be - because by the time it's finished, it may be something completely different! We will all have to wait and see... and I look forward to meeting you all at the premiere!

Documentary "Fake Orgasm".2010

POSTPORNO ACTIVISM by PAUL B. PRECIADO

Sexuality isn't natural: it's a cultural construction. It relates to a psychosomatic apparatus constructed collectively through language and image, supported by norms and social controls that modulate and fashion desire. Therefore, the relationship between sexuality and pornography isn't of the order of representation, but of production. Feminist critic Teresa de Lauretis asserts that, in modernity, photography and cinema function as authentic technologies of sex and sexuality: they produce the differences of sex and sexuality that they claim to represent. Porn doesn't depict a sexuality that precedes it, but is rather (alongside medical, juridical, literary, and other discourses) one of the devices that construct the epistemological framework and trace the boundaries within which sexuality appears as visible.

Sexuality resembles cinema. It's made of fragments of space-time, abrupt changes of shot, backlit sequences, opening shots, high- and low-angle shots, bird's-eye shots, zooms, voiceovers...desire, locked in the editing room, cuts, colors, reorganizes, equalizes, and assembles. With the invention of the audiovisual industry, this process that takes place in the private neuronal system (others will say unconscious) assumes a collective, public, and political dimension. The audiovisual industry is the political editing room where public sexuality has been invented, produced, and broadcast as a visible image since the end of the nineteenth century.

Since the '60s of the last century, we've witnessed what we could call an assault from the editing room on the part of the politico-visual minorities whose practices, bodies, and desire have been, until now, constructed cinematographically as pathological. Until this time, women and sexual and racial minorities didn't have access to the editing room. They were simple objects of representation: little by little they have become subjects. Again, when I speak of minorities, I don't refer to a number but to an index of sub-alterity. Heterosexual women, for example, were and in part remain a politico-visual minority, since femininity as an image has been constructed as an effect of the hetero-normative gaze. Feminist (Trinh T. Minh-ha), experimental lesbian (Barbara Hammer), or experimental 'queer' (Freak Orlando by Ulrike Ottinger or Dandy Dust by Hans Scheirl) films don't seek to represent the authentic sexuality of women, lesbians, or gays, but to produce visual counter-fictions capable of calling into question the dominant modes of picturing norm and deviation. In the same way, the post-porno, transfeminist, and crip 'nouvelle vague', made above all with video (Eric Pussboy, Abigail Gnash, Lucie Blush, Courtney Trouble, Virginie Despentes, Gaspar Noe, Post-Op, Del LaGrace Volcano, YesWeFuck...), doesn't seek to represent the truth of sex but to question the cultural limits that separate pornographic and non-pornographic representation, as well as the visual codes that determine the normality or pathology of a body or a practice.

During the '80s and '90s, the anti-pornographic feminism of Andrea Dworkin and Catherine Mackinnon defined porn as a patriarchal and sexist language that precipitates violence against women's bodies ("porn is the theory, rape is the practice"). These arguments eclipsed the activism of pro-sex feminism that saw in the dissident representation of sexuality an opportunity for empowerment for women and sexual minorities. For their part, the feminist anti-porn movement, supported by conservative religious and pro-life movements, defended state censorship as the only means to protect women from pornographic violence. But how can one leave control of a technology of pleasure production in the hands of a patriarchal, sexist, and homophobic state?

The decisive matter, therefore, is not whether an image is a true or false representation of a particular (feminine, masculine, or other) sexuality, but who has access to the collective editing room in which fictions of sexuality are produced. That which an image shows us is not the truth (or falsehood) of the picture, but the ensemble of visual and political conventions of the society that views it. Here, the question, 'who?', points not to the individual subject but to the political construction of the gaze. The question is not whether a feminine porn is possible; rather, how can we modify visual hierarchies that we have constituted as subjects? How to displace the visual codes that historically have served to designate the normal or the abject?

It's this exercise of re-appropriating the technology of the production of sexuality that we call postpornographic. Postporno is not an aesthetic, but the assemblage of experimental productions that emerge from movements for the politico-visual empowerment of sexual minorities: pariahs of the pharmacopornographic system (bodies that work in the sex industry, prostitutes and porn actors and actresses, women dissenting against the heterosexual system, transgender bodies, lesbians, bodies with functional or psychic diversity) reclaiming the use of audiovisual devices for the production of sexuality. Postporno productions (the performative and audiovisual works of Annie Sprinkle and Elisabeth Stephens, COYOTE, Veronica Vera, Monika Treut, Linda Montano, Karen Finley, Maria Beatty, María Llopis, Emilie Jouvet, GoFist, Shu Lea Cheang, Diana Junyent Pornoterrorista) are a living archive of sexualities in resistance against the state's porno, mom and dad's porno, colonial porno, the standardized body's porno. It's a revolt in the editing room where desire is constructed.

(*) Paul B. Preciado is a philosopher and transfeminist activist, professor of Philosophy of the Body at New York University and author of 'Counter-Sexual Manifesto', 'Testo Junkie', and 'Pornotopia', among other volumes.

# data[].attributes.attachment_link.description
"QUEER":HISTORY OF A WORD by PAUL B. PRECIADO For those who grew up as lesbians in the years immediately following Franquismo, it'...

# data[].attributes.attachment_caption
Mood board for final prints layout - inspired by Del LaGrace Volcano

# data[].attributes.body
Since I have been studying a lot of photographers and artists and the project is almost coming to an end, I feel confident in my ability to plan how I want my final prints to look. Although I haven't tried these techniques yet, I intend to do so right away.

As was discussed in the previous session, I would like Del LaGrace Volcano to serve as the inspiration for the following photos:

1. date and phrase underneath in "polaroid format"

2. similar to a contact sheet

3. with the film borders visible and no white boarders when I feel some photos don't need text

# data[].attributes.attachment_link.readable_text
Poulomi has dedicated many years to photographing diverse queer communities, brought together in the exhibition and book Red Threads: The South Asian Queer Connection in Photographs (1980 - 2003), documenting the global South Asian Queer community, connecting the streets of Southall, London with locations in Dhaka, Bangladesh and Gujarat, India.

Her recent haptic works form part of the Heritage Quay archives, where she has been a Leverhulme Trust Research Fellow since 2016. In the 1980s and 90s Desai co-founded several important initiatives - such as the first South Asian LGBTTQ+ campaigning organisation Shakti; the Naz Foundation International (an HIV / AIDS charity in India), and the HAC theatre company. She also researched and curated the We Are the Lions exhibition in 2017 about the Grunwick strike.

In 2010, Desai created the Usurp Art gallery and studios, the first and only artist-led creative space in the London Borough of Harrow. She is an Oram Award winner for 2020 - 2021 and has a new portrait commission by Autograph ABP using bacteria and moulds with photography during the Covid19 pandemic.

# data[].attributes.attachment_link.title
Poulomi Desai - British Photographer - Hundred Heroines

# data[].attributes.attachment_link.description
Poulomi Desai (b.1966, UK) born in Hackney, London, is a multimedia artist and activist using ideas as she described as an "electromagnetic dissonant black noise for future dreams".

# data[].attributes.body
Desai, P.D. and Sekhon, P. (2003) Red threads : the South Asian queer connection in photographs. London: Millivres Prowler.

# data[].attributes.body
While reading and viewing the book Desai, P.D., and Sekhon, P. (2003) Red threads : the South Asian queer connection in photographs. London: Millivres Prowler, I came across these two pages with Poulomi Desai's photography on the left and an interview with the artist and writer on the right. Because my project includes an interview with the models, I could try to incorporate a similar layout when finishing my project, perhaps as a final image.

# data[].attributes.attachment_link.readable_text
As a multi-media artist, Ingrid Pollard uses different photographic processes alongside printmaking, artist books, installation, audio and video to offer insights and remind us that LGBTQ+ culture is alive, thriving and at the forefront of activism. One reference to this is a copy of the Lenthall Road Workshop on display. It was a community printing workshop that helped ordinary people print posters for campaigns around Gay Liberation, anti-racism and feminism.Printing posters was expensive but was the best way of spreading a message or sharing ideas.

The posters had an element of humour but also a political message.For example, 'Women Reclaim the Night' shows a group of women with brooms with the caption 'Sweep Men off the Streets', perhaps alluding to and subverting the 'sweeping you off your feet' reference, mostly reserved for women.Another poster is about the First National Women against Violence against Women Conference. It shows a woman dressed in pink kicking what looks like a rolled up poster with the words 'underneath we are all angry' inscribed against the backdrop of a brick wall.

# data[].attributes.attachment_link.title
Ingrid Pollard repositions LGBTQ+ archives from Glasgow Women's Library

# data[].attributes.attachment_link.description
Black photographer Ingrid Pollard's new exhibition No Cover Up is part of the Glasgow International Festival of Arts 2021.

# data[].attributes.body
Kynoch, G. (2021) Ingrid Pollard Repositions LGBTQ+ archives from Glasgow Women’s Library, Hundred Heroines. Available at: https://hundredheroines.org/featured/no-cover-up-ingrid-pollard-glasgow-womens-library/ (Accessed: 05 December 2023).

# data[].attributes.attachment_link.readable_text
As a multi-media artist, Ingrid Pollard uses different photographic processes alongside printmaking, artist books, installation, audio and video to offer insights and remind us that LGBTQ+ culture is alive, thriving and at the forefront of activism. One reference to this is a copy of the Lenthall Road Workshop on display. It was a community printing workshop that helped ordinary people print posters for campaigns around Gay Liberation, anti-racism and feminism.Printing posters was expensive but was the best way of spreading a message or sharing ideas.

The posters had an element of humour but also a political message.For example, 'Women Reclaim the Night' shows a group of women with brooms with the caption 'Sweep Men off the Streets', perhaps alluding to and subverting the 'sweeping you off your feet' reference, mostly reserved for women.Another poster is about the First National Women against Violence against Women Conference. It shows a woman dressed in pink kicking what looks like a rolled up poster with the words 'underneath we are all angry' inscribed against the backdrop of a brick wall.

# data[].attributes.attachment_link.title
Ingrid Pollard repositions LGBTQ+ archives from Glasgow Women's Library

# data[].attributes.attachment_link.description
Black photographer Ingrid Pollard's new exhibition No Cover Up is part of the Glasgow International Festival of Arts 2021.

# data[].attributes.headline
Reflection on the session - What to do from now till Wednesday 

# data[].attributes.subject
Reflection on the session - What to do from now till Wednesday 

# data[].attributes.body
After completing the photo shoot, we discussed our next course of action today. After Dafna and the other two students critically examined my work, the following were some of the conclusions that emerged:

1. I should start considering how the couple's environment-based photos and the studio ones relate to each other. I plan to accomplish this by beginning to print the images in their natural settings because I am aware of their significance. Perhaps by printing and viewing the images at a larger size, I will be better able to comprehend the functions of these images and how they relate to one another when I am considering the order in which my pieces should be seen and how they enhance one another.

2. The next thing I'll do is head into the darkroom and reprint the first contact sheet, print the contact sheet from the fourth shoot, and then start printing the environmental photos and choosing which ones to print.

3. After that, I would give it more thought if the connection between the studio images and the surroundings didn't immediately occur to me.

4. To further understand how the printing methods I discussed in the Padlet's layout section work, I will attempt to experiment with them.

# data[].attributes.body
As we discussed in yesterday's lecture, I have started developing the photos of the couple in their environment. After developing them, I have concluded that I want the landscape photos to be in polaroid format, while the portrait ones should follow Ingrid's technique with the pink background. However, some portraits are good for text, and I'm unsure about what to do with them. I could do the opposite and use Del Volcano techniques for portraits and Ingrid's technique for landscapes. I will listen to the recordings to make a final decision on which photos to use for polaroids and which ones to use for the pink background or Del Volcano techniques.

# data[].attributes.headline
Extracts from the interview that I am planning to write on the prints

# data[].attributes.subject
Extracts from the interview that I am planning to write on the prints

# data[].attributes.headline
Interview - sterotypes, difficulties and unacceptance 

# data[].attributes.subject
Interview - sterotypes, difficulties and unacceptance 

# data[].attributes.body
L :" I grew up in Dubai and Malaysia and there was no representation there and it is obviously very illegal. So, I don't think I could have room to figure it out. Saying that I still haven't told my dad. He lives in Malaysia. He always says whenever that kind of topic comes up ." I don't care, people can be whoever they want to be." And I really don't think he would have a problem with it but yeah I do plan eventually to tell him.

K." I think it is also distance; you don't want to have this conversation over a phone or FaceTime, so yeah."

# data[].attributes.headline
Interview - male directors views on female love 

# data[].attributes.subject
Interview - male directors views on female love 

# data[].attributes.body
L :" Especially lesbian couples are portrayed as very sexualised and whatever but they just stop there and assume that it can't be a love as deep or deeper than an heterosexual relationship."

K ."When I think of queer relationships on cinema or tv, growing up I never saw a lot of Asian characters in relationships like that so experiencing it myself was new in a sense that when I started thinking about it was in that era where gay couples were portrayed more often in tv so thankfully I had some representation that I could see myself in but it was very much up to the imagination when I was growing up"

# data[].attributes.headline
Interview - how do you find living as a queer person here differently from Dubai?

# data[].attributes.subject
Interview - how do you find living as a queer person here differently from Dubai?

# data[].attributes.body
L:"I guess Dubai was 8-11 so I wasn't aware of that. I was always like a TomBoy or whatever. This is a stereotype isn't? Malaysia was different because it was 11-16 so it was kind of that formative years of early teenage years but yeah that was a little difficult because I started to come to term with it personally. I remember I used to wake up crying because I never saw it as a thing it should be done and as a kid as well, kids are mean. If I was to go back now to Malaysia, it is a tricky one, it is because it is different being there as a queer person and I haven't engaged with the community so I would love to go back and probably engage with the community and find friends

Did your friends at the time know that you are queer?

L: "One, my closest friend, he was actually also queer. Shocking. We were on holiday and we both came out to each other but yeah only one friend knew back then and now the friend that I kept obviously know

# data[].attributes.body
While I was printing, I was informed that I could not glue prints onto a pink background. Therefore, I have decided to change the layouts.

I plan to print all the pictures in the Polaroid format first and then decide which ones I want to write on. For some pictures, I would still like them to be bigger. For example, for some portraitures that I am unsure about what to write on, I will print them bigger. This decision will be made after I print them all the circled ones and see which ones need writing.

# data[].attributes.body
During the photoshoot, I took advantage of Kris’s love for autumn and suggested a walk in a park that embodied the season’s spirit with its falling leaves. Unfortunately, the weather took a turn for the worse, but we quickly found refuge in a nearby café and enjoyed some coffee together, which is an activity they both love. As soon as we arrived at the café, I noticed Kris and Lauren’s natural intimacy, and I captured all the details, including their looks, hands, and Kris’s necklace, which was discussed during the interview. The necklace is one of the objects that show their intimacy without being intimate in the pictures. I tried to follow my research on how to show intimacy by zooming in on these details, in order to create a sense of closeness to the model. I also made sure to take pictures of the coffee, interiors, and the view outside the window to capture the location’s essence. Overall, I am pleased with the outcome of the shoot as I managed to get some decent pictures of the couple doing something they enjoy together. However, some pictures may appear shaky due to the camera's aperture, which was set at 2 and 4 throughout the shoot. Nevertheless, I think it gives the images a dreamy and ethereal quality, conveying the idea that their love is otherworldly. My favourite images are the ones I have circled, primarily due to their composition, lighting, and attention to detail. For instance, frame 12 may not be the best picture, but it captures Lauren’s hand on Kris’s leg, which serves the purpose of my project.

# data[].attributes.body
The third and fourth photoshoots are both inspired by the models’ shared love of cooking. As discussed in the interview, their favourite activity to do together is cooking, so I captured them in action while making a stir fry. Despite the challenging dinner-time lighting, I utilized a reflector to enhance the natural light and bring out the best in the shots, as seen in the picture below. Overall, I am thrilled with how these images turned out and believe they perfectly capture the warmth and joy of cooking together.

I have selected some of my favourite shots from the photoshoot. These shots are the ones that I believe turned out the best due to the composition, lighting, poses, and gazes. I aimed to capture not only the couple but also the things that brought them together and the environment they were in.

To achieve this, I tried not to fall into the trap of taking simple couple photos. I was concerned about this and had discussed it with Dafna earlier. For instance, frame number 6 shows the ingredients needed to make the food and objects that bring the couple together in their shared activity.

Frame 12 captures Kriz's amazing chopping skills and is the reason why Lauren thinks Kriz is the better cook. This was another important point I wanted to document. In frame 17, I love how they look at each other, and you can see Kris passing the plate to Lauren. This suggests that what they are doing is not just a one-way thing but a joint activity that brings them together.

I am not too sure about frame 25 as I am not a big fan of the composition. However, the details of the arm around Kris' waist help convey intimacy. Another picture I like and plan to print is frame 11. It looks like a movie scene and reminds me of frame 17. The two pictures could go very well together.

Finally, I plan to print the ones with an exclamation mark next to them as I think they are the best due to the reasons stated above. I need to be careful with the cooking pictures, though, as I don't want to overdo them and make my project look like a cooking photoshoot.

# data[].attributes.body
I did another photo shoot after the third one. However, I am not satisfied with this shoot as I mistakenly underexposed the film, making the contact sheet less visible, even though the lighting was the same as before. The only difference in this shoot was that after they finished cooking, I wanted to take some shots inspired by my researched artists and my research on capturing intimacy, in their bedroom such as POVs and zoom in on details. Unfortunately, I encountered the same problem due to underexposure. I tried different angles such as POVs, where I took pictures of Kriz from Lauren's perspective, as seen in frame n37, and vice versa as seen in frame n31. Additionally, I wanted to capture them cuddling in their bedroom which I couldn't do in the studio. Despite the low lighting, I managed to capture their silhouettes, hands and touching in frame 30, which conveys the message of intimacy. I think this picture will be great once printed.