- Moriyama's work always demonstrates an extreme sensitivity to place, representing hidden parts of a city as well as fleeting figures within their darkness and under their lights.
- Art in post-war Japan was characterised by the expansion of the definition of art itself - Moriyama changed what people considered photography

Use of photography as an experiment 

- Using tilted angles, as if glimpsing and questioning what is being seen shows the impulsivity through which he approaches subjects 
- Questioning in what ways photography captures things as they are and rather using it as a tool for an extension of personal perception 

In the secluded streets of Tokyo —> 

The juxtaposed textures, heightened grain, decentralised subjects and tilted camera clearly show that something catches his eye by chance and by a perceptive magnet 

- Figures lurking, secluded urban corners as if his perception only considers the obscured and all that isn’t in plain sight, which has to be found, identified and mystified

Postmodern art - looking at American culture through irony and  "the banal eroticism of advertising copy and the repressive conformity of the postwar era"

Wordplay and using "low" materials (like chewing gum in 'SOS')
- Posing in common positions women are seen in on TV and magazines while also incorporating forms resembling genitalia and other taboo images and concepts to subvert the idea of femininity and the domination of women's bodies within consumerism. 
- Postmodern approaches to the male gaze and the objectification of women's bodies and using subverted power to shift the object of desire. 
- Wilke received criticism, with other feminists calling her narcissistic and sexualising herself, which ignores the postmodernism that is present in her own photographic representation  
Overall she dealt with what it means to live, desire and work in the female body.

Although we weren’t able to tone or process the photographs ourselves, using the enlarger still allowed me to really understand the ways in which I could change the final result of a photograph. 

I think this was really fulfilling precisely because I intended my project to reflect on aesthetic control and of my practice as being a fully experimental and process-based one.

There are many conceptions surrounding art students, whether it be for their specific choices of self expression, their way of life, and general attributes associated with them. When certain projections are placed on specific groups of people, often those who these are directed towards either adopt them or create distance between them. 

Through my series of photographs and as a creative myself, I wanted to subvert the power which these projections had to both distinguish and meld these two processes. In other words, depicting the dynamics between the aesthetics and attitudes associated the type of people which I’ve surrounded myself with and the nature and instincts that creative communities have as alternative and often marginal.

Multiple important artists have dealt with the representation of communities and alternative groups of people such as Nan Goldin, Jack Smith and Kenneth Anger, whether it be through candid realism or through theatrics and film drama, respectively. These three artists have shaped my own visions when it comes to this project, as they all treat their subjects as being visual expressions themselves. 

Also, I made sure to see which photos had a sharper difference between light and dark in the negatives themselves when I would pick out which part to make test strips of and through which I would decide what the final selection of photos I would print out would be. 

For the project I want to avoid as much grey as possible since I knew that would fulfil both the tone of the images and even just for the outcomes of the double exposed images, though that turned out to be very difficult when not in the studio, as I did not have much control over light and the only light I had access to was quite weak and did not create the sharp shadows I wanted. Regardless the final results turned out to have the exact feel I wanted, as the photos with a lot of grey still contained the juxtaposition of heightened abstraction and drama within realism. I think this is because of the choice of angles and perspective I chose. I am very inspired by Daido Moriyama’s use of perspective, as it looks like handheld and unstable with expressive tilts. Especially when taking self-portraits I really needed to pay close attention when trying to achieve this, as I needed to place my tripod in often strange places and it took a while most of the time. Instead, in the studio and when using models, I almost don’t think about it and rather try to be as expressive as possible with the way I hold and move the camera. In the studio, I tried using the stand, though ended up just wanting to have more freedom with movement by holding it myself. 

He was part of communities which in their art used the occult, hallucinogenic drugs and alternative ways of working with nature, all which he experienced to create very personal films representative of them through cinematic experimentation and innovation. 

Playing with light and materials which manipulate and create light in different compelling ways is very important to me when considering the content for my series, as in the same was as Anger does, I wanted to use everyday objects in ways which heightened an entire situation, which melded with the subjects into abstraction as well as to 

Light also is the main component of the way a camera works and the way a print is created, and therefore both using and manipulating light in my process allowed me to reflect on the medium of photography itself.