The work emphasises the physicality of photography and the perceptual relationship between the object and the viewer.

Initially, I struggled with selecting a theme. Revisiting my class PPTs inspired me to focus on "beauty." I wanted to explore how natural beauty, represented by flowers, contrasts with the societal expectation that women enhance their beauty through cosmetics, symbolized by the lipstick.

I booked a studio with Yanyu for our first week theme shoot, aiming to document reality. My props were a lipstick, a bouquet of flowers, and studio - provided paper tape labeled "ROSE." I used these elements to create symbolic imagery from various angles.

Using the RB67 camera posed challenges due to its size and weight, especially with the tripod - only restriction in - studio. This limited my shooting angles and mobility. However, I adapted by carefully planning each shot and using the tripod's stability to capture detailed, steady images that convey my intended message about societal beauty standards and their constraints on women.

Overall, this shoot deepened my understanding of documentary photography's power to shed light on social issues through visual storytelling.

• Hallways, lockers, and empty corridors — These spaces evoke a sense of alienation and detachment, similar to Jeff Wall’s carefully staged scenes, making the audience feel the emotions and stories behind the images.

• Some of the photos use motion blur, making the subject appear ghostly and uncertain. This enhances the storytelling quality of photography and aligns with conceptual photography’s challenge to traditional aesthetics and objective documentation.

Throughout the course, my Padlet captured key moments of learning, including class notes, behind-the-scenes processes, and reflections on both shooting and darkroom printing. I also conducted extensive research on various artists, which informed my creative decisions.

My learning journey aligned with the course's objectives, pushing me to critically understand the relationship between media practices, visual arts, and technology. I developed practical skills in studio lighting, camera operation, and print finishing, while sharpening my problem-solving and editing abilities.

Beyond technical growth, I engaged deeply with the artistic and conceptual aspects of photography. Through group discussions and individual tutorials, I refined my work, explored new creative directions, and tackled complex visual storytelling. This Padlet not only showcases my final portfolio but also reflects my continuous efforts to address contemporary cultural themes through photography.

FINAL PRINTS (DIGITAL SCANS)

WEEK 1  (Scroll down for each week)

In the morning, we discussed ‘What is Documentary?’ , examining how documentary photography has evolved from traditional media approaches to being recognized in the fine art world. This shift highlights the role of artistic vision and intent in creating impactful documentary images, beyond merely capturing reality. Our discussion also focused on how photographers use their unique perspectives to convey deeper truths and narratives through their work. This made me reflect on the balance between objectivity and subjectivity in documentary photography and how I might incorporate these ideas into my own practice.

In the afternoon, we had a hands-on session learning about medium format cameras. We started with the Mamiya 645, going over its functions and how to properly load film. Then, we moved to the studio to learn about the Mamiya RB67. Due to its larger size and weight, we were instructed to use it exclusively in the studio with a tripod. Learning to operate these cameras felt both exciting and slightly challenging, but I enjoyed the process. The RB67, in particular, made me appreciate the precision and deliberate approach required in medium format photography.

Lecture Notes: What Is DOCUMENTARY?

"Photography is a technology of instability. It stages a play of the real and the simulated,
Apparent and contrived, the creative and the mechanical…" _{---- Nathan Jurgenson}

Photography and Truth

Photography has traditionally been seen as objective, but it is influenced by the photographer’s choices, framing, and perspective.

"Photography does not merely capture reality; it shapes reality."

Mamiya RB67.

Mamiya 645.

 This could be a technical or conceptual device used to enhance what is expected from a portrait. Think about what a portrait is and what it needs to communicate then apply that to the images and ideas you have.  

Brief two: Produce a photograph in which the main focus is outside of the frame. 

How much of how we read or respond to images is determined by what is NOT included in the frame. Look for an image that engages with the idea that meaning can be enhanced by either the temporal or physical space around the image as well as what is included in the frame and when the shutter was clicked.  

Brief three: Displace the meaning of the photograph by altering an element within the frame, or by changing the context of the image. 

The simple act of photographing something or someone can impact how they are seen or the meaning they create. Look for an image where the way you have photographed something or juxtaposed objects or subjects within the frame create a new or unexpecting meaning for your image.

Brief four: Create a transformation in a series of 2 photographs by shifting the references to photographic language. 

The purpose an image has or how the image is going to be used plays a huge role in the meaning an image has. Select one of the images you have made in your own style and re-photograph it using a different visual language. How has this changed the way the subject is read?  

Brief five: Produce an image that creates a narrative transformation within your sequence of photographs.

Consider how all these editorial prompts help define how we build narratives in photographs. Look for an image from the ones you made that bring together all of the ideas outlined in the previous briefs. What kind of conclusion do you want to make? It could a full stop, an overview or a re-contextualisation of your whole series. 

In modern society, the relationship between humans and the environment is becoming increasingly strained. We shape the world with artificial materials, yet we are simultaneously trapped by them.

Plastic pollution has become a symbol of environmental degradation, blurring the boundary between nature and human existence. Shadows serve as a visual metaphor—representing both presence and the lingering, often invisible impact we leave behind. Through this project, I aim to explore the interconnectedness of light, shadows, plastic waste, and human activity, questioning how we influence the environment and, in turn, how it reshapes us.

I want this project to push beyond simple documentation of pollution. Instead, I aim to create a visual narrative that forces viewers to confront how deeply embedded artificial materials have become in our existence.

We are not just surrounded by waste; we are part of it, consumed by the very things we create.

harmonious coexistence --> damage/destuction

Artistic References  

Dominic Dähncke – The Interaction Between Shadows and Objects

Shadows can serve as a visual bridge, linking people and their surroundings, revealing the symbiotic relationship between humans and pollution. By integrating shadows with plastic waste and artificial materials, the boundary between the two can be blurred, prompting viewers to reflect: Are humans shaping the environment, or is the environment slowly consuming us?

Chris Jordan (Midway Series) – Visual Impact and Environmental Themes

Jordan’s Midway series documents the tragic reality of plastic waste infiltrating nature, particularly the suffering of albatross chicks who unknowingly consume plastic, mistaking it for food. This reflects humanity’s own failure to distinguish between what nourishes and what harms us. His work inspires me to explore:

- Plastic as an invasive force, highlighting how it entangles and suffocates both nature and human life.

- The illusion of sustenance, where artificial materials seem necessary but ultimately lead to destruction.

- Human entrapment, visually representing suffocation, consumption, and dependence on waste.

- The reflection of environmental destruction back onto humanity, showing that pollution is not an external issue—it is an internal crisis that mirrors our collective existence.

Alicja Brodowicz (A Series of Diptychs) – Human and Nature’s Textures

Brodowicz’s diptych series examines the connection between human bodies and the natural world by pairing images of skin with natural textures. Inspired by this approach, I will explore how artificial materials—particularly plastic—can create unsettling yet meaningful contrasts when juxtaposed with the human body. This contrast will emphasize how plastic has become an unnatural yet inescapable second skin for humanity. By visually linking the textures of human skin, plastic waste, and shadows, I want to question whether we can still separate ourselves from the artificial materials we have introduced into our world.

How to load film?

Lecture Notes: What is ART?

• Standard 标准

• Wide 广角

• Long 长焦

2️⃣ Lens Focal Lengths 镜头焦距

• Wide Angle 广角 -- Large angle of view, great for landscapes, exaggerates foreground objects. 视角大，多适用于风景.

• Standard 标准 (depends on the camera format) -- Natural field of view, similar to human vision, versatile for various photography styles. 接近人眼的自然视角.

• Telephoto 长焦 -- Narrow angle of view, magnifies distant objects, ideal for portraits, sports, and wildlife photography. 视角窄 放大.

• Super Telephoto 超长焦 -- Designed for extreme distances, commonly used in wildlife and sports photography. 适合超远距离拍摄；如野生动物.

• Macro 微距 -- Great for close-up shots, magnifies small subjects like insects and flowers. 特写拍摄，放大物体.

Focal Length and Magnification 焦距与放大倍率

The longer the focal length, the narrower the angle of view and the higher the magnification. The shorter the focal length, the wider the angle of view and the lower the magnification. 广角镜头提供更宽的视角，而长焦镜头则缩小视角范围并放大远处的对象

3️⃣ Focal Length and Perception of Space / 焦距与空间感知

📌 Distortion – Flattening / 畸变 – 扁平化

• 广角镜头会夸大近处物体的比例，使画面具有透视感。

• 长焦镜头则会压缩空间，使前后景物看起来更近。

• Wide-angle lenses exaggerate perspective, while telephoto lenses compress the space.

📌 Presence – Detachment / 现场感 – 疏离感

• 近距离使用广角镜头可以增强观众的沉浸感。

• 长焦镜头会让观众感觉被“拉远”，有种冷漠的疏离感。

• Wide-angle lenses create an immersive feel, while telephoto lenses give a sense of detachment.

📌 Prime lenses – what are the advantages? 定焦镜头

• 画质更佳，光圈更大，适合低光环境拍摄。

• 结构简单，通常比变焦镜头更轻巧。

• Sharper image quality, larger aperture for low-light shooting, simpler and lighter than zoom lenses.

DEFINITION

• is a creative and expressive form of photography where the photographer aims to convey an idea, emotion, or concept rather than just capturing a realistic representation of the subject.

• It can be abstract, surreal, or even performance-based.

Major Approaches 艺术摄影的主要方法

📌 SOMETHING AND NOTHING

• Observational photography 观察式摄影

• Gives non-human subjects meaning through photography 通过摄影赋予非人类对象意义

📌 REVIVED AND REMADE 重现与重塑

• Meta-photographic

• Engages with viewers' knowledge of existing images 依赖观众对已有图像的认知

📌 DEADPAN

• Objective and detached style 客观、冷漠的风格

• Removes poetic or emotional aspects 去除诗意和主观情感

📌 INTIMATE LIFE 亲密关系

• Uses personal life and relationships as subjects 以摄影师的个人生活和关系为主题

• Diaristic and sometimes therapeutic 具有日记式风格，有时带有治疗性

• Can address broader social issues

📌 IF THIS IS ART

• Incorporates performative elements into photography 将表演性元素融入摄影

• Used to visualize invisible aspects of a situation or space 用摄影展现原本不可见的关系或情境

WEEK 2

Lenses and Camera Functions

Do you find any images in the lecture problematic? If so, why?

The problem with this photograph is that its colour and composition may detract from the seriousness and negative impact of war, sending a ‘romanticised’ or ‘heroic’ message. Documentary photography requires careful handling of the balance between artistic expression and truthful recording, otherwise it may deviate from the original intention of revealing the truth.

We believe that the vivid colours in the picture have a certain expression of ‘glorifying war’. If this photo is used in a specific context (e.g. military propaganda), its vivid colours and calm atmosphere may cater for a specific purpose. However, if it is used in a critical context, it may not be expressive enough and may even be controversial.

What is your reading of the image? Can you describe what the particular approach the photographer has used (it could be one I have touched on in the lecture or it could be something else)? How might you use a similar approach?

1️⃣ What is your reading of the image?

This photo series, called New Utopias, uses highly idealized and contradictory family scenes to reveal society's unrealistic pursuit of the "perfect family." What attracts me the most about this series is the use of bold colors. The high-saturation tones catch my eye, but the scenes they create give me a sense of unease. For example, everyday objects in the photos (like a toaster, blender, and coffee pot) are given symbolic meanings, hinting at the repetitive and dull nature of the model's role in her family. In New Utopias #1, the toaster is smoking heavily, symbolizing the potential breakdown of the "ideal life."

2️⃣ What is the particular approach the photographer has used?

Miles Aldridge uses a mix of hyper-stylized visuals and symbolism to tell stories:

• Color psychology: Vibrant, saturated colors create contrast between the seemingly happy environment and the inner tension.

• Surrealism: Everyday items like toasters and coffee makers are exaggerated or misused, making the scenes feel unnatural.

• Carefully directed characters: The models’ stiff poses and blank expressions emphasize emotional detachment and societal pressure.

• Pop art influences: Aldridge blends fashion, consumerism, and critique, creating a unique narrative through bold visuals.

3️⃣ How might you use a similar approach?

• Using symbolic props to add hidden meanings to my photos.

• Creating contrasts with color to show emotional tension.

• Designing surreal compositions by exaggerating common objects or situations.

• Combining storytelling with a critical perspective to explore societal issues, such as stereotypes or personal identity.

This photo captures the decisive moment of a man attempting to leap across a puddle. Documentary photography is not merely about replicating or reproducing reality; rather, it is an intuitive and almost “magical” way of capturing images.

The Decisive Moment

📌Origins of the Concept

• Cartier-Bresson formally introduced the concept of The Decisive Moment in his 1952 photography book Images à la Sauvette (the English edition titled The Decisive Moment).

• The "decisive moment" refers to the perfect convergence of the photographer’s eye, the camera, and the real world at an exact, fleeting instant.

• He believed that photography was not just about documentation but about capturing brief yet meaningful moments that reveal the essence and truth of life.

  
  

📌Key Techniques

• Quick Reflexes: In Cartier-Bresson’s era, photographers used film cameras without burst mode, requiring them to react with exceptional speed.

• Composition and Intuition: Before pressing the shutter, he already had a mental composition of the image, rather than taking shots randomly.

Some Elements from This Photo:

• The Jumping Man:

  • Suspended between rising and falling, he appears to be frozen in time.

  • His toes are just about to touch the water, yet he remains mid-air. This precise capture creates tension, making viewers wonder what will happen next.

    
    

  • The Reflection in the Water:

  • His reflection is nearly perfectly mirrored in the puddle, creating symmetry and visual balance.

  • This not only enhances the aesthetic appeal of the image but also reinforces the concept of the “decisive moment”—had the shot been taken too early or too late, the reflection might not have been as complete.

Authenticity? Objectivity?

This photograph also prompts reflection on whether documentary photography is truly objective.
While traditional views suggest that the purpose of documentary photography is to record facts as objectively as possible, Cartier-Bresson’s work demonstrates that a photographer’s choices—when to shoot, what to shoot, and how to compose the image—all influence how reality is perceived. Thus, documentary photography is inherently subjective.

This can be seen in the photograph:

• The image doesn't depict the entire street but is framed from a specific angle that creates a contrast between the man and the poster in the background.

• Instead of capturing moments before or after the man’s leap, Cartier-Bresson chose the exact instant that maximized tension, a choice that itself reflects subjective intent.

I have marked two red rectangles in the image, highlighting an interesting contrast:

A man clumsily attempts to leap over a puddle, while in the background, the performer "Railowsky" in the poster executes a more exaggerated yet effortless jump.This contrast introduces a sense of humor while uncovering an extraordinary moment in ordinary life.

I believe this challenges the conventional understanding of documentary photography. More importantly, it guides viewers to recognize the hidden, subtle moments worth capturing in the real world. Cartier-Bresson’s work tells us that photography is not just about recording reality—it is also a form of artistic expression, and the photographer is both an observer and a storyteller.

After further research, I was pleasantly surprised by the backstory of this image. When Nick Ut captured The Terror of War, he was originally documenting villagers fleeing after an airstrike. Suddenly, injured children ran towards him, forming this incredibly powerful scene. This image was neither pre-planned nor staged—it was the raw reality of war, making its impact even stronger.

Beyond this, I have also reflected on the relationship between anti-war beliefs and media interests. After its publication, this photograph triggered widespread anti-war sentiment globally, especially in the U.S., where it fueled opposition to the Vietnam War. Many photographers, including Nick Ut, hoped to use their images to expose the brutal realities of war and promote peace. Ut himself later stated multiple times that he wished for this photograph to serve as an anti-war symbol.

On the other hand, media outlets must also consider their own interests when deciding which images to publish. Powerful photographs can increase newspaper sales, attract public attention, and even influence political decisions. This particular image, involving a nude child, would typically not be published under U.S. media standards. However, its immense journalistic value led to an exception, turning it into a historically significant image. I believe this highlights the unique paradox of war photography—while photographers expose suffering to reveal the truth, their work may also be criticized for exploiting that very suffering.

Following the photo's publication, some accused Nick Ut of being indifferent—capturing the chaos and the pleading children without intervening. In reality, after taking the photo, he immediately put down his camera and took Kim Phuc (the nude girl running with outstretched arms) and other injured children to the hospital. He later recalled that his initial reaction was shock and sorrow, hoping that she would survive. Thanks to his efforts, Kim Phuc received timely medical treatment and survived. This made me reflect deeply—war photography not only exposes the brutality of war but can also act as a catalyst for anti-war movements. This image brought the horrors of the Vietnam War closer to the American public and is even believed to have influenced the U.S. government’s decision to withdraw from Vietnam in 1973.

This raises an ongoing debate—should photographers merely document, or should they intervene? Without these photographs, the world might never fully grasp the horrors of war or feel the urgency for change. Some argue that photographers are mere observers, while modern journalistic ethics recognize their responsibility to help whenever possible. However, in war zones, intervention is often impossible, as photographers must also protect themselves.

_{I don't have a definitive answer, but I am grateful for these powerful works. They not only provide a raw, unfiltered record of war but also create tangible social impact, raising awareness and compelling people to confront the realities of war.}

However, this modification also raises important questions—does cropping alter how the audience perceives the event? The original frame included not just the terrified children but also soldiers and other fleeing villagers, all of whom contributed to the full context of the scene. If background elements are removed, does it risk misleading the audience or shaping a specific emotional response? Another thought that crossed my mind was whether this selective editing unintentionally reinforced anti-war sentiment. When an image is altered in a particular way, it can serve as a tool for a narrative rather than simply a record of reality.

This made me realize that documentary photography isn’t just about capturing a decisive moment—how an image is processed afterward also plays a crucial role in its impact and historical significance. Despite these controversies, I still believe The Terror of War remains one of the most powerful war photographs in history, whether cropped or not. It gave me a profound understanding of the horrors of war and made me reflect on the role of photography in shaping public discourse and historical narratives.

Examples from each major approaches

The essence of this piece lies in its emphasis on imminent collapse. At the moment of capture, this fragile structure is frozen in a state of perfect balance, yet we understand that it could fall apart at any moment. This inherent instability creates a sense of tension while also prompting viewers to consider the relationships between objects and their transient harmony. Fischli & Weiss challenge our conventional perception of everyday items, transforming the mundane into something unexpectedly poetic. In the context of Something and Nothing, this work perfectly demonstrates how ordinary objects, when carefully arranged, can acquire new symbolic meanings and serve as vehicles for visual storytelling within photography.

Her photographic technique is highly conceptual, using the transparent window as an “invisible barrier” that creates both a sense of safety and a feeling of voyeurism. I notice that the expressions of the subjects vary—some appear cautious, others curious, and some even confident. This uncertainty gives the viewer a strange sense of participation. I find myself wondering: if I were the subject, how would I react? Would I be comfortable allowing a stranger to capture me in this way?

This project perfectly embodies the concept of “If This Is Art.” It is not just a series of static photographs but a social experiment, an invisible interaction between people. Yokomizo does not manipulate her subjects but allows them to decide how they present themselves in this silent exchange. This approach makes me realize that photography is not merely about capturing reality—it can also be a form of performance art, forcing us to reconsider the right to look, the boundaries of privacy, and the nature of human connection.

A bellows system allows the lens to be extended away from the camera sensor for extreme close-up focusing. 风箱（Bellows）是一种用于微距摄影的装置，可以调整镜头与传感器的距离，以实现更近的对焦

Basic principle of Bellow:

• Fully collapsed bellows allow infinity focus. Fully extended bellows significantly shorten the minimum focusing distance (e.g., 50mm lens can focus as close as 45mm, 37mm lens as close as 6mm).

⚠️Exposure Compensation Rules：

• When extending the bellows, compensate exposure:

  • Light gray zone: +0.5 stops

  • Dark gray zone: +1 stop

Exposure Compensation with Bellows / 使用风箱时的曝光补偿

The Floating System / 浮动对焦系统

The floating system helps manage depth of field (DOF) in macro photography.

How to use the floating focusing system?

1. First measure the distance of the subject with the scale on the right side of the camera.

2. Depth of field (DOF) is calculated based on lens type and bellows spread.

3. By rotating the blue ring (just a calculation aid), to roughly judge the depth of field effect in the picture.

Importance of DOF Control

• In macro photography, DOF is very shallow, so precise focusing is critical. Estimating DOF helps prevent out-of-focus shots.

The afternoon session was more technical, as we continued working with medium format cameras, specifically the Mamiya 645. Compared to the Mamiya RB67, the 645 felt smaller and more lightweight, making it a more portable option for my assignments. After reviewing the camera’s shooting process in the studio, we moved outdoors to capture our first set of film photographs. Since the available locations on campus were somewhat limited, it took longer than expected to complete the 16 shots on the roll. Unfortunately, I didn’t get to see the developed results yet, but I’m excited to see how my first outdoor film shoot turns out.

WEEK 3

We then delved deeper into the deadpan photographic style, analyzing various artworks that exemplify this approach. Understanding its detached and objective aesthetic made me rethink how I can use this technique to create impactful images. For this week’s assignment, we were tasked with producing photographs based on this style, which will be an interesting challenge for me.

In the afternoon, we moved to the studio, where Kristy introduced us to hand held flash photography. This was my first time working with an off-camera flash, and initially, I found it quite difficult to grasp. However, after some hands-on practice, I quickly adapted and gained confidence in using it. I took detailed notes on the correct techniques for handling flash lighting, which I found incredibly useful. At the end of the session, I booked both a flash unit and a camera to take home and complete my weekly shoot.

• Flash covers a certain amount of space.

• Flash operates faster than a camera shutter.

What is Flash?

Why Use Flash?

These photographers use flash to enhance the mood, highlight subjects, and create a striking contrast between illuminated areas and ambient light.

How to Alter/Control Flash?

Understanding Flash Exposure

• Exposure Illuminated by Flash (controlled by Aperture, Flash Power, and ISO) 由闪光灯照亮的曝光

_{Shutter Speed does not affect flash exposure (because flash bursts are extremely short, usually 1/1000s or faster)}

If you don't want the flash to be the dominant light source：

For example, if the camera aperture is set to f/8.0 and the flash is set to f/5.6, the brightness of the flash will be relatively reduced, thus reducing its dominance of the picture, so that the ambient light takes more weight in the picture.

• Ambient Light Exposure (controlled by Aperture, Shutter Speed, and ISO) 环境光的曝光

_{Shutter speed affects the brightness of the background (because it determines how long the camera's sensor records ambient light)}

_{Shutter speed does not affect flash exposure (because flash bursts are extremely short and are almost unaffected by shutter speed)}

How to adjust the orientation of the flash to get a soft light：

The flash head can be reflected towards the ceiling (bounce light), so that the light received by the sensor will take a longer path than directly on the subject, which will eventually produce a soft light, avoid harsh shadows, and make the light more even and natural.

Since the flash is the primary light source, exposure is almost entirely controlled by the aperture, flash power, and ISO, with little impact on shutter speed.

Here, exposure to ambient light is controlled by the aperture, shutter speed, and ISO together, and the flash is used only to fill the light, not to dominate it.

A slower shutter speed (such as 1/30s or 1/60s) is usually used to ensure that ambient light energy is recorded, while gently highlighting the subject with the flash

Weegee used a flash so that the ladies in the foreground were strongly illuminated, but due to camera synchronization issues, the exposure in the background was slightly limited, creating a shadow resembling a black bar.

Flash banding makes the picture have stronger visual stratification, the rich people in the foreground and the ironic characters in the background form a strong contrast.

FLASH BANDING 黑条

In English, there is no particularly uniform term for "black bar photography", but it is often described as "flash banding" or "shutter curtain shadow".

Under the high-speed shutter, the flash is triggered when the shutter curtain is not fully opened, resulting in partial exposure and partial black occlusion of the image.

Although the "black bar" is seen as a technical error in traditional photography, in art photography, many photographers have intentionally used it to create a unique visual style, making the work more experimental and dramatic.

If the shutter speed exceeds the sync speed of the camera, the light from the flash may not fully illuminate the entire picture, resulting in Flash Banding or uneven exposure in parts of the picture.

Camera Sync Speed 相机同步速度

If the shutter speed is set higher than 1/60s, the flash may not be able to completely cover the entire picture, resulting in a black bar(flash banding) below the photo.

This means that even with a faster shutter speed, the flash can still correctly expose the entire picture without shutter occlusion problems.

WEEK 1  (Scroll down for each week)

Metz 45 CL-4 series portable flashgun

Flashmate (Digital Light meter)

FEATURE

FEATURES

I found that Gursky made the whole scene highly abstract through extremely symmetrical compositions and high definition images. Although the picture is informative, Deadpan style makes it calm and even "cold", without exaggerated drama, but leaving the audience to think about the social meaning for themselves. For example, faced with this scene of being overwhelmed by goods, I began to reflect on the overproduction and standardized lifestyle brought about by consumerism. That's the beauty of Deadpan's photography - it doesn't directly tell the viewer how they should feel, but rather, through objective documentation, provokes deeper thinking.

Definition

is a neutral, objective, and emotionless photographic style commonly seen in contemporary art photography. This approach avoids dramatic composition, exaggerated emotional expressions, or complex lighting effects, instead using a calm and restrained visual language to depict its subjects. Photographers adopt an extremely detached and documentary-like perspective, allowing viewers to interpret the deeper meaning behind the images. Deadpan photographs often have an archival quality, appearing devoid of emotion but subtly containing observations on society, culture, space, or identity.

Notable Artists

Notable artists in this genre include Bernd & Hilla Becher, Thomas Ruff, Andreas Gursky, and Lewis Baltz.

• The Bechers' industrial architecture series presents factories, cooling towers, and other industrial structures in an extremely systematic way, making them appear both standardized and rich in detail.

• Ruff's portraits, with their large scale and expressionless faces, explore the relationship between individual identity and anonymity.

• Gursky’s hyper-realistic city and commercial landscapes use high resolution and symmetrical compositions to reveal order and consumer culture in modern society.

While studying Deadpan photography, I realized that this style is not simply “emotionless” but rather a way to use an objective visual language to provoke deeper social reflections. It has taught me how to observe the world without emotional bias, how to use clean and precise compositions to convey information instead of relying on dramatic lighting or direct storytelling. At the same time, it has made me more attentive to details, form, and structure in photography, training me to approach image-making with a more analytical mindset rather than relying purely on intuition and emotion. Through Deadpan photography, I can explore how seemingly “ordinary” images can contain deeper social and aesthetic meanings.

Lecture Notes: What is DEADPAN?

When observing his work, I noticed that he used uniform soft light, avoided dramatic shadows, and captured facial details with high resolution, so that the characteristics of the characters were clearly presented without attaching any personal emotion or narrative. This approach made me realize that Deadpan style portraiture is not just about the subject itself, but about the "universality" after the individuality is removed. In his work, personal identity is weakened and replaced by a visual experience that verges on apathy, leaving the viewer to interpret these people's stories for themselves.

WEEK 4

1. Cut 3-4 films from the whole film, put them in a plastic sleeve (outside the darkroom);

2. Cut up a sheet of photographic paper in three strips (it can't be take out of the darkroom);

3. Put one cut strip horizontally on the proof printer (shiny side face up) ;

4. Set the timer to 4s and pressed run to let the light be on, at the same time move the cardboard(horizontally/vertically) every 4s until reached the end of photographic paper;

5. Removed my film and put it to the developing tray, stop tray and fix tray separately. (2mins for developing tray, 30s for stop tray, and 5mins for fix tray), lastly put it in the running water for half an hour for both bottom and up pools (bottom first and then go up);

6. Complete all the steps and take the film out of the darkroom (After 2mins for fix tray we can go out to check the paper, but it need back to the fix tray to finish another 3mins) check how long the test trip has the best developed，chose the suitable seconds and finish the print with A3 paper.

How to develop films by chemical process

In the afternoon, we attended the final lecture of the term, which focused on the method: What is art? We explored various definitions of art and studied key artists and works that have shaped different artistic approaches in photography. Following the lecture, we had a group discussion where we analyzed each other’s deadpan photography shootings from the last week. It was insightful to hear different perspectives, share my own creative process, and receive constructive feedback from my peers. These discussions not only helped refine my understanding of deadpan aesthetics but also inspired me with new ideas for future projects.

How to change lens on the enlarger

For RB67 the negative carrier is the largest one with horizontal side, for 645 is the medium one with vertical way.

(I forgot to shoot any negative carrier photos, hence only the notes shown)

About negative carrier

Lecture Notes: What is ART?

1. Photography and Conceptual Art (1960s-1970s)

Influence of Conceptual Art:

• In the 1960s and 1970s, conceptual artists viewed photography as a means to document ephemeral or performance-based works.

• It was used to capture actions rather than create visually aesthetic images.

Artists and Examples:

• Sol LeWitt: Used photography to document geometric structures.

• Ed Ruscha: Created books with sequences of everyday photos, such as "Twentysix Gasoline Stations".

• Joseph Kosuth: Explored semiotics through photographs.

2. Performance, Actions, and the Body

Photography as Evidence:

• Artists used photographs to document performances, emphasizing process over final product.

Vito Acconci's work, where he used photography to record personal and intimate performances.

Feminist Art and Body Politics:

• Female artists used photography to challenge gender norms.

Cindy Sherman: Recreated stereotypical female roles in film-like images.

Hannah Wilke: Used her body to critique social perceptions of beauty.

3. Photography as Fiction and Narrative

Constructed Realities:

• Artists created staged photographs that looked real but were fictional.

Jeff Wall’s large-scale photographs that resemble documentary scenes but are carefully staged.

Cinematic Approaches:

• Some artists drew inspiration from films, creating photo series that mimic cinematic storytelling.

Gregory Crewdson staged elaborate suburban scenes with dramatic lighting.

4. Staged vs. Documentary Photography

Blurred Boundaries:

• Some works exist between staged and documentary photography, making viewers question reality.

Philip-Lorca diCorcia's candid street portraits, which appear spontaneous but involve staged elements.

Controversy in Authenticity:

• The debate over whether manipulated photography can still be "truthful".

Andreas Gursky, whose large-scale images are digitally altered but present a version of reality.

Photographers in this chapter utilize various techniques to highlight the unexpected beauty of the everyday, including changes in scale, shifts in perspective, and unique juxtapositions. This style of photography frequently focuses on elements such as stacked objects, overlooked corners, abandoned spaces, and fleeting natural phenomena like condensation, light reflections, and snow.

Rather than simply elevating "non-subjects," this approach challenges our perception of what is worth documenting, emphasizing that there is no such thing as an "unphotographable" subject. The power of photography lies in its ability to encourage viewers to see the world differently, questioning what we consider visually significant.

Some key artists discussed include Jason Fulford, who uses sequences of images to create playful yet thought-provoking narratives, and Jean-Marc Bustamante, whose work captures the remnants of human presence in decayed spaces. Another example is Richard Wentworth, who playfully reinterprets urban environments by documenting found objects arranged in unusual ways.

The chapter ultimately demonstrates that everyday objects, when viewed through the lens of a camera, can take on new meanings—blurring the line between something and nothing.

Definition

The concept of "If This Is Art" in photography challenges conventional definitions of art. Photography, often seen as a medium for documenting reality, is transformed by artists into a conceptual tool that questions perception, authorship, and meaning. Many photographers use composition, manipulation, and performance to turn everyday scenes into thought-provoking visual statements. This approach often intersects with conceptual art, where the idea behind the work holds more significance than its technical execution.

Key Artists & Works

1. Jeff Wall – "A Sudden Gust of Wind (After Hokusai)" (1993)

Jeff Wall meticulously stages his photographs, creating cinematic compositions that blur the line between documentary and fiction. In "A Sudden Gust of Wind (After Hokusai)", he recreates a moment inspired by a Japanese woodblock print, constructing the illusion of a spontaneous event. Wall’s work forces viewers to question the authenticity of photography, highlighting its potential for narrative construction.

2. Sophie Calle – "Suite Vénitienne" (1980)

Calle’s work blends photography with narrative, performance, and surveillance. In "Suite Vénitienne", she follows a stranger through Venice, documenting his movements.

3. Pixy Liao’s -- Experimental Relationship （2010）

This series challenges traditional norms in art and visual culture from the perspectives of gender, culture, and power. Liao subverts the conventional roles of men and women, questioning the binary understanding of gender. As the photographer and director, Liao assumes the "masculine" role, while Moro plays a "feminized" character, sometimes even acting as a prop and performer in their photos. This practice breaks the stereotype that photographers are typically male and models are female. In these works, I see how Liao, through her control over the scenarios, upends the stereotypical Western image of Asian women as submissive. She not only redefines gender roles but also explores the cultural and racial challenges and fusion with Moro. In relation to the theme I am studying, Liao’s work makes me realize that art is not just about visual representation; it deeply addresses identity, power, and social structures.

4.Joseph Beuys -- I Like America and America Likes Me (1974)
Beuys’s performance is a radical exploration of communication, symbolism, and socio-political critique. In this piece, he isolated himself with a wild coyote inside a New York gallery for three days, using minimal verbal communication and allowing their interactions to unfold naturally. The coyote, a symbol of Native American culture and the wilderness, represents the tension between indigenous traditions and modern America. Beuys, wrapped in a felt blanket and carrying a shepherd’s staff, visually resembled both a shaman and a wounded figure, emphasizing healing, transformation, and the estrangement between different cultures.

Through studying these works, I have understood how photography conveys deeper meanings through composition, subject choice, and visual metaphors. For example, Cindy Sherman explores identity and social roles through self-portraiture, which makes me think about how to incorporate narrative and performative elements when photographing people. At the same time, Jeff Wall’s staged photography made me aware that photography is not limited to capturing spontaneous moments but can be carefully arranged, like filmmaking, to create a scene where ‘reality’ and ‘fiction’ intertwine. Additionally, John Baldessari’s use of collage and obscuring faces to alter the meaning of images inspired me to experiment with fragmentation and reconstruction in photography, allowing my images to hold multiple interpretations. Sophie Calle’s investigative and voyeuristic approach to photographing everyday scenes challenges the role of the photographer and the authenticity of images, making me realize that I can use text, diaries, or interviews to add layers to photographic narratives.

Through these learnings, I understand that photography is not just about capturing moments but an art form with conceptual and experimental depth. It can create specific atmospheres through staged photography, expand visual language through collage and mixed media, and even guide viewers toward multiple interpretations by blurring reality. In my practice, I can explore how to apply these methods to make my photography more intellectually engaging and artistically profound.

In practice, I learned how to use frontal composition, centralized framing, even lighting, and large-format or high-resolution images to achieve the deadpan aesthetic. For example, Thomas Ruff’s "Portraits" series presents subjects with extreme clarity and neutral expressions, forcing viewers to explore their inner character without emotional cues. This made me realize that in my practice, I could reduce emotional gestures and keep expressions neutral to enhance the universality of the image. Andreas Gursky’s "99 Cent" demonstrated how deadpan can also be applied to large-scale scenes, using high contrast, strong colors, and extreme detail to document social environments with a sense of realism and critique. This made me think about how I can use high resolution and distant framing to capture the structured order of environments in my own work. Additionally, Bernd & Hilla Becher’s typological photography inspired me to explore repetition and systematic documentation in deadpan photography. By photographing industrial structures over decades and arranging them in a standardized way, they turned individual subjects into an objective visual archive. This made me realize that in my practice, I could create a long-term project documenting a specific category of objects, scenes, or people in a systematic manner, using repetition and comparison to express deeper themes.

Overall, deadpan photography has taught me that images don’t need exaggerated lighting or emotional intensity to be compelling. Instead, they can convey meaning through careful composition, precise details, and systematic organization, making the work more conceptually and artistically profound.

Small glossy paper prints for practice

After changing the lens and negative carrier, we proceeded with fibre paper printing. Initially, the process was not very smooth. Since we used small test strips, and the paper had a tendency to curl, it was difficult to align the small-sized strips with the large easel, especially at the borders. I originally thought that washing fibre paper according to the standard steps would be straightforward, but I soon realized that its development process was somewhat different from the paper we used last semester. Of course, the quality is much better—it reveals more details in the image—but I actually failed twice during the test strip stage. Due to the lens change, the enlarger’s height was adjusted, and the aperture was too wide, causing my first two test strips to come out almost completely black, making it difficult to see any details. With Kristy’s guidance, I readjusted all the parameters and finally produced my first successful print (left). However, I noticed that the image looked slightly gray, and there were black borders at the edges caused by the easel and the paper curling. So, I decided to increase the contrast and reprint the image.

In the end, I achieved the final print (right), and I was very satisfied with its tonal range, contrast, and details. The only downside is that fibre paper, especially the glossy finish, curls even more after drying, which slightly affects the visual aesthetics.

WEEK 5

MY FINAL PROJECT PROGRESS ⬇️

Some single photos inspire me for final

Among them, my favorite is the sofa portrait in Brief 1. Most of the portrait photography I have seen focuses on people as the main subject, but this photo instead captures an object as the focal point, making it feel rich in storytelling. Unfortunately, the version of the photo I presented accidentally cropped out part of Brief 1. There is a pair of shoes placed by the window, and I am not sure whether the photographer intentionally placed them there or if it was a candid shot. However, their presence adds more narrative depth to the image. I think using this photo as the opening image is a great choice, setting the tone for the entire story.

I also really like the shooting technique in Brief 2, as it cleverly employs a double metaphor. First, the trash in the image is placed outside the door, making it literally "out of frame," which enhances the sense of space within the composition. Secondly, the placement of trash outside the door symbolically hints at the idea of "leaving." I find the presence of the door in this image particularly thoughtful, as it perfectly aligns with the theme.

The photo in Brief 3 left me feeling confused, but that is precisely why it fits the concept of Brief 3—it lacks an immediately clear meaning, making it difficult for the viewer to interpret. This sense of ambiguity differentiates it from the previous two images, adding an element of uncertainty that encourages deeper thought and engagement.

The comparison shots in Brief 4, in my opinion, lack some creativity. It is clear that 4A was taken during the moving process, while 4B features the same objects photographed in a studio setting, giving it a more fashion magazine-like aesthetic. However, overall, I think the two images are too similar in tone and background treatment, which weakens the contrast between them. Of course, this is just my personal opinion.

The final image perfectly interprets the core concept of Brief 5. What I find most interesting about this series is that there are no people present in any of the photos—not even shadows. However, the photographer cleverly uses traces of human life and objects to substitute for human presence. This approach effectively conveys the intended theme, making the series more compelling and rich in narrative depth.

Past Students' works

Brief 1 gave me a new perspective on the concept of portraiture. Before this, I had always assumed that "focusing on one main quality" meant that only one subject—either a person or an object—could be present in a portrait. However, the composition of this image is very interesting. The main subject (the livestock) is placed in the center, while two workers stand on either side, but their heads are cropped out of the frame. This directs the viewer’s attention entirely to the livestock. This framing approach made me rethink how portraiture can be expressed.

Initially, I had some reservations about the sequencing of this series, as a single image could potentially fit into multiple briefs. However, after reviewing the full sequence and understanding the flow of the production line, I saw the reasoning behind the arrangement. The composition and meaning of the brief 3 struck me as particularly profound. At first glance, my attention was drawn to the metal chains in the background, but upon closer inspection, I noticed a suspended animal. A striking coincidence in this image is how the animal’s forelimb and the worker’s hand visually connect, creating a physical link between human and animal. This subtle detail provokes deeper contemplation on the relationship between humans and livestock.

The close-up of the cow’s head in Brief 4B is one of my favorite images in the series. The low-angle composition heightens the sense of oppression, making the viewer more aware of the animal’s situation. However, this image also evoked strong emotional responses in me—I felt a profound sense of innocence from the livestock. These animals are raised, nurtured, and ultimately slaughtered by humans, and this visual representation naturally leads to reflections on humanity’s dominance in the food chain.

Brief 5 employs a conventional linear composition, where multiple animals are neatly suspended along the same straight line. This arrangement creates a striking visual impact while also instilling an unexpected sense of order. The structured presentation left me feeling both overwhelmed and conflicted. I believe this series not only deepened my understanding of the briefs but also made me more aware of the power of photography in storytelling.

I found the photographer’s choice for Brief 1 quite puzzling. This was the first time I encountered a portrait presented in such a way—where the subject was not directly shown, but only a portion of their body was revealed, leaving the rest open for interpretation. I think this approach fits Brief 1 very well.

Brief 2 is my favorite image from this series—it captured my attention completely. I am very curious about the story behind it: the model’s pose, the use of light and shadow, and the choice of location all leave room for endless speculation. The contrast between the bright center and the surrounding darkness is highly effective in directing the viewer’s focus toward the subject.

At first, I didn’t quite understand what Brief 3 was trying to convey. Though I thought it was a well-composed image with an excellent tone, it evoked themes of bondage or sexual connotation, which slightly contrasted with my initial interpretation of the story. However, this actually fits Brief 3 very well—the photographer altered the storyline through visual language, prompting deeper curiosity about what happens next.

I particularly appreciate the use of the caution tape in Brief 4. It immediately reminds me of a crime scene, where police tape signals danger and warns people to stay away. Although the series maintains a consistent shooting style and setting, the simple addition of this caution tape dramatically shifts the atmosphere—an impressive and effective storytelling technique.

At first, I mistook the final image in Brief 5 for Brief 1, as it aligns more with a conventional portrait style by focusing on one main quality of the subject. However, after understanding the full narrative, I realized why it was placed at the end—it serves as the conclusion of the story. What surprised me the most was that this turned out to be a self-portrait, taken by the photographer using a cable release and tripod.

HOW TO SCAN A NEGATIVE?

Using Rose Petals as Lips – A Metaphor for Natural Beauty

• Close-up shot to emphasize the texture similarity between lips and rose petals.

• The rose petal symbolizes nature, softness, and delicacy. Placing it on the lips creates the effect of "natural lipstick," suggesting the connection between makeup and nature.

• The act of applying lipstick represents society’s definition of beauty and the individual’s role in shaping and enhancing it.

• The juxtaposition of roses (natural beauty) and lipsticks (artificial beauty) creates tension.

• The "caution tape" suggest society’s imposed beauty standards or a warning against excessive beautification, questioning the limits between natural and artificial aesthetics.

WEEK 2

Last week, I shot with the RB67 camera, so this time I decided to use the 645 camera, as it is much lighter and easier to handle. Additionally, we learned how to use a new light meter. Unlike the one we used last semester, this one is electronically automated, making it more convenient to use since the correct aperture and shutter speed values can be read directly from the digital screen.

However, I encountered some challenges while using the light meter. During the shoot, I noticed that the aperture value was not displaying correctly, and I initially assumed that the light meter was faulty. It wasn't until I later asked Ned that I realized the issue was due to an incorrect mode setting. This mistake resulted in a few of my photos being underexposed.

I hope to learn from this experience and avoid making the same mistake in future shoots.

A scattered collection of shoes at the doorstep serves as a silent storyteller, signifying human presence without directly showing the individuals themselves. This approach echoes Wolfgang Tillmans’ documentation of life's traces, capturing the essence of moments left behind. These shoes may belong to people who have just arrived home or remain as quiet remnants of a past gathering, subtly narrating a sense of belonging, interaction, and intimacy. The unintentional arrangement of the shoes not only reflects the fluidity of everyday life but can also be interpreted as an "accidental sculpture" shaped by human behavior, where placement, height, and positioning create an interesting visual composition. Within the "Something and Nothing" framework, such a scene highlights the poetic nature of mundane objects, inviting viewers to find deeper meaning in the everyday.

WEEK 3 

For this project, I focused on themes of deadline stress, the monotony of daily life, and the stillness of objects—ideas that align with Deadpan photography’s emphasis on mundane, unremarkable yet socially significant subjects. I have always viewed Deadpan as an emotionless and somewhat dull documentary style, often characterized by repetition, rigid structure, and a lack of humanization. However, I wanted to challenge this stereotype by reinterpreting the concept and introducing new ideas to it.

After completing the shoot and printing my images, I realized that my work this week leaned slightly away from the traditional Deadpan aesthetic. In class, I received some valuable feedback that helped me reflect on how I could refine my approach further.

WEEK 4

Some useful GUIDES from Kristy & websites

Don't forget to turn the power off !!!

HOW TO PRESS PAPER