Thesis Final

RAW FILM PHOTOGRAPHY Sydney Norris Submitted in fulfilment of the requirements for the credit of GCM 490: Thesis Advisor: Christopher Smyth

Graphic Communications Management Faculty of Communication and Design Ryerson University 2019

Keywords Camera, Camera Obscura, Digital Photography, Eastman, Film, Film Photography, Fujifilm, Imagery, Interview, Kodak, Mentality, Photo Series, Photograph, Photography, Portrait, RAW, Social Media, Visual Analysis

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RAW FILM PHOTOGRAPHY

Abstract

RAW Film Photography explores the resurgence of film photography in recent

years, and how the history and evolution of the medium has impacted it, beginning with a literature review detailing the history and technological discoveries in the world of film from 1021 and ending in the present day. Following this is an analysis of the visual imagery captured in film portraiture. This analysis focused on the visual elements, including tone, framing, lighting, and where the images fall within the history of film photography. This also gives context to some important figures within photography, and their stylistic choices. These two chapters provide a basis for an indepth look at modern film photography, which is discussed using statistics, interviews, and indivudal testimonies. Film has become the choice of many twenty first century photographers for reasons stemming from it’s roots as an art form. Words such as physical, textured, and emotional, are all used to describe and justify the use of this medium.

The results of this clearly prove that film is not dead, and it is continuing to evolve as

a photographic process. Today it is becoming the choice of more and more photographers, due to the mentality individuals have while using it and the power of the images it creates. Past and present, film photographs are captivating, real, and filled with depth, which is showcased through the accompanying photo series RAW.

RAW is a film portrait photo series, showcasing unique individuals and their

thoughts. Every image is intented to show the individuals as they are, and provided an open ended question relating to life and emotion, in order to create a conversation about the raw power of film and truth. Film in many ways extends beyond the picture, with an emphasis on capturing the purity of the moment, rather than curating the moment for the photograph. This is visualy showcased through RAW, with the final series being the encapsulation of the research and potential of film photography. v

RAW FILM PHOTOGRAPHY

Table Of Contents Keywords

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Abstract

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List Of Figures

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Chapter 1: Introduction

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Context

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Purpose

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Scope

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Chapter Outline

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Chapter 2: Historical Literature Review

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1021 – 1717: Camera Obscura And Silver Nitrate

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1822 – 1840: Niepce, Daguerre, And Talbot

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1870 – 1888: George Eastman

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1935 – 1954: Kodachrome And Film Processing

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1981 – 2012: Kodak

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Summary And Conclusion

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Chapter 3: Visual Analysis

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1839: First Self Portrait (Robert Cornelius)

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1853: Deceased Boy On Fainting Couch (Unknown)

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1860: President Lincoln (Mathew Brady)

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1893: Laura Bullion (Allan Pinkerton)

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1916: Blind (Paul Strand)

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1928: Pastrycook (August Sander)

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1936: Migrant Mother (Dorothea Lange)

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1941: Winston Churchill (Yousuf Karsh)

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RAW FILM PHOTOGRAPHY



1950: Audrey Hepburn (Angus Mcbean)

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1953: Self-Portrait (Vivian Maier)

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1966: A Young Man In Curlers At Home On West 20Th St., N.y.c. 1966 (Diane Arbus) 36



1978: Untitled Film Stills #21 (Cindy Sherman)



1981: Ronald Fischer, Beekeeper, Davis, California, May 9, 1981 (Richard Avedon) 38



1984: Afghan Girl (Steve Mccurry)

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1989: Candy Cigarette (Sally Mann)

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1991: Jimmy Paulette After The Parade (Nan Goldin)

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1994: Rebellious Silence (Shirin Neshat)

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2001: Scarlett Johansen (Leeta Harding)

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2010: George W. Bush, President Of The United States (Platon)

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Conclusion

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Chapter 4: Modern Day Film

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Film Photographers Today

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Film Mentality

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Photography And Social Media

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Conclusion

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Chapter 5: RAW Film Series

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Chapter 6: Conclusions

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Acknowledgements 

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Bibliography

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Appendices

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Appendix A: Visual Analysis Images

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Appendix B: Modern Film Statistics

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Appendix C: RAW Film Series

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RAW FILM PHOTOGRAPHY

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List of Figures FIGURES

1. Cornelius, 1839..................................................................................................27



2. Unknown, 1853..................................................................................................28



3. Brady, 1860........................................................................................................29



4. Pinkerton, 1893..................................................................................................31



5. Strand, 1916.......................................................................................................32



6. Sander, 1928.......................................................................................................33



7. Lange, 1936........................................................................................................34



8. Karsh, 1941........................................................................................................35



9. McBean, 1950....................................................................................................36



10. Maier, 1953......................................................................................................37



11. Arbus, 1966......................................................................................................38



12. Sherman, 1978.................................................................................................39



13. Avedon, 1981...................................................................................................40



14. McCurry, 1984.................................................................................................41



15. Mann, 1989......................................................................................................42



16. Goldin, 1991....................................................................................................43



17. Neshat, 1994....................................................................................................44



18. Harding, 2001..................................................................................................46



19. Platon, 2010.....................................................................................................47

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Chapter 1: Introduction

The objective behind this research is to explore the history and evolution of

film photography, and how that has influenced the resurgence of film in recent years. Accompanying this research is a visual series of film photographs and text relating to some of the overarching themes within this thesis. The purpose of the series is to support the ideas behind shooting film photography, and allowing the reader to see the potential behind film.

This chapter will outline and contextualise the research, the purpose of this thesis,

and the scope of both the historical and visual analysis. The remaining chapters will also be explained, included a historical literature review, visual analysis, modern day film, and the RAW photo series.

1.1 CONTEXT

Film photography is one of the most physical and creative mediums, with a

historical background rooted in the arts and sciences. There has been a resurgence of film photography as of recent, with it becoming the photographic method of choice for many photographers. The experience and final product deriving from film photography is much more visceral and raw, with many choosing it for its emotional and spontaneous nature.

1.2 PURPOSE

The purpose behind this thesis is to explore the background of film photography,

and draw on this knowledge to better understand why film is the choice of modern photographers. This base will then be used to create and explore with film as a medium, and draw conclusions on what it means as an art form.

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CHAPTER 1: INTRODUCTION

1.3 SCOPE

From a historical perspective, this thesis will start with the invention of the camera

obscura in 1021, and exploring its evolution all the way to present day. From a visual analysis point, this thesis will analyse portraits from 1839 to 2010, and then finally, exploring film photography through today’s artists.

1.4

CHAPTER OUTLINE



The remaining chapters to be outlined in this thesis are historical literary reviews,

visual analysis, modern film photography, and the RAW film series. These chapters give insight into the past, evolution, and present of film photography, aiming to answer the question of what has caused the resurgence of film photography.

CHAPTER 1: INTRODUCTION

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Chapter 2: Historical Literature Review

In today’s modern age, where more images are captured and absorbed daily than

ever before, it is crucial to understand photography’s beginnings. Living in a world where instantaneous and constant image capture has become second nature, so has societies obsession with recreating timeless and seemingly raw photographs. The smartphone has allowed everyone to be a photographer, while also driving many to attempt to recreate the idea of timeless imagery. Whether it be using film filters, polaroid cameras, or shooting in film, there is still a draw within society to capture the essence of timelessness and realness, which stems from a historical place within the photographic evolution. This literature review will focus around the history and technological advancements within the photographic world from the 1000s to the present. The evolution and advancements within photography shape our current way of living, and by focusing on key figures and important technological advancements, the photographic journey is visible. The history of photography starts with the camera obscura, which was an early form of the pin hole camera, and figures such as Johann Heinrich Schulze experimented with the technology, creating early silver nitrate imagery. Joseph Nicephore Niepce and Louis Daguerre then became two of the most crucial individuals because of their discoveries. They discovered heliography, the daguerreotype, and their partnership is an extremely notable moment within the history of photography. Individuals such as William Henry Fox Talbot and inventions such as the Calotype continued to advance the photographic form. Finally, we have George Eastman, the founder of Kodak, who largely formed what we consider to be the film photography industry and film technology today, as well as the beginnings of digital photography.

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2.1

1021 – 1717: CAMERA OBSCURA AND SILVER NITRATE



The earliest form of photography originates from the camera obscura, which stems

from the Latin word meaning dark room. It is agreed upon by majority of researchers that the earliest mention of the camera obscura in the form that was used to advance photography was by Ibn al-Haytham in 1021, as it appeared in his book The Book of Optics. The earliest versions consisted of small dark rooms with a singular small hole in the wall (The Editors of Encyclopaedia Britannica, 2013). The scene outside the room would be inverted and reflected into the room through the admittance of light. This technology was used by astronomers and scientists during the 16th century onward to study solar eclipses, and used by artists alike as a drawing aid. This use of the camera obscura appears to be most prominent by many researchers, including Joseph Nicephore Niepce in his letters concerning the inventive process of photography. The research states that the subjects would be posed outside of the room, and their likeness would be reflected onto a piece of paper to be traced (Fouque & Epstean, 1973). These experimental optics served as a basis for models of the pinhole camera in the future.

In its simplest state, the pinhole camera uses a light tight box that has a hole

approximately the diameter of a pin in one end, and a form of film, photo, or light sensitive paper on the opposite. The hole would serve similarly to the camera lens, and using the science behind the refraction and admittance of light from the camera obscura, the pinhole camera would capture the image onto the paper. The pinhole camera would later be used by Niepce in 1826 to capture the first photographic image in the world (Daniilidis & Klette, 2006). The theory behind this technology became the foundation for all future advancements in the subject area, and can even be seen in modern day digital cameras.

With the beginning of experimentation behind image capture and photo reproduction

came the issue of permanence behind photographs. The images being capture by the pinhole camera were temporary, and despite the hours of exposure required to form the image on the film paper, it would only last so long before it completely faded away. Joseph

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Heinrich Schulze was a German physician and anatomy professor, and is referenced as one of the first to experiment with chemicals to create permanence in the photographs. In 1717, he began experimenting with silver nitrate by initially discovering that the chemical would darken when it was exposed to light. His experimentation began with glass flasks and paper. He would fill the flasks with the silver nitrate, carve out words or impressions in paper, wrap the paper around the glass, and exposed it to the light. The exposed areas would darken, but the impression would slowly fade over time (Schlager & Lauer, 2000). Although this served as a form of optical illusion at the time, this chemical reaction would be used in the future to produce photographic film. An image, when transferred onto glass coated with an emulsion containing silver halides, a chemical composition of silver and halogens, will darken similarly to Schulze’s early experiments, creating a photo negative. It was later discovered that by then exposing it to light and transferring the image onto a second piece of glass, the colours will reverse, creating a positive image (Boyd, 2010).

2.2

1822 – 1840: NIEPCE, DAGUERRE, AND TALBOT



Joseph Nicephore Niepce, a French scientist, is one of the most influential figures in

the history of photography. Using previous photographic discoveries, he began to attempt to take photographs of the outdoors in 1822. He was using paper soaked in silver chloride and rotating between three large cameras to capture, but the images would always fade away. Niepce began experimenting with bitumen of Judea, a photo sensitive asphalt used in lithography. He was very concerned with his research and information being stolen, so he was constantly destroying his work and images to protect them (Karwatka, 2007). Bitumen of Judea was likely chosen by Niepce due to its scientific properties. When used as a varnish, it is resistant to many of the strong acids, such as nitric, hydrochloric and phosphoric acid, that are used to treat lithographic plates when creating the impression. This property allows it to be used when making plates for mechanical printing processes (The Design Council, 2018). After much experimentation, and the destruction of majority

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of his previous work, in 1826 he produced the world’s earliest surviving photograph titled Le Gras. This photograph was created by coating a pewter plate in a varnish of bitumen of Judea, which was then left to expose in a camera. After eight hours, the plate was washed using an oil mixture of lavender and white petroleum. This allowed the bitumen of Judea to dissolve in the areas not exposed to light, while the areas exposed hardened. He made the image permanent by etching the plate with a weak solution of nitric acid. The final product was a positive image depicting his family’s yard, including a pigeon house, tree, and barn. He called this process heliography (Karwatka, 2007).

Louis Daguerre also had a huge influence on photography, although he didn’t start

out pursuing it. It is documented that he was a painter and stage director in his early life, and is credited with inventing the diorama in 1821. Dioramas were large illusionistic paintings, displayed typically in rotundas as a form of public art and entertainment. Daguerre learned how to use a camera obscura, and with this knowledge he decided to experiment with illuminated images in 1824. His goal was to create images that glowed in the dark within their own natural colours, and he thought he could achieve this by using a lens and projecting an image of something in nature onto a surface coated in phosphorescent paint. The relationship between these experiments and the discovery of the Daguerreotype are largely connected in the literature written about this time. He was being given his supplies by the same optician as Niepce, who connected the two of them as their studies were similar. In 1829, the two signed a contract to become partners, exchange and contribute ideas and resources into developing heliography. In 1832, they invented the physautotype, which was similar to heliography as it involved having images produced in a lavender oil and using alcohol as a dissolvent (Romer & Pinson, 2003).

Unfortunately, Niepce passed away in 1833, so his son, Isidore, signed a new

contract with Daguerre, but due to his lack of interest and knowledge in the topic, he left the contract in 1837. This left Daguerre as the sole owner of their discoveries and research. Researchers, such as Pierre Yves Mahe, director of the Niepce project, and Grant

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Romer and Stephen Pison, authors of the article Louis Daguerre, both were unable to determine the exact timeline of the introduction of mercury into the photographic process, as Daguerre claimed he invented it on his own, but Niepce’s son claimed this to be false, saying Daguerre and Niepce discovered it together. The mercury was being used as an intensifier in the process, and became a key component in Daguerre’s future discoveries (Romer & Pinson, 2003).

In 1839 Daguerre presented his discovery of the daguerreotype to the French

Academy of Sciences. The daguerreotype utilizes a copper plate with a silver layer coated on top. The plate is polished with a steatite and carbonate of lime. The plate must then be iodized, which gives it the visible marking of turning a slightly pale yellow. The delicate nature of the surface allowed the plate to be exposed to light, with the time of exposure being significantly less than earlier technology. Once the plate was exposed it would be fumed with mercury and then washed in a salt solution to create permanent, photographic images. The daguerreotype was the first successful commercial photographic process (Daniel & Pinson, Review: Light and Dark: The Daguerreotype and Art History, 2004).

During this same period of time, the work of William Henry Fox Talbot is also

documented. He experimented with the camera obscura, but was frustrated with the fleeting nature of the images. His earliest experiments involved using fine drawing paper, coating it with a salt and silver nitrate solution, and allowing it to darken in the sun. As he continued to apply coatings the areas with salt darkened even further. Research suggests that his earliest experiments were of botanical specimens which he placed on a piece of coated drawing paper, covered with a sheet of glass, and exposed it to sunlight. This produced what Talbot referenced as a photogenic drawing, which featured the negative space of the paper being dark and the botanical areas being light (like a photo negative) (Daniel, 2004).

The photogenic drawing evolved into Talbot placing the sensitized drawing paper

into miniature cameras in 1835, which allowed him to capture larger object’s silhouettes. For four years he continued to research and invest in this idea, until he learned of the

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daguerreotype. The period of time following this is documented as being hectic as Talbot aimed to prove that his work was as advanced and relevant as Daguerre’s. In 1839, he presented the photogenic drawing to the Royal Society, but his photographs served only to prove that his process worked best for flat botanical images rather than within a camera. He didn’t give up on the idea, and in 1840 he discovered what he would patent a year later as the calotype (Daniel, 2004). It works by initially brushing drawing paper with silver nitrate, allowing it to set, then fully immersing the sheet in potassium iodide. This creates a layer of silver iodide that is extremely sensitive, like Daguerre’s process. Before the paper is placed in the camera it is treated using a mixture of gallic acid and silver nitrate, which works as an accelerator. The latent image is then produced within the camera, developed by placing the paper into a callo nitrate of silver and fixed hypo wash. This discovery paved the way for a new realm of photography. His early photographs are sought after by many researchers, as their sensitivity to light forces them to never be exhibited as it risks damaging and changing the originals (University of Oxford, n.d.).

2.3

1870 – 1888: GEORGE EASTMAN



George Eastman was an entrepreneur, who found a passion for photography in the

late 1870s. He started experimenting with his own photographic equipment, attempting to improve what had already been discovered. He started off experimenting with gelatin emulsions mixed with silver halogen salts on his own dry plates, which would allow the plates to retain their sensitivity for months. He created a machine during this period to continuously coat the plates with the gelatin, which allowed him to start the Eastman Dry Plate Company in 1881 with Henry Strong. For the following two years, there was a documented quick expansion in sales and profits, but as sales went down due to a lack of demand and inability to patent the technology, the company began to deteriorate (Jenkins, 1975).

Eastman decided to venture into developing a roll film system rather than using

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traditional plates, and he and Strong partnered with business man William Hall Walker. Walker would be largely responsible for the development and creation of the roll holder mechanism, and Eastman would be responsible for the development and creation of the roll film and the production machinery for the roll film. There were several goals identified when it came to the developing of film, many of which are still clearly visible in modern day roll film. Reese V. Jenkins of the Johns Hopkins University Press specifically notes the duos focus on creating something flexible, durable, inert and transparent, all qualities found in the previous glass plates and in modern film photography. They attempted using both gelatin and collodion as they had in the past, but they proved to be too fragile overall. The development of the stripping film was a major leap for the team. It had a photographic paper base that Eastman would pass under a layer of water soluble gelatin, and then again with a less water soluble gelatin emulsion that was photosensitive. While the film was being exposed, developed and fixed, the paper base remained attached. This would form the emulsion, which would then be detached from the photographic paper base and placed onto a glass sheet. This sheet would then be varnished, creating photo positive prints. There were some evolutions of this initial technology, including what they coined as American Films, where the back of the film was gelatin, so that when it was exposed to humidity it would still develop uniformly and not curl or distort in any way. The gelatin and emulsion could then be detached, creating photo negatives that could then become positive. After much research and technological experimentation, the final roll film system was developed. It had a trough like mechanism containing a semi submerged roller. Behind the trough was a roll of raw paper. The paper would be led over a wheel and under the roll to create an emulsion which is then set in a cool gelatine. The gelatine continues to run until it reaches a specific temperature, and is hung on what they referred to as a hang up machine. The machine consists of movable slats that allow the film to be hung to dry (Jenkins, 1975).

In 1884, the three formed the Eastman Dry Plate and Film Company, and with their

proven success they had 14 shareowners. Initially due to the development of their roll film

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system there was another spike in profits, and they aimed to capitalize on their new market. They pioneered the creation of sensitized paper using flow process machinery, developed printing and enlarging services, and even bought out fellow entrepreneur David Houston’s roll film patents. Eastman yet again began to see a decline, because, in his words, “when we started out our scheme of film photography we expected that everybody that used glass plates would take up films, but we found that the number that did this was relatively small and that in order to make a large business we would have to reach the general public and create a new class of patrons.” The idea behind who photographers were is a notable shift in the history and within the literature, as Eastman decided to create a new consumer for his product (Jenkins, 1975).

In 1887 Eastman created the roll film camera, in order to compliment his roll film

system and allow amateur and skilled photographers alike to utilize his technology. The ideology behind Kodak was first introduced in 1887, and it wasn’t long into 1888 that the first Kodak camera emerged. It was a simplistic fixed focus box camera, with a lens, roll holder inside the box, and a case to enclose the entire unit. It was sold alongside a 100 exposure roll of film, which initially was a paper base but quickly transitioned into a cellulose base. The entire thing cost $25, however, the camera could be returned to the factory for $10 and the film would be removed, processed, restocked, and returned to the customer at their convenience. This marketing tactic was the turning point for Eastman and Kodak, as it created an oligopoly for them with a growing customer base (National Museum of American History, n.d.).

2.4

1935 – 1954: KODACHROME AND FILM PROCESSING



A notable moment in the history of Kodak is their invention of colour reversal film

that they called Kodachrome in 1935. It worked as a three-colour subtractive film process for both cinematography and film photography, during which the complementary colours would absorb the primary colours. The film was divided into three gelatin layers, with CHAPTER 2: HISTORICAL LITERATURE REVIEW

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each layer containing a light sensitive emulsion to one of the primary colours; red, green, and blue. When processing this film one must use several reversal processes, dying each positive image with its complementary colour. This discovery took the media by storm, as it grew rapidly in market share due to its bold colours (Mannes & Godowsky, 1935). The 20 years following had Kodak controlling the market on processing the film, but in 1954 the Department of Justice put forth a legal ruling that this was creating a monopoly within the market, and they had to legally allow others to process the film. What this meant was that they were no longer allowed to include the developing fee in the price of the roll film, which drastically changed the price and affected Kodak’s entire marketing strategy (TIME, 1955).

2.5

1981 – 2012: KODAK



The period between the late 1800s and the late 1900s was a period of tremendous

growth and inventiveness for Kodak within the film photography industry. In 1981 Kodak had acquired 10 billion dollars in sales, with majority of its time and resources going towards their film making plant and continuing to supply the market. Other competitors, including Fujifilm, put pressure on Kodak to continue to evolve if they wanted to dominate the film and camera market. As colour photography had already been introduced by James Clerk Maxwell in 1855, Kodak was one of the only companies large enough and powerful enough to truly develop it (Lucas & Goh, 2009).

In 1975, electrical engineer Steven Sasson developed what he referred to as an

electronic imaging apparatus, that would use an information recording medium in the form of a magnetic tape to record and capture imagery. He was working for Kodak at the time and they marketed the discovery as the first self-contained and portable digital camera. He received the patent for it in 1978 but it wasn’t until years later that the technology was truly utilized by Kodak (USA Patent No. US4131919A, 1978). It is speculated as to why this is among researchers, as in the original patent it appears that Kodak had every intention of

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releasing the technology, but researchers such as Henry Lucas and Joi Goh argue that they ignored the changing market to focus on their niche area. They also argue that Kodak had myopia, felt comfortable, and could not make the mental change from film to digital (Lucas & Goh, 2009).

They continued to invent new technologies, and in the upcoming years they

produced over 50 digital photography products. In 1997 the sales of digital cameras was increasing by 75%, whereas film camera sales were increasing by 3%. This allowed the entrance of new competitors into the market, especially from Japan. Their net sales in 1992 were $20 billion, and in 1997 they dropped to $15 billion. In 2001 film camera sales became negative for the first time in history, which is speculated to have sparked Kodak’s statement in 2003 stating that Kodak would be “…implement[ing] a digitally oriented strategy to support revenue and sustainable earnings.” 2001 was also a major year for competing camera brands, specifically Fujifilm. In 2001, they started offering high quality film to compete with Kodak in their initially dominated market at a 20% price decrease. In comparison to their employee size in 1993, Kodak has reduced its labour force by almost 80%, which equates to almost 100,000 employees. The increase of digital was steady, as was the decrease of film, while the net sales of Kodak slowly declined as Fujifilm sales increased drastically (Lucas & Goh, 2009).

By 2009 Kodak completely stopped producing Kodachrome film, and filed for

bankruptcy protection in 2012. In 2013, they sold majority of their patents, and completely changed their business model to become a smaller company within the photographic world. Kodak does still exist today, but in a completely different market than before (Anthony, 2016).

2.6

SUMMARY AND CONCLUSION



The literature on film is extensive, and details the incredible revolution and history

behind the technology and art form. From the early days of the camera obscura, to the final CHAPTER 2: HISTORICAL LITERATURE REVIEW

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evolutions of Kodak, there have been tremendous strides made. The original technology has evolved, we have seen prominent figures come and go, and we have even seen the changes and impact on society that film has had. By analysing the literature, and pinpointing areas of consensus and areas of disagreement, the history and significance of film becomes clear.

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Chapter 3: Visual Analysis

Analysing the visual evolution of film photography portraits, allows the viewer

to better understand how and why the style has changed, and what it is becoming today. Starting in 1839 with Robert Cornelius taking the first self-portrait, up until Platon’s images of George W Bush in 2010, film has captured the very real and visceral images of individuals throughout time. These images serve as a representation of different classes, races, age groups, and genders, allowing the viewer to see a moment in time within a human’s life. The original brown hued images, the artifacts, the curated and natural posing, and the subject matter, all create a visual evolution that leads us to film portraiture today. In a world where images are curated and constructed, both in capture and in post, the instantaneousness of film in many ways contradicts this. Although all of this can still be done, at its core film is raw, and the images and ideologies behind it coincide. For the isolated images see Appendix A.

3.1

1839: FIRST SELF PORTRAIT

(ROBERT CORNELIUS)

From a visual standpoint, the image is very

indicative of the time and available production materials. The image has a greenish hue to it, with little tonal differences between the light and dark areas. There is an uneven vignette around the image, and many visual artifacts covering the photograph. A grain is running horizontal across the photograph, giving it a textured look. The actual image of the subject is very straight on, Figure 1 - Cornelius, 1839 25

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with his arm raised and the camera in hand. The quality makes it so there is a lack of texture within the actual image, as his edges are blurred and his clothing appears smooth. His stern and serious manner is captured in his eyes, with his proper demeanor coming through in his posture and clothing.

This self portrait of Robert Cornelius was taken in 1839 using a daguerreotype. He

had been approached by Joseph Saxton who was experimenting with daguerreotype plates during this same time period, and the two began experimenting together. This allowed him to become comfortable with using the camera, and after finding the correct lens, he captured the historical image (Gillespie, 2013). This image is a starting point for portrait photography, as it represents the beginnings of the photographic style. Portraiture was intended to capture the subject in their raw state, with the photographer photographing the individual in the artistic form they see fit.

3.2

1853: DECEASED BOY ON

FAINTING COUCH (UNKNOWN)

From a first glance, this image appears to

capture a young boy, laying on a couch, staring blankly into the camera. When examined closer, his living state becomes surreal, as this is a postmortem image. His eyes have been propped open, so as to make his portrait appear lifelike. His posture is very relaxed, as though he is asleep, with his head being dramatically turned to face the camera. The black and white has a warm tint to it, making it almost appear to be sepia. The

Figure 2 - Unknown, 1853

artifacts on the image are substantially less than earlier imagery of the time, as they appear to be only small dots scattered throughout. The CHAPTER 3: VISUAL ANALYSIS

26

frame is very interesting, as casing images was very common for the time. Whether it be in rings, watches, or hairpins, displaying images of both the deceased and of important figures, such as war veterans, became a regular practice.

Death photography was a popular tradition during the nineteenth century, producing

images with primarily children, posed in lifelike positions. This image of the deceased boy is believed to have been taken in 1853, and was displayed in an ornamental frame for the family. From both a visual and subject aesthetic, it is clear there is a large jump in the imagery being produced. The advancements in technology, from a production and preservation standpoint, allowed the image to be much clearer and intact. The idea of shooting the deceased is viewed today as morbid, but at the time it was of great memorial significance. It was a way to formally grieve, and provided closure and a memory for the family. The Victorian post mortem photography was a profound moment in time, and represents a completely new perspective on traditional portraiture (Aytemiz, 2013).

3.3 1860: PRESIDENT LINCOLN (MATHEW BRADY)

The image has a brownish, sepia hue to

it, with the subject being framed perfectly in the middle. The subject is seated in a wooden chair at a small table, wearing a formal suit, and appearing clean cut. The lighting provides depth and texture to the photograph, with it gleaming off the chair and creating shadows on the individuals face. He appears unaware and natural in front of the camera, with his outward posing and calm facial expressing making the viewer feel

Figure 3 - Brady, 1860

as though they are seeing an intimate side to the 27

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subject. There are slight artifacts on the image, and subtle lines running vertically through the negative space. This image is indicative of salted paper prints at the time, with a matte surface and brown tones, and even the imperfectness of the image placement on the sheet (Harvard University, n.d.).

Taken on February 27, 1860, this portrait of Abraham Lincoln by Mathew Brady,

is a moment taken out of American history. Brady was known for his photographs of government officials, with his later images of Lincoln being used to create the imagery for some United States currency. This portrait was taken on the same day as Lincoln’s Republican address in New York. During the entirety of his campaign, Lincoln had not been received well. Many doubted his position on slavery, and even his qualifications, which is why this image became so important. It showed Lincoln in a different light, with him looking professional and dignified. This portrait changed the public’s perception of him, and showed the impact an image could have on one’s character (Levy, 2016). Comparing this to today’s political portraits, such as those by film photographer Platon, the message is still true. Both aimed to capture these untouchable politicians in a new light, revealing an intimate side through imagery that would go otherwise unseen.

3.4

1893: LAURA BULLION (ALLAN PINKERTON)



This image is representative of early mugshots, used by police and detectives to

identify criminals during the end of the 1800s. This style of portraiture has evolved in many ways, but is still identifiable today. The image has the same brown hue as seen in previous portraits, with a general grain being present throughout. The subject is wearing a suit jacket, with a small dark bow tie. Her demeanor looks rather serious, with both an upset and unconcerned look on her face. The image is a scan of the original mugshot poster that was produced, with the corners appearing frayed and handwriting on the outer frame. This is the first example of an image in which the subject didn’t want their portrait taken, which is evident from the visual aesthetics. CHAPTER 3: VISUAL ANALYSIS

28



This mugshot is of Laura Bullion, and was

taken in 1893 by the Pinkerton detective agency. Allan Pinkerton was the first to start this practice, and he photographed criminals during the time of their arrest to keep a database of images. From a historical standpoint, this image changed the criminal justice system tremendously, as Pinkerton supplied banks with the images to help lower crime. This practice caught on nationally, and emphasized the importance of keeping visual records of crimes (Williams, 1998). From a portraiture standpoint, these were some of the

Figure 4 - Pinkerton, 1893

first images taken against the subject’s will. The jarring poses and stark backgrounds created a completely new aesthetic, with the goal of capturing the identity of the individuals being the only important thing. This put pressure on the photographer and on the technology to be accurate in its image capture.

3.5

1916: BLIND (PAUL STRAND)



The tone of this image is much different than earlier versions, as it has transitioned

from the earlier brown undertones to a more traditional black and white. It does still have a warm tone to it, but it is far more subtle. The image is of a much higher quality as well, with the subject appearing in focus, and there being no artifacts or obvious grain captured. The woman in the image consumes most of the frame, with the stone wall she is leaning against being only visible around her head. Her one eye is slightly closed, and appears visually impaired. To accompany this, she has a hand-written sign hanging around her neck that says blind. One of the most visually striking things about this image is the texture captured. This is likely resulting from the advancements in equipment and technology

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at the time, which marks a new era in imagery. From her fabric shirt, to her weathered skin, and the stone wall, this portrait is real and grainy.

This image was captured by Paul Strand,

who was an American Artist in the early 1900s. He experimented with a variety of photographic styles,

including

landscape,

abstract,

and

portraiture. He viewed photographs as “a means for direct statements about life, nature, and the passing scene,” which became evident in his portraits. Rather than attempting to photograph this woman such as to hid her visual impairment,

Figure 5 - Strand, 1916

he shoots it for what it is. Having her blind eye slightly open and facing the camera, and the bold sign on her chest, he showcases her sightlessness rather than hides it. The final image isn’t beautiful or picturesque, but rather jarring and real, making it stand out. This style foreshadowed the future of portrait photography, to show purity and realness rather than curating images (Encyclopedia of World Biography, 2004).

3.6

1928: PASTRYCOOK (AUGUST SANDER)



This image is visually stunning in many ways. The black and white tone is

extremely deep, with dark blacks consuming majority of the frame. There is the presence of a Gaussian blur surrounding the subject, who is perfectly framed in the center of the photograph. The subject is wearing an off-white bakers coat, completely contrasting the dark kitchen workspace around him, and he is in the middle of mixing in a large metal bowl. It is hard to not fall into his gaze, as his eye contact with the camera is extremely powerful, making the viewer feel as though they are almost intruding into his world. The colours CHAPTER 3: VISUAL ANALYSIS

30

capture the beautiful texture in his surroundings, from the shine on the metal bowl to the flour on the black tile floor.

This image was originally released as a

part of a portrait photobook, entitled Face of Our Time, released in 1929. The book contained 60 portraits of German citizens, ranging in class, career, and age. His style was similar to Strand’s, as he aimed to capture unretouched images of people’s true character, in what he describes as a documentary style. However, his final product appeared much different. The subjects appeared

Figure 6 - Sander, 1928

regal and proud in their own right, representing who they were and often their profession in a visually striking matter. The full-length image of the pastry chef does that. Surrounded by his utensils and workspace, he stands stark in the middle, unashamed of his work. Capturing individuals in this raw and dignified state was a unique approach Sander took, as he attempted to capture the “typical in every individual” (Rittelmann, 2010).

3.7

1936: MIGRANT MOTHER (DOROTHEA LANGE)



The framing of this photo has the subjects being partially cut off, giving it a much

more intimate and intrusive feeling. The image is made up of primarily midtones, with not a lot of contrast between the different shades of grey. The gaze of the woman in the middle misses the camera, while the two children holding onto her shoulders are hiding their faces behind her. There is a third child in the woman’s arms, who appears to be asleep and is rather dirty. There are many signs of tiredness and withering in the image, from their tattered clothing, dirty hands, and body posture. The eye can’t help

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but be drawn to the woman’s face, as her gaze is captivating. She looks focused and worn out, while simultaneously being the support for these three children. This style of portraiture gives a very intimate and emotional look into a moment in history.

This image was taken by Dorothea Lange

in March of 1936, when she attended a camp of migrant workers. The image has since been deemed one of the most famous documentary photographs of the 1930s, and became a symbol of suffering and poverty worldwide. Lange was

Figure 7 - Lange, 1936

commissioned by Roy Stryker, who was asked to compile visual imagery for the Resettlement Administration. The image was taken during the end of the Great Depression, when centralization, bureaucratization, urbanization, and changes in American ideals were all happening. Lange did not even speak to the woman photographed, and she remained nameless as was the intention of the project. There are so many levels of depth to the image. Questions regarding the well being of the children, the lack of a father figure in any of the imagery, the mother’s expression, and her lack of physical support to the children were all questioned. Her distant stare and abscence of touch to her children are indicative of the suffering and desperation of the time. Portraits to capture historical suffering became vital in the understanding of human past, with images such as Migrant Mother, creating a window into a forced lifestyle that many will never experience (Curtis, 1986).

3.8

1941: WINSTON CHURCHILL (YOUSUF KARSH)



This portrait is visually appealing, while simultaneously capturing the subject’s

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32

emotion through the subtle details. The framing of the photograph is done in a very strategic way, as the chair and the subject’s arm both being cut off provide a sense of balance to the image. This is also one of the first examples of lines as a visual tool, as the wooden wall as a backdrop adds an element of lightness and texture to help offset the darkness in the subject’s suit. The hue of the suit is extremely deep, making any fabric or texture completely disappear. The only visible elements within the darkness is the stark white undershirt, the ruffled white handkerchief, and

Figure 8 - Karsh, 1941

the metal detailing on his chain. Complementing the metal sheen is the subject’s metal ring, which reflects off the flash from the camera. The detail and expression within the individual’s face is what brings the entire image together. His wrinkles and folds are extremely shadowed, creating a scene of depth behind his skin, and his expression is stern. The dark hues, body posture, and expression create a sense of importance and intimidation behind the subject, as was intentional by Karsh.

Yousuf Karsh was a Canadian photographer, with much of his work being portraits

of famous individuals, including politicians and celebrities. He gained international attention from his portrait of Churchill, which brought him fame and success. His style of portraiture is very distinctive, with a focus on shadows and lighting to frame the subject. His work was one of the first of its kind, in which politicians specifically would have these photographs used to help promote their image to the public (The Editors of Encyclopaedia Britannica, 2018). The story behind the image of Churchill is very interesting, as he told Karsh he only had two minutes to take the image. Karsh attempted to pose him, and even forcefully removed a cigar from his mouth, despite the politician’s resistance. The image

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perfectly captures the sternness and power behind this man, and provided the world with this influential and determined image of their prime minister (Adams, 2010).

3.9

1950: AUDREY HEPBURN

(ANGUS MCBEAN)

The aesthetics of this image resemble

that of the early 1900s, with the brownish green hue. It is clear though that the image is more recent, as it is sharp and clean. The subject is posed facing the camera, with her gaze slightly off camera. The eye goes right to the subject, despite her being in the midground with a pillar in front of here. Even the use of lines, texture, lighting, and shape don’t take away from the subject’s presence. The tones in this image are

Figure 9 - McBean, 1950

all very neutral, with an obvious shadow being cast over the subject.

This portrait of the late Audrey Hepburn was taken by Angus McBean, a self-taught

British photographer. He was originally shadowing famous photographer Hugh Cecil, from 1934 to 1935, until he decided to use his skills to photograph artists and the famous. From Moira Sherer, to Tommy Steele, and even producing cover imagery for the Beatles. His portraits captured these figures in a different light than previous images. McBean used a theatre photographic style, with many of his images being very surreal looking studio style portraiture. He would place his subjects into these larger than life scenes, such as this image of Audrey Hepburn, where she appears to be almost buried amongst pillars. He often time took inspiration from many famous theatrical productions, using obscure sets and props, with these actresses and actors appearing soft and artistic in them. He was CHAPTER 3: VISUAL ANALYSIS

34

one of the first to produce these artistic style portraits of esteemed figures, with his work appearing in publications such as The Sketch and The Tatler (Grove Art Online, 2003).

3.10 1953: SELF-PORTRAIT (VIVIAN MAIER)

Comparing this self-portrait to Robert

Cornelius’ in 1839, shows the visual evolution of film photography. The image is much brighter than earlier ones, with the tone being white and light grey throughout. The only stark black tones within the photograph is seen within the camera she is holding, which is the main focal point of the image. The photograph is rather busy, with blurry storefronts consuming the background. The midground features two subjects.

The

first subject is a child, turned to the side, with

Figure 10 - Maier, 1953

a childlike stern expression on their face. The second subject is the one holding the camera. She is staring directly at herself in the mirror, with her posture facing forward directly. There is beautiful linework and framing throughout the image, with the frame of the mirror falling just within the photographs boundaries, and the storefronts and mirror bottom hitting the horizontal guidelines to create the rule of thirds.

As an individual and photographer, Vivian Maier is one of the most elusive and

interesting women within the history of photography. Her estate was claimed after her death, and over 100,000 photographs were discovered, despite her being a nanny for her entire life. To the surprise of many the images were extremely beautiful, capturing the Chicago streets from a new perspective. Her presence in many of the images is undetected, 35

CHAPTER 3: VISUAL ANALYSIS

providing these beautifully framed images of individuals and groups in their own essence. Maier was taking multiple images every single day, but never had the urge to develop any of them, adding to the mystery behind her craft. This self-portrait is one of the few images that Maier is actually pictured in, making many speculate on who she truly was and why she photographed in this style (Merriman & Seeder, 2013).

3.11 1966: A YOUNG MAN IN CURLERS AT HOME ON WEST 20TH ST., N.Y.C. 1966 (DIANE ARBUS)

This portrait appears to be a very

traditional at a first glance, but when examined closer it defines a very non-traditional style of imagery. The subject is staring straight into the camera, with one hand up holding a cigarette. There is very traditional lighting, with a soft shadow being cast over the right side of the entire image. There is a large contrast in the tones of

Figure 11 - Arbus, 1966

the image, with dark blacks in the subject’s shirt and the shadows, and a bright white in the cigarette. These traditional elements are juxtaposed with the subject’s appearance. The masculine face of the subject being placed around traditionally feminine elements is extremely interesting. The subject is wearing curlers, long fake nails, and even has a feminine demeanor about themself.

Originating as a fashion photographer, Diane Arbus was an amazing portrait

photographer, capturing individuals often unseen by society. Images of transvestites, twins, cross dressers, and more, were the subjects of her craft. Her composition and simplistic

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36

style focused on visual aesthetics, with the images at a first glance almost appearing to be taken by your average photographer. This meticulous style captures the fears and realities within society, picturing what people often don’t want to see. This portrait in particular frames the subject in an interesting light. Although appearing as a man from the facial structure, hands, and slight stubble, it is juxtaposed with traditionally feminine features, including curlers, makeup, and long painted nails. These were the type of people Arbus sought out, attempting to show people for how they wanted to be perceived, which was often not what society wanted to see (Goldman, 1974).

3.12 1978: UNTITLED FILM STILLS #21 (CINDY SHERMAN)

The angle of this portrait is drastically

different than that of previous imagery, as it is shot from a low angle upward, with the subject appearing almost unaware of the camera. There are a lot of powerful lines within the architecture of the buildings in the background. The subject is slightly off center, with her head being turned to one side. There is nice texture captured in the subject’s jacket, hairline, and hat, but the majority of the image is soft and shadowed, leaving little

Figure 12 - Sherman, 1978

visual appeal. This image is interesting because of the subject’s lack of interest in the photographer. It leaves the viewer to question whether she was yet to notice the camera beneath her, or she just doesn’t care. Regardless, the unplanned and anonymous portrait has become its own genre within portraiture.

Cindy Sherman has a very interesting photographic style, with her images being

an early form of undetectably staged portraits. With the use of costumes, props, strategic 37

CHAPTER 3: VISUAL ANALYSIS

posing, and framing, she produced images that challenge traditional stereotypes. Her work spans from 1975 to 2005, with clear evolution in themes of what she was shooting. She pushed the boundaries between reality and illusion, with images such as this one leading the viewer to question whether it was organic or completely constructed by Sherman. Her photographic collection includes street images, colourful portraits in which makeup has been used to modify and enhance specific facial features, and even more conventional fashion photography (Kunsthaus Bregenz, n.d.).

3.13 1981: RONALD FISCHER, BEEKEEPER, DAVIS, CALIFORNIA, MAY 9, 1981 (RICHARD AVEDON)

This image is the first within the analysis

to use such a stark white backdrop, and is an example of a style of formal creative portraiture. From a visual standpoint, the contrast between the subject, the backdrop, and the bees is beautiful. The darkness in the bees, whether grouped together or alone, lead the eye throughout the entire image. The subject’s gaze is also extremely captivating, with his eyes staring straight into the

Figure 13 - Avedon, 1981

camera, and his demeanor appearing unfazed by the insects on him.

Richard Avedon is one of the most influential portrait photographers in the US and

around the world, with his images pushing the boundaries of normalcy and commenting on societal issues. He began photographing during the 1960s, with the next decade being a period of evolution. His work, in many ways, pushes individuals, specifically the beekeeper image, with many stating that he had a lack of pity and showed brutality towards CHAPTER 3: VISUAL ANALYSIS

38

his subjects. Regardless of these claims, his work depicts true human fears and emotions, creating a narrative within the imagery (Palmer).

3.14 1984: AFGHAN GIRL (STEVE MCCURRY)

As the first colour image within the

analysis, this portrait is extremely important. The earth tones in the backdrop, the subjects body and the subject’s scarf are deep and rich, with slight shadowing on the one side of the subject’s face. The image is cropped in rather close, with her turned head fitting just within the photograph. Her eyes are what truly make this portrait notable. The green and yellow tones within the iris are contrasted with the bright

Figure 14 - McCurry, 1984

whites of her eyes, and her gaze is directed right into the camera. It is hard to determine the expression in the young girl’s face, as it appears to be a combination of fear and panic.

Steve McCurry, largely recognized for this National Geographic magazine cover,

captures the human life in a way unlike other photographers. He began in 1979 in India, and since then he has captured the human struggle most commonly in Asia and Afghanistan. He calls himself a visual story teller, rather than a photo journalist, in many ways to excuse the photographic post production choices that he makes (McCurry, 2006). McCurry has received a fair amount of backlash towards his image retouching choices throughout his career, with him removing individuals from images to create a different story or framing, manipulating hues, creating misleading captions, and even verbally instructing his subjects of how to act when taking “spontaneous” images. Despite all of this, McCurry’s intention 39

CHAPTER 3: VISUAL ANALYSIS

is to capture different cultures worldwide, which he does in a visually stunning and elusive manner (Laurent, 2016).

3.15 1989: CANDY CIGARETTE (SALLY MANN)

This iconic image is balanced perfectly,

with the main subject being in the middle of the foreground, the second subject being in the right of the middle ground, and the final subject being in the left of the background. The main subject is extremely captivating, with her white dress and blonde hair contrasting against the dark background. Her personality is perfectly captured in this image, with her unworried gaze

Figure 15 - Mann, 1989

looking directly into the camera, and her mature body posture with a cigarette in hand. The other two subjects face away from the camera, framing the prominent girl. This black and white image has a dark hue to it, with majority of the image being consumed by the black background. The colour draws the eye throughout the image, creating a visual separation between what the photographer wanted one to see and what they didn’t.

American photographer Sally Mann, has been exploring the relationship between

individuals and concepts. Her work has explored relationships between different groupings, including siblings, parents, strangers, etc. She has also explored broader concepts, such as aging, mortality, and decay. She interpreted portraiture to be more than just capturing an individual but rather to be capturing that individuals relationship with those around them. Her images still have a prominent subject, but the dynamic nature of the framing and focus creates a visual story. Accompanying this is a very distincitive visual style, with her black CHAPTER 3: VISUAL ANALYSIS

40

and white images being soft and cropped in, creating a sense of intimacy (Louisiana State University Press, 2017). Mann has received backlash in the past for her images, specifically those of her children. She made a point of documenting the realness and rawness of them growing up, with images of them nude, in pain, upset, and more being questioned for their intentions and appropriateness. Many claimed that this took away from the children’s innocence, and her publishing these images was a violation of their privacy. Mann feels as though her parenting style and her art have the same shared goal of protecting her children (Woodward, 2015).

3.16 1991: JIMMY PAULETTE AFTER THE PARADE (NAN GOLDIN)

As the second colour image in this

analysis, the tone and visual aesthetic of this image is much different. There is a cool tone to the image, with the subject’s skin taking on a whitepurple hue. The subject is placed prominently in the middle, with the trees and other individuals in the background being blurry beyond recognition. With a soft red lip, large dangled earrings, dark

Figure 16 - Goldin, 1991

eye makeup, and tussled hair, the photograph feels very unplanned, as though the subject was captured without much warning. There is also a softness to the image, not to say it isn’t in focus, but rather all the lines and posing appears natural and forgiving.

Nan Goldin is an American photographer, whose work during the 1970s and 1980s

focused around the conversation of LGBTQ rights, the HIV crisis, drug abuse, and modern relationships. Goldin left her home at 13, with memories of sexual and drug abuse within the home becoming the foundation of much of her work. She chose to photograph what 41

CHAPTER 3: VISUAL ANALYSIS

would normally go unseen, with less of a focus on beauty and more of a focus on the reality for these minority groups. Her images often show post-abuse, drug use, and nudity, and visual mimic the snapshot aesthetic (The Editors of Encyclopaedia Britannica, 2018). This particular image is of Jimmy Paulette, a drag queen in New York, that Nan Goldin photographed when she was 18. Her purpose was not to expose or attempt to depict Paulette within a stereotypical category but rather as one’s self. Her mindset is what makes her portraiture stand out, creating a new visual dynamic before untouched by other artists. This style and ideology is best described in her own words, as she states, “I wanted to pay homage, to show them how beautiful they were. I never saw them as men dressing up as women, but as something entirely different … I accepted them as they saw themselves; I had no desire to unmask them with my camera” (Manchester, 2006).

3.17 1994: REBELLIOUS SILENCE (SHIRIN NESHAT)

The darkness and contrast in this image

makes it extremely visually appealing, with a rifle dividing the image into two halves. The left half is darker, with a shadow being cast over the subjects face and almost all detail in the fabric being lost. The right half is the opposite, appearing light and much more texture is visible. Despite this visual separation. The subject’s gaze being directly into the camera gives us insight into her emotions. Her eyes appear tired and

Figure 17 - Neshat, 1994

sad, with the glisten of light hitting her outer iris perfectly. She is placed perfectly into the frame, with the white backdrop and line across following visual image aesthetics. It is interesting to note the use of post-production editing CHAPTER 3: VISUAL ANALYSIS

42

done in this image, as it is the first of its kind in this series. The writing on the subject’s face is obviously done after the original image was taken, yet the stark black lettering falls perfectly within the silhoutte. The writing doesn’t take away from the original image but rather complements it by adding insight and depth to the portrait.

This portrait is the first within the set to utilize a post editing technique in such a

visible and intentional manner. Shirin Neshat is an Iranian artist, being both a photographer and film creator. Focusing on politics, gender, identity, and society, she has produced three bodies of works entitled Unveiling, Fervor and Women of Allah, which this image comes from.

She juxtaposes Iranian and Western culture to create a conversation specifically

regarding the role of women within that society. Women of Allah examines the identity and role of the body within Middle East culture, bringing into question tradition and gender. Neshat chose to do this as she says, “...in Islam a woman’s body has been historically a type of battleground for various kinds of rhetoric and political ideology.” From a visual standpoint, the images force the viewer to rethink the image, by creating two separate messages; the photograph and the writing (Sheybani, 1999). In this image, the poem written on her face is a Farsi poem. It is written by feminist poet Forough Farokhzad, who writes on women’s sexuality and emotions in Middle Eastern culture. This poem in particular is in reference to the Iranian laws regarding women wearing a veil in public. This juxtaposition is powerful, with the text creating a visual presence and meaning that would be lost without it (Shirin Neshat’s Rebellious Silence Essay, n.d.)

3.18 2001: SCARLETT JOHANSEN (LEETA HARDING)

From a visual standpoint, this image resembles Goldin’s, with the soft colours and

the subject’s framing, but there are subtle differences that indicate the evolution of the portraiture. There is a cool tone to the picture, with what was likely a white background turning a blue-green. The colour in the subject’s red shirt is vibrant and deep, with her shirt and her lips creating a visual path for the eye to follow. Her blue eyes are slightly

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shadowed, with her gaze into the camera making her appear confident and artful.

The main

difference in this image to earlier portraits is the posing of the subject and their presence within the image. Before the images often felt natural and sporadic, with the viewer feeling like the photograph was a window into the intimate life of the subject. This image is posed, based off the subject’s body language. She is staring at the viewer, almost knowingly, and her confidence and readiness continues to emphasize this fact.

Capturing

the

early

2000s,

Leeta

Figure 18 - Harding, 2001

Harding’s work is a perfect snapshot of the aesthetics and life of the time. Her work created a visual identity for the era, and being one of the first to photograph celebrities in such an authentic and intimate way. After battling cancer, she decided to reinvented herself, focusing on capturing the culture around her. Her work perfectly captures the time, from the colours, to the people, to the activities, and the overall style. She has a unique approach when photographing celebrities, explaining the level of comfortability and vulnerability she must have with them. This image is not like that of other celebrity portraits, meaning it lacks a standoffish and powerful feel. It is rather soft and delicate, with an emphasis on the saturated and blurred colours, giving the appearance as though this could be anyone. Her photographic technique is unique, and to this day she continues to photograph in a delicate and intimate style (Satran, 2017).

3.19 2010: GEORGE W. BUSH, PRESIDENT OF THE UNITED STATES (PLATON)

As the final image within this analysis, this represents the final form of the film

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44

portrait that we see today. The framing of this image is extremely closeup, as it is shoulders up, and the subjects head consumes majority of the frame. He is placed on a white backdrop, creating a defined line between the foreground and background. This image is made in the details. From the texture and fine lines of the skin, to the glisten in the eyes, to the definition in each hair and stubble, the details consume the viewer and lead us through the image. This style of portrait is often what we see today, with the angle, subject, and visuals all being carefully

Figure 19 - Platon, 2010

curated to look natural.

Platon is a British photographer, who gained fame and recognition for his presidential

portraiture. He got his initial break into the industry by shooting British Vogue, and has shot everything from corporate campaigns, beauty and fashion, to finally finding his niche shooting portraits initially for George magazine. Prior to Platon, this style of portraiture was very official, with little artistic flare or personality to it. Due to the power and importance of politicians, there portraits were taken to reflect that. With serious facial expressions, muted tones, and even lighting, there was a lack of individuality behind the images and a focus on their political appearance (Ho, 2001). Platon questions this, with his personality, contrast, and framing being the key behind his images. Photographing everyone from Barack Obama, Vladimir Putin, Mummar Gaddafi, and George W Bush, his work extends beyond tradition, creating his own distinctive and engaging style (Platon, 2014).

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3.20 CONCLUSION

Portrait photography has grown and evolved, from aesthetics, to colours and tones,

to subject matter, and to meaning, but throughout, the power behind the image has remained true. Beginning with sepia hues and documentation style images, to black and white and aiming to capture truth, celebrities, and the unusual, to finally colour and the jarring and realistic portraits. It is hard to determine where portraiture will go next, but capturing life through humanity will always remain.

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Chapter 4: Modern Day Film

The idea of shooting on film rather than digital is captivating, as the reasoning

behind why one would choose to shoot using it isn’t always obvious. It is particularly daunting given the digital world we live in, with the use of smart phones and DSLR’s allowing everyone to always have a camera. After analyzing and speaking with film photographers on their craft, it is apparen that film represents something far greater to them than just an image capture method. Their ideas are further reinforced by looking at the nature of a film photograph; the idea that these instantaneous forms of image capture is in a way it’s own art form. This methodology can be transferred into the digital space, but it’s roots will always be held in film. Finally, many photographers are using film to counter the volume and constructed images that are flooding the digital photographic space. By analyzing the film photography space, modern day film and its imagery can be understood as its own genre.

4.1

FILM PHOTOGRAPHERS TODAY



With the invention of digital photography, and the advancements of cell phone

camera technology, it seems like the technicality and effort that is required for film photography would make it obsolete. It is easy to see what would be a deterrent for those looking to get into film, from the cost, to the developing process, and the limitations with the medium. Yet today we are seeing a resurgence of film, with black and white film sales in 2017 increasing by 5% per year, and 60% of film photographers go on to say that they have started shooting on film within the last 5 years. Furthermore, 30% of these photographers are under 35 (Taylor, 2017). Visually, as can be viewed in Appendix B, these statistics are significant. It is hard to determine exactly what has cause this, but the mystery is almost what makes it such a captivating art form. For some, like Canadian photographer Take 47

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Kayo, there are many personal reasons aside from the technology, as to why he chooses to shoot film. Every reason from the “anticipation, intimacy, self-awareness, craftsmanship, the process, to be part of a culture” all entice Kayo to shoot analog. These feelings are not exclusive, and this idea of film representing a new era of photographers and this new-found mentality can help to explain part of the popularity of film.

Nic Houghton is a local Toronto photographer and filmmaker, who was a part of

the creative agency Nice & Juicy. Part of his work while there included documenting their projects, in both a visual and written form. Some of their notable work includes shooting the RBC Olympic Training Ground Commercial, a short documentary in El Salvador titled the Trails & Tribulations, and finally documenting their creative work experience while staying in Malibu. After sitting down with Nic, it was clear that he felt such a connection to film as a medium, and related to many of the same ideas as Kayo. His words to describe film can be seen visually in his prints, describing the photographs as having “a different texture” in comparison. “There’s more emotion in film,” he says, “because it’s a real substance, it’s a real thing. It just has more physicality … you can capture a feeling of something a lot more than you can with digital” (Houghton, 2019). This mentality is proven in his work. He shoots primarily street and portrait style photography when documenting Nice & Juicy’s work. His images are grainy and gritty, showing individuals in their natural and unsuspecting state. Many of the subjects look natural and comfortable, with Nic describing these as the “authentic moments.” He goes on to say that he shoots like this because it is “the most real film photography you can do” (Houghton, 2019). He describes his main goal with film as remaining authentic throughout it. When it comes to documenting for Nice & Juicy, he is capturing the creative process as almost an outside viewer, looking in on both staff and subjects, and the emotional exchange between the two. Shooting film allows him to transfer the ideas behind who he wants to be into his work. What is most important to him is representing his “values and authenticity,” and right now he is working on “bringing that into film making by following who you are and what you want to tell”

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(Houghton, 2019).

These two individuals, despite having different photographic backgrounds, feel that

film has the exact same emotional and raw power when compared to digital. This ideology is likely what inspires so many young photographers to start shooting film. When you look at a photograph shot on film, it is hard to dispute the visual differences between that and digital. Whether it is described as more physical, expressive, or real, film is undeniably authentic, and as such is the choice for many photographers. Film is its own art form.

4.2

FILM MENTALITY



Film as a medium holds several different attributes and technicalities, when

compared to digital that in many ways force the photographer’s mindset to shift and adapt while shooting. Initially, there are specific limitations when it comes to film; due to the fact it uses angular resolution, producing generally fewer megapixels than digital, it produces more grain and artifacts, lack of preview, limitation on the volume of image capture, cost to develop, etc. Although this may be a deterrent, what these technicalities create is a different mentality when approaching the art. With digital there is seemingly less pressure per image than with film. Film limits you to typically 12, 24, or 36 exposures per roll. The limitless nature of digital creates less of an urgency and importance with each picture. There is a greater margin for error with less consequences. If the same volume implications applied with digital as it does with film how would this change what type of pictures we would take. This idea is explored by photographer Levi Bettwieser, founder of The Rescued Film Project. The basis of the project is developing abandoned or forgotten film from archives and donations, and then displaying a collection of all the images together. He speaks on the idea of a film mentality, and how that can be applied to digital photography today. “We are taking so many, the content of each photo somehow seems less significant” (TedxBoise, 2017). He goes on to talk about how this is removed in film, in two different ways. Fewer photos are taken, which emphasizes those that are captured, and there is more

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effort into capturing the moment than creating the moment. This is perhaps what draws one into film, in a visual and practical sense. Bettwieser believes that this mentality can be applied to digital photography as well. He states “our lives now live in digital photo libraries on phones and computers. We are constantly looking back and never looking forward, it’s all about snap, post, move on” (TedxBoise, 2017). When looking at how we treat digital photography today, perhaps the way to create more authentic and meaningful images would be to apply a film mentality. This film mentality is powerful, as it both empowers the photographer and creates vivid imagery, which all ties into the world and ideology behind modern film photography.

4.3

PHOTOGRAPHY AND SOCIAL MEDIA



It is undeniable that social media has had a large impact on how we shoot and view

images today. Instagram is the largest image sharing platform on the internet, with over 1 billion monthly active users, 500 million daily active users, and 400 million daily stories (Instagram, 2019). There has never been such a surplus of images being viewed in the past, and this largely affects the mentality in which one absorbs and creates photos. More images are being taken and posted every single day than ever before, with an emphasis on curating and creating identities. In a study in Computers in Human Behavior in 2017, they determined that there was a direct effect on body satisfaction and self-esteem from Instagram usage. Furthermore, the amount of self-discrepancy increased based on Instagram usage (Ahadzadeh, Sharif, & Ong, 2017). From a photographic standpoint, it is clear how this is translated into the images being seen. With the use of image editing applications, individuals can construct and tamper with their identity, showing only the version and images they want to be seen. This combined with the pure volume of digital photographs being taken, creates a cycle of manipulation and curation that molds one’s self identity. This idea is explored by the Indie Film Lab and Kodak in their documentary Long Live Film. The documentary was created to highlight the idea that in such a technologically advance CHAPTER 4: MODERN DAY FILM

50

world images are created and dismissed constantly and simultaneously, and it showcases those who choose to shoot film because of this. There is an overarching theme within the documentary that there is power in the instantaneous. Digital creates a culture of taking images to instantly view them, and then discarding them once the moment passes. There is an obsession with taking photographs, and focusing on creating the perfect moment rather than capturing the real ones. “You start taking pictures just to see them…photography is discovery, and how you see the world in that one split second” (Lab & Kodak, 2017). All of this reinforces the ideology behind those who shoot film. This idea of being able to accurately and honestly capture individuals and the world as it is commanding, and allows film as a medium to transform photographs into a completely different type of art.

4.4 CONCLUSION

Film is far more than the photographs it creates. It is real, raw and spontaneous,

and allows photographers to break away from art norms and create beyond the boundaries. By researching and speaking with modern film photographers, it is clear film represents something larger than the technology itself. It is described as emotional, authentic, and a form of discovery, that produces powerful images. As a practice and a mentality, film takes away from the idea of curating and constructing moments. Each shot captures a real moment in time, that is rarely seen in our modern social media world. Film is changing how image capture is viewed, and is reinventing photography.

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Chapter 5: RAW Film Series 5.1 IDEOLOGY

RAW is the collection of research and imagery centered around the resurgence

and influence of film photography. The technology and history behind this photographic process is what has allowed its aesthetic and technique to transfer into modern society. Film is still the choice of many modern photographers, as in a world where images are captured instantaneously, film provides a raw and pure approach. When shooting on film there is a sense of instantaneousness, and spontaneity. The lack of ability to pause to review or reflect on the images you have shot brings you closer to the subject. This intimacy translates, with film images eroding at the physical barrier between photographer and model.

The aim behind the imagery is to capture individuals in their most raw form. Our

emotions and self-identity are often obscured and structured to meet a societal expectation. Today images are capture constantly, with multiple attempts at achieving perfection. Film takes this away. It is instant, effortless, and real. With each model and with each photograph I hoped to capture everyone in their natural and raw state, exposing only their true selves. Alongside this I hoped to connect an emotion or response to a question, to create a dialogue relating to the abstract ideas behind film.

5.2 METHODOLOGY

To ensure the success of this series, the process of each shoot had to be intimate

and in many ways anonymous, to allow the series to be creatively and emotionally driven. By presenting to each model the basis of my thesis, and my own personal feelings towards film, they were able to better understand the purpose behind them volunteering. Using a black backdrop and dramatic lighting, each subject sat in front of the camera for only a

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few shots, allowing them freedom to pose in whatever manner they felt most comfortable. The hope was to capture everyone more so as they are, and less so how they wanted to be perceived. Following the photo shoot, willing participants were asked one open ended question, with the instructions to answer it in whatever way they felt, and their answer would remain anonymous. This was done to have some text to accompany the images, and by posing open ended questions to the participants, the goal was to capture their pure thoughts, emotions, and feelings.

5.3

PURPOSE AND RESULTS



This final photo book (see Appendix B) is comprised of powerful images and

text, created to spark an emotional response in the viewer. This idea is amplified using film photography, and all the ideas regarding how real and visceral film are is captured through this series. This book summarizes the research and passions behind this thesis in a visual and authentic way.

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Chapter 6: Conclusions

As film photography continues to evolve and grow in the art community, so do

the possibilities of it as a medium. Starting with a historical review using the literature on the subject, this thesis documents the evolution of the technology. This allows one to better understand the physicality and scientific properties of film, which is interestingly referenced by several modern film photographers. This thesis focused specifically on portraiture within film photography, with a visual analysis providing context into how the style has changed, and the power behind this type of imagery. These two initial topics can then be used to understand why the resurgence in film photography. Listening and speaking with those who choose film in todays digital world, contextualizes these broad ideas, and shows how they are actually used in practice. With the goal of connecting the theory and application, the RAW photo series was created. This series uses the technology and visual approach detailed in the second and third chapters, with the emotions and ideas explored in the fourth chapter, to produce visually powerful and artistic imagery. This research and application allows for a better understanding of the resurgence of film photography, with it becoming the choice of photographers today for the physicality created from the technology, the visual aesthetics, and the instantaneous ideology behind the imagery.

Some of the limitations within this research was the broadness of the scope within

the literature and the lack of quantitative data on modern film. While researching, there was an abudance of information relating to the history of photography in general. However, there was never the same clear timeline presented throughout, with some referencing certain ideas, technologies, and dates, and others not. This was in some ways limiting on the research, as the large scope of research sometimes had conflicting sources or several sources referencing different ideas without consistancy throughout. The other limitation was the lack of quantifiable data and information of modern film photography. There was 55

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lots of insight gained as to the emotional response that film creates within viewers and photographers alike. This provides a better understanding of the topic, and even creates an emotional connection between the reader and the photographer. If more statistical and numerical information was available, it would reinforce the human connection that the other research creates, and allow those who don’t understand photography to connect with the ideas further.

A recommendation for those continuing to research this topic would be to look into

the film developing process and how that impacts the final outcome. Many modern day film photographers express their love of the developing process, which was a topic and experience that was unable to be explored due to the scope and time limit of the research. Looking at the chemical process, types of film, technology, and the physical process would create a better understanding of the science behind this, more of the current emotions and experiences held by photographers could be uncovered. Another potential area that this subject could be extended to would be looking at the impact of digital cameras, and contrasting this with the evolution of film. Although this thesis specifically focused on film photography, by better understanding digital and how the two influence and impact each other, this research could further progress.

This history and visual evolution can be used to understand the resurgence of film

photography, proving that film is a timeless medium, with its roots being in emotional and visceral image capture. There is still further research to be done on the topic, that would give better insight into the role of film within the photography world, and more about film today.

CHAPTER 6: CONCLUSIONS

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Acknowledgments

I would like to acknowledge all of the people who made the completion of this

thesis possible. Firstly, to Chris Smyth, who was an amazing thesis advisor and mentor throughout this entire project. He was excited from the beginning about my ideas and the direction I wanted to take my work, and supported my research in every way he could.

I also wanted to thank everyone who was willing to be apart of this project. Your

words and images made this series possible, and thank you for being open and honest with me. You allowed me to create and be passionate, and I am grateful to each and everyone of you. Madeline, Morgan, Elizabeth, Robert, Jordan, Carol, Donald, Kaitlyn, Saad, Jared, Abbey, Lauren, Nicolas, Lital, Isabelle, Douglas, Richard, Emily, Mitchell, Quintin, Cassandra, Mitch, Ryan, Emma, Vanessa, Jenna, Barbara, and Melissa. You made this project possible.

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Appendices Appendix A - Visual Analysis Images

These images showcase the visual evolution of film portrait photographs, beginning

in 1839, and ending in 2010.

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1839: FIRST SELF PORTRAIT ROBERT CORNELIUS

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1853: DECEASED BOY ON FAINTING COUCH UNKNOWN

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1860: PRESIDENT LINCOLN MATHEW BRADY

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1893: LAURA BULLION ALLAN PINKERTON

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1916: BLIND PAUL STRAND

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1928: PASTRYCOOK AUGUST SANDER

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1936: MIGRANT MOTHER DOROTHEA LANGE

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1941: WINSTON CHURCHILL YOUSUF KARSH

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1950: AUDREY HEPBURN ANGUS MCBEAN

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1953: SELF-PORTRAIT VIVIAN MAIER

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1966: A YOUNG MAN IN CURLERS AT HOME ON WEST 20TH ST., N.Y.C. 1966 DIANE ARBUS

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1978: UNTITLED FILM STILLS #21 CINDY SHERMAN

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1981: RONALD FISCHER, BEEKEEPER, DAVIS, CALIFORNIA, MAY 9, 1981 RICHARD AVEDON

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1984: AFGHAN GIRL STEVE MCCURRY

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1989: CANDY CIGARETTE SALLY MANN

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1991: JIMMY PAULETTE AFTER THE PARADE NAN GOLDIN

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1994: REBELLIOUS SILENCE SHIRIN NESHAT

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2001: SCARLETT JOHANSEN LEETA HARDING

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2010: GEORGE W. BUSH, PRESIDENT OF THE UNITED STATES PLATON

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Appendix B - Modern Film Statistics

These statistics showcase the resurgence of film photography in recent years,

focusing on the demographics, popularity, and the sales of film.

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Appendix C - RAW Film Series

Following this is the RAW film series that accompanies this thesis. The images

showcase individuals and their emotions, all captured using film photography. The purpose is to showcase the power behind a film photograph, paired with ideas about raw emotions and vulnerbility.

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