The idea of windows and mirrors provides a good analogy for insight and reflection for particular subject matter. Windows draw the viewer into a situation and to some extent allows them to establish their own conclusions about what they are seeing. By reflecting one’s own ideas in their work, the image maker is arguably leading the viewer to make certain conclusions. Whether this is to inform or provoke a reaction, the end result is formulated to achieve a particular point of view. As a result, it is useful to question the photographer’s intentions, whether they are creating windows into worlds or reflecting ideas.
In terms of my own photographic practice, my work resonates more closely with the window analogy, as I aim to capture moments of time in a more candid manner. The viewer is able to draw their own conclusions in regards to what they are seeing, without too much manipulation. However there is a question surrounding why a particular photograph is taken in the first place. Surely, by selecting a topic, viewpoint or scene, the photographer is creating a narrative that is influenced by their own values? It is this idea that gives the photographer a responsibility to carefully select their image content and consider the audience that might see it, as the meaning will interchangeably differ depending on these two factors.
Into the Known
Although my own image ‘Into the Known’ appears to tackle the theme of ‘Mirrors and Windows’ quite literally, its purpose is to present a monotonous, ordinary and quite predictable scenario in a way that intrigues the viewer. Its aim is to provide insight into the nature of an activity and mood of a place, in a way that is visually appealing through the use of framing and bold colour that mirrors my practice.
Points of View
The Guardian’s 1986 ‘Points of view advert’ highlights how perspective can change the meaning of a story and why it is worth considering this, when presenting ideas to a wider audience.
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