Still chipping away at the pile of gifs. Have some casual eyefuckery, the main cause of sudden death for photographers and audiences everywhere. (x)

Can we take a minute and speak about this prevalent trend of “Hijabi fashionistas” Before anyone gets defensive and feels they’re being attacked, this is not about anyone’s *personal* journey, rather more about *public journeys* and how we are influencing our youth. So no one is judging anyone, nor being holier than though, this is a bit of #FoodForThought.

Recently i’ve been seeing fashion shows/cat walks, Muslims women on the runways etc highlighting “modest fashion” where the idea is to cater for Muslim women.

I completely understand Muslim women fall into many many categories when it comes to implementing the Hijab in its entirety, and by that I do not mean just the headscarf. I understand the difficulties in implementing the hijaab (been there, done that). I understand all the thought processes before finally making the decision to implement the hijab outwardly and inwardly. I also understand wanting to look nice and presentable.

What I do not accept nor understand is the category of women who outright reject the command. Our attire and what we have been commanded to wear is clear cut, stated in the Qur'an and ahadith. It’s fine for you to do business, also fine for you to cater for Muslim women as there is a huge market, but I feel somewhere in all this business and making a name, the true essence and identity of a Muslimah is getting lost behind make up, pouts and excessiveness.

There are so many problems with the Muslim Fashionista era that we are living in.

[1] Our attire is being commercialised and we are condoning it. Initially it was just within, now it is also external. We do not need Nike to promote our hijab, we do not need Debenhams to start endorsing our clothes. We do not need approval or validation from any mainstream companies. They are not doing us a favour, they are not “accepting us” they are thinking with their business hat on and how to make a profit. So firstly, it is important we do not fall into that trap of thinking finally the world is starting to accept us.

[2] When Muslim women are walking up and down the runway, there are male photographers present, male audience present, men reading and seeing about the fashion show in the news, does this defeat the purpose of hijab? Whilst we flaunt the “modest clothing” on our body, we are being watched and ogled at. Beautified faces, beautified clothes, is this really modest, if we think about modesty in its entirety and not just a piece of cloth? Does this thought process make me extreme? O_o

[3] We are seeing Muslim women bloggers who categorise themselves as hijaabis and whilst they may be struggling to wear the hijab in its correct form, showing your hair and neck is not hijaab and should never ever be promoted as hijab. Whilst these bloggers influence our youth to wear turbans, show their awrah yet call it hijaab, surely we should be challenging this and not encouraging when these bloggers “make it” and become “famous”.

Honestly it is a great thing to see sisters excelling and making a name for themselves, but at the expense of a lost identity?

Are Muslim women having an identity crisis, trying to fit in between the “modern world” and the Islamic world? What are WE doing to lead our youth and what CAN we do to lead them? To ensure our youth do not feel like they need validation? To ensure our youth are looking up to the correct figures as their role models?

May Allah allow us to excel in His beautiful Deen, and forgive us when we fall short.

- M. A.

Neptune in the 10th house - Motion Picture Baby

There is a light in this world, a healing spirit more powerful than any darkness we may encounter. We sometimes lose sight of this force when there is suffering, too much pain. Then suddenly, the spirit will emerge through the lives of ordinary people who hear a call and answer in extraordinary ways…

~Mother Teresa

There can be spotlights and smokescreens with Neptune in the 10th. The individual has a great vision when it comes to dreams and profession. However the wander through Neptune’s sedate haze can erupt in confusion and disillusion. There can be a struggle with pinpointing a life direction and the overbearing tug into many different career pathways. It’s like they feel as if they could always be doing better, or always be doing more. The individual has a hypnotic sway over strangers and an elusive, otherworldly public perception. People can mistake them for being something they are not. Mostly the individual will be regarded as someone who is empathic, extrasolar, and confusing. They have a high receptivity for the needs of the public. They feel like they have an extraordinary purpose in the world. But how do they figure out what it is?

Neptune in the 10th visualise an ideal when it comes to the profession. Ambition and focus may come and go in waves, and they can mysteriously self destruct along the way. Neptune is the redeemer - it is sweet, seductive, musical, and also shadowy, holographic, and deceptive. The individual may feel that attaining that idealised career goal will promise lifelong happiness and salvation. We could assume the person is lured into Neptune related roles - cinema, creativity, arts, nursing, healing, service, and welfare. They may feel that their public perception is at conflict with their true persona, and they can be less unusual and puzzling than it seems. The individual will make a lot of sacrifices when it comes to achieving professional results, but be unrealistic about time frames and study. Maybe they are unpractical at work, or overly lethargic and uninspired. Neptune in the 10th will need a profession that can be turned into artwork, like something magical. It must spindle emotions and appeal to their heavy conscience.

The tenth house in astrology represents the dominant parent. With Neptune here, the parent may have been a tremendous creative visionary, or somebody who suffered addiction and mental illness. Maybe both. The individual may feel that redemption lies in the pride of parents. Neptune in the 10th wants to be a great healer, and may feel like their purpose on earth is to be an antidote for a sick humanity. The themes around their upbringing, where the individual could have been exposed to substances and psychological ailment send them into roles where they can attempt to heal those they couldn’t in childhood. They feel saturated in contentment when he receives public praise, and they are typically very emotionally receptive to collective needs. With artistic brush stroked ideals, the individual may feel that money and current political systems are barricading away their dreams. Neptune in the 10th wants to paint, dwell, and do something sweeping. But they can’t figure out what, or how, or if they are ‘truly ready’. This is the rainbow mural on the tenth house billboard, hidden beneath the sea with mermaid fins. The twinkle in their eyes reflect the snapping photograph lights from their cosmic audience. 


anonymous asked:

Dan and Phil are queerbaiting shits

as much as i’d like to make fun of you in the form of a billion memes, im going to talk seriously for a bit, because i know this is something a lot of people think and there might be more people like you out there.

i can totally see where you’re coming from, especially with the audience dnp have and how they’re (i know, we’re - im not going to make this seem like im completely innocent) constantly pushing them to do stuff they may not want to do. but accusing them of queer baiting is way out of line, and honestly, kind of heterosexist?

we all know that both of them are, to some degree, definitely not straight. this is not a secret – dan has multiple times expressed that he finds comfort in not labelling himself (not to mention that he really only calls men attractive nowadays) and phil has described himself as bisexual for as long as he’s been on youtube. this annihilates the assumption that they’re queer baiting immediately, since they both definitely are queer, but let me keep talking for a bit.

they’ve both stated that they like to keep romantic relationships separated from the internet, however it was a few years ago so that may or may not have changed. that could be interpreted as them keeping the whole thing a mystery for the views, but if i were in their position i definitely would have done the same. these poor people have had their homes invaded, their families stalked, people photographing them without consent, their audience sexualising them/mlm relationships in general and so forth and so forth. idk about you but i’d be terrified to bring in a partner into that whole mess. it’s kind of like larry stylinson and whenever one of them are said to date someone knew, except there’s a tad bit less people involved.

moving onto my statement about accusing them of queer baiting is heterosexist, this is pretty simple. despite the fact that dan and phil have never even implied that they’re exclusively attracted to women, you’re assuming that they’re straight and only pretending to be queer for the attention. see the problem? queer people have been fighting this assumption for centuries. heck, it’s one of the very first things i hear when i come out to people. people are so inclined to keep believing that anything beyond heterosexual and cisgender is for attention that they won’t even believe queer people when they come out. this is feeding into a stereotype and a prejudice that is way behind our time and in my opinion, something humanity should get rid of as soon as possible.

i’d love to discuss this more because i really do think it’s important to talk about, but since i know you probably don’t even care, here’s a meme. goodbye.

anonymous asked:

how did you and your sister get into photography? i wanna get into it and eventually freelance in my spare time when i get enough experience but don't how to begin and 2) have you both done wedding photography and if not is that something you'd be interested in doing? also do you think it's better to be self taught or is it okay to take a photography class at my local community college? like i feel like almost everyone is self taught and idk if taking a class is a waste


We have always been into anything art related. Our parents bought us small digital cameras for our birthday when we were in 5th or 6th grade I believe. We were always taking photos of nature, vacations, and various events. When we got to high school (right around the time dslr cameras were becoming available to everyday consumers not just professionals) my dad bought one for himself. At first our dad wouldn’t let us use it without him there but eventually when we got the hang of using it and he let us take it places without him there. Natasha started taking photos of school events and posting them on Facebook. I started doing the same but a little bit after her. Eventually she bought her own entry level dslr and I bought my dads old dslr when he upgraded his. By sophomore year we were both posting lots of photos on Facebook. We also started asking our friends if we could photograph them. We would style our friends and have mini photoshoots. This was all just for fun for us. We have always been into editorial makeup/photography and styling our own shoots was our way of getting into that. Then during the summer after sophomore year a student asked Natasha to take his senior pictures which she ended up doing did. And later more and more people asked both of us to take their senior pictures. We had no idea how to price anything or what to include in packages initially. After 2-3 years we both were honing in our photography style and were getting better at pricing and guaranteeing a certain level of quality to our clients. When we got to college we would go home and take senior pictures during the summers. In college we took peoples headshots. So it was overtime that we started our photography businesses. We didn’t start photography with the intention of making a business out of it/going into it professionally. We still ask our friends to photograph them and have mini photo shoots that we style. Its important to us to constantly create personal work as well as client work. During all of this we both tried our hand at surreal/photo manipulation photography but it wasn’t for us. By the end of high school and throughout college we also shot a few wedding but both didn’t like photographing weddings. By the time we finished college both of us realized that our favorite genre of photography is portraits. So now we mainly shoot headshots, portraits, and senior pictures professionally and create editorial shoots for our personal work. 

Even though we both went to art school neither of us has taken a photography class. The photo department at U of M mainly focused on documentary photography which we were not interested in. Plus the photo professors were known to be sexist and/or racist. We are about 95% percent self taught. One of our digital media professors did help us learn some stuff in photoshop but that’s about it. When either Natasha or I start a hobby we go into it full force lol. So right when we got into photography we followed a TON of photographers online and were constantly trying to figure out how they edited there photos so we could improve our editing. Over the course of 8 years we have really developed our photography styles and editing skills. Early on we would sometimes try and copy other photographers which helped us figure out what we liked and disliked for our own photography. I don’t encourage people to copy other artists especially if they are going to sell their work. But it can be helpful when figuring out your own style but it’s important to make sure you are not ripping someone off and give credit where credit is due. When I would use another artists idea I always explained in the description who the artist was and linked to their work. A photographer I know was notorious for copying another well known photographer but her audience thought she was super original because they didn’t know about the well known photographer. Plus you will never be as good as the original photographer/artist and will end up constantly comparing yourself which is no fun lol.

Even though both of us are self taught I don’t think taking photography classes is a bad idea if you think it will help you learn. One of my favorite illustrators, Sam Spratt, took many illustration classes when he was at SCAD but that doesn’t mean he is any better or worse than other illustrators that are completely self-taught. I always wanted to take commercial/fashion lighting classes but they were never offered at my university. I also would love to take some photography workshops but they the ones I want to take (Lara Jade’s in particular) are too expensive for me. Also as an artist I’ve generally been self-taught. I had a few great drawing teachers and professors in high school (I took a college drawing class in high school) who helped me a lot. But when it comes down to being an artist you really have to push yourself to make stuff outside of class. This was a challenge for a lot of my classmates once we graduated. A lot of them didn’t know how to create work outside of class. (I’m simplifying a lot here bc i could go on and on about how much i disliked or liked u of m’s art school lol) My whole life I’ve been making stuff outside of class so creating a photography business wasn’t super difficult for me. 

This brings me to the business/freelance part. Turning something you are passionate about into a business can be great and horrible. A lot of my friends don’t freelance because the business side of it destroys their interest in the art. Some of my clients are very particular and they don’t always like the photos I take. But this is something I have to get past. Also over time you start to get better clients because they come to you knowing what they will get. Early on people would hire me because they knew I took photos not because they liked my style of photography (I hope that makes sense). Now people know what they are getting and it’s less likely that a client will be unsatisfied with their photos. As a freelancer keep in mind that it’s a lot of emails and advertising yourself. Yes it’s great that I can make money off of something I love doing but I have to keep in mind that it’s still a business. When I first started out clients would ask for lower prices and I would lower them because I didn’t want to lose a client and I didn’t know if I was too expensive or not. This was fine at first but now I don’t budge on my prices because now I know my worth and it’s not fair to my other clients to change prices. Also photography gear can get expensive and when you freelance/do photography professionally there is a point when you’ll probably to invest in professional gear. Part of this is to put you among other photographers in the industry but the physical quality of your photos will also improve. This way you can better guarantee what a client will get. Ex. my dad’s old dslr that I used had a cropped sensor so if the lighting wasn’t the best i couldn’t edit the photos as much in photoshop as I can with a full frame camera. Basically I just want to make it clear that once you start freelancing it’s a business so just like other business you have to know when and where to invest and how much. 

I’m sure you were not expecting this long of answer but I hope it helped! 

anonymous asked:

I came into the fandom a year or so ago so I missed the Harry and Paige drama. I assumed 'Haige' was the sort of thing where they were seen in public once and the tabloids went wild. But I did some searching and it seems that there was more to it than that? I looked for some info on your blog (I used the search function and tags, promise!) but couldn't find much. Do you remember / have links to anything about it? I'm not insinuating that I think it's real at all, just curious. ;)

This is my third attempt to make this masterpost and I’m going to scream if it doesn’t work. Anyway, here is the story of Haige.

Keep reading

Jay-Z, Beyoncé, Tina Knowles and Solange, photographed in the audience of the 46th Annual Grammy Awards in February 2004.

This was the first Grammys ceremony that Hov ever attended. He had boycotted the ceremony since 1999, citing The Academy’s disrespect of the rap genre. He chose to attend the 2004 ceremony to support his then-girlfriend Beyoncé, who had received her first solo nominations. Their hit single “Crazy in Love” would go on to win the gramophones for “Best R&B Song” and “Best Rap/Sung Collaboration.”

anonymous asked:

You *are* lying. They're proceeding down the red carpet & being photographed heading audience left. Look at video from those moments. Also, he doesn't appear to be being "dragged" down the red carpet at the fucking Oscars. It's his *job* to be photographed there. If Benedict proceeded first, then Sophie would be presenting her back to the photographers. She is not doing anything negative to Benedict, full stop. You don't like her for existing, fine - . but there's no valid reason for it.

You’re right Nanny.  I’m a big fat liar Nanny!

Weirdo is a demure English rose who hates being in the public eye.  I’ve left both pics unblurred this time, just so everyone can see how mortified she was to be in the spotlight…

P.S.  thanks to @thegreatbritishtrainwreck for being my partner in crime.


“What is this?” Wade growled as he threw the newspaper down into Peter’s lap.

Peter picked up the newspaper, the Daily Bugle, read the headline, and then tried very, very hard not to laugh.

“It’s a mistake, Wade,” Peter said, trying desperately to keep a straight face.

“A mistake?” Wade demanded angrily, his teeth gritted. “You call this a MISTAKE?

Peter looked down at the newspaper again. At the headline which read: “ARE NEW YORK’S SPIDERS IN LOVE?” above a picture of him in his Spidey suit and Natasha, post-battle, sharing a collapsed pillar where they rested for a minute. The picture was sloppy, slightly blurred, and showed Natasha punching Peter in the arm because, unknown to the photographer or the Daily Bugle’s audience, Peter had just told Natasha that she stunk. Which was true. Their fight had, at one point, descended down into the sewers.

Peter’s lips twitched. To think the Daily Bugle was trying to pull off this moment as romantic. Just this instance, where Peter had insulted and Natasha had retaliated, was hilarious. Peter couldn’t keep it in anymore. A giggle escaped.

“This isn’t funny!” Wade roared.

Peter turned to his boyfriend, once more trying to keep his expression neutral. “Are you actually worried that I’m cheating on you?” Peter asked.

Wade ducked his head and shuffled his feet. “No,” he said in a small voice.

Peter smiled softly. “Then what’s the problem, babe?”

Wade let out a long huff and his shoulders slumped. “It just keeps happening,” Wade ground out. “First the Bugle stated that you and Hawk-butt were a thing because you kept swinging him from perch to perch.”

“Which we both laughed about,” Peter felt the need to point out.

Wade nodded. “Yeah, but then someone caught a photo of you and Iron Man paling around and they said you were dating him.”

“Yeah,” Peter said slowly, starting to see the problem.

“And then,” Wade continued, “they caught a pic of Thor throwing you into the air, so obviously that must mean that sex between the two of you is very athletic.” He scowled. “And then a picture of you and the Hulk, snuggling.”

“I was teaching him how to hug without smashing,” Peter said, feeling that he had to defend himself.

I know that,” Wade said. “And then Captain America. Captain America, Peter! They thought you were a nice wholesome American couple!”

“I’m not sure wholesome and homosexual are often used in the same headline unless they’re negating each other,” Peter added. “So I actually count that as a win.”

“And now Black Widow!” Wade howled. “They’ve coupled you off with every. Single. Avenger.”

Peter let out a sad sigh. “Except you.”

“Except me,” Wade whined. “And you’re mine, baby boy! I’m the one that gets to kiss those lips and slap that butt and ruffle that hair and love that face. Me! And no one even considers it an option.”

Peter let out a long sigh. “It really is just a mistake, babe. I mean, this is just the Daily Bugle anyway. Jameson loves making my life complicated.” There was a pause, and then Peter stroked his fingers down Wade’s jaw. “How about you and I, Deadpool and Spiderman, go out tomorrow and announce to the world that we are the grossest of couples. And then we can hold hands when we fight bad guys and kiss in the middle of congress and do other morally disreputable things. How does that sound?”

Wade’s smile turned sappy. “I love you, d’you know that?”

Peter nodded. “I do, actually. Now, what would you have done to Natasha if I hadn’t calmed you down?”

Wade grimaced. “That would have been a mistake. A big one. She’s scary.”

Peter laughed. “Yeah, if it was going to be anything like the way you treated Steve or Tony, I would have lost my boyfriend.”

“Good thing I have you around then,” Wade said, and leaned down to kiss Peter on the lips.

This is for @deadpoolweekly Amnesty Week, Prompt: Mistake. My mistake was waiting so long to write this


Winter Dress in 1860s Japan

A Japanese woman in winter dress, photographed in the studio of Felice Beato. How accurate would this image be to a Japanese woman in 1868? 

Well, keep in mind that Beato’s photographs were made for Western audiences, and this image is part of an album called “Views of Japan.” Beato settled in Yokohama from 1863 to 1877 and made hundreds of ethnographic portraits and genre scenes there.

thewordwarrior2620-deactivated2  asked:

So I want to write a story about a young journalist during WW2. Do you have any references on how one would be a journalist on the battlefield. Would they have to go through training first like a regular soldier before they could go and report abroad. And more importantly would having a journalist who specialized in writing article and photography make any sense during this time period? Thanks again!

Of course! I’ve split this resource post up into two sections, one on actual journalists and reporting during WWII to give you a historical perspective, and the other on basic training for War Correspondents. Please not that many of the training resources are modern day, so I wouldn’t work off them word by word, but they will help you to get an idea of what it’s like in this field, basic summaries of a day on the job, payment, treatment, and more. Of course you’re going to need to translate this into a historical setting (again, look to the second section below). The more you know about WWII, the better off you’ll be; I recommend picking up quite a lot of books from the time period, and if you can, try and find some of the articles from the journalists listed below themselves so you can get an idea of what your own fictional journalist might have been expected to sound like. 

As for your last question, having a journalist specialize in writing and photography absolutely makes sense. In fact, often times during war, the photographs were far more important to audiences than the articles themselves; people at home wanted to see what war was like, wanted to see their loved ones, spot them in a picture and hope they were alright. This job description is exactly what was being of asked of journalists at the time (and still today) so this is definitely a smart choice to start you off. In WWII, photographers and journalists were in high demand. 

Training and Safety for War Correspondents:

Journalists During WWII:

‘Aren’t we all completely incomplete?’ Claude Cahun: Beneath This Mask @ East Gallery NUA

A body. A camera. An eye to take the picture. A hand, (of your own or of an accomplice’) to press the shutter. An eye to view the image.

Beneath This Mask was a recent exhibition of works by surrealist photographer Claude Cahun, held at East Gallery NUA. During the 1930s surrealism sanctioned art in which personal reality dominated, where images could be conceived not as other but as self. In fact, Cahun’s revolutionary surreality was formulated in response to a culture shaken by war. Cahun transformed into a surrealist ‘objet’, a mannequin for a myriad of guises and disguises, subjectified and objectified. All Cahun’s ‘bodies’ interact, greater than a connection between a collection of exhibited images, the figures communicate, celebrate a common morphology, remain elsewhere. Within these photographs Cahun makes visible an effect of playful repetition questioning the principles of identity, oneness and visibility.  

Cahun’s ‘act’ exists solely in images chosen as documentation, to supplement and impart access to the originary occurrence, the multiple and complex experiences of a single figure, proliferated. This exhibition of photographs presents reproduction prints, from negatives. In the present, the images and the ‘act’ are inextricably linked, for the art event requires the photograph for evidence, dually the photograph requires the body art event, as an ontological ‘anchor’ of its indexicality.

Fig: 1 Claude Cahun Self Portrait c1930 black and white photograph Jersey Museums Service

Forever mischievous, but all the while ingénue. A little impatient, unsettling, uneasy and haunting. Uncomfortable? Yes. By design. Cahun revels in the voyeuristic confrontation of the spectatorial gaze. The majority of works on display remain nameless, or at the most titled Self Portrait. Perhaps Cahun too desired to remain “Untitled”. Instead the sexually ambivalent, genderless pseudonym ‘Claude Cahun’, indicates a reluctance to ascribe to either binary gender role, opting instead for androgyny.  Viewers rely on the appearance of each figure, within each image and the amalgamation of their companions to formulate a narrative practice.

A gaze. A lens. A reflection. A subject. A photographer. An audience. The images are claimed by numerous pairs of eyes. Viewers, cast as voyeurs, visually invade Cahun’s scenarios. Photographs, and their exhibition, merely provide a convenient means of accessing the veracity of the episode. The physicality of the silence within the gallery penetrated the gaps between the works (of which there are many more than I personally would have liked. For Cahun I am insatiable.)

Cahun flaunts the interchangeability of roles, feigning vulnerability, the exhibition seeks to present the artist’s practice as one for the purpose of private art making, however Cahun made theatrical public appearances in disguises of her own creation, created in cultural, economic and political situations not entirely of her own making.

Cahun’s photographs were captured in the 1920s and remained unseen, closed to alternative reading until the 1980s. Joan Riviere’s seminal piece, Womanliness as Masquerade, was written in 1929, and is undeniably a text to read Cahun’s work to. Despite the photographs being established around the notion of superficial disguise, the images suffer depth, meaning and conceptualisation. Theories and literature which influenced it’s conception and reception, and the cultural and historical zeitgeist are all but ignored in this exhibition, to the detriment of its viewer.

Claude Cahun Self portrait c. 1939 black and white photograph Jersey Museums Service

Once an image declares itself as representing reality (as made possible by the camera), its relationship to the audience alters, for photographs fuel a voyeuristic appetite to captivate the observer. I desire to discover unseen Cahun. The curator as impresario of the art event (exhibition), has the capability of making every visitor feel part of the fantasy. I didn’t. The exhibition should allow the spectator to experience the pleasure of surrendering to Cahun’s mise en scene, not just to witness the artist’s surrender. Creating scenes, and posing for images as if one is apparently another, is undeniably about fantasy, partially or wholly. “We are better able to enjoy a fantasy as fantasy when it is not our own.” (Sontag. 1964)

This exhibition partially succeeds in delineating the innumerable representations which Cahun ‘tries on’, working towards a position outside traditionally fixed notions of character, identity and gender. The photographs reject the acute requirement of society that we be precisely what we seem to be, unfortunately the selection, curation and presentation offers less heterogeneity. But in truth, this presentation is barely a mask, sitting on the surface of Cahun’s practice, theoretically and historically it does not penetrate the intricacies and vital contexts under which the photographs were taken and are now displayed. In Self Portrait 1945 Cahun grasps a German insignia between her teeth. The date so poignant, and familiar yet Cahun’s appearance is quite unusual.

‘Identity’ resides in the person most like ‘us’ a moment ago or a step away, however, like or most like is not enough to affirm individual identity. Cahun proves we have more power over our identity than seems possible. There are critical lessons to be learnt from Cahun’s work and one cannot help but conclude this exhibition is a squandered opportunity to stage a more imaginative presentation.

Claude Cahun Self Portrait 1945 black and white photograph Jersey Museums Service

Adopting surface appearance means the depth of the image imbues the act of dressing up with more significance than the image itself. The viewer is complicit with the figure in the image, as Cahun experiments with the audience’s understanding of photography, as a way of documenting reality. The photograph is historically regarded as an acceptable means of official identification, whilst offering no guarantee of unique recognition, an identity can be adequately summarised in a photograph. It is poignant that ordinarily a photograph presents the truth of someone, however in Cahun’s case, the photograph might be untruthful. Disturbing pictorial conventions for maintaining distance between art-object and observer, the exhibition itself does not disrupt any conventions, in it’s conservative display, while highlighting the similarities it fails to emphasise any disparities.

Singular images of self re-invention do not impart any idea of identity quest or loss, the obsessive drive for self-disguise can only, in my opinion, be truly conveyed in series, as shown here, where disparate realities are encountered within each projection of the invented, fictional self. Exhibitions of Cahun’s work should be as numerous and extensive as her output.  The appearance of the display is relatively slick and attractive (Fig?). Assisted by the sole inclusion of monochromatic photographs in uniform black frames, with a universal print size across the board, allowing of the repetition of themes and sequential narrative, prevalent in Cahun’s work, to remain apparent.

Claude Cahun Beneath This Mask installation photograph, December 2015

The exhibition provides suitable evidence to illustrate Cahun’s self-conscious set of practices. The photographs themselves are technically and visually alluring. But as I touched on previously I would have liked to have seen more intellectual, historical and contextual information, the inclusion of some academic texts perhaps. Cahun’s circumstance and personal history imbue the images with profound significance. The apparent lack of enriching accompanying events program seems to me a glaring missed opportunity.

As ever the contexts of these images are vital, a flick through January’s edition of Elle reveals Cahun’s influential aesthetics; “surrealism” depicts models merging, arm to torso. Although reassuring to see evidence of Cahun’s subtle influences in modern media, it is heart-breaking to note the absence of this significant, pioneering artist in most major survey publications of ‘women’s art’ or ‘art’ in general. The photograph is ultimately a substitute for reality, capturing an act for preservation, proof and perusal. This exhibition allowed opportunity for perusal but remained one dimensional, shallow, narrow, a stance I doubt Cahun would have supported. The works require imagination, unfortunately very little imagination was applied to the design of this presentation.

Claude Cahun Self Portrait 1928 black and white photograph Jersey Museums Service

Beneath this mask showcases Cahun’s representations of repression and liberation doubly. We seldom regard ourselves in any form of dual existence, to do so requires a third observing self. Narcissism and voyeurism are employed strategically by the artist in order to reclaim the body and the image for exhibition. The images on display give evidence to Cahun’s action as subject, object and author, circumnavigating the voyeurism of the viewer. Arguably there is no way for an ‘outsider’ to enter the mêlée, the miniature bespoke universe of fluctuating states of being and becoming. The mimetic artworks, charming in themselves and pervasive in their company now demand a visibility they have previously been denied.

The fracturing of a single solitary self, the rejection and exclusion of self, in favour of other, is a common preoccupation for artists. Freud limits identity to sameness but incompleteness allows the artist to become something else, indefinite, in-finite. As photography is subjective, so too is any exhibition. I concede I have been critical of this presentation, but in my heart I believe Cahun deserves more. This exhibition would have benefited from the acknowledgement that all activity takes place in relation to a constantly shifting horizon in which the self and the other must negotiate their becoming at the same time. But ultimately…

Aren’t we all completely incomplete?

Review by Alison Humphrey

With thanks to Fay Harris at NUA.

I just made this huge story on my personal snapchat that I want to share here because I think that it may be beneficial to some of my followers who beat themselves up about their work. Maybe grab a tea or coffee before you begin, because this is a long’un. Ok, here goes:

Last Saturday I photographed my two friends getting married. On Sunday I began the process of importing and sorting through my images. My process for sorting is in Bridge where I file through every image in their carousel thingy and highlight all the images that I want to take a second look at. While I was making my first pass at sorting through the images, I had a mini meltdown because I kept picking out all the flawed images. I wasn’t focusing on which ones were good, I was focusing on which ones were bad. Which was making me upset because I kept asking myself, “How come this one didn’t work out? This image would have been so good. All these images suck.” 

I kept beating myself up about it and so I needed 3 days to like separate from it and refresh my mind. Now looking through them again, I’m focusing on the good images. I mean, yes, there are some images that would have been great shots that are either out of focus or blurry but there are a LOT of good images. 

This is how my brain works, and how I view things: All 2000+ images should have been perfect, but they’re not. And they’re not supposed to be because life isn’t perfect, right? Like when I made the second pass with a less critical mind, there are at least 800+ images that are worth editing. I need to remind myself of that - that not everything has to be perfect. There will be some duds in there because that’s just how life is. I need to stop being so pessimistic and negative about stuff. I need to also stop beating myself about that kind of stuff and just appreciate the good images.

So yea, I just wanted to share that because I’m a negative person. I like to call myself a realist but let’s call it what it is: I’m a negative person and most of that negativity I reflect onto myself and so I need to remind myself what I do is good.
I also need to learn to take compliments because people compliment me/my work and my first reaction is always “oh no, no”. I don’t know what that is. I’m sure there’s a lot of you like that too where getting compliments is a weird thing. I get uncomfortable when people pay me compliments because I don’t think it’s warranted or that I deserve it. I think that has to do a lot with confidence and self-esteem.

Anyways, I just wanted to tell you guys about my editing process and how I was looking at the fact that only 40% of the photos were good or useable, where, you know, I looked at that as being a negative thing. Like ONLY 40%?!?! But in actual fact that’s like 800+ images which is a large number of images to give a client.

So, yes, I just wanted to share this in case anyone else was feeling blah about stuff and looking at the negative side - as someone who always looks at the negative side (this girl right here) I’m here to remind you (and me) to look at the positive side too because it’s both, right? It’s positive and negative - it’s not one or the other, it’s a balance of both.

Ok, talktime over.

I get messages all the time asking how I’m able to take such beautiful images. A lot of it has to do with practice, but the other thing I think a lot of people forget is that as photographers (artists, musicians, creators, pretty much anyone) we put out our best possible work. There’s a lot of images that are discarded because they just plain fucking suck. 

So I can imagine that for new photographers or for photographers who have been on tumblr for a while and haven’t gotten the recognition they deserve can sometimes compare their body of work to a photographer who has a larger audience and think, “why can’t my stuff be that good” (I also get a lot of these messages btw). And I think that for the majority of people asking themselves that question aren’t being fair to their work. For one, every person is different, so you can’t compare yourself to someone else because everyone is going to be different because of taste, style, experience, technique, etc… Two, you’re likely comparing your whole body of work to one photographer’s tumblr or portfolio where they post only their best work. So here you are including all your duds and comparing it to someone’s best work. Like I can’t even tell you how shit a lot of my work is. Three - the more “known” photographers on tumblr (which i think is silly for anyone to call themselves tumblr famous btw - like it’s bullshit) have had to work really hard at their ~craft. We have (or at least I have) experienced the same frustrations as you do and in fact STILL DO (I mean, this is the whole point of this post). And lastly THIS SHIT TAKES TIME. Like idk about others, but it took me a long three years to get where I am now. People need to remind themselves that becoming good at something doesn’t happen overnight. It’s something you need to work at and continue working at. I’m still learning and growing as a photographer and as a person.

This is very longwinded, sorry, but I really just wanted to get across the point to not be so negative about your work. It’s easy to pick out your flaws and super hard to pick out your great qualities but it’s those wonderful qualities that you need to remind yourself of. You are not just your flaws, you are your strengths too. 

If you’re still reading this, give yourself a star and a++ and treat yo self to chocolate or binge marathon because you’re gonna need it after this novel of a post.

ps this is very much geared towards photographers but I think that the advice and major themes in here are applicable to anyone for any situation, not just people with cameras glued to their faces.

Please Don’t Hate Me: I’m a Photographer at a Punk Show
External image

January 12, 2015
by Maryam Hassan

What’s wrong with the photo above? Let’s start with the obvious: the photographer is standing right in the middle of the stage at the back, dressed entirely in black against a white banner. You couldn’t ignore her even if you wanted to. If you ever wanted visual evidence of a photographers crossing a line at shows from being people documenting an event to people getting in the way of the event, this is it.

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Flickr Celebrates Exceptional Young Photographers with 20under20

By Bernardo Hernandez, Vice President, Flickr 

Photography has the power to fascinate, inspire, and even change the way we see and understand the world around us. At Flickr, we celebrate this along with our community of users. Today, we’re excited to introduce the first annual Flickr 20under20 - an initiative that celebrates 20 of the world’s most extraordinary young photographers on Flickr, who are under the age of 20. 

Millions of photographers share their inspiration with the world every day on Flickr, and we wanted to show our support by finding and promoting the future’s brightest young photography talent. The 20under20 were selected from Flickr’s young photography community by a panel of influential Flickr photographers – Lou Noble, Cuba Gallery, and Rosie Hardy – and myself, based on their creativity, technical talent, and overall strength of portfolio.

Collection of Photographs By the 20under20

We’ll be showcasing the work of these 20 inspirational photographers throughout the year on Yahoo and Flickr. Their work will also be exhibited at a gala event on October 1 at Milk Studios in New York City, curated by Vogue Photography Director, Ivan Shaw. As part of our 20under20 initiative, Shaw chose photographer Laurence Philomene to receive the 20under20 Curator’s Choice Award. Shaw felt her photography offered a unique and fresh perspective, a window into a world he hadn’t seen before. As part of the award, he will mentor Philomene for a year. 

Collection of Photographs by Laurence Philomene

Visit to learn more about  the 20 photographers who have been chosen for this honor. Also tweet to vote for the photographer you think should receive the Audience Choice Award. Using #Flickr20u20 and the photographer’s name, vote for the #mostcreative, #besttechnique, and #strongestportfolio. These winners will be announced at the gala on October 1. We’d also encourage you to submit nominations for next year’s Flickr 20under20 by emailing their Flickr name or URL to

And for all you young photographers out there, keep inspiring us with your photos!