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
iii 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 iii
Abstract v
List Of Figures ix
Chapter 1: Introduction 11
Context 11
Purpose 11
Scope 12
Chapter Outline 12
Chapter 2: Historical Literature Review 13
1021 – 1717: Camera Obscura And Silver Nitrate 13
1822 – 1840: Niepce, Daguerre, And Talbot 15
1870 – 1888: George Eastman 18
1935 – 1954: Kodachrome And Film Processing 20
1981 – 2012: Kodak 21
Summary And Conclusion 22
Chapter 3: Visual Analysis 25
1839: First Self Portrait (Robert Cornelius) 25
1853: Deceased Boy On Fainting Couch (Unknown) 26
1860: President Lincoln (Mathew Brady) 27
1893: Laura Bullion (Allan Pinkerton) 28
1916: Blind (Paul Strand) 29

1928: Pastrycook (August Sander) 30
1936: Migrant Mother (Dorothea Lange) 31
1941: Winston Churchill (Yousuf Karsh) 32
vii RAW FILM PHOTOGRAPHY

1950: Audrey Hepburn (Angus Mcbean) 34
1953: Self-Portrait (Vivian Maier) 35
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) 37
1981: Ronald Fischer, Beekeeper, Davis, California, May 9, 1981 (Richard Avedon) 38
1984: Afghan Girl (Steve Mccurry) 39
1989: Candy Cigarette (Sally Mann) 40
1991: Jimmy Paulette After The Parade (Nan Goldin) 41
1994: Rebellious Silence (Shirin Neshat) 42
2001: Scarlett Johansen (Leeta Harding) 43
2010: George W. Bush, President Of The United States (Platon) 44
Conclusion 45
Chapter 4: Modern Day Film 47
Film Photographers Today 47
Film Mentality 49
Photography And Social Media 50
Conclusion 51
Chapter 5: RAW Film Series 53
Chapter 6: Conclusions 55
Acknowledgements 57
Bibliography 59
Appendices 65
Appendix A: Visual Analysis Images 65
Appendix B: Modern Film Statistics 85
Appendix C: RAW Film Series 87
RAW FILM PHOTOGRAPHY viii

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
ix RAW FILM PHOTOGRAPHY

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.
11 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 12
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.
13 CHAPTER 2: HISTORICAL LITERATURE REVIEW

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
CHAPTER 2: HISTORICAL LITERATURE REVIEW 14

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

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

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

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

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

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

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

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

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.

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 CHAPTER 3: VISUAL ANALYSIS

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 post-
mortem 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

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.

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

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

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

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

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

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

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,

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

Figure 11 - Arbus, 1966
image. There is a large contrast in the tones of
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

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

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

Figure 13 - Avedon, 1981
captivating, with his eyes staring straight into the
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

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

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

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 white-
purple hue. The subject is placed prominently in
the middle, with the trees and other individuals in
the background being blurry beyond recognition.

Figure 16 - Goldin, 1991
With a soft red lip, large dangled earrings, dark
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

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

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

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

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).

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.

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 CHAPTER 4: MODERN DAY FILM

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”
CHAPTER 4: MODERN DAY FILM 48

(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

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.

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
53 CHAPTER 5: RAW FILM SERIES

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.
CHAPTER 5: RAW FILM SERIES 54

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 CHAPTER 6: CONCLUSIONS
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 56
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.
57 RAW FILM PHOTOGRAPHY

RAW FILM PHOTOGRAPHY 58
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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.

1839: FIRST SELF PORTRAIT
ROBERT CORNELIUS

1853: DECEASED BOY ON FAINTING COUCH
UNKNOWN

1860: PRESIDENT LINCOLN
MATHEW BRADY

1893: LAURA BULLION
ALLAN PINKERTON

1916: BLIND
PAUL STRAND

1928: PASTRYCOOK
AUGUST SANDER

1936: MIGRANT MOTHER
DOROTHEA LANGE

1941: WINSTON CHURCHILL
YOUSUF KARSH

1950: AUDREY HEPBURN
ANGUS MCBEAN

1953: SELF-PORTRAIT
VIVIAN MAIER

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

1978: UNTITLED FILM STILLS #21
CINDY SHERMAN

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

1984: AFGHAN GIRL
STEVE MCCURRY

1989: CANDY CIGARETTE
SALLY MANN

1991: JIMMY PAULETTE AFTER THE PARADE
NAN GOLDIN

1994: REBELLIOUS SILENCE
SHIRIN NESHAT

2001: SCARLETT JOHANSEN
LEETA HARDING

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

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.

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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RAW FILM PHOTOGRAPHY

Submitted in fulfilment of the requirements for the credit of

GCM 490: Thesis

Advisor: Christopher Smyth

Graphic Communications Management

Faculty of Communication and Design

Camera, Camera Obscura, Digital Photography, Eastman, Film, Film Photography,

Fujifilm, Imagery, Interview, Kodak, Mentality, Photo Series, Photograph, Photography,

Portrait, RAW, Social Media, Visual Analysis

iii RAW FILM PHOTOGRAPHY

RAW Film Photography explores the resurgence of film photography in recent

justify the use of this medium.

showcased through the accompanying photo series RAW.

encapsulation of the research and potential of film photography.

v RAW FILM PHOTOGRAPHY

Chapter 2: Historical Literature Review 13

1021 – 1717: Camera Obscura And Silver Nitrate 13

1822 – 1840: Niepce, Daguerre, And Talbot 15

1870 – 1888: George Eastman 18

1935 – 1954: Kodachrome And Film Processing 20

1981 – 2012: Kodak 21

Summary And Conclusion 22

Chapter 3: Visual Analysis 25

1839: First Self Portrait (Robert Cornelius) 25

1853: Deceased Boy On Fainting Couch (Unknown) 26

1860: President Lincoln (Mathew Brady) 27

1893: Laura Bullion (Allan Pinkerton) 28

1916: Blind (Paul Strand) 29

1936: Migrant Mother (Dorothea Lange) 31

1941: Winston Churchill (Yousuf Karsh) 32

vii RAW FILM PHOTOGRAPHY

1953: Self-Portrait (Vivian Maier) 35

1978: Untitled Film Stills #21 (Cindy Sherman) 37

1984: Afghan Girl (Steve Mccurry) 39

1989: Candy Cigarette (Sally Mann) 40

1991: Jimmy Paulette After The Parade (Nan Goldin) 41

1994: Rebellious Silence (Shirin Neshat) 42

2001: Scarlett Johansen (Leeta Harding) 43

2010: George W. Bush, President Of The United States (Platon) 44

Chapter 4: Modern Day Film 47

Film Photographers Today 47

Photography And Social Media 50

Chapter 5: RAW Film Series 53

Appendix A: Visual Analysis Images 65

Appendix B: Modern Film Statistics 85

Appendix C: RAW Film Series 87

RAW FILM PHOTOGRAPHY viii

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

ix RAW FILM PHOTOGRAPHY

the RAW photo series.

Chapter 2: Historical Literature Review 13

1021 – 1717: Camera Obscura And Silver Nitrate 13

1822 – 1840: Niepce, Daguerre, And Talbot 15

1870 – 1888: George Eastman 18

1935 – 1954: Kodachrome And Film Processing 20

1981 – 2012: Kodak 21

Summary And Conclusion 22

Chapter 3: Visual Analysis 25

1839: First Self Portrait (Robert Cornelius) 25

1853: Deceased Boy On Fainting Couch (Unknown) 26

1860: President Lincoln (Mathew Brady) 27

1893: Laura Bullion (Allan Pinkerton) 28

1916: Blind (Paul Strand) 29

1936: Migrant Mother (Dorothea Lange) 31

1941: Winston Churchill (Yousuf Karsh) 32

1953: Self-Portrait (Vivian Maier) 35

1978: Untitled Film Stills #21 (Cindy Sherman) 37

1984: Afghan Girl (Steve Mccurry) 39

1989: Candy Cigarette (Sally Mann) 40

1991: Jimmy Paulette After The Parade (Nan Goldin) 41

1994: Rebellious Silence (Shirin Neshat) 42

2001: Scarlett Johansen (Leeta Harding) 43

2010: George W. Bush, President Of The United States (Platon) 44

Chapter 4: Modern Day Film 47

Film Photographers Today 47

Photography And Social Media 50

Chapter 5: RAW Film Series 53

Appendix A: Visual Analysis Images 65

Appendix B: Modern Film Statistics 85

Appendix C: RAW Film Series 87

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