Detailed Research: Surrealism Photographer Research: Christopher McKenney -

Surrealism: Christopher McKenney -

Born: Unknown
Died: N/A
Place of Birth: Pennsylvania, America
Occupation: Photographer/ Artists
Camera: Nikon D90 (originally)
Style: Conceptual, surrealism, horror, minimalist, aesthetic

Notable Places of Work:

• Self employed

Other Information:

• Born in America.
• Lives in Pennsylvania.
• Started out in art after dropping out of Community College.
• Prefers to be known as an artists rather than a photographer.
• Uses Photoshop to edit his images into surreal art.
• Vivian Maier was a significant inspiration to McKenney.
• McKenney admires things "for the love of art" rather than wealth.
• McKenney's work is reminiscent of Rene Magritte in that he doesn't give subjects an identity; “I don’t like to give people an identity; I like to focus on the story, not the person.”.
• McKenney's interests include: music, antiques and history.
• McKenney does not always have a concept in mind at the time but allows his subconscious to create art.

Examples of Work:

This image is to me about the disasters of the world and how everything that we know as normality is going up in flames. The subject is ignoring the dangers next to them as the media has made the world a much smaller place that they are too engrossed in the controlling media to realise that their individual life is at risk. McKenney himself said “I like to look at it now and think the person sitting on the couch is reading all the horrible things going on in the world, trying to take their mind off the fact that something horrible is happening to them”.

If I was to interpret this image it would be a response to how humans are treating nature, animals and themselves. As a species we are damaging our world beyond repair at an astonishing speed and the scenery of the location shows the lush green forested areas which we are destroying. Additionally, the subject is a human-deer hybrid which could be commenting on genetically modified organisms and how we are yet to understand the possible effects of this on plants and animals who eat them. Furthermore, the girl is showing a sorrowful emotion which could be in reflection of how humans treat each other in a way like animals and how humanity is quickly being lost.  McKenney commented that “The photo depicts a girl crying over her flaws (the antlers),”... “I feel as if everyone can relate because no one is perfect and everyone has a flaw”.

This image is very poignant and can be understood in a few eerie perspectives. Although, I believe that this image is to represent the ghosts of all young women who have died before fulfilling the stereotypical wishes of femininity which involve marriage and motherhood. It could also be a symbol to challenge child marriages and the failed pregnancies that often come with them. Or, the image could be a piece of art that is within the horror genre and mimics the style of stories such as "The Woman in Black".

This image is part of the series "Self Made Ghosts" in which McKenney photographs himself and then edits out his body. This ghost is emerging from a suitcase which could link to the skeletons in the closet saying. The suitcase is also a symbol of moving on and the ghost could be someone moving on from a past that they have struggled in.

This photograph is also within the series "Self Made Ghosts". This image to me is a symbol of the hold that patriotic beliefs have over individuals and workers. The flag masks the identity of the subject and can therefore infer that in a world of capitalism and patriotic ideals the average man is no more than a worker, a cog in the machine of wealth. Furthermore, the clothing of the subject is like that of a formal worker who has followed the American Dream and has realised that it is unachievable and that many peoples lives have been wasted on it. The futility of belief is shown in the gun being held to the flag.

Detailed Research: Surrealism Photographer Research: Lara Zankoul -

Surrealism: Lara Zankoul -

Born: 1987
Died: N/A
Place of Birth: Beirut, Lebanon
Occupation: Conceptual Photographer
Camera: Canon 5D Mark II
Style: Conceptual

Notable Places of Work:

• Self employed
• Represented by Ayyam Gallery

Other Information:

• Born in Lebanon.
• Lives in Lebanon.
• Winner of the 2011 Shabab Ayyam Photography Competition.

Examples of Work:

This piece from 'The Unseen' 2013 series is interesting for many reasons. Firstly the identity of the subjects are obscured and the audience does not know for what purpose. Another reason is why each animalistic mask was chosen for each; what do the masks represent. Additionally, the calm poses of the subjects subverts the idea that the room is filling with water and they are just keeping above the water line. This could symbolise how in a modern society we are all losing our individual identities and becoming so engrossed in the futile tasks that we do not realise we are so close to danger; to further this the white rabbit could be an extension of 'Alice In Wonderland' in which the rabbit states "I'm late" which again links to the fast paced lives we lead. However, another question that arises is the clothing of the subjects; both are dressed in formal clothing that could either place them in positions of power or place them in a subservient role as a servant. On the other hand, the photographer could just be creating these works for the same reason as Rene Magritte "To allow the viewer to think".

This photograph is from the same series as the one outlined above, "The Unseen" 2013, and also causes many interpretation and questions to be raised. Above the water line the two females are smiling and jovially linking arms and making a tie of friendship. Although, below the water one is holding scissors to sabotage her "friend" and cut the ties of the bond which could be explicit for a performance sabotage or more implicitly infer that in most relationships one builds the bond and the other cuts it. Furthermore, the two subjects are similar in appearance, dress but only different in the painted mask. This could symbolise instead a split personality or a conflicting personality. The masks are like those worn by the 'players' otherwise known as actors and could again link to the hidden traits of personality. The colour red connotes sexuality, theatre and being fierce all of which could be interpreted differently by a different viewer.

This photograph, and the one below, are from Zankoul's archive. This image is so intriguing for many reasons one being its use of colour. The pastel blue hue and lowly saturated image create a dream like atmosphere which is supported by the subject of the image. The windows are like that of a bedroom but the surrealism is in that the outside sky is inside and that the identity of the subject is obscured as they fall into the clouds of dream. The clothing is reminiscent of vintage child's clothing and the décor also links back to a Victorian theme. The image could therefore be discussing the nostalgia, freedom and imagination of childhood which is so often lost as we grow older for not being a realistic view of the world but more of a surreal interpretation.

This image is featured on Zankoul's website within the archive. The photograph to me is significant in how it can be interpreted. I see the clam shell as mother of pearl and the female as a response to the paintings of "The Birth of Venus" by Sandro Botticelli which depicts the Roman goddess Venus in a clam shell, the Greek equivalent is Aphrodite, who is the goddess of love, beauty, pleasure and procreation. Therefore, the seductive pose again draws upon links to the goddess and depicts women in a way that they are the goddesses of the modern world. The use of the living room background could imply that whilst women are so powerful they are seen in the eyes of some as no more than a goddess of domesticity.

This photograph is from Zaankoul's 2016 series "As Cold As White Stone". The image was captured in an abandoned marble quarry and from this ideas can be made. The two subjects lay motionless like marble statues which links in the location. Also, the natural tones of white and skin tones link to an idea of purity which is also a symbol of white marble alongside immortality. The composition of the subjects on different levels also links to the idea that people are constantly growing further away from each other. The two appear like lovers in a tragedy who were torn apart by forces of nature and who are immortalised in a pure state like statues as a reminder that love that does not always work.

Detailed Research: Fashion Photographer Research: Juergen Teller -

Fashion: Juergen Teller -

Born: January 28th 1964
Died: N/A
Place of Birth: Erlangen, Germany
Occupation: Artist, Fine Art and Fashion Photographer
Camera: Contax G2, onboard flash
Style: Raw, over-exposed, minimlist, imperfection, "amateur" aesthetic

Notable Places of Work:

• Vogue
• i-D
• Yves Saint Laurent
• Vivienne Westwood
• Marc Jacobs

Other Information:

• Born in Germany.
• Lives in London.
• Studied at Bayerische Staatslehranstalt für Photographie in Munich.
• Married to contemporary art dealer Sadie Coles.
• Involved in arts other than photography; has directed short films including the 1998 'Can I Own Myself'.
• Became Professor of photography at the Academy of Fine Arts in Nuremberg.

Examples of Work:

This image reflects the photographers style of "amateur" aesthetic very well in that the image appears as though it could have been captured on a disposable camera although the style is very deliberate. The image opposes the stereotypical ideas around what it is to be a celebrity and instead shows the actress Keira Knightley in a form that shows her as much like the public. The image could almost have been found by a member of the public whilst looking through photo albums which is part of the aim.

This photograph's warm tones contrast to the look from the subject of the photograph. The clothing reminisces about childhood with the use of the yellow raincoat.

This photograph is interesting due to the composition. The mirror and the off centre photograph creates the "amateur" aesthetic whilst the thought out warm colours of pastel pinks work together to create the finished outcome.

This photograph of Kate Moss well captures the essence of the subject. The wild child nature is captured, in a softer manner, in the grainy photograph which mimics the disposable camera developed photo or polaroid nostalgia.

This image varies more from the others above as this was for a Vogue campaign. The muted saturation and the interesting rural backdrop conforms to the ideas of aesthetic over-exposure; although, the poses are less conforming to the idea of the "amateur" appearance.

Detailed Research: Fashion Photographer Research: Emma Summerton -

Fashion: Emma Summerton -

Born: January 1st 1969
Died: N/A
Place of Birth: Australia
Occupation: Fashion Photographer
Camera: Unknown
Style: High fashion, raw

Notable Places of Work:

• Vogue
• Yves Saint Laurent
• Agent Provocateur
• Nylon
• i-D
• Topshop
• Selfridges

Other Information:

• Born in Australia.
• Lives in two capitals of fashion: London and New York City.
• Studied at the National Art School in Sydney.
• Worked as a photographic assistant, post-graduation, to Turner Prize-nominated Fiona Banner.

Examples of Work:

The cool tones in this image is one of the reasons that this image is so effective. The direct address of the model to the viewer creates an intense feeling thus matching the cold atmosphere; the focal length which blurs the drink and focuses on the face and eyes also aids this. The use of contrasting colours is also important in the juxtapositions of cool blues and warm reds both in the background, on the model and in the foreground in the prop of the drink.

This image is all about raw female empowerment and even more than that, black female empowerment. Often within the media black women have been reduced to the status of being invisible or simply meeting a model quota but recent advances in media have lead to a movement of appreciation. This image features: Rihanna, Iman and Naomi Campbell. The image not only is challenging racism, sexism but also ageism in the media by showcasing women from different age categories all looking powerful and beautiful.

This image is interesting due to its composition; the use of the grid system means that the viewer is taken on a journey through the photograph to see all the faces of the models. The image features women of black decent and is a photograph of empowerment and beauty. The strong poses held by the models showcase the bold patterned clothes and somehow manage to fit and juxtapose the scenery all at once.  The muted saturation is another element that makes this image so striking.

This photograph is very much about exemplifying the clothes on the model and this photograph does this extremely well despite the fact that the image is in black and white. The increased contrast between black and white provides extreme differences so that they viewers eye is attracted to follow the flowing shapes of flames along the bottom of the dress. Additionally, the pose and make-up contrast the flow of the curved dress in that the arms are angular and the shadows on the face create sharp lines on the eyebrows and nose which also helps to link in the idea of the product being almost an oxymoron of light stereotypical femininity in the fabric but the flame pattern symbolising a more fierce female personality.

This photograph in its colours, pose and angle all come together to create a sensuous overtone. I would not be surprised if this photograph is for the client Agent Provocateur and that the product being sold is the undergarment featured on the lying female. The colour of the green and blue combined gives the impression of a motel which has been a favoured location to shoot in for a long time now. The messy bed and overhead mirror all connote sexuality and help to sell the product and the idea of female power. The lost identity of the male allows the focus to be placed solely on the female as the main focus of the photographic campaign.

Research Log: Fashion Photographer Research: Adam Goodison -

Fashion: Adam Goodison - 

Why Chosen:

I chose the photographer Adam Goodison because his work within fashion also include elements of surrealism and allows audiences to have various interpretations of his work. Additionally, his use of colour and lighting have influenced me greatly. High key lighting as featured in the first image is typical within fashion photography although the low key lighting of the second image and the colour gel lighting of the third are less commonly used and are techniques that I have explored and would possibly use again in the future.

Examples of Work:



Denotation: The subject is central to the image with the props composed around the model. The lighting used is high key lighting and is a common feature of fashion photography. The colure used contrast well against the white backdrop and the positioning of the lights aid in creating shadows. The framing is typical portrait for use in magazines and such.

Connotation: The connotation of this image could itself be a criticism of the fashion industry; the model is posed amongst the mannequins and thus could implicitly be understood as a thing as opposed to a person by the industry. The shadows featured as a result of the high key lighting could imply the darker nature of beauty and fashion.

Context: Goodison is a fashion photographer who has worked with customers such as House of Holland, Wonderland, Volt, Novembre, Hunger, Vision China, Tank, Burberry, Givenchy, Off Black.



Denotation: The denotation of this image includes the lighting being that of low key technique. The lighting might have also employed cool colour gel filters or a natural density filter could have been applied to the camera lens. The subject is placed centrally within the compositional framing and the eye is immediately take to the face of the model due to the circular framing behind the head which is reminiscent of renaissance halos.

Connotation: The model is framed by a renaissance-like halo bearing the Versace logo as is further enforced by the golden tendrils emanating from the mask. The outfit is composed of a material that resembles a bin-bag which could imply the lengths of the fashion industries individuality and originality.

Context: Goodison is a fashion photographer who has worked with customers such as House of Holland, Wonderland, Volt, Novembre, Hunger, Vision China, Tank, Burberry, Givenchy, Off Black.



Denotation: The denotation of this image is a low key lighting silhouette shoot with the use of colour gels. The subject is posed in a way that created interesting angles and emphasises the silhouette of the clothing. The image also appears to use a gradient on the right side of the photograph gradually lightening the further left the eye is drawn. The curves of the body take the eye of the audience on a journey to study the clothing.

Connotation: The connotation of this image could be that fashion is not simply about how it looks explicitly, it creates an atmosphere and helps build character and that an audience should not dismiss clothing and fashion as a show of vanity but experience it as a lifestyle inspired by clothing.

Context: Goodison is a fashion photographer who has worked with customers such as House of Holland, Wonderland, Volt, Novembre, Hunger, Vision China, Tank, Burberry, Givenchy, Off Black.



Denotation: The lighting employed within this photograph is high key lighting and the subject is the same one as featured in the first image outlined at the top of this post. The subject is somewhat off centre and is staring away rather than making a direct address to the audience as is a technique used in most fashion photoshoots. The backdrop has become a prop in the shoot as the model is ripping through the backdrop.

Connotation: The implicit meanings of this image could be in reference to the breaking down of societal and industry expectations of beauty and technique. The model is frozen in time as though she is a mannequin much like in the first image. The gloves and earrings connote wealth and status whilst the hair and make-up is more free and un-restricted.

Context: Goodison is a fashion photographer who has worked with customers such as House of Holland, Wonderland, Volt, Novembre, Hunger, Vision China, Tank, Burberry, Givenchy, Off Black.

Research Log: Fashion Photographer Research: Elizaveta Porodina -

Fashion: Elizaveta Porodina - 

Why Chosen:

I chose the photographer Elizaveta Porodina because she is a high class fashion photographer who also experiments with ideas of the surreal as is often required for photoshoots in magazines. Additionally, the variations in her works are extreme with the styles, colours and framing ever changing to fit the individual. Porodina also layers implicit meanings beneath her images which is vital to the surreal ideas of fashion in my project.

Examples of Work:

Denotation: The image is tonally edited with a black and white filter with the contrasts between gradient areas having been increased. The subject is central to the image and is making a direct address to the audience. The framing of the photograph is smaller than a typical fashion shoot. 

Connotation: The connotation of this image, being associated with metamorphosis, appears to study the ways in which women are perceived in society and within the fashion industry and how changes often have to be made. The model looks as though she is experiencing pain or sorrow as she pulls away the eyelashes from her eye which could symbolise the beauty standards of society. Moreover, the juxtaposition of the stereotypically assumed masculine shaved head is the employment of makeup which contrasts and challenges the audiences ideas on what femininity is as a concept. 

Context: This image and the below image are both from the series entitled "The Surreal Metamorphosis". 

Denotation: The denotations of this image lie in its style. The image itself is an example of solarisation and could be seen to be inspired by the surreal work of Man Ray. The subject is central to the image. The composition is unusual in that there is a second subject in the form of a hand reaching from outside of the framing into the image as though the audience themselves were involved in the image. 

Connotation: This image again appears to study the beauty standards of society and the fashion industry. The image features the same model from the first image but this time with a full head of hair and in the process of hair and beauty as opposed to removing it. This could be exaggerated by the use of colour in that the solarisation technique makes the image appear like a negative of itself; this could imply that once the views have been enforced in a hegemonic way then the true metamorphosis begins and the person is changed to fit the new style (the solarised as opposed to the standard black and white). 

Context: This image is again part of the series "The Surreal Metamorphosis" and was made in cohesion, exclusively, for a modelling website. 

Denotation: Two models sit in a manner not conforming to the compositional rule of thirds grid but instead subvert it. The image uses colour unlike the two featured above although series' as a whole in Porodina's work tend to have examples of both black and white and colour images. Both models are making eye contact with the audience in a direct address. The colour on the sky is exaggerated and could have been edited to emphasise the gradient colour. 

Connotation: Both models, regardless of their gender, are wearing the same clothes throughout which could imply that the future fashion industry instead targets the public as androgynous as opposed to separated by genders and failing to be inclusive to all genders rather than just males and females.  The structure in the bottom of the image appears to be like that of a playground which could be reinforcing the idea that youths are torn between age categories and are instead caught up in a battle. The playground resembles childhood whilst the other forces of growing older being to weigh down. However, the use of two models to convey the same outfit may just be a clever interpretation of a diptych which stresses the clothes as the viewer's eye is taken on a journey between the models but still always ends up on the outfit. 

Context: The title of this series is "Schoofers" after being eponymously named after the two models Lou and Nils Schoof. The images were taken for STATUS magazine. STATUS is a youth culture magazine that focuses on urban lifestyles such as future fashion, art and music. 

Denotation: The camera is at a low angle canted perspective that creates an almost warped depth of field effect on the backdrop. The model's body is made to appear longer due to the position of the camera and the composition of the room. The position in which the model is standing reflective of the painting of Botticelli's "The Birth of Venus" in the dropped hip position which is uncomfortable and difficult to hold as is re-created by Rineke Dijkstra's beach portrait series. 

Connotation: The model is seen to be wearing masculine clothes, hair slicked back to look shorter and also to be exerting dominance through the positioning of the camera lower than the subject which could link to the idea of the title "Jezebel" meaning a woman who is shamelessly rude. The replication of male position by a female model could be seen by society as a challenge of patriarchy and male domination and thus the women becomes known as a jezebel. Porodina's exploration of gender-bending is another example of surreal fashion photography and has even been replicated many times by female celebrities in modern fashion magazines such as Kate Winslet who wore a suit and slicked back hair; other celebrities also to have experimented with high fashion disregard for gender and appreciation of both gender-bending and androgyny include Kristen Stewart and Jaden Smith. 

Context: This image is from the photographic series "Jezebel" for Platea magazine. The meaning of the word jezebel being: an impudent, shameless or morally unrestrained woman. 

Research Log: Fashion Photographer Research: Tim Walker -

Fashion: Tim Walker - 

Why Chosen:

I chose the photographer Tim Walker due to his portfolio incorporating professional and more personal examples of work. Walker works in fashion but also incorporates surreal ideas and other interesting subjects such as fairytales, nursery rhymes and film. Another reason this photographer is important to my investigation is his use of colour and landscape based portraiture; these ideas are what I would like to incorporate in my photographic study due to the implicit subtle combinations of fashion and surrealism.

http://www.fashiongonerogue.com/tim-burtons-tricks-treats-by-tim-walker-for-bazaar-us/

Examples of Work:



(Storyteller)

Denotation: The style is portraiture with the subject in the central third of the compositional grid. The eye is taken on a journey trough the angular diagonal lines implemented through the layout of the arms.The colours are muted and almost mono tonal in the use of the shade white.  Also, the red of the hat appears significant to the image due to its colour compared to the rest of the less highly saturated image.

Connotation: This image could imply the control of the fashion industry over models and the masses. The people are the puppets to the mechanical control of the fashion industry, we are mimes silently accepting what we are told to wear and how to behave to fit our society. Although, it could simply be explicit in showcasing the clothes within the image.

Context: This was created in cohesion with the the release of the book "Storyteller" released in 2012.
https://www.nowness.com/story/tim-walker-story-teller



(Tim Burton)

Denotation: The two subjects are the centre of the shared portrait image with the colours highly saturated to contrast to the subjects of the portraits. The colour red is again a recurring theme for the photographs. The subjects are characters from the Tim Burton style films with the person on the right as Edward Scissorhands.

Connotation: The possible connotations of this image could be the idea of rejecting beauty standards within society. For instance, one of he characters featured in the photograph, Edward Scissorhands, is renowned for his inability to conform as he was made in a way that a rejected the norms and values. The flowers in the background appear to be

Context: This image is titled "Shutterbugs and Scissorhands" and it a collaboration piece between Tim Burton and Tim Walker for Bazaar magazine as part of the 'Tricks & Treats" photoshoot.



(Alice in Wonderland)

Denotation: The denotation of this image is that there are two subjects creating irregular shapes with their bodies. The lighting is deliberately overexposed and appears to have included minor HDR,  high dynamic range, adjustments. The composition is unusual in that the framing is not conforming to systems such as the rule of three grid or the fibonacci spiral but instead creates a jumpy image that the eye erratically follows due to the framing of the window, the subjects and the messied foreground.

Connotation: The connotation of this image could be the dream quality of life. The rabbit is a symbol of following the unusual path and could therefore in itself imply that people should create a world in which they are happy, much like Alice and the world of Wonderland, by following their own path whether it is relating to fashion or another contextual factor. The colourisation of the image being faded and light hues of colours could again reiterate the ideas of the dream world.

Context: This image was featured in Italian Vogue fashion magazine and is said to be a combination of Alice in Wonderland and aesthetic appeals of Marie Antoinette.



(Tim Burton/ Vogue)

Denotation: The explicit ideas of this image include composition; the rule of thirds is conformed to in this image in that the skeleton prop's arms are in line with the vertical lines whilst the head of the female model intersects the horizontal line in the grid. Furthermore, the colour red is again a recurring theme for Tim Walker; this may be due to this image featuring as part of a series in a magazine so the images have to work together in a cohesive nature.

Connotation: The flowers in the field behind are various types but marigolds are employed. Marigolds are used in certain cultures within festivals of the dead, for instance Dia De Los Muertos, to encourage and guide the spirits of the deceased to come back and visit at the altars during the celebrations due to their bright colours. The bold colours of the image also imply the vibrant nature of the festival through the sugar skull baked good gifted to others or the spirits, La Calavera Catrina known as the elegant skull figures and vibrant face paint and masks of calacas which is a colloquial term used for skulls in the festival. The elegant skull as part of the culture could also have been an inspiration for Tim Burton himself in his construction of the character "The Corpse Bride" who was an upper-class elegant woman with flowers in her hair as is often the modern representation of the figures in the culture and thus this could have influenced Tim Walker, working in cohesion with Tim Burton, to use the prop of a skeleton.

Context:  This image, much like the one previously mentioned, was featured in a magazine this one being Bazaar. This is part of the Tim Burton collaboration in preparation for a showcase of his work at the Museum of Modern Art. The image is entitled "Did you ever dance with the devil in the pale moonlight?". Other images in the series relate to Tim Burton's films "The Corpse Bride", "Edward Scissorhands" and "The Nightmare Before Christmas".