personal statement for photography

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• Photography Personal Statement

Photography Personal Statement Example

Sample statement.

I have been fascinated by the power of the photographic image ever since I first saw Nick Ut’s famous ‘Napalm Girl’ picture of Kim Phuc. I was mesmerised that a simple picture could communicate such sadness, such power and such emotion. As I learned more about the shot, I discovered that the picture had gone far beyond that, changing attitudes thousands of miles away in the USA, and perhaps even changing the course of history. I knew then that I wanted to be a photographer myself.

You only have to look on image sites like Getty Images or Shutter Stock to see the vast range of ideas and emotions that can be captured by a photograph. Not only do pictures paint a thousand words, but they do so in an international language that everyone can appreciate.

It has not been easy to pursue my dream, especially with the high cost of decent photographic equipment, but I was not about to be put off so easily. The local Jessops knew they were on to a good thing when I started working for them at weekends, because they got back every penny I earned in purchases. Nonetheless, this has allowed me to put together a quite impressive set of kit.

My pursuit of a career in photography led naturally to me applying to study a photography course at college. The course is open to students of all ages and this has given me many different perspectives on the subject. My course has also given me access to a wider range of equipment than I was able to get when I was at school. I have been lucky enough to work with black and white and colour film, as well as the very latest in digital cameras. I have also learned basic film processing techniques, and have even persuaded my parents to black out the utility room window so I can practice at home.

My ambition is to become a press photographer overseas, and I would love to capture an iconic image like Nick Ut. However, I am also realistic and I appreciate that there will be a lot of weddings, local newspaper work and cheesey church fetes that I will have to photograph between then and now.

I have an artist’s eye, but sadly not an artist’s hands. I cannot draw or paint in any way that comes even close to the art I can create with my camera. Similarly, I am not particularly sporty, but I can take a cracking action shot of any match to go on the back page. Photography is who I am and what I do and I can’t imagine studying anything else or doing anything else as a career.

I know that this is a highly competitive industry, especially in the area that I would like to work, but I believe that I am good enough to compete and I am not afraid to work hard to get better and hone my craft. This course is the obvious next step for me, and I hope that you will consider my application favourably. 

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Photography Personal Statement Examples

• 1 Personal Statement Example Links
• 2 Career Opportunities
• 3 UK Admission Requirements
• 4 UK Earnings Potential For Photographers
• 5 Similar Courses in UK
• 6 UK Curriculum
• 7 Alumni Network

Personal Statement Example Links

• Personal Statement Example 1
• Personal Statement Example 2
• Personal Statement Example 3
• Personal Statement Example 4
• Personal Statement Example 5

Are you interested in pursuing a career in photography? Whether you’re a beginner or a seasoned pro, a photography course can help you hone your skills and take your career to the next level.

Photography is an interesting and relevant choice for students looking to explore their creative side. This university course offers an introduction to the fundamentals of photography, including the use of various digital and analog cameras and equipment, as well as the basics of composition, lighting, and editing. Students will learn the basics of how to capture and create images, as well as how to use their newfound knowledge to create stunning works of art.

With a focus on both the technical and creative aspects of photography, this course provides a comprehensive overview of the field, making it an ideal choice for students who are looking to pursue a career in photography or simply explore their creative side.

👍 When writing a personal statement : Highlight your passion for the course, demonstrating your understanding of it. Use relevant personal experiences, coursework, or work history to showcase how these have fostered your interest and readiness for the course.

Career Opportunities

There are many career opportunities available to those who want to take up a Photography course. Check out some of them below:

1. Professional Photographer: Professional photographers can work in a variety of industries and sectors, such as fashion, advertising, journalism, portrait, wedding, and event photography.

2. Photojournalist: Photojournalists work for newspapers, magazines, and other media outlets to capture newsworthy events and stories in pictures.

3. Photo Editor: Photo editors work for publications, websites, and other media outlets to select, edit, and prepare photographs for publication.

4. Photo Retoucher: Photo retouchers specialize in the digital editing of photographs to enhance the quality or appearance of the images.

5. Art Director: Art directors are responsible for the visual style and design of a publication, website, or other media outlet.

6. Graphic Designer: Graphic designers create visual concepts, using computer software or by hand, to communicate ideas that inspire, inform, and captivate consumers.

7. Videographer: Videographers use cameras and other equipment to capture video footage for television, film, and other media outlets.

8. Digital Imaging Technician: Digital imaging technicians are responsible for the capture, manipulation, and printing of digital images.

9. Digital Artist: Digital artists create digital images, animations, and other visual effects for films, television, and other media outlets.

10. Web Designer: Web designers create websites and web pages using HTML, CSS, and other programming languages.

UK Admission Requirements

In order to be accepted into the university course in photography, applicants must have achieved a minimum of five GCSEs or equivalent qualifications at grade C or above, including English and Maths. In addition, they must have achieved a minimum of two A-levels or equivalent qualifications at grade C or above.

The entry criteria for this course is comparable to similar courses, such as those in film, media, and art. However, applicants may be required to provide evidence of their artistic ability, such as a portfolio of work, in order to be accepted. In addition, some universities may require applicants to complete an interview or audition.

UK Earnings Potential For Photographers

The average earnings for someone with a degree in photography can vary greatly depending on the type of photography they specialize in. Generally speaking, the average salary for a photographer in the United Kingdom is around £25,000 per year. However, those who specialise in wedding, portrait, or commercial photography may earn significantly more.

In terms of trends in the job market, the demand for photographers is expected to continue to grow over the next decade. This is due to the increasing popularity of digital photography and the need for photographers to capture special moments in people’s lives.

Additionally, the rise of social media and online platforms has created a need for photographers to create content for these platforms. As a result, the job market for photographers is expected to remain strong in the coming years.

Similar Courses in UK

Other university courses related to Photography include V isual Arts, Graphic Design, and Art and Design . Visual Arts focuses on the study of visual culture, including the history, theory, and practice of art and design.

Graphic Design focuses on the use of visual elements to communicate messages through art, typography, and photography. Art and Design focuses on the study of the visual arts, including painting, sculpture, and photography.

The key differences between Photography and these other courses are that Photography focuses on the technical aspects of taking and processing photographs, while Visual Arts, Graphic Design, and Art and Design focus more on the creative aspects of the visual arts.

Photography also requires a more technical understanding of the equipment and techniques used, while the other courses focus more on the creative aspects of the visual arts.

UK Curriculum

Year 1 : Introduction to Photography – Teaches the fundamentals of photography, including camera functions, composition, and lighting.

Year 1 : Digital Imaging – Covers the basics of digital photography and post-production editing using software like Adobe Photoshop and Lightroom.

Year 2 : History of Photography – Explores the historical development of photography, key movements, and influential photographers.

Year 2 : Studio Photography – Teaches studio lighting and portrait photography, including working with models and managing a studio.

Year 3 : Landscape and Documentary Photography – Covers techniques for outdoor and documentary photography, including storytelling and ethics.

Year 3 : Commercial and Advertising Photography – Provides skills for commercial photography, such as product shots, fashion, and advertising campaigns.

Year 4 : Advanced Post-Production – Explores advanced editing techniques, including retouching, color grading, and special effects.

Year 4 : Portfolio Development – Helps students create a professional portfolio, showcasing their style and skills for prospective employers.

Throughout the Course : Critiques and Exhibitions – Regularly scheduled sessions for students to present their work for critique by instructors and peers, as well as opportunities to exhibit their work.

Alumni Network

Notable alumni from the university course photography include Pulitzer Prize-winning photojournalist and MacArthur Fellow, David Hume Kennerly. He is a renowned photographer who has captured iconic images of presidents, celebrities, and world leaders.

Kennerly has also been a contributing photographer for National Geographic and Time Magazine. He is currently a contributing editor for Newsweek and has recently been awarded the National Press Photographers Association’s highest honor, the Joseph A. Sprague Memorial Award.

Alumni events and networking opportunities available for photography students include the annual Photographers’ Reunion, which is held each year in the spring. This event gives alumni the opportunity to reconnect with their former classmates and network with industry professionals.

Additionally, the university’s photography alumni group hosts regular meetups and workshops to help alumni stay connected and stay up to date on the latest trends in photography.

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Photography Personal Statement

Sample Photography Personal Statement

For as long as I can remember, visual and performing arts have been at the centre of my life. From drama productions, to after-school ceramics groups and learning Cello and Piano, expressing myself creatively is my passion. My interest in Photography was sparked through my love of fashion, and it has become my ambition to one day have my own work commissioned for magazines such as Vogue.

I am currently undertaking an Arts Foundation Course in preparation for university study. I have been building on my extensive and varied Photography portfolio that I created for my Art & Design A-level, some of which was displayed publicly through a college exhibition. My recent experiments with textiles have helped me appreciate the use of different textures and materials in photographic compositions, particularly the differing ways that light reflects off them. This has helped to develop my own unique style of photography, from which I gain inspiration from the natural surroundings, my family and friends, my travels and the fashion media. I have been particularly motivated by the exhibits of Alexander McQueen and Yoko Ono at the Royal Academy’s recent AWARE art and fashion identity exhibition. A visit to Barcelona to view the work of Dali and Miro also had a lasting effect on me.

Over the past three years I have also compiled a number of scrapbooks, incorporating photographs, cuttings and materials. These projects display my belief that photography can capture a life span in one shot, that it can see through the outer layers that we all portray through to the very soul and true emotion of the subject matter. I find Corrine Day’s work from the early 1990’s inspirational because of the way she manages to delve beneath the surface of her models and convey strong emotions. I spend a lot of time studying fashion photography in magazines such as Vogue and ID. I want to learn how to produce such powerful images during a Photography degree, so that my work will in the future be recognised and appreciated.

I also look forward to building on my editing skills during a Photography degree. I have completed a Key Skills Certificate Level 2 in Information & Communication Technology, and am already competent with the use of Photoshop, so am equipped with the basic technical skills to learn more complex post-production techniques.

I am currently seeking part-time work with a professional photographer to compliment my academic studies. I also spent 7 months in 2009 working in TKmaxx, which gave me a valuable insight into fashion retailing and enabled me to buy my Cannon ES, which is now never far from my side. In my spare time I have taken music and drama exams and dedicated time and effort to charity work.

I have been on two pilgrimages to Lourdes to help elderly and disabled people visit the shrines there, competed in two charity bed races to raise funds for children with Muscular Dystrophy and sky dived in aid of Alzheimer’s. These experiences were challenging at times but the friendships I have built and the satisfaction I have gained from making a difference to other people’s lives made the hard work all worthwhile. I developed patience, independence, excellent communication skills and the ability to work well in a team. I am a highly self-motivated individual who has a clear vision of where I want to go in life and what I need to do to get there. My dedication to a Photography degree is the necessary next step to achieving my ambitions, and one I look forward to with excitement.

We hope you found this sample photography personal statement helpful.

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Photographers Field

Exploring the photographic field, photographers artist statement | 9 ways to write an interesting statement.

There are some specific things that you can add to a well-written photographers artist statement. It’s important that you as a photographer write it from your own perspective which helps you express the meaning and purpose behind your work.

Table of Contents

Why do you need an artist statement?

An artist statement is a stand-in for the artist when they can’t be present to talk about the work. So it is essential that it will communicate what is needed when you as an artist cannot be there to do that for yourself. Think of it as your business card, a bit longer though, but it is a tool for you to show who you are and why your work is important.

The best statements put the work in context but don’t force an interpretation on the viewer. Keep in mind to have some personality to your statement — the tone should fit really well with the work that you’re describing.

The emphasis should be on the basics of communicating something about the work.

How To Write Your Photographers Artist Statement

1. personalize it to sound like you.

An artist statement isn’t a persuasive statement. You don’t want to tell viewers how to receive your photographs. Rather, you want to provide them with details that support your images and allow them to react to those details in whatever way they see fit.

The voice that comes through in your writing can help you differentiate yourself.

Ask yourself the following:

• What is the reason I have created this work?
• What is the narrative in my work?
• What do you find to be inspiring regarding your work / what have influenced it ?

Always write your artist statement in first person (using ‘I’ and ‘my’)

2. Brainstorm Keywords

Brainstorm a list of words that best describe the mood and elements in your work.

These words will work as guidelines to form the rest of the sentences around with. Choose wording that is clear and concise , and try to take out repetition in the form of synonyms.

3. Explain Who You Are And What You Do

This requires the artist to know who they are and where do they fall into, in the field of photography. So before you start, look at your work objectively, and maybe even see how the artists who have similar themes have gone about it.

It should cover the subject of your photographs, what are the mediums you’ve used while creating them and how did you come to the conclusion of creating them ( your why ).

You can communicate whatever you feel in necessary for the background of the project or the overall work you’re presenting. If you feel your gender clarifies the reasons behind your work, add that information.

Make sure you have a sentence or two to truly emphasize the main points in your work.

4. Tell What Is Your Medium And Methodology

Provide details that express how the ideas in your statement are reflected in your work and why you chose the medium of photography to express yourself. Describe how your experiences have influenced your work.

If your method for creating the work or the materials you use are crucial to understanding the work, include that information in a statement.

If you’re shooting with analog, you can add that to the statement. The reasons for shooting analog might be to being present in the photography moment for example.

5. Keep Your Audience In Mind

Even if your audience is changing, and you find it difficult to address it to a specific audience, it will eventually narrow the way you communicate about your work.

Some artists are afraid that by writing too literally, they risk pinning down the meaning of the work. There is a risk for that, but by providing something tangible, the viewer can then make their own interpretation.

First it might seem like you want to leave it open for everyone to experience -which you of course are doing – but by expressing your standpoint in your work, you give the viewer the ground to know how they fall on the spectrum of the audience.

If for example your work is about mothers, you are also addressing an audience who want to be mothers in the future, or even the people who have grown without a mother.

But your audience will change once you change the focus of your application; you might have to rewrite a statement if you want to apply for a grant than if you would be applying for an exhibition.

6. Write Multiple Versions

As a photographer and photo artist, be aware when writing anything about your work and process, you do not write anything with haste.

Start by writing one statement with everything you can think of adding, and then start to peel it like an onion , by taking something out of it and revising it over and over again.

This way not only can you better your writing skills, but you will start to see what are the words and elements that show up again and again in different versions of your statement.

7. Take Out The Fluff

Everyone of us has probably read a statement that left you without any real information. It was a statement with some fancy wording and repetition. It might’ve even left you more confused than what you felt prior to reading the statement.

Photographers tend to be defensive in their statements , and to explain why they are making the work and why it is being made. An artist statement shouldn’t have such theoretical, specialized language in it that any reader is going to lose interest after two sentences.

You do not want to bore your viewer with something that will have them lose interest before they even get to your visual material.

A teacher once pointed out; ‘Would your mother understand it if she read it?’

8. Show Your Statement To Someone Who’s More Experienced

It’s critical that artists find people who will give them good advice about their writing.

As artists we get so stuck in it and we think that something is really clear when it isn’t, which can be a detriment to the work.

The same works with our actual imagery, we might be infatuated on a specific way of creating it, but having a fresh pair of eyes to review it will bring out details you might’ve not noticed otherwise.

9. Less Is More

A photographers artist statement doesn’t have to be lengthly. The more you add to the statement, the more it might start to repeat itself. Choose to write a compact piece that is short yet punctual, leaving the reader to instantly know what you’re about and what is your work all about.

Just make sure you’ve articulated the most important points all while keeping it interesting. It might need some practice, over and over again, but eventually you’ll get the hang of it.

Artist Statement Examples

Here’s an example where the artist personifies their pieces by comparing them to nature:

Timeless and tasteful, or modern and messy, flowers demand to be examined. I use multi-layered wax paint to create highly textured, three-dimension works on canvas and paper. I’m inspired by the color, wildness and creativity of springtime. I also recreate wedding bouquets and other meaningful arrangements to capture these focal points forever.

In this collection, I’ve focused on the wildflowers of Maine, often growing unencumbered and inconspicuously. But they still take my breath away. Forget the demure; these flowers burst with energy, life and texture, layer upon layer of evolution and growth. They challenge your expectations of the everyday.

In this example, a glass artist connects with their viewers on a more personal level:

Throughout my years as a glass artist, I’ve found that only grief is more fragile than the medium I work with. My shards strive to capture this emotion that’s so personal yet universal using a combination of refracted light, bold staining and unique sculptures. While the pieces are off-limits, I hope they encourage you to get in touch with the feelings you may have been avoiding.

What are the struggles you have when writing your own artist statement?

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• Sep 30, 2021

MFA Photography Personal Purpose Statement Examples

Updated: Apr 17

I see images as having much in common with advanced languages: raising questions, provoking answers, and generating ongoing creativity. Visual art is an expression of the enthusiasm resulting from the community. This is the image that I struggle to capture, a slice of society in time and transformation, a symbol. I hope to be selected for the MFA Program at XXXX to have the space, tools, and inspiration at my disposal to give my all to the power of visual images, photography, and beyond, incorporating the power and energy of music propelled by the thrust of literature – a photographer, a poet.

My goal is to become an outstanding visual and mixed artist, evoking reflection, and profound sentiment, helping to orient my community to a celebration of compassion and solidarity as timeless, transcendent values. I hope to earn the MFA at XXXX for distinct reasons, including the location. For an artist and Art critic and a student of cultural change and diversity: LA is hard to beat. The creative interests of the faculty, and guest speakers, and the sense of being at the Art World's forefront all informed my decision.

I want to broaden my use of media, increasingly incorporating other media in some way into at least some of my photography. I am keen on interdisciplinary work: installation, sculpture, printmaking, video, and music is the purest form of Art. Thus, the idea of capturing or expressing music in my photography strikes the center of my being. I hope to have the privilege of doing the best that I can to make my photography capture, express, and celebrate the power and emotion of music on at least some level. The vibration starts with motion, tones, and frequency which elicit emotion. I seek to control my interaction's tone, texture, and presenting strategy. My most recent efforts involve the application of hot wax to prints, giving them a translucent quality and enhancing details in darker areas. These days, I spend a lot of time trying to print text with hot wax, with enough success to keep me going since I am very persistent.

I look forward to using various materials in my work since I appreciate each material's unique attributes and metaphors. For example, I see waxes and oils as generally corresponding to organic. In contrast, LN2 (liquid nitrogen) equals clean and cold, also the ultimate sense of sublime — because LN2 may also suggest death. The scope of my thinking and influences are broad, and I define my quest in photography using terms that come from Philosophy, Music, and Literature. I want to create my work as a container or a structure in a framework that allows an audience to imagine freely. Because I grew up in China, Chinese culture and aesthetics have informed my vision, which will always be integral to my artistic expression.

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Artist Statements for photography

An artist statement should address or include the following:

• A poetic interpretation of your work, supporting the conceptual and visual connections in your work.
• Self awareness of how other artists or sources have inspired or influenced you to make your work.
• A brief discussion about  why you are making the work

Avoid writing a statement that simply describes how the work has been made or offers a written explanation of the visual strategies employed in making the work.  If you are not sure whether you are being too literal in your statement, consider the following guide;

• If a viewer can see it in the image, don’t describe it in your statement

A poetic interpretation of your work

This is an important part of any statement as it supports the ideas and concepts in the work.  Sometimes you may feel the need to explain why certain aspects of your work is important to you, or why you choose a particular theme, or you may want to articulate something about the background of your ideas.

For me, the American West is the place where things fall apart.  When I was a boy, I got to know it via films, Westerns and adventure stories by German writer Karl May.  Whenever I imagined the West, I saw incredible country that had only just been conquered, in a fairly recent past, the 19th century.  When I went there, I thought that because I had been present when the West was won, so it speak, civilization must be established there.  But it wasn’t at all: civilization simply passed through… Wenders, W. (1987)  Written in the West . Schirmer Art Books, pg. 11.

A poetic interpretation can also consider how you want to support the way people experience your work.

Self awareness and inspiration

An artist statement submitted for assessment should also articulate and provide evidence of your influences and sources, and how they have helped shape or inform the ideas in your work.  Simply adding a quote, or including a long list of books in a bibliography is not enough.  If you quote another source, you must form a discussion around  the content of the quote.

Perhaps the easiest way to address an artist statement is to start with  why .  Why are you making this work, why are you choosing, above all other things, to photograph the thing you are photographing?  Answering this question in the statement will begin to help you formulate ideas for the statement.

Some examples and links

Tate Gallery, UK

Around 1998 I was commissioned to do a work involving the Thames. I came over to London and spent a lot of time around the river. The river is mesmerising and I felt deeply drawn to it. At the same time, I had just ended a long love relationship and was extremely sad. So the two things came together in what I now see was a kind of vicarious suicide. This is Still Water (The River Thames, for Example) (1999). It is a series of pictures of the water that are footnoted with whatever I was thinking of at the time, what the river provoked in me and what was in the river itself.

I had this fabulous assistant, Helena Blaker, who helped me to research the river, get some basic facts, and it turned out that the darkness of the river, which I thought was simply mud, etc, was in fact the darkness of London. We were able to interview the river police, taxi drivers, whoever worked on or knew the river, and through them we found out incredible things. The Thames attracts a very high number of suicides, many from other countries, and a significant number of so-called deaths by misadventure and death by extremely violent means – lots of dismemberment and so on. More research from Dickens to Conrad revealed that this darkness had historic dimensions as well.

I think of my images of the Thames as a mirror. All the associative images that coalesce around this work, whether it is the similarity of the water with the desert or with aspic, the endless range of imagery, is a product of photographing something that is a master chameleon. Or the ultimate mime. The ultimate mime is the thing that keeps its distinction from everything else. When you think about that fact – of imitation or reflection and the possibility of losing your identity in that connection – you realise how water never loses its identity, it is always discretely itself. And I am deeply drawn to that possibility of existing in two spaces at the same time, without any contradiction; a lot of paradox but no contradiction, a lot of things being the opposite of what they are, but somehow they can carry on with being both sides of the story. The river chameleonised me, as it had done London. So this peculiar reciprocity drew me in deeper and deeper. And the footnotes (taken from another water) weave all of this together.

Heidi Museum of Modern Art, March to July 2013

Wall text (Curator’s Statement)

Over a career spanning almost forty years Fiona Hall has been variously described as an alchemist, an adventurer an eco-writer, and a creative genius. She is best known for her transfiguration of commonplace materials into extraordinary organic forms that have both contemporary and historical resonance.  Her interdisciplinary practice attends to the complicated relationship between nature and culture, celebrating the marvels of the natural world while engaging head-on with issues as wide-ranging as gender politics and colonial history.

In recent years worldwide environmental destruction has become Hall’s predominant concern.  This exhibition draws attention to the Earth and its life-forms as battlefields and wastelands decimated by the violent forces of human greed and folly.  Two major bodies of work on this theme are brought together, augmented by an array of conceptually linked installations and individual pieces highlighting environmental debates.  In Fall Prey , Hall’s focus is on critically endangered species from across the globe and the degradation of the ecosystems they inhabit.  The accompanying Kermadec works shift the agenda to the unique marine environment of the Kermadec Trench on the Pacific Rim of Fire; a ten kilometer-deep cradle of life teeming with biodiversity and under threat from the mining and fishing industries.

Big Game Hunting represents the artist’s love of, and lamentation for, the natural realm.  In it she navigates the volatile terrain of environmental politics, exposing our role in abetting the disappearance of species and depletion of biosystems.   While her message is universal and her art communicates to everyone, like an archaeological site it must be excavated layer by layer to fully yield its secrets.  Visual stimulation, intellectual engagement, wit, and wonder are to be found in equal measure, underpinned by a powerful warning to humanity: as Hall observes her work is a ‘carrion call, sounding the siren in a dying wilderness’.

THE BARBARIANS AT THE GATE

This installation links the lives of bees, universally accepted as ‘social’ insects, with the colonial concept of nation-state building.  With colonization and other movements of people over the centuries, bees have spread with plants and other animals into foreign habitats, forever changing world ecologies.  Their ordered colonies have been likened to societies with rigorous town planning or to prisons, while their habits have inspired Western imperialists to the extent that they are now being trained by the American military to detect bombs.  The term drone is used to describe unmanned surveillance and missile aircraft.  Today bees are themselves threatened by colony collapse, at the hands of twenty-first century ‘barbarians’.

The Barbarians at the gate draws particular attention to the history of conflict in the Middle East.  Nineteen beehives are painted in military camouflage patterns associated with the nineteen countries that have sent armed forces to this region, which to Hall are ‘very strange bedfellows’, that speak ‘volumes about historical allegiances and divides’.  Each hive supports an architectural icon representing a regime of power within that country, alerting us to the many forces at play in both the history of colonization and the globalization of identities.

Sample Statements from  Photography Speaks: 150 Photographers on their art Johnson, B. (2004)  Photography Speaks: 150 Photographers on their art . Norfolk, Va. Aperture Foundation / The Chrysler Museum.

I want that chocked up feeling in your throat which maybe comes from despair or teary-eyed sentimentality: conveying intangible emotions.

A photograph should transcend itself, the image, its medium, in order to have its own presence.

These are pictures of emotions personified, entirely of themselves with their own presence – not of me.  The issue of identity of the model is no more interesting than the possible symbolism of any other detail.

When I prepare each character I have to consider what I’m working against; that people are going to look under the make-up and wigs for that common denominator; the recognisable.  I’m trying to make other people recognise something of themselves rather than me.

I have this enormous fear of being misunderstood, of people thinking the photos are about me, that I’m really vain and narcissistic.  Then sometimes I wonder how it is I’m fooling so many people, I’m doing one of the most stupid things in the world which I can’t even explain, dressing up like a child and posing in front of the camera trying to make beautiful pictures.  And people seem to fall for it.  (My instincts tell me it must not be very challenging then.)

Believing in one’s own art becomes harder and harder when the public response grows fonder.

Though it is generally accepted that abstract art refers to those works inspired by the imagination of the artist rather than by objective reality, in photography, in which images are produced by the lens, this distinction is difficult to sustain.  In the broadest sense of the term, an optical image is an abstraction from the natural world – a selected and isolated fragment of what stands before the camera.  When the selected image is self-explanatory and does not imply more than what lies within the area it is usually referred to as abstract, that is, independent of its surroundings – a pattern of rock, for example, or lichens, or grasses.  On the other hand, in the wider scenic view common in most landscape photography, the selected image implies a world outside the limits encompassed by the lens.

Photography of nature tends to be either centripetal or centrifugal.  In the former, all elements of the picture converge toward a central point of interest to which the eye is repeatedly drawn.  The centrifugal photograph is a more lively composition, like a starburst, in which the eye is led to the corners and edges of the picture: the observer is thereby forced to consider what the photographer excluded in his selection.

I do not photograph for ulterior purposes, I photograph for the thing itself – for the photograph – without consideration of how it may be used.  Some critics suggest that I make photographs primarily to promote conservation, but this allegation is far from the truth.  Although my photographs may be used in this way, it is incidental to my original motive for making them which is first of all for personal aesthetic satisfaction…

Ultimately, to be successful as a work of art, a photograph must be both pleasing and convincing.  It must not leave the viewer in doubt about the validity of its subject, whether representational or imaginary.  Every part must contribute to the unity of the image from corner to corner – no discordant note should be permitted.

I’ve been a photographer since I was a teenager.  My mother was a baby photographer, going door to door.  I always had my Rolleiflex and strobe with me because I was working for my parents.  I never thought about photography in other terms, as art or anything.  But then I went to a commercial photography school which happened to be in an art school.  So I was exposed to kids who were doing art and to a lot of the documentary photography from the old Life magazine of the fifties when they were doing those great photo essays.  Eugene Smith had quit Life because they wouldn’t give him enough time to do the assignments.  He was always writing these diatribes about the truth, and how he wanted to tell the truth, the truth, the truth.  It was a real rebel position.  It was kind of like a teenager’s position: why can’t things be like they should?  Why can’t I do what I want?  I latched on to that philosophy.  One day I snapped, hey you know, I know a story that no ones ever told, never seen, and I’ve lived it.  It’s my own story and my friend’s story.  I would go back to Oklahoma and start photographing my friends.  That’s when it snapped – I wanted to be a story teller; tell a story.  Which I hate even to admit to now, because I hate photojournalism so badly.

In the beginning, I was just trying to make photographs.  Someone would come in and I’d see a light and shadow and recognise things that were dramatic.  First of all, I was trained as a portrait photographer.  And you’ve got to make people look good or you don’t get your $10.95.  Second, they’re my friends and they’re seeing the photographs as we go along.  If you’re coming back and showing pictures where they don’t look good, they’re not going to want you to take their pictures any more.  Many photographers and photojournalists are great at grabbing the picture, being quick and focused and framing the composition but they don’t care what the people look like.  I did.  I could do all that plus get the person to look like I would like them to look, or they would like to look.

The shot of Billy on the bed with a gun, I always looked at that as alike a baby picture.  If you looked at some of the baby pictures my mother or I took, it could have been that pose.  I didn’t get it at first, but I knew it was great.  It was a natural picture.  With the white sheet on the background it could be a studio picture.  I was able to get that quality when it was actually happening, that quality of looking up.  People often ask if I set these pictures up and then say, ‘No you couldn’t have, but how did you get them to look like that?’

It (Tulsa) came out right after I finished it in 1971.  The first section is 1963, the middle section is 1968, and then the last section is 1971.  About half of the book is 1971.  I went to Tulsa and did all those pictures in a matter of months.  I knew every aspect of the life and knew what was missing from the book.  I went back and was almost … waiting for those photographs to happen.  I didn’t know how they would happen but I knew I would be ready.  It was a real hot period.

There is nothing as mysterious as a fact clearly described.  What I write here is a description of what I have come to understand about photography, from photographing and from looking at photographs.

A work of art is that thing whose form and content are organic to the tools and materials that made it.  Still photography is a chemical, mechanical process.  Literal description, or the illusion of literal description, is what the tools and materials of still photography do better than any other graphic medium.  A still photograph is the illusion of a literal description of how a camera saw a piece of time and space.  Understanding this, one can postulate the following theorem: Anything and all things are photographable.

A photograph can only look like how the camera saw what was photographed.  Or, how the camera saw the piece of time and space is responsible for how the photograph looks.  Therefore, a photograph can look any way.  Or there’s no way a photograph has to look (beyond being an illusion of a literal description).  Or, there are no external or abstract or preconceived rules of design that can apply to still photographs.

I like to think of photographing as a two-way act of respect.  Respect for the medium, by letting it do what it does best, describe.  And respect for the subject, by describing it as it is.  A photograph must be responsible for both.

I photograph to see what things look like photographed.

I really don’t care what my father looked like, and I’m sure you don’t very much either.  What is important however, is what did or did not transpire between us.  That lack of communication, love, conflict is my legacy, my history.  This is what matters to me, and this is what I want to share with you.  I write with this photograph not to tell you what you can see, rather to express what is invisible.  I write to express these feelings.  We are our feelings.  Photography deals exquisitely with appearances, but nothing is what it appears to be.

I photograph my children growing up in the same town I did.  Many of the pictures are intimate, some are fictions and some are fantastic but most are of ordinary things every mother has seen; a wet bed, bloody nose, candy cigarettes.   They dress up, they pout and posture, they paint their bodies, they dive like otters into the dark river.

They have been involved in the creative process since infancy.  At times, it is difficult to say exactly who makes the pictures.  Some are gifts to me from my children: gifts that come in a moment so fleeting as to resemble the touch of an angel’s wing.  I pray for that angel to come to us when I set the camera up knowing that there is not one good picture in five hot acres.  We put ourselves into a state of grace we hope is deserving of reward and it is a state of grace with the Angel of Chance.

When the good pictures come, we hope they tell truths, but truths ‘told slant,’ just as Emily Dickinson commanded.  We are spinning a story of what it is to grow up.  It is a complicated story and sometimes we try to take on the grand themes: anger, love, death, sensuality and beauty.  But we tell it all without fear and without shame.

Memory is the primary instrument, the inexhaustible nutrient source; these photographs open doors into the past but they also allow a look into the future.  In Beckett’s Endgame , Hamm tells a story about visiting a madman in his cell.  Hamm dragged him to the window and exhorted; ‘Look! There!  All that rising corn! And there!  Look!  The sails of the herring fleet!  All that loveliness!” But the madman turned away.  All he’d seen was ashes.

There’s the paradox; we see the beauty and we see the dark side of things; the cornfields, the full sails, but the ashes as well.  The Japanese have a word for this dual perception; mono no aware .  It means something like ‘beauty tinged with sadness.’  How is it that we must hold what we love tight to us, against our very bones, knowing we must also, when the time comes, let it go?

For me, those pointed lessons of impermanence are softened by the unchanging scape of my life, the durable realities.  This conflict produces an odd kind of vitality, just as the madman’s despair reveals a beguiling discovery.  I find contained within the vertiginous deceit of time its vexing opportunities and sweet human persistence.

In this confluence of past and future, reality and symbol, and Emmett, Jessie and Virginia.  Their strength and confidence, there to be seen in their eyes, is compelling; nothing is so seductive as a gift casually possessed.  They are substantial; their green present is irreducibly complex.  The withering perspective of the past, the predicable treacheries of the future; for this moment, those familiar complications of time all play harmlessly around them as dancing shadows beneath the great oak.

In my portraits, I try to capture something universal, but something personal at the same time.  I look for specific things that set my sitters apart – little details, like a certain gesture or gaze, which makes them different than other people.

I go to my subjects where they are in their own reality, rather than photographing them in the studio.  I like to photograph them in their natural circumstances.

As a photographer you enlarge or emphasize a certain moment, making it another reality.  In the photograph you can scrutinize all kinds of details, you can see things you normally would not pay so much attention to.

My whole idea of working has a lot to do with how humans live.  How we live, how I live, how humans live together – human collectivity.  That is my core value: what it is to be human.  That is everything I believe in.  I do not believe in current ideas of post humanity… For me the most important phenomena are those that bring forth changes in society or in history.  These changes used to be noticeable in the physical world immediately.  Today this is not so clear anymore.  Today’s changes through new computers, sundry inventions in gene technology and new technological systems are not as visible as they once were in the street.

If I look at my work from the beginning it is more the idea of trying to establish a kind of material that one can work with for the future, rather than making nostalgic images to record something that later will become lost…  What fascinates me is the sort of insight and information that I receive from the nature of the space, and this has to be the case before I am able to do anything about this space…  These spaces are those of a specific place.  The everyday streets are in a funny way more truly monumental as witnesses to the everyday life of people.  Also, it makes things much easier to read than if I used images of famous sites… [I]n general, my work is less about expanding the possibilities of photography than about re-investing it with a truer perception of things by returning to a simple method, one that photography has had from the beginning of its existence…  For I do believe that in photographs like those of the nineteenth-century English photography Thomas Annan or Eugene Atget, you can read the motivation of the person who made the image in them; the psychological, emotional or intellectual scaffolding that the person saw in the environment.  And there is the matter of how we can retrieve that or read it from the surface of the image.  My belief in the psychology of that situation is very strong….  I believe that if I asked five students to take a photograph of the same street or building in the city, one would be able to see which of them was really interested in the street or building and which was not…  Why this happens interest me very much.  You forget that by now this is clearly accepted in painting, but in photography this level of sophisticated reading remains under guise.  For what matters is how much of yourself you put into your work.  If you have a real relationship with a particular building, landscape or person, as in a portrait, it will show in the picture.

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Fashion Photography Personal Statement

My interest in fashion photography was initially based on my love of fashion. From the ages of 13 to 16, I went to an after-school fashion class each week where I learnt to cut patterns, create clothing and was introduced to designers. It was here that my love for clothing developed and where I first encountered fashion photography through my tutor's magazines and books. It recently occurred to me that a large part of why fashion photography comes naturally to me is because of my understanding of the garment itself - the structure, movement and silhouette of the clothing plays a key role in the image making process and is something I have a strong connection to. Studying textiles at GCSE and A level has enhanced this understanding and the nature of the projects has made me start thinking in a more conceptual way which I now apply to my photography.

When starting my A-level course, I wasn't sure which area of photography I wanted to go into.I played around with some close-up, structure-based themes (as well as self-directed street photography while on holiday in Florence) before moving on to a personal documentary project and finally trying my hand at fashion photography.I found that the thing I loved about fashion photography, the thing that made it stand out from what I had tried before, was how conceptual and fantasy like it can be.

When thinking of ideas and searching for inspiration, I often look to cinema. Because I like to create a backstory to my work, films really inspire me conceptually and aesthetically. When I watch films, I pay attention to the light and composition of each shot, the set choices as well as the costumes and how they all add to both the story and the tone of the film. It is these details which inspire me- sometimes a single item of clothing or prop, sometimes a fully realised aesthetic concept- this is what I tend to base my work around.Interestingly, my favourite photographers are often influenced by cinema. David Lachapelle, who shoots a lot of movie stars, tends to build a full set as if he was shooting a film and Steven Klein once said that he finds that "it sometimes works best to shoot live action and then extract a still frame from that". Apart from my personal growth as a photographer, my photography course has taught me about collaboration and teamwork as my shoots often involve three other people and directing them all has been a challenge that I have greatly improved in. In addition, I feel that the way the course is run, starting on film rather than digital has allowed me to really hone in my composition and choose my shots carefully rather than just snapping away and picking the best 36 out of 200. It has also allowed me to explore working in the studio as well as on location and the technical challenges involved in both circumstances.

I also studied digital illustration as an enrichment course to grow my skill set and improve my abilities in Photoshop. I think it's important to have a wide range of skills so I can adapt to what a client might want and so that I'm able to do any number of different tasks in the fashion promotion industry.

As much as I'm passionate about visual arts, I'm also a writer and performer with a group called Culture Clash for which I perform my own poetry. Last summer, we performed at the Edinburgh Fringe for a week which was a life-changing experience in terms of my confidence. Having often struggled to share my art with people, performing my poems every night dramatically increased my self-confidence in my art as well as in how I carry myself and interact with others. I learnt to budget money and manage my time while still having fun which was quite the learning experience in terms of independence.I also had to feed myself, find my way around and make sure I was in the right place at the right time.

I'm excited by the prospect of developing my skills and learning more about working in the fashion industry so I really hope my application interests you.

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How to Write a Good Artist Photography Statement

Artists need to stand out from the crowd. How can they make sure their statement gets noticed? We asked several experienced artists for tips and found some useful suggestions.

Think carefully about how you present your work, using a website or portfolio, and whether you have an artist’s statement at all. Most people find it helpful, especially in the early stages of trying to get commissioned. However, we advise that you only write a statement if you are serious about pursuing art and want to convey the essence of your work, rather than just listing your achievements. If you don’t have one, then start with your résumé, using the information given above as inspiration.

We recommend that you write a strong statement that explains the context in which your work was created, and why it is special. For example, “My drawings are based on the shapes of objects and materials. I use the patterns they create as a source of inspiration.” The rest of your statement should focus on your approach to your chosen medium – that is, the medium itself. If you are a painter, explain why the medium appeals to you; if you draw, explain how you approach a subject; if you work in clay, say what techniques you use.

Your statement should include the following details:

• Your name, your age and any other personal information that will help the reader identify your work.

• An artist’s statement that includes the title of your work, the media used and where you show your work.

• A summary of your style and approach, and how your work relates to other artists.

• Details about the subject matter or themes in your work, such as the location, the material or the historical period.

• Your education and any professional experience, including exhibitions, awards and commissions.

• The names and addresses of anyone who helped with the project.

What is a photography artist statement?

A statement tells the reader what you do. It gives information about the nature of your work, how you got into it, and what you hope to achieve. The statement is usually given in the first paragraph of a portfolio or bio.

Why do artists use statements?

1. They are a useful way to describe their work. A statement will show what their style is and what subjects they usually photograph.

2. They make the artist stand out. If you don’t give one, your work could be taken for granted.

3. Statements provide context for the work. For example, if the work is of a particular place or period, the statement will explain this.

4. They show who the artist is. Statements give a sense of personality.

5. They show what the artist has done in the past. A statement provides evidence that you have skills and experience.

6. A statement sets you apart from other photographers. Some people see statements as pretentious. Others think they sound too complicated.

7. A statement is a tool to sell your work. If it is well written, you will appear more professional.

How to write a good artist statement

To write a good artist statement, you need to answer the following questions:

• What are you creating?

Here are some examples:

“I am creating a series of paintings based on the shapes of everyday objects.”

“This series of paintings explores the relationship between the space we live in and our feelings.”

“The figures in this painting are my children, and the house they live in is my home.”

“I use the colours in this series of paintings to describe emotions.”

“These drawings are inspired by the landscape around me.”

“I am interested in the way light affects the shapes of objects.”

• How does your work differ from others in the same field?

If you are writing about your work, you might explain how it differs from other artists who are already working in the medium you are using. You might, for example, write:

“Although my work uses the same subject matter as other artists, it has a different visual impact because of the way I work.”

Or you could say:

“My work is based on the shapes of everyday objects, but I do not use the same techniques as other artists, so I can explore the effects of different approaches.”

• Are there any unusual features of your work?

You can explain something unique about your work, for example:

“This piece is my interpretation of the shape of a hand, with all its fingers.”

Or you could describe something unusual about your approach to the medium you use, for example:

“The colour blue is used to represent the sky in my work because it is the colour of water and the air.”

• Describe the subject you choose.

“I choose to portray a small, private moment.”

“I am interested in the lives of ordinary people.”

“I like to portray a moment in time and how people feel about it.”

“I like to explore relationships.”

• Do you produce a lot of work, or just a few pieces?

“I paint every day, but sometimes I take a break.”

“I am very busy, so I work at a fast pace.”

“I only work on a few pieces at a time.”

• What does your work tell us about your personal life?

It’s important to include this information if you think it might help the viewer understand your work. You might write something like this:

“My work is a reflection of my life.”

“I am an only child and a single parent, and I have a close relationship with my parents.”

“My mother is a great source of inspiration for my work.”

• Do you work on commission or are you self-employed?

“I usually work on commission.”

“I am a freelance artist, so I work on a number of projects at once.”

“I am always looking for new commissions.”

• What are your plans for the future?

It is important to let the reader know where you are going, and what you intend to do next.

“I am looking forward to showing my work in a gallery.”

“I want to move away from oil painting and to concentrate on other media.”

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Trump on trial: Personal anguish, political defiance and a loss of control

The former president has tried to campaign during his New York trial, but it’s constraining him

NEW YORK — For 20 minutes Donald Trump campaigned like everything was normal. He made his way down a line of cheering fans outside a construction site at 6:30 a.m., pumping his fist, clasping outstretched hands and signing MAGA hats. “Election interference,” he grumbled about the criminal charges against him, reprising his year-long mantra.

But by 9:30 a.m., Trump was stuck in court, no longer narrating the legal saga intertwined with his run for president. He sat quietly for hours at a time Thursday and watched stone-faced as a longtime friend and former tabloid publisher recounted Trump’s agitation in 2016 when a hush money scheme failed to quash a story about an alleged affair with a Playboy model. His go-to outlet: brief interludes in a dingy courthouse hallway in front of TV cameras, where he has vented about the judge, the “freezing” temperatures in the courtroom and “sitting up as straight as I can all day long.”

Two weeks in, the first criminal trial of a former president has been personally taxing for Trump and disruptive to his campaign. Despite efforts to schedule dinners where donors, friends and world leaders join him, Trump’s moods are worse on trial days, according to several people close to him. The former president is accustomed to near-daily rounds of golf, “constant stimulation” and cheers when he enters and exits a room at Mar-a-Lago, they said. Instead, he is now reporting four days a week for mundane court arguments and long stretches without permission to check his phone.

“The phrase around here is ‘the process is the punishment,’” said one person close to Trump, who like others spoke on the condition of anonymity to describe private conversations.

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Trump has done his best to turn his trial into an extension of his 2024 campaign, raging that the case is politically motivated and bragging that he can assemble adoring crowds even in heavily Democratic Manhattan. He has marveled to advisers that he gets more media attention outside court than he even did on the campaign trail, and that his comments are sometimes carried live. But the indictments that once helped Trump lock down the GOP nomination by firing up his base have become a serious constraint in the general election and thrust the domineering candidate into an unusually humbling position.

The trial is taking time and resources just as his campaign is rushing to build out infrastructure for the general election and close a fundraising gap with President Biden . Expected to stretch six to eight weeks, the trial is limiting the schedule of the presumptive GOP nominee at a critical moment when Biden is outspending him on the airwaves and seeing some improvement in the polls, though Trump’s team notes the former president still holds an edge in many surveys of a very tight race.

During the Republican primaries, Trump could swoop in and out of his court proceedings with more flexibility and campaign on the sidelines. Now the former president is required to attend; adding insult to injury, his first mid-trial rally was canceled last weekend because of bad weather. Next week, Trump is planning to squeeze two rallies — in Michigan and Wisconsin — into his off day. His team was angered that the judge chose Wednesday as the day off — believing it was meant to hurt him politically. He has trekked to his club in Westchester to play golf on the days he has been off, instead of hitting the trail.

Although Trump has consistently survived major scandals, the New York case is training new attention on salacious allegations that could give some voters pause. Trump is accused of falsifying business records to conceal a hush money payment to an adult-film actress, whose allegations of an extramarital affair with Trump threatened to hurt his 2016 campaign. He has pleaded not guilty.

Trump campaign senior adviser Jason Miller, who has been attending court with the former president, rejected the idea that the trial has dampened Trump’s mood or hindered his campaign, despite what he called “some justifiable outrage” about the case. He said Trump “keeps telling us to load up his schedule” with events.

“Obviously, Trump would rather be in battleground states,” Miller said. “But we have a great candidate; we have a phenomenal airplane. … We’re going to bring the campaign trail to us.”

Trump has settled into a predictable if surreal rhythm for the trial, with his court appearances punctuated by all-caps social media posts and brief combative remarks in front of the press. He fields questions occasionally, sometimes ignoring reporters’ shouted queries.

“I’d love to say everything that’s on my mind,” Trump lamented to reporters this past week, chafing at a gag order forbidding him to talk publicly about witnesses, jurors and some other people linked to the case.

Prosecutors complained to the judge that Trump was still not restrained.

He’s been violating the gag order “right outside the door,” Assistant District Attorney Christopher Conroy said.

The outcome of the trial could sway some voters, polling shows, and Trump faces three other criminal cases, though it’s unclear if any others will go to trial before the election. Nearly a quarter of registered voters who back Trump say a conviction in one of his cases might cause them to reconsider supporting him, according to a CNN poll conducted April 18-23.

Americans were evenly split on whether Trump has been treated more harshly or more leniently than other defendants, underscoring how voters of different political persuasions and backgrounds are absorbing Trump’s legal woes in very different ways.

Trump’s lawyers have argued that there was nothing improper and attacked the credibility of a central witness, former Trump attorney Michael Cohen. On his first Monday in court, Trump emerged with his trademark red tie, shoulders slightly hunched, to denounce proceedings as a “political persecution,” “an assault on our country” and “really an attack on a political opponent.” (Despite Trump’s claims, there is no evidence that local prosecutors have coordinated with Biden or his administration.)

“So I’m very honored to be here,” Trump concluded.

‘He can’t believe it’

The trial has been a jarring shift for a man who is rarely confined to silence, often around people paying to see him, and used to spending his days making phone calls, holding meetings, reading newspapers, tending to his properties, taping videos and peacocking around his Mar-a-Lago Club in Florida. Trump has also long prized having control of many of the details in his day-to-day life, people familiar with the matter said.

He largely avoids restaurants outside his properties because he wants control over the food — particularly how his steak is cooked. He has avoided certain hotels on the road, telling advisers he prefers a Holiday Inn Express, because the bathroom floors are light colored and he can see if there is dirt. At his property, he controls the music — both the song choice and the volume. He was personally involved in renovating his plane, asking for constant updates, and complained about having to use the private planes of others while his was in the shop for over a year.

Last year, a group of Trump advisers and lawyers spoke with him about the benefits of his criminal cases — his small-dollar fundraising was surging, he was crushing Republicans in the nomination fight, and his base was rallying to his defense. But Trump stopped the conversation to remind the group of a problem: He had been indicted four times and was going to spend the next year in court.

“It’s almost like he can’t believe it,” the person close to Trump said. “There is a sense when you talk to him, ‘Can you believe this? They indicted me.’”

Now captive to the courthouse for much of the day, Trump tries to exert influence over what he can, often serving as his own spokesman between sessions. On the first Thursday of the trial, the former president appeared brandishing a thick stack of news clippings, claiming that every article vindicated him. But his loss of power is evident: At one point, when he stood up, the judge immediately told him to sit down — and he did. When he has mumbled in court, the judge has reprimanded him.

Privately, he has complained at times to his lawyers, giving suggestions for what arguments they should make and sometimes second-guessing their arguments in the courtroom. But he is generally pleased with this set of attorneys, people close to him said.

On Friday, he opened his morning media remarks by wishing his wife, Melania Trump, a happy birthday.

“It would be nice to be with her — but I’m in a courthouse for a rigged trial,” Trump said .

He rails against the lack of mass demonstrations outside, falsely claiming that police are keeping hordes of supporters away. On Monday, he declared on social media that the area outside the court was “completely CLOSED DOWN,” though some protesters had been chanting and walking on the sidewalk. By Tuesday he was saying that “Thousands of people were turned away from the Courthouse in Lower Manhattan by steel stanchions and police.”

There have been some minor demonstrations, with appearances from far-right activist Laura Loomer and conservative commentator Andrew Giuliani. But on Thursday afternoon, 68-year-old Gary Phaneuf was the only Trump supporter visibly protesting in the park outside the courthouse.

“Fight for Trump!” the Staten Island resident shouted as other New Yorkers in the park went about their day.

Phaneuf, who was arrested for a curfew violation in Washington after the Jan. 6 , 2021, storming of the U.S. Capitol, said he was disappointed in the turnout for the trial. He speculated that Trump supporters got discouraged from mass mobilization after Jan. 6.

“We got nothing here right now, let’s be real,” Phaneuf lamented. “You don’t see any prominent Republicans here today, do you?”

Trump in court: Quiet, then combative

Trump has been mostly impassive when court is in session, sandwiched between lawyers at the defense table as reporters scrutinize his every move. Some days, his most notable reaction is a yawn.

He frowned when David Pecker, the former National Enquirer publisher, discussed a Trump Tower doorman who had claimed — falsely, Pecker said — that Trump had fathered a child outside his marriage. He briefly folded his arms in front of his chest when Pecker turned to the topic of Karen McDougal, the Playboy model who alleged an affair with Trump.

His tone during his brief appearances outside the trial room, meanwhile, has at times veered into outright mewling. “I’m sitting here for days now, from morning till night in that freezing room,” he moaned at one. “Freezing! Everybody was freezing in there, and all for this.”

He has griped about the court-imposed gag order, complaining that he has been unfairly muzzled. And he says he should be out campaigning. “I should be right now in Pennsylvania and Florida and many other states — North Carolina, Georgia — campaigning,” Trump said last week.

Some of Trump’s grousing has provided an opening for the Biden campaign, which has gleefully seized on his daily remarks to portray him as feeble and infirm. “Trump says he has difficulty sitting for long periods of time and staying awake,” the Biden campaign wrote on X.

At the end of the day, Trump returns to Trump Tower, his famous property in Manhattan. People close to Trump said he appears happiest in his gilded triplex there, which remains furnished from his time in New York. During evening dinners, the conversation often veers back to the case.

Late Thursday afternoon, a small crowd began to gather outside the tower at the intersection of Fifth Avenue and East 56th Street. By just after 5 p.m., about a hundred people were waiting to catch a glimpse of Trump, even though police insisted they would not be able to see anything besides the black vehicles.

Some people waiting were the die-hard fans whom Trump aides have made sure to highlight in their videos from New York. “I love him!” declared Lucy Cooper, 16, who said she was visiting from Boston.

Others who wandered by were hostile. One man stopped to take a selfie under the chunky gold “TRUMP TOWER” letters with his hand in the shape of an L, for “loser.”

Dawsey and Parker reported from Washington.

Trump New York hush money case

Former president Donald Trump’s criminal hush money trial is underway in New York. Follow live updates from the trial .

Jury selection: A full jury of 12 jurors and six alternates has been seated. Here’s what we know about the jurors .

The case: The investigation involves a $130,000 payment made to Stormy Daniels, an adult-film actress , during the 2016 presidential campaign. It’s one of many ongoing investigations involving Trump . Here are some of the key people in the case .

The charges: Trump is charged with 34 felony counts of falsifying business records. Falsifying business records is a felony in New York when there is an “intent to defraud” that includes an intent to “commit another crime or to aid or conceal” another crime. He has pleaded not guilty . Here’s what to know about the charges — and any potential sentence .

Can Trump still run for president? The short answer, legal experts said, is yes. The U.S. Constitution does not forbid Trump, or anyone else, from serving as president if convicted of a felony.

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Photography personal statement example 4.

I dream about photography... Memories of gazing through a finger marked window pane, camera at my side, the train rocking, objects passing, disparate perspectives through the lens. I think about the diverse ways in which photographs are interpreted. For me photography is a spiritual act, an inner conviction and a desire to abstract essence beyond the material world. I'm interested in something which is built up from within, rather than just a superficial image. In stirring up excitement in me that connects with the innocence of childhood, spent just drawing, designing and creating, simply for the love of it. My first camera, a Polaroid led to hours hunting bugs, flowers and dolls. This progressed to composing subjects through angle and lighting, learning from experience, constantly expressing myself visually. I am continuously inspired by the smallest and simplest of objects, I love playing around with light to create different images and moods. I like how a photograph, unlike the other visual arts, is eternally bound to reality in a more profound way. I am fascinated with the concept of the real, and how people perceive objects and reality. This has been intensified through my A-level subject choices. Photographs are ubiquitous, indeed they are so woven into the fabric of everyday life that many people scarcely give them a second thought. I am aware that it is increasingly difficult to define 'reality' in photography, now that we are living in a digital age. Despite my passion for photography I initially saw it best to pursue a science-based course, seeing photography simply as a hobby. Being the eldest in a family of four I was influenced that way. However after much reflection on what I want out of life, I changed my direction to studying a subject that really matters to me. When I came back into education to study my A-levels I began working with a wide selection of people from different backgrounds, I found this move highly liberating and was able to adjust quickly both socially and educationally. My choices of A-level subjects were selected so that they would give me a broad overview of life, communication and culture. I feel this has broadened my understanding of photography further. Studying Photography at A-level has enabled me to develop an independent and self-motivated practice. I have enjoyed discovering the many genres of photography, specifically landscape, still life and documentary photography. I find the work of photographers old and new highly inspirational. I am interested in the works of photographers ranging Simon Norfolk, Hyung Jeun Park and Sze Tsung Leong. I am drawn to these photographers as my most recent A-level project has involved looking at the effect of man on nature, our imprint, and how the world has adapted to fit our need for technology. Through my Media Studies A-level I have been able to expand my analytical skills. I enjoyed learning about the sales and marketing side of the media industry in relation to photography. Pursuing Philosophy and Ethics at A-level has made me question my assumptions about how people think and act, it has left me able to think clearly, reason logically and argue with clarity and conviction. I have learnt many new theories and concepts that have further improved my understanding of cultures and history. I hope during a degree course in photography I will be able to bring some of these concepts into my work. I have been on work experience assisting a photographer and stylist, sourcing for shoots. This experience allowed me to witness firsthand what skills are required for becoming successful within the context of fashion and advertising. My interests include watching and analysing films, drawing, dancing. Living independently has taught me how to adapt to new situations, live on a budget and has prepared me for student life. I look forward to the challenges of further study in photography, enabling me to pursue my future career ambitions in the industry.

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This personal statement was written by clojo88 for application in 2009.

clojo88's Comments

This is my personal statement that I have submitted for entry onto an undergradute degree in photography 2009. I recieved offers from Nottingham Trent, Bournemouth Arts Institute, University of the Arts London, Winchester School of Art. I have accepted University of the Arts London (LCC)

Related Personal Statements

Thank you, i was struggling.

Fri, 13/03/2009 - 11:29

thank you, i was struggling on how to compose my statement and yours has helped me so much.good luck, hope you get accepted.

Mon, 27/04/2009 - 15:44

You have described in your statement what I've been feeling myself! Thank you so much for sharing your statement - it gave me inspiration for how to write my own.

Good luck with your studies!

Tue, 12/05/2009 - 22:31

Thanks for the nice comments. Im glad that it helped you with writing your personal statement, and I hope that you got into the university that you had you wanted!

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