Susan Sontag wrote: "The camera's rendering of reality must always hide more than it discloses" in her book, On Photography (1979). Analyzing Sontag's quotes is similar to processing film in the dark room; what is expect to have when the shutter button is pressed is rarely exactly the same as the final result. Susan Sontag offered the readers a large field to explore, to investigate and to question. This essay will take an example of Miles Aldridge's work from a series called "Home Chic" (2011) to analyse and uncover a deeper view about the truth in photography with the purpose of arguing if a photographic image could reflect reality, or not. .
Miles Aldridge, a big name in the fashion industry, is best known for his fascination with Technicolor dream-like worlds featuring glamorous, beautiful women. The editorial 'Home Chic,' which was published in 2011 by Vogue Italia is not an exception. The model, in addition, was Miles Aldridge's little sister, Ruby Aldridge, dressed up in a 1960's inspired garment and posing in a kitchen setting of the era. The photo was digitally taken with everything in focus with the model arranged in the centre. Visually, the model's skin tone is lightly desaturated and heavily airbrushed while her hair looks unnatural; these elements lead to a sense of a doll-like woman. On the other hand, the kitchen is full of colors, conforming to a style of Color Blocking, a style that is usually recognized in Miles Aldridge's works. Most of his work in 2007 illustrates such qualities.
Regarding the topic of 'Home Chic', things were significantly different from now. The modern working woman has her pressure while competing in a male dominant world, but it is nothing compared to the oppression that women in the 1960s were enduring. The photograph instantly reminds one of a prevalent issue among women back then, a beautiful blonde woman dressed up nicely representing the glamorous and luxurious lifestyle, but is being forced to do housework.