La Voyeuse: Le Bain
La Voyeuse: Le Bain

Julia Brett Christopher

La Voyeuse: Le Bain

Bruges, Belgium, 2023

Original Gelatin Silver Photograph

Image dimensions: 10" x 10"
Mounted dimensions: 20" x 24"

Pristine condition

certified authentic
La Voyeuse: Le Bain
La Voyeuse: Le Bain



Original Gelatin Silver photograph by Julia Brett Christopher, “La Voyeuse: Le Bain, Bruges, 2023.” Individually handmade from 6×6 format Kodak TMax 400 film with Ilford Warmtone FB paper. Mounted on acid free museum board inside mirrors mounted on 20×24″ gatorboard. The edition will be limited to 3 total, and each will be presented in a unique frame.

La Voyeuse is not a series of self-portraits in the conventional sense. The goal of this series is to explore both existentialism and the idea of the collective unconscious: to capture an unbiased, universal view of the human condition. I posed in each image solely to prove no one was behind the camera. While I did position the camera, all the photographs were essentially created blind, completely uncontrived… And that was the first step in exploring the unconscious: to truly appreciate the light, once must come to know darkness. In the end, light washes away the darkness, leaving a blank canvas of limitless possibilities.

For Le Bain, I used a Hasselblad 205TCC and Kodak TMax 400 120 film. It was a 1 second exposure taken via a 30 second self-timer. Under normal circumstances, I would’ve waited until I could hear the shutter close, but since the shower was running, my only option was to hold my breath, count to 40 and try not to move. The results astounded me. First, the light hit my face in such a way sections were whited out like a metaphorical mask. Second, the shadows covered the part of my body identifying my gender, making me neither male nor female, simply human. And last, but not least, this anonymous, genderless human being also appears neither young nor old, simply ageless and free of time itself.

The final step was to present the work in such a way it created a sense of empathy and shared experience, hence the title, La Voyeuse. The use of a “steamed mirror” was twofold: 1) to place you, the viewer, in the room with me and 2) see someone else reflected in your reflection. If that makes you uncomfortable, I’d like to add that my own personal fear of intimacy is the driving force behind this artwork. I feel uncomfortable in such a vulnerable state, because I was taught vulnerability was a weakness. Over the years, however, I have learned that vulnerability and intimate, empathetic connections with others are profoundly powerful strengths, not weaknesses. While each individual is beautiful in their own uniqueness, our humanity is found in the beauty and power of shared experience and emotion.


The HD Video of the actual work in question has been provided as a visual condition report. If you would like a written condition report in addition to the HD video, please



This photograph was taken with a Hasselblad 205TCC. One of the Hasselblad’s most advanced cameras, the 205TCC combines a traditional chassis, focal plane shutter, and a spot metering exposure system. The Hasselblad 205TCC concerts a range of features for tone and contrast control to dramatically increase your possibilities to control the entire photographic process beyond what you could do with its predecessors. Four modes of metering operation is available with the 205TCC: Aperture Priority, Differential, Zone mode and manual exposure. It also has a programmable mode, which allows for modifications to the self-timer, for example, which the artist extended from 10 to 40 seconds for her self-portrait series.

Hasselblad Hawaii



The most popular black and white process of the 20th century was gelatin silver, in which the image consists of silver metal particles suspended in a gelatin layer. Gelatin silver papers are commercially manufactured by applying an emulsion of light-sensitive silver salts in gelatin to a sheet of paper coated with a layer of baryta, a white pigment mixed with gelatin. The sensitized paper, generally fiber-based, is exposed to light through a negative and then made visible in a chemical reducing solution. William Henry Fox Talbot introduced the basic chemical process in 1839, but the more complex gelatin silver process did not become the most common method of black-and-white darkroom photography until the late 1910s. Because the silver image is suspended in a gelatin emulsion that rests on a pigment-coated paper, gelatin silver can be sharply defined and highly detailed in comparison to platinum or palladium, in which the image is absorbed directly into the fibers of the paper. As part of her creative process, Julia also chooses to use various types of gelatin silver paper depending on which negative she’s working with. These papers include Ilford Warmtone, Bergger Warmtone and ADOX MC110. Her favorite photographic paper, Agfa Portriga Rapid, was sadly discontinued years ago. She will also selectively use various toners, such as Selenium and occasionally Thiourea, not Sepia, to add more warmth.

Cross section of Gelatin Silver paper