The Timeless Influence of David Lynch on the Art of Photography

“The first time I experienced Blue Velvet, it altered my life,” expressed photographer Gregory Crewdson last week as he reacted to the announcement of renowned director David Lynch’s passing at 78.

Here at PetaPixel, it is uncommon for us to compose obituaries for filmmakers, but David Lynch certainly deserves an exception. The mysterious director of Eraserhead, Mulholland Drive, and Twin Peaks, left a profound mark not solely on cinema but also on photography.

His dreamlike Americana style, which intertwines the extraordinary with the everyday, has motivated numerous photographers to broaden their horizons in composition, lighting, and subject matter. Lynch’s talent for infusing normal environments with dreamlike, occasionally disquieting qualities has significantly influenced how certain photographers narrate stories through visuals.

Blue Velvet, the 1986 film mentioned by distinguished photographer Gregory Crewdson, contrasts picturesque suburban scenes with ominous undertones, merging rich, vivid hues with dark shadows.

The connection between Lynch’s artistry and Crewdson’s is clear: Crewdson’s carefully composed, filmic photos frequently portray suburban landscapes imbued with enigma, discomfort, and sorrow. Similar to Lynch, Crewdson elevates ordinary settings into something remarkable, applying dramatic illumination, eerie stillness, and surreal occurrences that evoke a sense of the uncanny.

Another photographer influenced by Lynch is Todd Hido. His haunting images of suburban residences and desolate interiors reflect Lynch’s capacity to create discomfort within the familiar. Hido often captures nocturnal scenes, showcasing illuminated windows and misty streets, evoking the same unsettling ambiance found in Lynch’s Blue Velvet or Twin Peaks. Both artists delve into the conflict between domesticity and concealed darkness. Hido took to Instagram to display a collection of pictures he claims are directly inspired by Lynch.

The Impact of Photography on David Lynch

Creative influences are mutual, and Lynch himself drew inspiration from photographers of earlier generations. One such talent is William Eggleston, whose color photography Lynch has acknowledged as a significant influence on his distinct visual style. Eggleston’s work also focuses on unusual portrayals of American life.

Another photographer whom Lynch admired was Diane Arbus. “She struggled with depression and possibly mental issues. I have an affinity for mental struggles,” Lynch mentioned to The New York Times in 2004. The filmmaker often referred to Arbus as a formative influence on his visual aesthetic. Arbus is celebrated for her unflinching, intimate portraits of individuals on society’s periphery, capturing their humanity in both unsettling and compassionate ways.

Lynch was no stranger to photography himself. Throughout his career, he engaged in photography, publishing at least five books that delve into his artistic vision and express recurring themes found in his films. Lynch had a preference for analog photography and the unpredictability that comes with the darkroom process. Similar to his cinematic works, his photographic endeavors are produced through a careful, hands-on methodology, and he embraces the flaws that accompany working with film.

The announcement of Lynch’s passing was made by his family via his official Facebook page on Thursday. The director’s heavy smoking habit contributed to the revelation last year that he was contending with emphysema, a chronic lung ailment.

“There’s now a significant void in the world with his absence,” lamented his family. “However, as he would say, ‘Focus on the donut and not on the empty space’.”