David Lynch can be more easily recognised by his mediums of video and painting. However, a great asset to his work includes his use of photography. Like with the rest of his work, his photos and visuals take on dark themes both literally and metaphorically. In his series titled factory photographs, Lynch continuously uses a monochrome colour palette. This alongside his choice of dreamy and eerie visuals crafts his work into visuals that are easily recognisable as his own, his renowned lynchian styles being visibly apparent and therefore all the more unique and alluring. It will be detrimental to this discussion to not include the nature of his video visuals. When viewing ‘Twin Peaks’ the series, there are noticeable contrasts to his photography including the use of colour and a clear sense of time as to compliment the plots setting within late eighties to nineties. This is as far as his work will stretch to practically however, with symbolism littered throughout his series. The more lighthearted aspect of his work pertains around the American dream and the falseness of the Americana, as David’s work quickly spirals into darker visuals that interlink with the plot and themes. The inspiration of American soap operas is made apparent by his choice of characters costuming and dramatic nature of the plot which is paralleled with additional counted angles and all distance shots of violence, the horroresque aspects of the series saturated to emphasize Lynch’s own distaste for normalizing violence. However his surrealism isn’t limited to purpose as he relishes in keeping much of his intentions behind some of his aesthetic choices vague, as evidenced in the second series which levels up the surrealist imagery by use of obscure and unseen technology and pseudo landmarks. Laurel is clearly apparent that David Lynch himself is a master of the obscure and of surrealist visuals, which is something that is greatly inspired me when thinking over and creating my own work within photography.