21 Creative Self Portrait Photography Ideas You Should Try

Above is a link, which allowed me inspiration for the following ways I could access a performance of self portraiture. As spoken about previously, I intend to experiment with the emotional vulnerability of the beauty within others and ideas of what my being could or should mean to myself and others. Due to much of my project being surrounding the beauty , opulence and sense of visceral within what people see to be valuable and what we are surrounded with on the daily and take for granted, also discussing the topics such as haiku, and the effortless of betray found within nothingness. I belive I could experiment within many techniques of self portraiture, however, This is mostly done for experimental purposes and I will not as a project to be led into my self.

Below I have found some examples of self portraiture from many artists which I believe could fit the the within.

I belive this shoot is a-lot more classical within the presentation of black and white, and too the conceptual positioning of the body, in order to evoke a sense of artistry, further linking within fine art. This shoots elements of self portraiture, as a whole has a clear connection between fashion photography, and a much more tablo presentation of ones self. This is my personal favourite shoot of self portraiture within here, although I believe It would change the aim of my whole project narrative. This also explores the ability to perhaps focus on sections of my body, and perhaps be taken in a more abstract close up manner, to become abstract lines, discussing the fact that nothing is more valuable or unique than our own dna and our lives.

I chose this image as inspiration as there is clear connection between the narrative construct of the haiku within this photo. The composition and use of the blur to the left side draws the viewer into the image and creates a more abstract interest within the image itself. I believe if I were to do a self portraiture elements to connect within my project, this perhaps might connect more with the beauty. I belive I could create a shoot here which is a possible reflective of emotional state within myself, and too an experimentation within possibility how others too me. After thinking about the relation between variation and similarity and the use of self portraiture, I could develop the outcomes of how visible different emotions. Additionally, the use of the lighting and more interesting composition, has clear denotes to that of opulence and creating a visceral section of intrigue. The shapes forming on the face, creates tonal lines, creating interests within the eye and create a personal connection of artistry.

I also chose this artists work, due to the more conceptual thought, focusing on sections of different elements of yourself, that you might belive are either the most beautiful, or perhaps you belive, these elements of yourself, focus on the most self conscious appearances of yourself. I also belive the use of blur, is an interesting concept as it almost communicates through the ability of the lens, how people can see an view themselves under different circumstances and scrutiny. I believe this shoot too could be a combination of the other angle of self portraiture above, as I could develop this more conceptual composition. Forming a demand of attention of specific features, creates an invitation for scrutiny, but this vulnerability is what I want to access within my own work. I belive their is a way which I could develop a combination of all of these three many angles of self[ portraiture within my work, and then within the development of the narrative of my book, I could use the one which flows with the narrative concept the best. As I want this new project to have a personal relation to myself and my own attitudes towards beauty and how I view myself, both using an involvement of emotional venerability and the fine art sense of haiku. But perhaps I could also attach in what others belive is the most and least beautiful about people, and segregate myself into these sections. I have come to the conclusion after much of this development, that it is just simply what we see is the truth, but it is possible to see the beauty within the pain of the world, and find something within the chaos of the world around us, finding beauty within the reality of life, knowing it is happening, and being able to accept this. Like loving yourself, is an acceptance of who you are.

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ANYLSIS: This shoot of Chaos, was once again one of my three main original starting points. I wanted to still experiment within the theme of chaos for a short period, as I belive it is fascinating the reactions and effect of the hypodermic needle is to audiences, and how one persons actions can effect the actions of so many more. The influence of what we see within the media and how this not only influences our own acts, but the influence of our mind set is significant. With the continuous promotion of only negative news, their comes a time where this negativity creates an illusion that this is the whole premis of what their is within the world, and a false reality of the vast majority of the world is a bad place filled with bad people. Hovwer I want to break free form this idea and create a sense of emotional vulnerability within these images. I have spoken previously about exploring a sense of exposing the true emotions and feeling of myself and others, considering what we fine beautiful and what we view most important with others and ourselves. I belive many people hide their emotional state and have a tendency to only show a false sense of their feelings, especially towards the news. The news and chaos within the media is to my mind a from of the elephant in the room, we know it is their and we justify its news given yet I do feel it negatively effects us as a collective. This is a set of images where I wanted to cover each image with many others all expressing a different over- exaggeration of emotions, in order to create an aspect of importance and relevance to our justify our feelings. The effect of the editing of the amount of opulence you se in each image and how you are able to see all the layers and feel a movement to the image, almost personifies the world chaos into an image itself. I belive this Is why I find this shoot so interesting, not just the outcomes, but the original importance of the shoot itself. I could create a juxtaposition from these images and how what we should see and feel in the world with an accurate representation of emotions for people. A contrast of hate to love, and negativity to positivity. Life should not be so concentrated by a monopoly of negative issues, but a celebration of the beauty and experience others are having in the world around us.

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INSPIRATION: My inspiration for this shoot was both the combination of William ye, which is evident, And how he uses a large jar and conceptually takes images of people through it in order to extend and manipulate their faces and make a more abstract representation of people and their emotional wellbeing. However, my other inspiration is a much more abstract and once again fine art related artist, who presses faces up against jars, and then paints and manipulates the images themselves in order to create a much more worked into and unique colour and composition.

WHERE NEXT: As this artist, clearly works and edit more into their work, I believe next I should experiment with developing these images further, and possibly even doing so with the intent of creating a small representation and grid of the images similar to above. Due to these shoots being a-lot more dark and brutal to my current theme exploring the essence of beauty, I belive I should connect this shoot with the media and the relation of emotional well being linking to chaos in the news. And how we should ignore this to see the beauty within the world.

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EVALUATION: For this shoot I wanted to re create Williams Ye’s moulding of structure from a fluid object in order to connote themes of fine art. I wanted to use a variation of different colour, in order to create and highlight different tones on the central character himself. When setting up for the shoot I knew how pivotal it was for success that my lighting was able to capture the colour of the fabric without brightening the black background. Not only does this shoot represent a more fine art freedom sense of beauty, but I belive this shoot does too fit with my new themes of self love beauty with the everyday and a certain haiku of femininity and masculinity seen within this performance. There is an artistry of abstraction throughout this shoot. I think-it is fascinating even though how planed this shoot and how it was taken in the studio, there was still a sheer unpredictability to the formation of where the boy would be standing or how the sheet itself would fall. I choose a very quick shutter speed in order to access the clarity of the images that I wanted. My favourite image from this shoot is certainly the use of the gold being thrown and wrapped around the boy. Not only does it shoe a conceptual infraction of our own being and personality being executed as a piece of fine art, but it too is an exploration of identity and the unpredictability of life. The bright gold creates a bright contrast the the dark tonal black background, and the direct eye contact Is too fascinating. From this shoot I will now experiment with one other ye shoot, in which he uses a jar, to conceptualise the behaviours and feeling of someone and what they feel to be trapped inside. As this shoot was planned nearer the beginning of my project their are more links with fine art and the influence from the media, however it will definitely still help achieve the further experimentation to my final narrative project.

Ametsuchi (heaven and earth) is a theme that Kawauchi has been contemplating as she searches for the origins of civilisation and culture. By capturing the 1,000-year-old ritual of Mount Also, she contemplates time honoured traditions of humanity. In the series, she includes photographs from three more sites — including: The Wailing Wall in Jerusalem, the view from a planetarium, and the Shiromi Shrine dance ritual in Miyazaki —and by mixing these images together, she turns her attention to ancient ceremonies here on Earth as a connection to the heavens. Although Heaven and Earth could be looked at prom a perspective of biblical enforcement, I do not believe this is the use of her work. The elements of religion I do not want represent in my work, as it creates connotations of my work forcing or demanding to be held above other work, or the work is too politically demanding of religious ideas to be considered by everyone to be beautiful.  I found this book which I believe directly reinforces the themes of amestushi wants to show throughout their work: In this think, you are able to see how the photos brings together images of distant constellations and tiny figures lost within landscapes, as well as photographs of a traditional style of controlled-burn farming (yakihata) in which the cycles of cultivation and recovery span decades and generations. Punctuating the series are images of Buddhist rituals and other religious ceremonies—a suggestion of other means by which humankind has traditionally attempted to transcend time and memory. Other works form this artist are visible though is work experimenting within the luminance of pieces and the effect that lighting has on a piece of work.

Where “haiku” is a minimalist form of poetry, of meditation on facts that happen in everyday life and its visual counterpart is a subtractive operation of the elements within a frame. A haiku is a Japanese poem describing a mood, an ambiance, often linked to Nature and the passing of seasons, with a specific metric: 3 lines with a 5/7/5 feet rules explored the emotional power of the intimate images that each one of us keeps with us as amulets. This is an approach one photographer takes towards the haiku “When I photograph, I start out with an open mind. If I start out with a precise idea of what I want to photograph, I might miss an interesting event or object. So, I begin with an open mind and try to photograph all kinds of objects.Haiku: the art of emptiness,True haiku is a celebration of unclutteredness, emptiness, fleetingness, vastness, littleness, nothingness, change”. Emptiness finds its way from silence towords, often in parataxis. An example of parataxis from Beckett’s Waiting for Godot:Parataxis is the lack of conjunctions. We must fill in the empty spaces. Beckett, Pinter, modern masters of breath, of pause, of emptiness. It has been happening for centuries with haiku. True haiku catapults us into infinity; creating an aperture which not only suggests infinity – it actually allows us through, into the Void. Haiku is a portal to emptiness. The emptiness itself is not to illustrate a lack of beauty or belonging for objects of cluttered spaces, it is just a meditative effect in order to emphasis the importance and beauty within the little things, and the cleansing of ourself to become pure and part of this experience. It is seeking the value of less being more, and focusing on the things we might normally take for granted. Haiku create silences, arise from silence, return to silence. How? Haiku shuts out the noise of the world in concentrating on pure phenomena – even when such phenomena themselves contain sound. It becomes a silenced sound, a return to the beginning of sound, the first quack of a duck, or the cry of a pheasant that has just swallowed a whole field, the silence before and after that cry. Within photography haiku is almost a speechless narrative transcript laying all of the most important value moments being within a location or person not a thing itself. These photos are meant to capture a purity of true bliss. Linking also to that of being opulent and visceral.

Looking at this website , I found countless amounts of images and inspirations that are not only a clear influence from both beauty and the conceptual ideas of haiku, but also some really innovative images and edits, It shows the world, with such beauty that we never get a chance to see with our normal daily lives. I want all of my images this have this unique combination of seeing the wold in such beautiful unique pattens and ways. I believe due to me being influenced by these images I will conceptually annotate them, and explain the processes as why I believe they are successful. Above is a small development of a more normal consideration of natural beauty within the emptiness of space.

conceptually I chose this image as it’s qualities are clearly echoed from the terms of abstraction, and additionally the clear influence of fine art. You can not only see the elements of nature, and the development of abstraction, but there are clear echoes of heaven due to the light forming in a triangular manner and yet contrasting with the circular trees centered in the middle. It is a clear disposition of that of land and sky. Despite this image being edited their is still a sense of purity and agency to it, The rich detail of the tops of the branches creates an interest which we would not normally be inclined to see. There is a power within the pieces formality, and I belive if I was to produces a set of images edited in this manner it would not only work well with my starting off development of fine art, but it would too develop the conceptual idea as what can be seen as beautiful in nature, and what is heaven and earth a representation of.

Plan for shoot: the plan for my shoot, is going to consist of many different locations, and many different outcomes and goals for each location I go to. These will consist of: going to the zoo, a waterfall, a beach, St Ouens bay, caves, in to the sea, forest, and will too try an capture different aspects of light, animals, sunsets and refractions of movement. I believe I will try and achieve this shoot in either one day or through the combination of two days, and use the whole day, through sunrise to sunset to go to all locations and capture all different elements purposing the theme of haiku, it is only if the lighting or elements are not quite as successful or do not portray the Elements of heaven and earth in the way I wanted I will redo the shoot. After looking more into ways I could enhance these shoots and these images, I wanted to try and develop How I could photoshop without taking away the natural beauty of the origins of the photo. Much of this photoshoot I believe will be enhancement of the light. This effect of movement echoed throughout the image creates a natural way to create a more abstract effect of imagery, perhaps I could do a whole development of trying to find natural ways to distort and create a new meaning behind a once plain image. So Far I have taken around four shoots, all differing from focuses on themes of mediated chaos, surrealism, fine art and finding the beauty in everyday. I believe doing this large shoot and being able to develop all of these images in order to also be bought into a successful narrative within my book. Putting both of these experimentations of haiku into terms, I belive I can find a good balance of images which are a pure depiction and unedited which forms acts of heaven and earth, and too creates more abstract edited pieces which combine to work with my past shoots, these will really help my project focusing on beauty grow and be able to flourish into a successful narrative piece.

In 2001, Rinko Kawauchi launched her career with the simultaneous publication of three astonishing photo-books—Utatane, Hanabi, and Hanako—firmly establishing herself as one of the most innovative newcomers to contemporary photography, not just in Japan, but across the globe. In the years that followed, she published other notable monographs, including Aila (2004), The Eyes, the Ears, (2005), and Semear (2007). And now, ten years after her precipitous entry onto the international stage, Aperture has published Illuminance, the latest volume of Kawauchi’s work and the first to be published outside of Japan. Kawauchi’s work has frequently been lauded for its nuanced palette and offhand compositional mastery, as well as its ability to incite wonder via careful attention to tiny gestures and the incidental details of her everyday environment. In Illuminance, Kawauchi continues her exploration of the extraordinary in the mundane, drawn to the fundamental cycles of life and the seemingly inadvertent, fractal-like organization of the natural world into formal patterns. Gorgeously produced as a clothbound volume with Japanese binding, this impressive compilation of mostly previously unpublished images is proof of Kawauchi’s unparalleled, unique sensibility and her ongoing appeal to the lovers of photography In her photos we see an iridescent diamond; a radiant blue sky; an elderly woman making onigiri; an infant suckling on a mother’s breast. At first glance, her photographs seem simple. But her talent lies in the way she is able to evoke the primal in all of us: a depth of raw human emotion. “It’s not enough that [the photograph] is beautiful,” says Kawauchi. “If it doesn’t move my heart, it won’t move anyone else’s heart.” A distinctive trait of her work lies both in the sequence and the juxtaposition of her images. This editing, she says, “differentiates between a photograph and an artwork. Seeing two images next to each other opens up the imagination and gives birth to something else. Flipping through the pages of the book, it can arouse feelings of excitement, sadness, or happiness—things that are hard [for me] to do with words.” her “Illuminance” series, which are on display in large-scale proportions. Square photographs appeal to the artist because, she has said, the images don’t “pull” in any direction: they are neither vertical nor horizontal. This creates quite a different composition to the standard landscape or portraits, which usually rely on a rule of thirds for the aesthetic appeal. The square format is inherently calm, but in the hands of Kawauchi, it is never boring.

why I chose this artist: Kawauchi is a master of finding stillness and purity in everyday life. I chose this artist because through this work I personally can see the whole beauty and opulence within the light and abstract thoughts coming from each of the objects or places themself. The images themselves are not about being directly taken in a perfect manner, but done in such a way to evoke a feeling. The work itself too has a clear narrative throughout which I can truly appreciate, this is too what I want to show within my work. Her ability to capture poetic beauty enforcers a need to be meditative, her work is made of peoples emotions, within a peaceful positive manner, and I believe she does capture this successfully.

image anaylsis:

I chose this image as it really inspired me. I belive the way the richness of the diamond itself is not the valued part of the images itself, but the refraction of the light and the chose of rainbow light creating new compositions and formations of shape and colours is. It brings a brightness to a very dark room, I Like how from the composition it is implied that the crystal is on a table and then surrounded by a wall, however the space surrounding itself is represented to be infinite. The echoes of beauty within this photo are beyond evident, and the true exploration of what it means to be visceral. There also seems to be such an energy and expansion of happiness coming from one object, their is a personality from this, it is not just a thing as it forms new life and new beauty from within. conceptually I believe this image spoke personal to the photographer, and she just saw such a purpose of exceptional beauty from within.  The effect, achieved without any post-production tricks, transforms a mundane scene into a sight resembling a divine passage to heaven. An artist who chooses her subjects as a child would, focusing on small but fascinating details that are free of heavy symbolism and are reminders of the wonderful world around us. More often than not, she captures these in a limited spectrum of cool, pale blues that have become her signature colours.

Aim for my photoshoot: I too am planning on buying small objects which I see and can value a beauty within.This agin is a personal response of my own emotions and narrative. A look into what I value most, and see beauty in. I want to use different object, mediums and photography items such as living plants in scenarios which they would not usually be found, so I can control the conditions and the factors of light which they will be surrounded by. She describes her wok as “It’s not enough that the photograph is beautiful. If it doesn’t move my heart, it wont move anyone else’s heart.”, so to capture her work I must find scenarios and lighting which is both organic and produced in order to influence and create these themes of beauty.

John Baldessari was born in National City, California in 1931. He attended San Diego State University and did post-graduate work at Otis Art Institute, Chouinard Art Institute and the University of California at Berkeley. He taught at the California Institute of the Arts in Valencia, CA from 1970 – 1988 and the University of California at Los Angeles from 1996 – 2007. Baldessari’s artwork has been featured in more than 200 solo exhibitions and in over 1000 group exhibitions in the U.S. and Europe. His projects include artist books, videos, films, billboards and public works. His awards and honors include the 2014 National Medal of Arts Award, an award from the International Print Center New York in 2016, memberships in the American Academy of Arts and Letters and in the American Academy of Arts and Sciences, the Americans for the Arts Lifetime Achievement Award, the Rolex Mentor and Protégé Arts Initiative, the BACA International 2008, the Golden Lion for Lifetime Achievement, awarded by La Biennale di Venezia and the City of Goslar Kaiserring in 2012. Baldessari is known for his quote speaking of ” I will not make anymore bring art”, throughout his work he wanted to break free from the artistic conventions at the time of what was expected of art, and show that anything can form and turn into art. A series of his work was called ‘ throwing three balls in the air to get a striaght line’ This is interesting especially at the time, his work is based so much off chance and effects of time. His work is dependent on nothing, he wants to form art and create new ideas from aspects which he and no one else can control, and I personally believe this is what is most interesting about his work. This work took around thirty-six attempts for himself to achieve.

The images above are form a moving image video piece of his, in which he points at different aspects of his body repeatedly saying’ this is art’. His clear denotations of wanting to break free of conventional fine art is transparent. His unique body movement and the development of black and white, is another aspect of his work I believe would be interesting to look into. It is although his work is a fighting and creation of new art yet using the most basic concepts of how to photograph himself. Much of his images too create connotations of typologies. He has said “I guess a lot of it’s just lashing out, because I didn’t know how to be an artist, and all this time spent alone in the dark in these studios and importing my culture and constant questions. I’d say, ‘Well, why is this art? Why isn’t that art?'” his changing of conventional art had an enormous dynamic on what it is to create art. His basic mediums of placing colours over someones face, or capturing a specific moment of time. Baldessari has always been conscious of the power of choice in artistic practice – like choosing to paint something red rather than blue, for example. Here, he carefully associates the choice of arm movements with the artistic choices that a painter or sculptor may make, concluding that choice is a form of art in itself. But he also confronts one of the fascinating problems that unpinned the work of many early Conceptual artists: how much can art be reduced and simplified before it stops being art at all? Baldessari offers no definitive answer, but he suggests that the gap between art and the ordinary, between art and life, may be imperceptible.

his artistic influences prompt links to very popular, public means of communication functioned, and it could be argued that his work ever since has done the same. He invariably works with pre-existing images, often arranging them in such a way as to suggest a narrative, yet the various means he employs to distort them – from cropping the images, to collaging them with unrelated images, to blocking out faces and objects with coloured dots – all force us to ask how and what the image is communicating. The aim of what I want to capture from his work is the aspect f unpredictability, and how it doesn’t matter with photography what your outcomes are, as much as you should always experiment within how to find new creative methods.

I’ve decided, moving forward in terms of conceptual ideas and how I can form a successful narrative book from my concept of beauty , I would further research into not just seeing beauty within the world, but the minds philosophy. The way beauty relates to visceral and opulence. It is known for my last project I focused on The sublime, And I believe my knowledge on this topic will too benefit this project. The sublime is something which is beautiful yet also painful, it takes control over any emotion competence to show the powerful emotions someone has within themselves. To be visceral is the relation you yourself have to a deep inward feeling, rather than to just be intelligent. What this means is, being moved by your emotions, in a heartfelt motion, without knowing a reason as to why, with lack of thought involved. Opulence is similar within the fact it is a sense of wealth, greatness and luxuriousness. It gives the of feeling visceral but for the love of richness and Grande. I believe it wold be fascinating If I was to only look at objects and scenarios which I do not known why they are so powerful, but to create a set of images, that combine diamonds and lights in order to recreate these colours of fine art influenced work.

I have spoken previously about combining an emotional response to what I belive is beautiful in my daily life, But perhaps I could not only further this response to what I find visceral, by what items I believe are important to myself in my life, that create opulence for myself. This now is not only a vulnerable exposure of my emotions and my appearance but it is too a look inside as what I value as a person for appearance of myself an others, and material wise. Similarly to the sublime, opulence and visceral are two things which too are very subjective. Because of this there abstract thoughts and personal narrative is very much dependant on my own thinking and resemblance I feel to a object. Not only focusing this project on myself, I could further ask others what they belive is the most beautiful and opulent thing they have ever seen, I could expand on their response by taking a picture of them, and then a side by side comparison of what they believe to be perfection.This not only highlight the subjectivity of our minds, but also the difference of the mind in which people view the world separately. An artist who experimented with this is Sophie Calle – where she makes a portrait of a blind person and ask them to describe beauty. She exhibits the text too and then makes a photograph based on that description. These opposing concept of beauty and imperfections is not only something we see within ourselves, but what others see in themselves too. Not only could this project be about seeing their beauty in the world, an exposure of our own insecurities and emotions, and lastly showing objects which become abstract et beautiful within their luminance. They all have the common denominator of showing how all of these imperfections are still beautiful and part of everyones daily lives.

Once again, this project is dependent on the subjectivity of every piece. The emotion of what someone values or sees as beautiful is very different to that of so one else. The independent initiative, explores ways which different people see love, others and themselves. I believe it would be an interesting experiment to ask others what and who the deem as beautiful, take a portrait of them and display next to them what they value within their life, or even what they value about themselves. Many artists have interpreted hat they fine to be beautiful such as Laura El Tantawy etc. Living on Jersey, An island known for being beautiful through its seascapes and landscapes and artistic fluidity of farms and brightens, many people would say everything over here could be art. I could focus much of my project about peoples favourite placed in jersey, or capturing the natural beauty within jersey. However, I have decided in order to show more abstract themes, I want to use items such as CD’s , discs and mirrors in order to create not only an over-exaggeration of beauty, but also to allow a more abstract colour and luminance to the images. All of these objects when moulded with light create rainbows and more varied coloured explorations, which could be tied to the narrative of finding the beautiful and wonderful within the would. The variation of the capabilities of science and performance. Sir, has also pointed out a past students work who made a fantastic project, focusing on an element called ‘Wabi Sab’ developing films and prints as a response to Kawauchi. This work was a philosophy created to show how simplicity and beauty can be down to the small beauties constantly surrounding us.

I was too shown film in order to show a cinematic experience, it is a film by Terrence Malick: Tree of Life. The film chronicles the origins and meaning of life by way of a middle-aged man’s childhood memories of his family living in 1950s Texas, interspersed with imagery of the origins of the known universe and the inception of life on Earth.As you can see evidently from the trailer linked below, there is such a strong concentration of finding the light and beauty within everyones life, when growing up and the world surrounding themselves. There is a clear fascination with the natural elements of the world used throughout, And I believe My aim for my film should be inspired by this trailer. My film should be a short film where i respond to beauty. Another inspiration could be Rina Abramovich , who creates artistic music and does so in order to form the beautiful.
performance art/ video

I think you should consider also what beauty means to you and maybe also do some peer research and ask friends the same question.

I would also like to research and think about beauty much deeper within philosophy and aesthetic theory. Due to already having an understanding of the Sublime which is a kind of beauty that is also terrifying, it already allows a basis to this project. Beauty within this project is so far about expressing the physicality’s of how everything around all of us is beautiful. Doing so I am capturing everything which is beautiful using different concepts of light and colour. However, I was wondering If it were possible to show the beauty within someone from the outside. I want to try and express and emotional state of happiness and love form the outter side of someone, almost a more direct observational portraiture, to relate to a feeling and not just a being of happiness and beauty. I will start off by doing some market research as what it is considered to make people most happy and what people think is most beautiful about themselves, And ways in which i could evoke these emotions and objects through my own work. I will do so by asking many people where I live and my friends, and possibly too looking into past research across the globe, and if what we see as beautiful is dependent on our culture and how much money and wealth we grew up with. This could also be 5 questions in relation to beauty and happiness. These questions will be, How would you describe beauty? What or who is the most beautiful person of thing you have ever seen? What brings you happiness? Where is the one place across the world that brings you the most joy and why? what are you most grateful for? This is not only an insight to the subjectivity once again of the fine art of beauty, but the imagination of each individual mind.

This shoot was inspired by both Baldessaris video of what is art, and then subsequently a response to throwing and lining up balls in the air. Although I believed I have mimicked the same or similar composition, and a real raw reflection of motion and a sense of reality within the images themselves. I have edited the images above to be in black and white, much like the video itself, I believe this also brings more of a directed narrative to the central character of the girl herself, and her emotional expressions of her own artistic voice. I believe I could further these images of the girl, with small aspects of coloured dots, possibly on her, to enforce more of his more pop culture concerned themes. I wanted too to capture images showing movement of her running, as this shows a more realistic approach of herself. My favourite image is the one on the bottom right, when she is running yet has direct eye contact at her camera, This demonstrates a breaking of the third dimension and relationship to which she is addressing and almost questioning the viewer on her actions.

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Analysis: For this shoot it is evident that I was inspired by the artists own work of capturing ‘ a line of three tennis balls’, however, evidently I decided to focus on one larger ball, and have not successfully achieved a line of all three. Although, I belive using just one ball too creates an interesting more centered composition to the piece itself. I could however, edit the image and create an illusion of three balls, despite The fact that I could, I do not think this is the approach Baldessari would use. I believe if I was to repeat the shoot with a larger multitude of time and shots, much like the artists himself, the odds would be much greater.