My photoshoot plan is to focus on stereotypes, gender roles, feminism, misogyny, expectations of women, patriarchy, female gaze and power dynamics. My main objective is to focus on social issues within women. My plan is to make similar images of Cindy Sherman such as some images looking as if the subject has taken the images herself and set them up but also varying them by some images being taken of the subject by another person. Or potentially I could get some images setting it up, giving the illusion that I took it of my self but in reality another person helped. This is what I assume when it comes to Sherman’s famous images. Such as this image,
My aim within themes
My main objective is to portray the theme of the stereotypical traditional housewife, such as being a service to men. My aim is to suggest the themes of women looking after the household, uneducated, nurturing motherhood and seen sexually. The way I want to execute this is through similar posing such as a hand on the lower stomach, suggesting nurturing motherhood/ Another example would be heavy eye makeup emphasizing the female gaze. The purpose of the ‘female gaze’ becomes to connect with the female viewer via the female creator, coming together in a way that serves them, and upholding the idea that women are powerful and can control their own destiny. That is why one of the most notable differences between the male and the female gaze is intent. The setting up of the camera is a very important factor as it gives the illusion of her taking it off herself. Not only this, the saucepan is pointing at her breasts which adds a sexual and objectification element to her images, which she executed purposely. I will also attempt to take more images of Sherman’s but overall attempting to portray these important themes such as Sherman suggesting the representations of women.
Representations of women
All of these images have different representations of women, and the traditional stereotypes in the 1970’s which was when Sherman began to take these. Sherman uses black and white which I personally like as it suggests an older aesthetic. Therefore, within my plan I aim to make it have more of an older aesthetic like Sherman’s such as experimenting through black and white filters, heavy or light grain or other effects and decide which one works best with my modernity images attempting to make them traditional.
‘Widely recognized as one of the most important American artists of her generation, Cindy Sherman revolutionized the role of the camera in artistic practice and opened the door for generations of artists and critics to rethink photography as a medium.’
This series of photos created by Cindy Sherman in her exploration of film and caricatures pushed into women in Hollywood. my interest in these images is not the themes they surround but instead the may they are made utilising projected backgrounds that create a rustic and film like appeal.
I believe using the technique of projecting the background in some of my images will create a sense that the image is just a screenshot from a film, contributing to the story’s I intend to tell throughout my photography.
In 1980 Sherman stopped working on ‘The Untitled Film stills’ and began working in colour with the Rear screen projection series, she continued to create self portraits using only herself as a model and transforming her appearance with many varying wigs, makeup, outfits, leaving the narrative of her scenes deliberately vague. However instead of using pre existing scenery and lighting she created a manufactured environment for her photography using specific lighting and projected scenery in the controlled environment of the studio. ‘Unlike the Untitled Film Stills, with their artificial narratives set in real locations, this series presents women no longer bound by their physical surroundings.’
Nick Haymes – The Last Survivor Is The First Suspect
The Last Survivor is the First Suspect” is at once a celebration and a requiem. The project, captured between 2005 and 2009 by photographer Nick Haymes, is a record of a drifting community of young friends based mainly between two distinct geographic points: Southern California and Tulsa, Oklahoma. The book’s narrative merges a sense of joy in documenting burgeoning friendships and bonds, and a looming sense of dread that would ultimately culminate in a series of tragedies. Platforms such as MySpace, YouTube and online message boards engendered a sense of community by enabling connection, while also setting new and impossible standards and expectations. Diligently collected, these various forms of communication between the characters frame a foreboding.
In Haymes’ own introduction he accounts how his camera allowed him to compensate for a sense of crippling shyness developed during his teenage years. ’I picked up a camera and hid, discovering I could once again be near people, intimate with them, without having to engage,’ he writes.
Growing up in the UK, photographer Nick Haymes remembers his teen years spent bouncing around cliques in school. Drawn to kids for who they were, instead of who they aspired to be, Nick found his genuine interest was widely reciprocated by everyone except the girl he had been crushing on for six years. Lacking confidence, he turned to drugs, stopped writing and making art, and eventually stopped going to school. Three years later, Nick’s world fell apart when he learned he was adopted, and later went to rehab, where he dealt with paranoid psychosis. On the other side, overcome by profound shyness, Nick gravitated to photography. Camera in hand, he could engage with the world while maintaining a safe distance from people. In February 2005, Nick met two California teens, Josh and Mikey, at a dim sum restaurant in New York’s Chinatown. Their laidback manner and easy repartee gave Nick a feeling of connection and security he had been missing. That summer, he travelled to California to hang with them, and soon found a place for himself in what he described as “a family of lost boys.”
“The Last Survivor Is the First Suspect” is a notable and powerful photo series created by photographer Nick Haymes. This series is often regarded as impactful and thought-provoking due to its dramatic exploration of themes like survival, isolation, and the human condition in the context of both literal and metaphorical “endings.” Here are a few reasons why the photoshoot is considered good, even great, by many in the photography and art communities
Mood Board
Image Analysis
This image is called… The depth of field used in this image is eye catching as although it focuses on the three girls having fun, it also can create a story within what you can see and what you cant see outside the frame. The image creates a sort of familiar feel, as it reflects my personal life alot as my friends are such a big part of life. I also feel like this image resonates with my friends because we love hanging out and going round to each others houses. This image also gives me inspiration for my own photoshoots because although this activity is just a day to day activity, it also focuses on and captures stereotypes in a way. I also like this image as its showing exactly what i want to shoot.
For my personal Study I have looked at two photographers, Micheil Peters and August Sander. Michiel Peters is distinctive for his aesthetic and expertly crafted composition of his visualisations of the Second World War. With Images depicting the Soldiers of the past, his work is unique for there elaborate mise-en-scene of locations converted to the past. Taken with original vehicles, such as: Tanks, boats, trucks, Jeeps, aircraft, etc he makes good use of these to tell the true story of what occurred within Europe. August Sander, known for his extensive portfolio of the German peoples portrait over half a century, has been implemented as a highly influential figure within the world of photography. Through a single image he is able to convey so much about his subject due to their appearances and surroundings, for this reason, Sander’s work is recognised as a perfect example of the ‘environmental portrait’.
Michiel Peters –
August Sander –
Further sources –
Some other artist influences include Henri Cartier-Bresson, known widely for his candid street shots, captures the decisive points in time when pictures are taken, These to me show the candid reality of people which I can try to replicate in my work. From a historical context, I have looked into the work of Robert Capa, who is arguably the most recognisable war photographer for such works as the ‘Falling soldier’ taken during Spanish civil war of the 1930s and mainly his images of Omaha Beach, taken in the early hours of the invasion of Normandy, June 6th, 1944. D-Day. These shots capture the frontline horrors many back home had not seen yet and gave an accurate representation of the brutal reality many had to deal with during the Second World War. This practice of close combat photography would not take of massively until much later in the 20th century such as with the Vietnam War. Further more, I have collected my own sources of pictures of Jersey’s occupation which I aim to implement alongside by own images. For the staged candid effect I may want to experiment with I have also looked into the work of Paul M Smith. From real experiences within the Army, Smith recreated staged images of army training/combat photos where every soldier was himself. From this I can explore the more personal aspects of the occupation and how much I can represent my passion for the subject.
‘Liberation of Paris’, August 1944 – Henri Cartier-Bresson.
‘Omaha Beach’, June 6th 1944, Robert Capa.
‘Artist Rifle’, 1997, Paul Smith.
Further into Paul Smiths Artist Rifle series can be seen here to see how he uses clones of himself to create some interesting story’s within his photographs.
Personal Response from artist inspiration, Michiel Peters:
Interested in his work, I reached to the photographer to ask him 3 questions on his work relating to some ideas behind my project:
What inspired your to recreate these visualised images of the Second World War?
“I’ve always had a passion for photography and military history. As I live in Belgium I always went to the Ardennes to attend the battle of the bulge commemorations in December every year since I was a little boy. But at the same time I never had the feeling that the pictures I saw really brought the history to life in such a way that the horror of the war in all its aspects was represented so that people would know the horror these soldiers had endured. I wanted to bring more character In my pictures to relate to real soldiers during World War 2.”
Have you taken influence from any other photographers?
“I have not really been inspired by other photographers, when I started photographing re-enactment, this form of photography was only in its early days VS now where it has gotten a real boost in recent years. I see myself more of a pioneer by telling a story with my pictures, instead taking just a few shots here and there. I never take just 1 re-enactment photo, I always work based on a project which contains more pics to tell a story. I try to be more cinematic in my pictures, hence my inspiration comes more from movies and TV than other photographers, such as with Band of Brothers, Saving Private Ryan, the Longest Day, and some others.
“These photoshoots are most of the time in private shoots not open to the public, I can’t be limited by a public fence where I need to stand behind, for me, the only correct way to capture the re-enactors is when you are next to them in the mud, snow, rain, foxholes, tanks, etc. This is not possible from 100m, you need to be embedded with them or otherwise I cant get the character I want in my pictures I want. The only photographer I relate to in WW2 is Robert Capa with his famous quote… ‘If your pictures are not good enough, you are not close enough!'”.
Does retelling these soldiers lives make you feel more connected to them?
“I work with dedicated re-enactors, at the original historical accurate WW2 locations In Belgium, Normandy, etc. I aim to recreate these scenes as accurately as possible in their environment, using only authentic equipment. The only way I can pay tribute to our fallen heroes the best I can is to show them in this way to express my photographic mind as much as possible.”
Through capturing photos of familiar subjects in domestic or seemingly unknown, juxtaposing locations, the photographers Cindy Sherman, Nan Goldin, Ed van der Elsken, Josh Kern, and Silken Weinberg could be exploring a deeper personal perception of the photographer’s self and the world around them. I am inspired by these photographers for my project because their photos appear to depict the world and their experiences in an uncompromising manner.
Cindy Sherman
Nan Goldin
Josh Kern
Ed van der Elsken
Silken Weinberg
Through capturing either a candid or staged photo of a familiar or unfamiliar subject(s), the photographers Daidō Moriyama, William Klein, Janette Beckman, Richard Bellia, and Henri Cartier-Bresson observe the people around them with their photography. The feel of impetuosity, or a ‘decisive moment’ within these photographs inspires me for my own photographs.
Daidō Moriyama
Janette Beckman
Henri Cartier-Bresson
William Klein
Richard Bellia
Photographers who connect the human form and nature through a series of juxtapositions, photos of a natural form, or an abandoned man-made building overtaken by nature are Eva Voutsaki, Carla Ellens, Robert Frank, Stig Marlon Weston, Diane Fenster, Jeff Cowen, María Tudela, and Alicja Brodowicz. Some of these photographers also adapt and change their photographs after it is taken using a variety of different medias, either applying a layer of paint or texture on top or writing over the photo, and also such as Josh Kern.
Eva Voutsaki
Robert Frank
Diane Fenster
María Tudela
Carla Ellens
Stig Marlon Weston
Jeff Cowen
Alicja Brodowicz
Caravaggio, Frans Hals, Rembrandt, and Édouard Manet are artists I have looked at for this project to inspire different compositions for my photos, and to further consider the depth and lighting of a photo in relation to how a painting/drawing of it would appear.
Caravaggio
Rembrandt
Frans Hals
Édouard Manet
Definitions
OBSERVE
To observe means: Watching, noticing something – exploring/observing
