Literary sources: Go to this blog post here: Theory: Literary Sources and copy relevant key texts relating to the subject of your essay and list in alphabetical order in your bibliography. In addition, find your own key texts in relation to artists selected for in-depth analysis in your essay and list these too. These texts could be interviews with the artist, or reviews/ critique’s written by others. See useful online sites/ sources here .

• Research and identify 3-5 literary sources from a variety of media such as books, journal/magazines, internet, Youtube/video that relates to your personal study and artists references .
• Begin to read essay, texts and interviews with your chosen artists as well as commentary from critics, historians and others.
• It’s important that you show evidence of reading and draw upon different pints of view – not only your own.
• Take notes when you’re reading…key words, concepts, passages, page number to be used for in-text referencing etc.

Essay Question

• Think of a hypothesis and list possible essay questions
• Below is a list of possible essay questions that may help you to formulate your own.

possible-essay-questions-to-investigate

Some examples of Personal Study essays from previous students:

How can elements of Surrealism be used to express and visualise the personal……?

new topographics and traditional street photography

In what way can abstraction make visible what is invisible in the natural and urban landscape?

What is abstraction exactly?

……..William Klein’s confrontational approach to street photography?

Essay Plan
Make a plan that lists what you are going to write about in each paragraph – essay structure

• Essay question:
• To what extent are Saul Leiter and Sigfried Hansen influenced by Formalism in their work? 
• Opening quote

‘To photograph is to appropriate the thing photographed.

It means putting oneself into a certain relation to the world that feel like knowledge– and therefore, like power.’ (Sontag 1977:4)

‘To collect photographs is to collect the world.’ (Sontag 1977)

To what extent are Saul Leiter and Sigfried Hansen influenced by Formalism in their work? 

• Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?

“I happen to believe in the beauty of simple things. I believe that the most uninteresting thing can be very interesting.”
Saul Leiter

Introduction

Saul Leiter suggest that what goes unnoticed is in fact the most exciting. The fact that we are almost unaware our surroundings of unique shapes and formations, with the only way that we truly see it is through abstract approaches. Throughout my personal study I aim to investigate street photography and how it can be portrayed through various ways. I believe there is more to street photography and that it’s not just a standard photograph of a building, it’s in fact different visual elements such as vibrant colours, unusual shadows, textures, and patterns, to diverse formations and compositions that all intertwine, overall creating these contrasting effects. All these visual elements are otherwise known as formalism, compared to what we see on the streets it shows a very similar effect. The way colours are distinguished between more colours, separated by distinct lines is further represented within the streets whether we notice it or not. My aim is to bring this to life, presenting this through very abstract and diverse approaches, and makes you question the photo as it is so unrecognisable. Siegfried Hansen perfectly describes formalism. His similar approach overall achieves abstract, unrecognisable images, that are so bold and full of colour and life it changes our perspective of our surroundings – viewing things for their details and unique features that define them. Saul Leiter expresses this more excitingly, expressing very hectic and busy images, however are clearly defined through formations, colours, and shadows. I am going to investigate various visual elements such as colour, formations and shadows and how they present their own narrative as we engage in different ways. Producing my own response in a formalist way, will create depth and meaning behind what I capture. More meaning will be revealed as I capture things in an abstract approach for example the colours chosen and formation expressing how uninteresting images can be made more interesting.

• Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian. 

Formalism

Formalism is a study of art, where compositional elements are presented to us through elements of colour, line, shape, and texture. Rather than focusing on a specific meaning, reason of creation, historical background or context within the photo, (that goes unnoticed), we therefore consider the medium used or visual elements that is presented to us through such expressive and dynamic formations. The colour wheel greatly impacts formalism, as the small selection of colour complements one another therefore creating a very appealing and engaging feature.

Formalism is the most important aspect of art, presented through visual aspects rather than narrative content -connecting closely to the outside world. Within this we see a dynamic relationship of colour, brushstroke, line and composition. Isaac Newton developed the colour wheel based on his findings. Proving that white light was not a single entity, instead it was composed of a spectrum of colour combining to make white, otherwise meaning white is a source of all colour. Newton’s experiment consisted with passing a thin beam of sunlight through a prism which produced a spectrum of colours – red, orange, yellow, green, blue, indigo and violet. Then by placing an inverted prism in the path of the coloured light beams, combined the colours producing white once more.

Piet Mondrian (Dutch painter) incorporated an art movement that worked around his abstract works, becoming introduced in the early 20th century. A reductive theory was all created from this, where by taking a larger scale image, brought it to life, focusing closely on the architectural works, sculpture forms, and graphic arts as well. Mondrian was greatly inspired by impressionist techniques, in which he used certain technique’s within his own work. Similar to Van Gogh, Mondrian uses ‘pure, glowing colours and expressive brushwork in which was influenced by pointillism. During the 20th century, Mondrian started to use pointillist and cubist style, also including other abstract mediums, followed by previous techniques he learnt. He said, ‘the more basic the color, the more inward, the more pure.’ (Mondrian reference source) Visualising Mondrian’s work, we notice this more and more. Through his abstract style and bold use of pigmented colour, perhaps suggests ‘basic’ is in fact the most captivating. It is ‘inward’ in the sense you have to look into it, where you notice the true beauty of the dynamic – the compositions of line, shape, and colour.

image captions; artists name, title, year

Composition 8

Having seen cubist paintings by George Braques and Pablo Picasso in 1911, Mondrian moved to Paris where he painted Tableau No. 2/Composition No. VII. Mondiran was greatly inspired by cubist paintings. From looking at tree to, scaffolding with interlocking black lines. Having spent years in Paris, he later returned to Holland (home) in 1914, and began to work on an abstract form of art which was later classified as a neoplastic style. The work he produced during this time wa

• Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.

Saul Leiter

“Seeing is a neglected enterprise” Saul Leiter

Immersed within painting and photography since a teenager, Leiter found ways to incorporate both within his work, however his aim was never to create an obvious relation between them as they are still two separate works of art. ‘Photography is about finding things,’ Leiter said. ‘Painting is different. It’s about making something. (Leiter) Having enjoyed both types of art, Leiter couldn’t decide which he preferred, so did both. Leiter enjoyed using a brush, making a mark, then another, describing it to be a bit like ‘Jazz’- you don’t know what your going to do next. In relation to formalism, (expressed through the defining abstract strokes of colour, outlined my more shapes and marks of colour, which instantly lures you in) Leiter expresses this through his own style expressing unique features, creating a similar approach as you don’t know what to expect next. The loose strokes of colour creates a similar, mesmerising relationship- a bit like formalism describing how blocks of colour are fitted together.

image captions; artists name, title, year

An obvious relation is presented through his paintings and photographs. We can see his style of loose strokes of colour painted compared to how he captures his photos, both achieving very similar, abstract effects. The photographs look like strokes of colour, expressing a painted quality, then the paintings create this abstract up-close complexion of colour, making us ‘look twice’ at what it is we are seeing, as the colours and shapes are ‘merged’ together creating a similar feature seen in the images. From Similar perspectives, Leiter’s very prominent and abstract marks of colour create an interesting feature that strangely lures you in, as you wouldn’t expect strange (unsymmetrical) highly pigmented strokes of colour to be that engaging. Instead it is the hidden details and minor features, that entices you in – automatically making you see things differently. This effect continues throughout his photographs, as we’re presented with a confrontational perspective, where unique angles are expressed. It is clear Leiter’s work has a close connection to formalism. The colour creates this contrasting feature alongside the riveting lines, shapes, and patterns which are revealed, therefore creating this captivating aesthetic.

Leiter returned to New York in 1940, where he began experimenting with colour photography using slide film such as Kodachrome. Quickly becoming one of the most popular materials used for film; being lightweight, affordable, quick exposures allowed for producing brilliant, intense coloured images. ‘Leiter’s use of colour was subtle, yet impactful,’(Pioneering colour photography- line 4) https://proedu.com/blogs/photographer-spotlight/saul-leiter-master-of-color-in-street-photography-a-pioneers-urban-palette?srsltid=AfmBOopX8LW-V_29lHSs0z5jH_pYfF2itOAX582cDeEaF1q5LsumReP8

Described through the use of muted tones and soft palettes of colour, create this minute, tranquil effect with an unobvious effect made to be very obvious. ‘Atmospheric images that evoked emotion and mood.’ Correlating to the simple use of colour and the subtle impression we get, this in fact creates an opposing effect creating enhanced character and heightened emotions. ……..

https://www.vam.ac.uk/articles/colour-photography#:~:text=Invented%20by%20Leopold%20Mannes%20and,images%20on%20a%20plastic%20base.

By 2006 was the release of his monograph, Early Color, which ‘revealed radically innovative compositions and a ground-breaking mastery (colour theory) that permanently changed the history of colour.’ However this didn’t apply to all of his work, as he refused to give meanings or background within his fine-art-photography. “I don’t have a philosophy,” Leiter said. “I have a camera” https://www.saulleiterfoundation.org/

Leiter said “The world is full of endless things, and there are many beautiful things around us, they (us as people) lack the imagination to see what is around us, is actually sometimes very beautiful.” (Leiter reference source)

Some of his work was written in his own neighbourhood “the street is like a balllet, you never know what is going to happen,” (Leiter reference source)

Le

https://www.saulleiterfoundation.org

Kodachrome

• Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.

Siegfried Hansen is a contemporary street photographer focusing on visual links to formalism; colour, geometry, abstraction and cityscape. Hansen looks through these visual compositions focusing on the graphics and colours found within the street. Hansen doesn’t focus on capturing people, instead he looks at the formations and relations found elsewhere, “It shows the Aesthetics of coincidence in a public area, which is full of surprises.” https://siegfried-hansen.de/en/about-english-2/ (line 2) The way coincidental features take form within the images, is what makes them so intriguing creating an in-depth narrative. The diversity between the lines, structures, and signs combine with the architectural features, complementing one another whilst adapting to his abstract and graphical way of seeing. Hansen has this unique way of revealing surfaces, shapes and colour – that go unnoticed often described as ‘poetic.’ https://leica-camera.blog/2021/03/29/the-flow-of-the-lines/ line6. Our attention is brought to unique perspectives and angles which would otherwise go unseen. Relating to this poetic theme it gives a sense of rhythm as new things are constantly being revealed to us as it is Hansen’s perspective of the world around him, perhaps communicating a different world. ‘Colour can make the motif appear even stronger,’ (Hansen reference source) Having mainly worked in black and white the motif (design) was the most important and what Hansen focused on. However Hansen figured by adding colour, the motif could easily be made even stronger. This meant coloured images could easily be turned into black and white because the motif was so strong.

When Looking a Siegfried Hansen work, I notice the simplicity straight away that lies within the dynamic formations of colour and shapes. I produced a series of images which i felt would challenge the viewers, as your being confronted by a unqiue perspective.

https://leica-camera.blog/2021/03/29/the-flow-of-the-lines

https://siegfried-hansen.de/en/about-english-2

• Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced

show how ive responded 1 / 2 examples

• Bibliography: List all relevant sources used#

Sontag, S. (1977) ‘In Plato’s cave’ in On Photography. London: Penguin Books.

The Colorful Compositions of Saul Leiter

https://www.historyofinformation.com/detail.php?id=3666

https://www.clerkmaxwellfoundation.org/html/first_colour_photographic_image.html

https://en.wikipedia.org/wiki/Formalism_(art)#:~:text=In%20art%20history%2C%20formalism%20is,purely%20visual%20or%20material%20aspects.

Mondrian, P. https://www.piet-mondrian.org

Leiter, S. (painting section) https://www.saulleiterfoundation.org/#:~:text=He%20maintained%20a%20lifelong%20habit,such%20as%20Bonnard%20and%20Vuillard.

https://www.saulleiterfoundation.org/color

Essay writing: Here is a link to another blog post which will provide you with guideline about how to structure each paragraph in your essay.

In terms of the second shoot I think that the images look good and I definitively will produce more in this section of the photoshoots as I believe the images/ final result will look good layered on top of one another as the writing has historical context behind it especially down to my Polish roots and generations before my parents and my parents parents as the book I photographed goes back to the 1800s and 1900s presenting Poland before and after the War and the poorness of the country at times as well as the impact of Catholism in the country which my family still resonates with to this day keeping traditions alive and Christian symbols around the family home.

I think it was also important for me to bring this part of historical context into my photos as it provides a visual element of background into the composition but also can enhance the understanding of the photograph is it written in paper and in real life the result which are both my parents and my parent backgrounds as through human connection every little bit can connect and have an impact on people especially living in that country of the provided information of the eastern European land.

Poland’s history before and after the war is remembered by hardship yet there is a strength within the culture, hope that survives through even the darkest times. It is in this resilience that I see the echoes of my family’s journey how, despite the hardships faced by previous generations, they managed to hold on to their faith, their roots, and ultimately, their identity.

As I plan to layer the images over one another, I not only revisit the past but also reflect on how those generations still resonate in my life today. The traditions, the prayers, and even the simple acts of care around the home are all echoes of the perseverance that has been passed down. The rich cultural heritage and strong Catholic foundation that once shaped the lives of my forebears continue to influence my family’s worldview, shaping our values, actions, and identity in subtle yet profound ways.

Their history is my history, as well as their resilience too. Through my personal project I will try to capture not just their faces but the essence of what they endured, they believed in and what they cherished including the sacred connection between family, faith, and heritage that continues to develop and change across time.

“Explore the dichotomies of the characteristics between the day and the night.” 

‘Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. ‘(Sontag 1977:4) 

During the day, the natural sunlight brings energy, clearness of the landscapes around and life to the world around us, however, at night the same landscapes/spaces give a sense of mysteriousness, loneliness and emptiness. These changes not only alter the location/setting itself but the emotional impact it has on those who experience it. The contrast between the day and night creates a powerful effect, one where the light and shadow shape the way we perceive the environment as well as the way we engage with it emotionally.  My personal study focuses on the polarity between day and night, specifically how the shift from day to night creates different judgement of areas, time and emotion. To explore this theme, I have chosen to analyse the work of William Eggleston and Todd Hido, these two photographers approach the use of light, colour and the setting in unique ways. Eggleston`s photography captures the ordinary in extraordinary ways, differently Hido`s style of photography highlights isolation and mystery. In addition, I will include Pierre Putman, whose work compliments both artists by offering a different perspective on the play between light and shadow. Putman’s cinematic photographs focus on solitary dark urban settings, where artificial lighting and glowing lampposts create a dreamlike, interesting scenery, turning empty streets into powerful, emotional stories. I will respond to their work by featuring both daytime and night-time images, influenced by the work of these three artists, in my final photobook.  

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Essay Plan
Make a plan that lists what you are going to write about in each paragraph – essay structure = 2000-2500 words

• Essay question
• Opening quote
• Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?
• Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian. 
• Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
• Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
• Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
• Bibliography: List all relevant sources used

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Essay introduction: convert draft introduction to final version.

• Think about an opening that will draw your reader in e.g. you can use an opening quote that sets the scene. Or think more philosophically about the nature of photography and its feeble relationship with reality.
• You should include in your introduction an outline of your intention of your study, e.g.
• What are you going to investigate?
• How does this area/ work interest you?
• What are you trying to prove/challenge, argument/ counter-argument?
• Whose work (artists/photographers) are you analysing and why?
• What historical or theoretical context is the work situated within?
• What links are there with your previous studies?
• What have you explored or experimented with so far in your photography project?
• How will your work develop.
• What camera skills, techniques or digital processes have you used, or going to experiment with?

Below is link to a blog post which will provide you with helpful guidelines if you are struggling to structure your essay or writing paragraphs.

ESSAY WRITING | 2024 Photography Blog (hautlieucreative.co.uk)

How have Todd Hido and Hiroshi Sugimoto used the medium of photography to record and present the intangible?

Introduction:

‘A photograph might be a fixed image but, socially speaking, photography does not keep still.’ David Campany, The Photographic (2004)

A Photograph Is Intangible

A photographs takes a fleeting moment – the natural atmosphere and emotion – and immortalise it in a still frame. Once taken, that moment can no longer be revisited: it is intangible. Intangibility is the absence of a physical body. While a print out can be held and felt, the subject of the image is now immaterial – a copy of a memory. Take for instance a tourist. He may photograph himself in front of a landmark as “indisputable evidence that the trip was made” (Sontag 1977:9). But once he moves to the next location he cannot return to that same spot, the moment has passed. It does not exist any longer outside the frame. All the same people will exist, the same landmark stands however the exact makeup of that image is only present within the bounds of the frame. “The shutter clicks and the clock jumps to the past” (Stakel 2003:7). Similarly Susan Sontag draws parallels between the shadows in Plato’s Cave and the photograph. The shadows are a believed truth based on bodiless projection used to show the deceptive nature of our own perception. Both these shadows and photographs mislead the viewer into believing they know the ‘full picture’. What’s seen is believed as fact. “The picture may distort; but there is always a presumption that something exists, or did exist” (Sontag 1977:5). On the contrary, a photograph is a physical representation of what did happen, tangible evidence. Photographs are “fixed traces of the light” (Stakel 2003:7). You can hold it, share it and even fix it in a book. Photographs are the physical body of a memory. “any single statement about photography is likely to fail on some level.” (Campany 2004:10). Like anything physical, a photograph has dimensions. A photograph cannot be fully explained in one sentence, they connect emotionally to the viewer. Between even just 2 people, a photographs summary can vary drastically as throughout a photographs timeline it will pass through many different hands and the view of many eyes, a result of a physical form. “photography does not keep still” (Campany 2004:7).

Photographing the Intangible

How do you photograph something that doesn’t exist? There is a common consensus that the camera in one way or another killed the paranormal. If something exists there’s a picture so if you haven’t seen it, then it mustn’t exist. Tales of beasts in the woods and monsters in marshes have become increasingly difficult to believe without evidence. For early photographers like William Hope and William Mumler this was a matter of manipulation: using simple double exposure techniques to create ghastly effects. While its impossible to photograph the ghost of a loved one, printing a copy of them achieves a similar effect. Photographer Todd Hido captures feelings of isolation by alluding to humanity without ever showing it. The loneliness of his images utilises familiar imagery to trigger a personal response. Hiroshi Sugimoto turns something familiar into something unrecognisable through distortive blurs. “any single statement about photography is likely to fail on some level” (Campany 2004:10). This is because a photograph on its own has no context. It is an abstraction. Without context any interpretation is valid. In a collection, a narrative can be crafted however the ambiguity is what makes images resonate with the viewer. Any feelings associated with an image are entirely disembodied. “Photographs actively promote nostalgia.” (Sontag 1977:15). If a photograph represents a passed moment of time and nostalgia is the universal longing for the past then photography is the act of presenting nostalgia, intentionally or not. This is most easily seen with family photobooks but any photograph will elicit some level of nostalgia at some point in its timeline.

Bibliography

Campany, D. (2004) ‘Thinking and not thinking photography’. Engage 14 (Winter) The Photographic: 7:12. London.

Stakel, U. (2003) ‘This is Photography!’ in Well, What is Photography?. Switzerland; Fotomuseum Winterthur.

Sontag, S. (1977) ‘In Plato’s cave’ in On Photography. London: Penguin Books.

Question: How have Historical Periods of Time influenced Architectural Changes and therefore Photographic Styles?

Introduction

Photography is a way of preserving the world around you. It allows you to capture a moment of time and freeze it. This is significant as the world we live in is ever-changing. The world changes due to different movements and events. For example, the Climate Movement has caused people to be more considerate of the environment and, as a result, produce sustainable and energy efficient buildings. Similarly, the Romanticism movement, an artistic and intellectual movement during the Industrial Revolution, influenced Architects and Artists to use nature as an inspiration for their designs. As we can see, there is a tie between social activities and world development. In photography, The New Topographics Exhibition was a reaction to the Romanticism movement and idealised landscape photography. Lewis Baltz, a photographer who was associated with this exhibition , explored the beauty within the realistic, industrial environment at this time.

Final Images

In comparison to Justine Kurland

For this photoshoot, I borrowed different ideas, concepts and compositions from Justine Kurland’s book ‘Girl Pictures.’ As seen below:

I took inspiration from the activity in this image, because I also used to climb trees with my friends during my youth. However, I had less models in my image and didn’t want to copy her image exactly, so I changed the layout in the image, by standing on the opposite side of the tree and arranging my models differently.

This is not an activity that I usually do, but I wanted to include this activity, as I feel like it is a more masculine activity. I included this, so I could use it to present a range of identities ranging from more masculine to feminine.

I took inspiration from this image, because I have done this quite often, especially in Photography in the past, so it was an easier photo to take and showed a more feminine identity.

I took inspiration from the activity in this image, because I also used to play at the park and play on the swings with my friends during my youth. However, I had less models in my image and the I chose to use the swings at St Ounes on the trees, because I thought it fit the setting of the urban woodslike areas. However, the lighting of this image wasn’t the best, as it was more of a sunny day, instead of a cloudy one.

I took inspiration from this image, as I also had two models run down a long road. However, my setting is more of a modern road, compared to the dirt road.

I took inspiration from this image, because I also used to climb trees in my youth, so these images display my identity.

I took inspiration from this image, because the setting suited the theme well and was a very similar setting to the setting Justine Kurland uses in her book ‘Girl Picture’ and the setting I want to achieve for my images.

How does this relate to my theme of youth and identity?

These images relate to the theme of youth and identity, in particular, my youth and identity. I have explored my youth in these images, because I had my models do the activities I used to do when I was younger, such as playing on the 100ft hill at the sandunes, playing on the swings at St Ounes and climbing trees. I used to do all these activities during my youth, so I wanted to explore that and present it through my work. In doing this, I also explored my identity during my youth, by reminiscing on what I enjoyed doing, what I didn’t enjoy doing and who I did these activities with. I was also then able to compare my identity now to my identity during my youth, because I was able to see if I still enjoyed doing these activities, and see if I still had these hobbies to this day, or not.

I also took inspiration from Justine Kurland’s work and borrowed ideas, concepts and compositions from her to create a wider range of activities to show case. These images relate to the theme if youth, because I have borrowed other activities that Justine Kurland presents as youth to her. I have also used my friends as models in these images, and they are still in their youth, so they present this theme of youth. These images also explore identity, because they portray more feminine and more masculine activities, so this presents to the viewer that they can be whatever they wish to be, no matter if it doesn’t follow social norms. I also presented a range of activities, so that I could present a range of different identities, even though I have used the same models. I have also only used female models in these photos, similarly to Justine Kurland, so that I could explore this concepts of girlhood just how she has in her book, because I relate to this theme of girlhood, because I am living my girlhood right now so I want to present this through my work.

Analyses of 1 Image

In this photograph the lighting used was natural daylight, but there is also a lot of shade in this image, due to the tree blocking the sun. This has caused high levels of contrast, due to the darker tones from the shade, contrasting the highlights, where the sun is coming in through the tree branches. There are high levels of control in this image, as I manipulated the positioning, distance and location of my subjects, as well as myself, in order to create the best composition I possibly could. There are also lots of vibrant colours in this image, including green, brown, blue etc, which creates a range of different warm and cool tones, which creates more contrast throughout the image. The colours are also very complimentary to each other as well, which makes the photograph visually aesthetic.

There is also lots of texture throughout this image, coming from the branches, the texture of the muddy floor and the grass which pulls the viewer into the image even more. The composition of this image has the subjects on the right hand side of the frame. The centre of the tree is in the centre of the image, with the subject sat on the tree slightly off centre and is the main viewpoint of the image.

F Stop: f/11

Exposure time: 1/60 sec

ISO: ISO-100

The narrative of this image is two young girls climbing trees, during their youth. This relates to the themes of youth and identity, specifically my youth and identity, which is what I am exploring through my work, because this is an activity I used to do in my youth. Therefore, this narrative presents my identity during my youth, by presenting what I used to do and therefore who I used to be. This also relates to the work of Justine Kurland, as she also explores the themes of youth and identity, especially in her book ‘Girl Pictures.’ She also created a very similar image of her subjects sitting/ climbing a tree, as she presents the same narrative that I have presented. However, she had quite a few more subjects than me.

Photoshoot Conclusion

I think this photoshoot went quite well, as I was able to explore my youth by presenting different activities I used to do, or still do. I also explored a range of other activities, some similar to the ones Justine Kurland presented in ‘Girl Pictures.’ I was also able to explore the theme of identity, while doing this, because I was able to present my identity during this work, as I displayed the activities I enjoy and what makes me myself.

However, it was the wrong time of day when these photos were taken as it was about 2 o’clock in the afternoon, so the lighting was not how I wanted it to be. Next time, I will aim the take photos at about 4 o’clock in the afternoon instead, so that I can attain a less exposed lighting where the sun is not shining so bright. I want to achieve this lighting, because I think it will best suit my images, but also because this is the lighting Justine Kurland used in her ‘Girl Pictures,’ and it worked extremely well.

I would also like to display more masculine activities in my next photoshoot, so that I can strongly portray that female stereotypes aren’t the only identity choice and that during girlhood my models are ‘trying on boy,’ like in Justine Kurland’s work where she explores a range of different identities. However, I would also like to display more feminine activities just as much, so that I can present a range of identities through my work, so that I can spread the message to the viewers that they can chose whatever identity they wish.

I also experimented with my composition during this photoshoot, by using things such as being in the centre or to the side, or being in the foreground, middle ground and background. However, I do think I could improve my composition for my next photoshoot, by taking inspiration from other photographers and artists, as well as using other compositional tools, such as the rule of thirds, or just using the same compositional tools but better. I also want to experiment more with visual elements, such as texture, colour, tone, light, shape, form, line, pattern and space.