Artificial Intelligence or ‘AI’ is a technology which enables computers to learn and create. It has been designed to simulate a humans intelligence process which in recent years has been implemented into all sorts of areas such as the arts. AI generates images by scanning millions of pre-existing ones on the internet along with the texts associated with them and uses algorithms to to spot trends. This means that AI does not create new pieces, instead it stitches together pre-existing images into a what the machine guesses is ‘correct’. OpenAI’s ChatGPT was the turning point in modern AI for its accessibility and ease of application. ChatGPT can be used by everyday users by inputting prompts or by experienced software collaborators by implementing the software into gadgets and websites(Chat GPT was created with a foundation model meaning it can easily be exported and are highly adaptable). This variety has caused a widespread pickup of the tool.
Ethics & AI
Ethics are the examination of moral questions and judgements. AI has been the centre of discussion in terms of ethical dilemma ever since 1942 and literature has dramatized the topic through films such as the matrix and terminator. While all the older literature such terminator created ‘doomsday’ tales centring arround themes such as the singularity, Modern dilemmas instead revolve around data responsibility, privacy, transparency, accountability and technology misuse.
Businesses have been exploring the use of AI since the creation of the big data set. Companies created their own systems and implemented them in all areas without issue. Once they tried expanding however there were all sorts of unexpected outcomes. These faulty/biased outcomes have lead to new guidelines and ethical dilemmas. AI has been rapidly outpacing government regulations with recent developments which has caused worry, largely surrounding copyright infringement and artistic creativeity.
Tanja Deman
Tanja Deman uses collages of photographs and films to raise awareness of natural environment, ecology and climate crisis. She creates surreal pieces in two categories: showing urban cityscapes in dead, baron wastelands, and theatres of people judging and observing the natural world.
Tanja Deman creates black and white images for a dramatic, serious tone and also in ways to show the bleak future that we are headed towards. Stadium lighting beams down on the hill which guides the eye. The surrounding stadium is dark with high contrast to focus attention in one space. The angle is looking downwards from a high seat in the stadium so that the photograph is framed through the eyes of an audience member. This photograph combines two images; The first is a large stadium with a small number of people sitting in the foreground, the second is of a rural mountain scape. These have been combined mostly around the base of the viewing square. The environment has been captured and presented as a spectacle to these people. I think this is a commentary on how the work of themes such as Anthropocene is being viewed in a meta way to criticise the lack of urgency and appreciation of the viewer but also on how society treats the natural world.
The light drawing attention to the hill makes the viewer look at the hill same as the people in the stadium seats. The people are few in number in front of the camera. The lack of people shows a lack of interest from the general public. This is reminiscent of the reception environmentalists receive for their art – not taken overly seriously.
In Photoshop
Filters and Pre-sets
Ai can be used to change the mood of an image by adjusting filters. It will create a mask on top of the image to prevent changing or ‘damaging’ the original image. This mask sits on top of the entire layer stack. The ai has pre-sets with options and sliders to further adjust the image.
I tried two pre-sets. One used vibrant, unnatural colours and the other created a cooler tone.
Option 2
The second was under the filter option. The neural filters used more drastic ai.
It creates a drop down of ‘pre-sets’ which drastically adjust the image to create a totally different image. This option will add snow to hills and make them look like mountains for example.
I chose this option because it made the sea look tropical by using vibrant colours and adjusting the water texture. The ai also added and adjusted the clouds in the sky to make the sky look more similar to that in the summer.
Generative fill
To use generative fill, you use a selection tool and select the desired area. ( This only decides where as the ai will take the whole images’ context into account for direction etc.) A box will require a prompt which the ai uses to produce 3 different outcomes.
After experimenting with composition, I decided to generate something on the right side of the image. To contrast with the industrial ship, I wanted something organic. I decided to add two dolphins playing with a ball. The ball isn’t a natural occurrence which shows how the animals have had to learn to live with our waste. Additionally they are unaware of the boat and its lost crates which are slowly drifting over. The pink emitting from the boat is a clearly toxic gas which is being pumped out.
I tried both a faint, sunny day and a dull, stormy filter. Although it would make more sense for the stormy one since it reflects the trouble brought with human interference, I think the light one creates more of a contrast. The vibrant colours are more artificial which in my opinion reflects how manufactured the environment is becoming.
Spot Remove
The spot healing tool drop down has an option named remove tool. You outline the unwanted option and the software will remove and fill based on the surroundings.
I wanted to remove these sample boards so the walls would be completely plain for a virtual gallery.
“Never before have we been so closely connected to global climate events,” while, ironically, simultaneously, having “never been so detached from the natural world.” – Mishka Henner
Anthropocene derives from ‘anthropo’ meaning human and ‘cene’ meaning a significant period of time and so means humans effects on the world arround us.
Artists
Keith Arnatt
Pictures from a rubbish tip, 1988-89
This project showcases old food waste in a way reminiscent of a painting with vibrant colours and dramatic set ups. The use of plastic bags to distort the backgrounds help to create a surreal, stylised appearance which disguises the fact these photographs have been taken at a rubbish tip.
Keith Arnatt produced 5 images in this project. Each one used natural light to take these photographs while out at the tip. The layers of plastic diffuses the light and colours which emphasise the food positioned as the subject. Small items like egg shells are not usually placed in a tip which is usually used for large waste items like ovens and sofas. Tips calculate price by weight and though small things like wrappers don’t contribute to weight, they do show a level of laziness and disinterest in the environment. Instead of throwing this rubbish in the bin or composting the egg shells for example, someone chucked it in a large pile instead. Had there been any consideration for the environment, rubbish would have been properly disposed of.
Naomi White
Naomi White explores contemporary issues and political ideas through her photography. How we can shift away from the exploitative model of capitalism into a collective voice of the whole planet? This is a message which aligns with that of the Anthropocene exhibition and I believe is best shown through these photographs where Naomi White uses a studio set up to light up and arrange single-use plastic bags to create a unique set of images.
This photograph shows a plastic bag. It was lit from below with a light box to cast unique shadows and to diffuse the light and creates a unique glow which stands out against the white background. 2 Colours are used which would have added either in the studio with colour gels or in post-production using editing techniques. Green is a natural colour and typically represents the natural world and the environment as recycling is also associated with the colour green. Red is the second colour used which contrasts with green. Red has connotations of destruction and heat which could mean it is being used to signify global warming and the destruction of the environment. The use of a plastic bag is significant because it is a single use, thin plastic which will be used once and thrown away. This photograph makes use of this otherwise overlooked plastic and turns the rubbish into a beautiful work of art. By creating an art piece, it changes the way people view and interact with their bags. With so much detail I believe this photograph would have been taken with the macro settings or lens at a close distance. Artificial light appears to be coming through the bag which highlights certain creases and details and creates contrast. The centre of the frame has a clear strip where the bags meet which divides the two. The colours are vibrant and highly saturated to an artificial level reflecting the synthetic materials beings used for the bag. The bag was framed purposefully to only takes up one half of the frame with the other half being a plain bright white.
I believe this photograph would have been taken for several reasons: to showcase the overlooked and underappreciated plastic bags, to raise awareness of an over-reliance on plastic, and to highlight consumerism.
A plastic bag on average is only used for 12 minutes before it is thrown away. The plastic used however takes 1000+ years to decompose in landfill. The abundance of bags causing landfill is seriously damaging to the environment and wildlife. If those bags were slightly more appreciated and used until they broke (like initially intended), waste would decrease in massive numbers as proven with recent regulations. Single-use plastic bags are not sold in shops anymore, instead thicker ‘bags for life’ are the only possible purchase option. These will last longer and could carry heavier shopping hopefully causing shoppers to get more use out of them. Additionally they are only available at a 70p charge. By giving the bags a monetary value it causes people to give them a higher value and therefore be less likely to throw them away. This was a successful move as since the UK laws were pushed, shoppers buying bags has fallen by 98% (measured in 2023). I believe this was the intended purpose behind this image. By photographing the bags and giving them importance, it would in theory cause people to value and utilise bags more before throwing them away.
Before plastic bags, paper bags would have been used for fruits and straw baskets were bought by shoppers when purchasing foods. Plastic only became common place in the 1980s-before their damage was as well known. Since then, the plastic bag has become a staple of shopping. Bags are only one of many products that have become essential and so I believe that these photographs were taken to raise awareness of our over-reliance on plastic. Plastic is used for its durable properties, cheap manufacturing prices and ease of use. This means that it is used in anything from clothing to kitchen appliances. It would be near impossible to completely abandon plastics and move to a ‘sustainable’ alternative due to its widespread use as any material used at such a large scale is not sustainable. This was proven when plastic was first introduced as an alternative to wood and paper due to the sheer number of trees being chopped down. These high requirements have been regularly increasing due to a surge in population and rampant consumerism. This over-reliance and exploitation is an additional reason that I believe Naomi White decided to photograph this plastic bag.
Consumerism in recent years has proven an issue. Low prices are sought after but are only achieved by cutting corners by using factories, sweatshops and cheaper materials. The dip in quality means that the items will not last as long and are therefore thrown away sooner and need replacing. All this rubbish is non-recyclable because cheaper materials are too low quality to repurpose. Additionally people want more which creates a vicious cycle which is best represented by the fashion and textiles industry. 60% off all produced textiles are made with synthetics such as polyester, the same plastic used to produce water bottles. Polyester is significantly cheaper to produce and extremely difficult to recycle. Unlike its organic alternatives (such as cotton), polyester is made of short fibers which easily fall apart, melt in washes and always sits ‘boxy’ whereas cotton is made of long, hollow fibers which allow water to pass through easily and forms a light fabric. These resistant fibers create long lasting garments which can even be recycled. Even still wardrobes have become filled with these synthetic impostors purely due to their availability. These polyester pieces are bought at low prices, worn for a fraction of a year and thrown away for a range of reasons almost always ending in a landfill. Even if they are worn and used for longer before being thrown away microplastics contaminate the water supplies when washed. Although this does not directly affect people it does impact aquatic life. Modern day consumerism is best summed up as: Fast-Fashion brands create garments that are created to look good on a hanger until they get washed and they begin to pull and require replacing. Plastic bags are symbolic of shopping also which I believe makes consumerism an issue Naomi White is warning against.
Mandy Barker
Photoshoots
Photo Shoot Action Plan 1
Who – This photoshoot will be inspired by Keith Arnatt. I am going to photograph rubbish and arrangements of objects to showcase the mass of varied waste and the damage caused.
What – I would like to visually comment on plastic, mass wastage, non-recycling, disposable society and consumerism. These will be still life images focusing on the items.
Where – Keith Arnatt photographed a rubbish tip in natural light which so I will visit several places in natural light where an abundance of rubbish accumulates such as the recycling centre. Will visit: La Collette recycling centre and acorn.
Why – To showcase mixed waste and what’s being done with it. Recycling takes rubbish and turns it into something else, charity shops repurpose old items. I would like to contrast these positive parts with negative ones such as overflowing bins and litter which didn’t even reach a bin.
How – I will photograph in set out arrangements and also heaps. I would like to experiment with textures also such as clear plastics, damaged textiles and rotting foods. I will also experiment with lighting and background as these will be studio images taken with artificial lighting.
Photoshoot 1
To try and photograph a gradient behind a plastic bag I used my phone to display some colours and I arranged a plastic bag over the top. They didn’t turn out how I’d hoped and next time I would try using a larger bag from further away. I also arranged some plastics into an arrangement with both small and large pieces. I used the sun for light which was bright and caused lots of reflections on the plastic which I should’ve expected and waited until later in the day.
Photoshoot 2
I decided on these 5 images to start building up a ring. I was going to put the string in the middle however I didn’t like how it looked surrounded by the pens.
I started adding pieces in two sections: The larger front ones and the small back ring to create depth. I started by adding lots of small items in the background focusing on the ring and moving a few outwards. I then began to add to the front but didn’t overlap any since I was trying to fill space. This looked strange so I added some on top of each other and changed the opacity and added light shading.
I only used these three objects since their colours were similar and so was their shapes. I wanted to use similar objects in the image like Mandy Barker did so that there would be a more cohesive overall appearance. I noticed that when shrinking the images the whites stood out much more than anything else which didn’t achieve the effect I was after. I made all the smaller objects darker by reducing the opacity and creating layers of colour block to place over the top. I think there is still too much dark and next time I would widen the rings also. If I was going to make another I wouldn’t create a ring and instead would create a gradient with more objects without being focused on colours. All the objects will be the exact same type such as a football but in varying states of decomposition.
New Topographics was a response to increasingly suburban surroundings and idealised landscape photography showcasing and elevating the natural world. It showcases the effect of man on the surrounding world and a sense of beauty in its dull change. These are documentary photographs typically contrasting square manmade buildings with soft mountains capes and open land. New Topographics saw the work of Ansel Adams and found the ideas of environmental protection and preservation inspiring however the approach disingenuous. He showed the beauty of the natural landscape without the effects of man by carefully framing whereas new Topographics would move the camera slightly to show a trailer park. They aimed to preserve the environment by showing the effects of man on the environment. Humans want for constant expansion and the need for more housing post war meant that more and more space was being cut up and built on. Influential artists included:
Nicholas Nixon
Henry Wessel Jr
Bernd and Hilla Becher
Robert Adams
Robert Adams photographs could be split in two. On one half there would be a traditional landscape slightly too far away and the second half would contrast with a road or building with harsh lines and dull appearances. He rose to prominence through his project ‘The New West’ and participation in the exhibition ‘The New Topographics: Photographs of Man Altered Landscapes’ in 1975.
Case Study – Henry Wessel
Henry Wessel was an American photographer and one of ten collaborators in the exhibition ‘New Topographics: Photographs of a Man Altered Landscape’. His work consists of isolated observations of the typical environment surrounding him such as roads and pavements.
This photograph focuses on a house surrounded by a growing plant such as maze or grass. This plant towers over the house like nature taking back the space. The house is a small one-story bungalow which is associated with the elderly which plants the idea that the plants haven been trimmed due to a lack of ability or that the house has been abandoned. This photograph is also in black and white made up of mid tone greys and whites. This light colour pallet creates a softer atmosphere and radiates a bright, sunny day. The only dark parts are inside the house to create depth. This also makes the outside seem more friendly than the inside of a building commenting on the isolation and coldness of modern buildings/communities. Additionally there is no sign of life inside such as a light to show that the building is still in use furthering the idea that it has been abandoned and unappreciated. This photograph sits eye to eye with the building which would require the photographer to be stood far away. This causes the road to take up the bottom of the frame. This shows how plant life has to push through human created surfaces such as pavements and roads. The plant life has been surrounded by stones and tarmac without a second thought.
Henry Wessel Jr took this photograph in landscape to reflect the reach of the house as its short but wide. If this was taken in portrait it would make the building seem even smaller and showcase more of the sky which isn’t the focus of this image. The plant life is cut off by the frame which shows how much space it has taken unlike the house which is rigid in shape and doesn’t fill the whole frame. The house is visible through the plants which shows it only thin coverage as surrounding the plants is harsh materials which is difficult to grow through. The contrast between the bottom half of the image and the top half shows a balance. The top half shows the natural sky and the plants while the bottom half shows the building and the road however they met and merge in the middle.
I believe this photograph is to show consumerism and a lack of care for the environment. This is shown through the abandoned building and overgrowing plants. The house with harsh lines and unnatural shapes stands apart from the grass like plant. Houses are built using precious resources, take up beautiful land and only get a lifespans time of use for one single person. The environment and its resources are not one persons financial gain, the land would have probably been used by wildlife and plant life and since the plants have been left long enough to grow over 4 meters minimum (which depending on the plant could take anything from 1 year upwards.) they have begun to slowly take back their land.
Bernd and Hilla Becher – Typology
This German couple were the only Europeans in the exhibition new Topographics. They were inspired by another German photographer who experimented with typology. Typology is the study of types. The inspiration showed dried plants in a triptych.
The couple photographed disappearing industrial architecture around Europe and north America such as water tanks. They never included people in their images as the focus was solely on the architectural feats. The couple were influential in the appreciation of industrial architecture.
Each of these images have been taken with a similar distance and angle. This uniform approach helps to link each one and to create a more coherent grid, which was a staple of their work. This grid presents 9 different images of the same industrial sculpture. Each one is from a different location with different designs. Since they all have the same function they are bound to have similarities such as size and materials however what’s suppressing is the different shapes they have. By combining these in a grid it showcases these differences and the detail put into a simple structures composition. Since Bernd and Hilla Becher photographed disappearing industrial structures this grid would have been made to highlight the unlikely beauty in these temporary industrial tools. Had you stumbled across one of these in an area naturally you wouldn’t acknowledge the structures or their intricate composition.
The pair used a large-format camera, same as Ansel Adams, which would produce high quality black and white photographs on glass sheets. They would photograph on overcast days for dingy lighting, a white background and to present the structures as they would be seen. Between the lights and darks is a clear contrast which differentiates the sky, building and its metalwork. This lighting was different to natural landscape photographers who photographed early or late for soft lighting. Occasionally when the sky was blue without clouds, they would use a blue filter to compensate. A blue filter creates a cooling effect to correct warm lighting and can enhance shadows. The photographs are taken in portrait to cut out backgrounds and get close to the subject. These tight frames draw attention to the subject matter and create an intimate aesthetic showing the photographers appreciation while also showcasing the height. The angle is at normal eyelevel and has been taken ‘dead pan’ which in comparison to the structures appears low which furthers the massiveness of these structures and makes them seem powerful. The dead pan approach is an approach which showcases the subject as is without decorating or manipulating it in anyway which was deliberately used to showcase the structures in their natural state.
The metalwork and shape is what differentiates each structure. Not only are these factors significant in the functionality of the structures but also creates a unique appearance. The metal bars creates lines which compliment the subjects shape and have unique patterns which makes it a shame that they will be taken down. If each one looked the exact same then there wouldn’t be any attachment to the structures. Time and thought had clearly gone into the appearance of these structures and would mostly go unrecognised by the public. In contrast, the metal bars are rigid harsh lines which are clearly man-made and resemble prison bars. This menacing message of captivity and lack of power could also be highlighting the photographers feelings about the environment. They have a lack of power against man made structures which take over the landscapes. The new Topographics was made to showcase how the landscapes are being destroyed and this photograph is significant in showcasing the feeling surrounding this topic.
Photoshoot 1
This photoshoot covered both seascapes and industrial spots. Over the hour the weather changed several times. There was mist, rain, sun and clear skies which made lots of images look different.
I changed the photographs to black and white, cropped them and rotated each one. In addition I adjusted the contrast slightly and I think these images turned out better than the coloured ones. This is because I don’t think that the colour images fit into the new topographics theme as much as the others.
Panorama
I used some images of the same setting taken a slight different angle. This meant that using about 5 different images could show space on either sides of a normal image which creates a wide angle. The first one shows the jagged edges created when combining the images and the second shows it cropped for a clean shape. I liked the unique shape created and will try experimenting with this shape at a later point. There are two automatic panorama features: One in photoshop and one in Lightroom.
Photoshop
In photoshop the panorama option is accessible by selecting file(on the home screen)>Automate>Photo merge.
A pop up appears which has several different layout options. For panorama images the perspective option needs to be selected. To choose the images the files need to be selected from the files on the hard drive once the browse option is selected.
The combined images are then combined into one photoshop tab. This allows for further editing which would be absent in Lightroom.
When taking the initial photographs I managed to hold the camera at a consistent angle which produced an image with a naturally rectangular shape. I didn’t like this one as much for two reasons: This one doesn’t show the high rise flats and there was no interesting shape created.
After experimenting with the first two, I combined more images and kept the jagged shape. I like how this image turned out edit wise however next time I will be taking a photograph of a landscape with a more consistent and interesting subject such as higher tide and more rocks.
Lightroom
In Lightroom you select all the images that will be used and then the panorama option is under photo merge.
A pop up appears which is where final alterations are made. This then merges the images into one final Lightroom image which cannot be altered outside of typical Lightroom editing.
Using the Lightroom option I produced another strangely shaped panorama image. I wanted to experiment a bit more with the outcome so changed the image to black and white.
Final Images
This image has interesting lines and shows off modern architecture with simple colours and basic shapes. There is little going on with the shapes or exterior however it so obviously man made. I like the different floors with the contrasting shades and I think the shapes came out well.
This one is split into 3. The first part is the old building taking up the right side of the frame. The second part fills the middle of the frame with a reasonably aged and outdated block of flats. The size of this high riser is rare on island. The left part of the frame shows a modern block of flats that only finished construction recently. Representative of jerseys varying architecture. I would have liked the sky to have been a lighter white to contrast with he shadows of the buildings.
This image shows an industrial structure is ‘polluting’ the sky and blocking out the sun. The details are still visible on the beams despite increasing the contrast.
I like this photograph because it shows a lack of respect for the environment. there’s litter on the ground and graffiti on the bench which has taken valuable land space and gets much use.
Who – These photographs will focus on storm damage of the environment. Its effects on people will be shows through homes as opposed to showcasing people.
What – I would like to photograph immediate damage such as fallen over trees and missing roofs but also how they are being worked on and fixed such as scaffolding and machinery.
When – These photos will be taken when the weathers not so great and ideally bits of rain. This will be reflective of the storm and the negativity caused by its damage.
Where – There will be a mixture of woodlands and housing estates to showcase a range of effects.
Why – To document the storm which impacted peoples homes, educations, jobs etc. It was a major event which months later is still causing problems.
How – These images will be landscape from a distance. I would like to try exposure bracketing for HDR on some which will require a tripod. I will take some without also where a tripod wouldn’t be usable or realistic. In terms of photoshop experimentation, I would like to try and layout a newspaper of sorts.
These are all images of immediate damage from the news. In addition the JEP has created many articles and covers surrounding the topic which I would like to take inspiration from for some image presentation. I would like to experiment with placing an image in a newspaper article or similar at some point.
Photoshoot 1
For this first photoshoot I took photographs of fallen trees since I will be focussing on houses in a second one. I visited St. Catherine’s woods since many tress had fallen or been recently chopped down for safety. I changed the images into black and white and adjusted the contrasts, highlights, shadows etc. I photographed individual trees and logs mostly instead of landscapes which I didn’t realise until selecting images.
Final Image
I believe that these this one turned out the best. There is greater contrast and the photograph shows a landscape instead of just a single tree like the others.
‘Landscapes’ was a form of art where ancient artists drew and painted large spots of land such as gardenscapes which derives from the Dutch word ‘landschap’ The tradition of pure landscapes declined after the fall of the roman empire as landscapes became simply a backdrop for religious scenes. This tradition continued until the 16th century when the renaissance sparked a new interest in the natural world. The Dutch word became associated with the movement as the Netherlands was one of the first places that landscapes became a popular subject to paint. This need for large scenic paintings was born from the rising Protestant middle-class with houses in need of decorating.
Outside of the Netherlands, powerful art academies of Italy and France refused the paintings as they placed historical paintings (including classical, religious and mythological themes) above other styles as portraits, still life and landscapes were seen as inferior. Even as landscapes become more and more accepted, they were still only used as a backdrop for biblical or historical scenes. In the 17th century Landscapes took on a different form known as the ‘classical landscape’. French artists Nicolas Poussin and Claude Lorrain perfected the classical landscape after devoting their careers to roman countrysides. Poussin found that the same emotions conveyed through a person in a painting could be conveyed through a landscape and elevated landscapes to a new, higher status.
The 19th century saw the industrial revolution which altered urban landscapes and the change of old hierarchies. Landscape photography also rose in popularity and influenced the way artists depicted their paintings. Revolutionary artists such as Gustave Courbet began to push the boundaries of a landscape and allowed for future artists to break from the rigid academies. This new generation were the impressionists. Courbet had a distinctive style of layering paint which influenced artists into the 20th century as well as Van Gogh. The 20th century saw photography accepted as an art form and artists embraced landscapes as a way to respond to fears such as ecological disasters and global destruction.
Romanticism
Romanticism was a movement in the 19th century (1800s) which was a direct reaction to the 17th and 18th century enlightenment. The enlightenment was all about embracing science and reason across Europe and America and moving forwards with technological advancements bought along with the industrial revolution. This ‘head first’ society is best shown through the slave trade where minimal costs were spent on labour which lead to large profit margins. On paper this was the perfect way to money making scheme however pulled innocent individuals from other countries away from their homes and families. The romantic era thought about feelings and considered the heart instead. It rejected science as a cold and heartless worldview that run purely by reason which was a dystopian nightmare. This reaction saw the slave trade not as a business reaction but instead as the horrific abuse of people.
Industrial revolution
Romanticism was the rejection of the Enlightenment which had sucked emotion from writing, politics and art. Romanticism cantered art around emotion; personifying them as untamed nature. The industrial resolution connected the Enlightenment and the Romantics, its was a result of the enlightenment and its focus on scientific progress and the root of all romantics problems. The industrial revolution succeeded based on the efficient exploitation of the earths recourses as scientific ideas and and theories were transformed into practical realities. Factories could mass produce products which required more work and provided the owners with more to sell and therefore more money for less effort. They destroyed the environment while offering a large number of jobs. The business owners with factories saw rapid growth in success and profits while putting in less and less work themselves. Despite making more money then they knew to do with, they’d have more time to reflect. Maybe it was guilt for exploiting workers or the environment or maybe it was the fact that their happiness didn’t increase at the same rate as their wallets, but these rich men found themselves idolising the simple farmer life. Since money means power, the romantic period was run by rich, privileged, educated men in large, growing cities who saw life in the countryside as the ideal. This life wouldn’t have smog filled streets or poverty ridden workhouses, instead a sulf-sustaining utopia. They believed that centuries ago humans were happier being closer to nature despite missing the obvious fact that life for the poor in the country side was hard physical labour with poor living conditions and overall shorter lifespans. This sentiment that money doesn’t equal happiness and that a poor family is closer and happier is still common place in the media today.
Despite the flawed outlook on privilege, the romantics appreciated nature which would have effected the art produced. With a growing appreciation of nature, artists such as John Constable created pieces such as the following:
John Constable: The Hay Wain
John Constable was an artist from the romantic period (1821). He documented landscapes for future generations in fear that the progress born from the industrial revolution would ruin them. Factories were filling the air with smog and taking up valuable land. Cities were growing in size and poverty and the land was changing. This piece shows a farmer using traditional equipment such as a horse and waggon walking through a small body of water just in front of a small traditional hut. The trees in the skyline help to create an image of a traditional English countryside witch looks completely different to growing cities showing the commentary on land use, the industrial revolution and changing times. The sky is a mix of blue skies and dark, heavy clouds. The dark heavy clouds are over the house while the bright clouds are over the open landscape using pathetic fallacy to show the farmers concerns or anger over change and the blissful sunshine over the romanticised open, natural field.
The Sublime
The sublime is a quality of grandeur that inspires awe or wonder where emotion is more important than reason. Its inspired by emotions and partially in relation to the natural landscape. The Romantic sublime shares experiences of awe, terror and danger over 1770-1850.The sublime utilises personification (giving an object human like features(in this case showing emotions)), glorifies nature and places an emphasis on aesthetic beauty.
Ansel Adams was a talented pianist before an accident which damaged his confidence. This damaged confidence pushed him away from music and instead towards a different creative outlet: film photography. At 12 his uncle gave him a camera (Kodak Brownie which was the first ready available and reasonably priced at $1 when released(about £30 now) and introduced many amateurs to the subject), he began to take uninspired photographs on his trip to Yosemite National Park. It wasn’t until he finally decided to experiment that he had his first ‘successful’ photograph of the half dome:
He used both a yellow and red filter on his camera(Now a large format camera). The yellow filter (right) has the exact same composition as the red filter(left) only the red filter gave the photograph a greater variety of tone. The sky is much darker and the stone has more contrast creating an image with a stronger identity and looks significantly more dramatic. Using film was expensive and difficult which meant that you could only take a handful at once maximum. This resource management lead him to develop the zone system. The zone system was an 11 part gradient means to visualise how colours would translate into black and white where colours were assigned numbers on a scale with ‘0’ as pure black and ’10’ as pure white. In addition he began to take his photos 2 stops under exposed for exaggerated tonal values and edited them slightly while the glass films were developing. This 11 shade system shows the contrast in his images best when pixelated. The above is this same image with each pixel showing the tonal shades. Every neighbouring pixel is a different value and range massively across the image, this showcases the contrast present in the image. This process is reflectivitve of the quote “You don’t take a photograph, you make it” which was said by Ansel Adams himself. A photograph can be deceiving or awinspiring similar to art and requires much input from the photographer themselves. It was not just shot and taken away instead it was carefully planned and developed, requiring the photographer to make and weave a narrative. His well known grand images popularized art photography among the American public and inspired many to truly appreciate the natural landscape. The zone system also affected how other photographers could control exposure and achieve richer tone in their own images.
Group f/64 was made up of 11 photographers with a common style of photograph with sharp focus and careful framing. It was founded in 1932 by Ansel Adams with the name referring to the aperture on a camera resulting in sharp images. Ansel Adams was an environmental conservationist and his photographs were a way to protest the abuse of land. His photographs were made to showcase the beauty of the land to push for its protection. This was a sentiment that was common among the group of landscape photographers. The group was made up of Ansel Adams, Imogen Cunningham, John Paul Edwards, Preston Holder, Consuelo Kanaga, Alma Lavenson, Sonya Noskowiak, Henry Swift, Willard Van Dyke, Brett Weston, and Edward Weston.
This photograph showcases a landscape of the American west. In this specific photograph value 10 is present in reflective river and the left snowy mountain without any overhead clouds. The river is surrounded by much darker trees which makes the brightness stand out significantly and is also near the centre of the image which helps to draw the eye. The value 0 frames the bottom of the frame which pushes attention upwards of the frame and makes it seem shorter which in tern makes the landscape seem wider and larger and therefore more impressive. The large range of tones makes the image seem like it has genuine depth, similar to how it would look to the natural eye. This makes the image seem much more impressive as it almost looks as though it could creep out of the frame. The whole photograph was lit with natural lighting, diffused by the clouds overhead for a softer outcome. The details are sharp throughout the whole image requiring and was taken 2 stops underexposed. The viewpoint was up on a bank which flows around the left of the frame. This angle allows the river to run below and be visible in its entirety. A grassy plane many meters away is visible clearly which would only be in frame if the viewpoint was higher like it is.
His work is reflective of romanticism. This one in particular encapsulates the sublime with grand, towering mountains. These large mountains and gushing rivers are awe-inspiring but also dangerous. The viewpoint alone could be dangerous with its height however provides a beautiful vantage point. Ansel Adams also valued the environment and large land masses. He created his photographs in an attempt to have the land protected by photographing and capturing the beauty in the landscape and to raise public awareness. He deliberately framed his images to cut out any human activity to show how the land should stay and to appreciate the natural landscape.
Edward Weston
Over the course of 40 years, Edward Weston photographed in monochrome. His work varied between still-life, landscapes and even parodies. He also photographed the American west and was the first photographer to earn a Guggenheim Fellowship. In 1974, for the final 10 years of his life he was diagnosed with Parkinson’s disease and focused on printing over 1000 of his most famous images.
This photograph encapsulates the sublime through the crashing waves. It is taken from a high viewpoint in order to capture a birds eye view and the effect of the waves along the beach as opposed to a normal viewpoint which would focus on the skyline. This photograph is in black and white and in a 4×5 frame. The sand is all one shade without contrast which is broken by the rocks and sea. Pure whites, shade 10, is present in the foaming waves and creates a clear contrast from the rest of the sea. This contrast shows the movement of the water while also showcasing danger which is furthered through the high viewpoint is looking directly down a drop. Pure black is present in the rocks which creates contrast with the fluffy water.
Compare & Contrast
This photograph was taken by Ansel Adams and also shows a beach with moving waves. This photograph however has darker rocks and lighter water. This creates greater contrast across the image as mid-tones are almost non-existent. This one was also taken from height however looks across at the landscape instead of down. By looking across at eye level the photograph is not looking down or belittling the sea. This gives the sea more power and therefore makes it more dangerous. This image also shows the sea during heavier winds with larger waves which are more dramatic. The raging waves juxtapose with the sunny, clear sky above and shows the dual nature of the natural world. Romanticism was the movement that acknowledged and marvelled at nature and I believe that both photographs reflect ideals carried forwards from the movements impact such as the sublime. I believe that both images are representative of the sublime however Ansel Adams shows much more danger and therefore is more intriguing.
Ansel Adams and Edward Weston were two visionaries in photography and both were a part of f/64 with similar styles and ideals. They both took high contrast photographs of nature and travelled together on occasion.
— A letter from Edward to Ansel in 1936
“I cant tell you how swell it was to return to the simplicity and natural strength of your photography … I am convinced that the only real security lies with a certain communion with the things of the natural world.”
Around this time saw the great depression and the world wars which were major events and seen as even bigger ‘failures’ of modern society. The great depression was caused by banks going bust and loosing money which created an unsteady, unreliable and unforgiving environment. This understandably soured people opinions of the government and the ways the county was evolving. Not only were people wishing to go back before the banks crashed, but also back to simpler times without the need for them. In addition more people then ever were working on farms or ranches and pushed them closer to nature which were reliable. People embraced nature and again romanticised a simpler life.
High Dynamic Range
Exposure bracketing is when 2 or more of the same images are taken at different exposures. One under-exposed and one over-exposed taken with the same composition so that they can be layered together, needing a tripod. High Dynamic Range (HDR) combines these images to create a uniquely exposed image as a camera has a limited dynamic range and can typically only capture lights or darks in detail.
Lightroom
This selection of images shows a normal exposure, 1 up/down and 2 up/down. This means there are a minimum of 5 different exposures for a range in detail.
I selected each exposure I was going to use and right clicked to create the drop down. One option: Photo merge, has an option called ‘HDR’ which automatically masks and layers the different exposures.
This opens a pop up which has 4 total options of customisation. I selected the ‘Deghost Overlay’ which shows in red the masking this option used. I then used the graduated filter to change the sky slightly so that it would not be one flat shade. This also meant that it would contrast with the trees. I then set the image in black and white and adjusted with some basic editing. This was to achieve a similar outcome to Ansel Adams where there would be high contrast in greyscale.
Photoshop
In photoshop, file has a drop down with option ‘Automate/Merge to HDR Pro’. This allows you to add in all the exposure brackets after selecting the option and also has more options than Lightroom.
These options include saturation, gamma, exposure, edge glow etc. These options allow for more control over the final outcome than Lightroom provides.
For the final outcome I again set it in black and white and adjusted the hues. Red and yellow made the most differences to the contrast whereas magenta changed very little. In normal images the sky did not have as much detail as the ground however this editing allowed both to have detail. I used the dodge tool to lighten the wooden whites as there was no other light parts in the ground which had little contrast. The sky had lots of light shades however that was the only light in the whole image. Overall I prefer how the photoshop one came out as I had more control to make the image how id planned. It has more contrast and detail. The Lightroom was too light with little dark whereas the photoshop one had more darks which made the split more even.
For this photoshoot I was inspired by how Cindy Sherman showcased stereotypes, gender roles and her overall characters.
I took these photographs at my friends house because she had a traditional sink with two compartments which was important. A traditional metal sink is quickly recognisable for what it is and heavily associated with the gender roles of women through out the ages.
This kitchen only had lights on the ceiling for lightning which were extremely bright and cast heavy shadows over my friends face. I raised myself higher than her to ensure that her face and the sink would be at the same level in the frame which I think turned out rather well as it has the expectations looming behind her constantly. I also stood at her level for some where she would lounge around the counter.
I wanted to create a character who doesn’t want to be in the kitchen. Instead she has dreams of a luxurious life which she would see in films and adverts. I think that the dramatic poses and over the top parts encapsulate this well.
The draping poses show a lack of effort or care while also showing comfortability and knowledge of her environment. Her disinterest in her activities shows that she wants be elsewhere and that she might be above housework alternatively that she’s tired of working or finished and out of things to do.
I edited this same image in two ways to achieve an aged appearance:
Cropped into a square with a retro effect
Black and White inspired by Cindy Sherman in 4×3 aspect ratio
I didn’t like how the brown tinged ‘retro’ image as the colours were extremely muddy. While the muddiness could say the same as colourless I think the lack of colour not only looks older but also carried across each image consistently.
After narrowing down my selection I settled on these nine images:
Some of these are rather similar however at this point I was still trying to narrow down the selection and wasn’t sure which expressions were best. After comparing to Cindy Sherman however, I managed to narrow down the selection even further.
Each one had the aspect ratio changed and set into black and white. I had two arrangements in mind: all of the images together or 3-4 arranged together.
Both image arrangements were inspired by Hans-Peter Feldman. I fitted all 10 images in frames and arranged these frames in different sizes and positions.
These arrangements all contain photographs of a similar theme or focus for example in this image all the framed photographs are of the ocean. These frames come in different sizes, shapes and colours which I would like to try myself. How the frames are so different but don’t look messy is due to the similar colours of the frames and because the photographs inside are all closely related.
This is another layout created by Hans-Peter Feldman which doesn’t use frames instead pins and a board. All the photographs are of shoes, in black and white and the same size. This is another layout I would like to try. The photographs aren’t all perfectly aligned which is something I will try to incorporate into my own arrangements.
To create these arrangements I first had to arrange the images in photoshop to open later onto a virtual gallery wall. I fitted each image into a golden frame (which looking back should have been silver or grey scaled) and arranged them in a basic shape. I then adjusted the sizes of each photograph and frame which resembled a Hans-Peter gallery wall. In order to insert this image onto a virtual gallery wall later I also added some drop shadows and removed the background.
I prefer the pin arrangement with black and white Images because I think the frames are too vibrant in comparison. For my printed images I will be arranging them in a similar way to the pined up idea only with 2 images instead.
I really like how this arrangement turned out and with shaded details it really brings the set together. I began this arrangement by adding white boarders behind each image to make them look printed. Then I arranged them in a 3×2 grid. To make the images look more like paper being pined up I also distorted the shapes using ‘warp’ which made them look like they were flapping. In addition I added pink dots for pins and rotated 3 images slightly. The pin was either going to be plain white which blended in or pink since its heavily associated with femininity. At this point the images just looked slightly strange so I added a drop shadow to all the images and pins as well as changing the background darker to see the boarders. To finish off I added slight shaded parts to corners and bumps as well as additional shadows under raised sections which in my opinion helped the image turn out best.
I arranged both arrangements onto a blank virtual gallery space and adjusted the vibrancy of the frames.
On the gallery wall with greyer frames, I think the frame arrangement shines. The pined arrangement gets lost next to the frames despite on their own being the complete opposite. I think that the board behind the pins is too large so I removed the board instead. I originally didn’t want to remove the board because I liked how Hans-Peter Feldman arrangement turned out. By changing the frames and board both the setups look much better and more cohesive.
I narrowed the selection for final print outs to the following:
These four are probably my best however since I can only print a maximum of two images I decided to print the rubber gloves and hunching over the sink.
Exploration
Using Hans-Peter Feldman again for inspiration, I edited these photographs to remove parts of the face. In this image above each head was sliced out of the physical print of a family photograph. This photo was then raised against a coloured background.
My photographs might not look right without the whole head because the subjects hair is not stylised in a recognisable shape like the photographers. To compensate I tried removing accessories, faces, arms etc and settled on these two:
I prefer the gloves image to the newspaper for a number of reasons. If I was going to try this again I would have planned ahead and photographed a hair style with a distinct shape. Additionally I would have removed the hair accessories in photoshop so that the face wasn’t the only missing part. I think that the hair accessories also being newspaper would have created a more cohesive appearance. I made the gloves pink because it is a colour heavily associated with femininity. I made the shadows more intense in this image also which actually made the image look raised against the pink background.
For this next layout I wanted to create a scrapbook appearance by removing the background in choppy lines.
Comparison
This photoshoot was inspired by Cindy Sherman. The most obvious similarities is the use of the background. Both images show someone in a kitchen which has been closely associated with women.
Unlike Cindy Sherman these were not based on old films and therefore clothing was not intended to look old. I also had my friend looking at the camera instead of away because looking at the camera making her look assertive and confident and utilises the photographic gaze. This combines modern associations such as the clothing and confidence as well as outdated ones such as housework.
My final Images
I like these two images the most even though they aren’t flashy or over the top. I think their simplicity says more about the mundane life of a housewife and boredom that follows.
In this Image my friend is dressed casual while leaning over a sink. Leaning shows a lack of energy or interest in the task of simply doing dishes. Her gloves create a barrier between her hands and the chore which is reflective of her mind creating a barrier between her wants/wishes and her reality of scrubbing plates. She has dreams of something more where her life isn’t some repetitive cycle of cleaning a mess that just stacks up the following morning and instead engaging where she can see progress and an outcome.
Her clothing is casual without any additional aprons or rags to prevent stains or spillages showing the pointlessness of her gloves which only accounts for the present mess and nothing else. No matter how much she tries telling herself otherwise, it is inevitable that this little gesture to herself wont change a thing and that she’s stuck somewhere she doesn’t want to be. In addition she has a neutral/unimpressed expression which again shows no interest in her task, instead she is looking away at the camera which shows this longing for something else.
Her hair is inconvenient for her task of the dishes. With long hair down she’s likely going to get it dirty however she’s accessorised her hair regardless. This demonstrates the want for outwards approval over convenience. She wants to is is expected to still look a certain way even when alone and getting dirty which is reflective of contradictory gender roles. Women are expected to do housework and cleaning but are also expected to do their hair and makeup, not necessarily at the same time but these expectations follow that woman throughout her whole life ending up with inconvenient hair styles for the dishes.
This photograph does not showcase a face but rather focuses on the gloves. These gloves are significant in this image for a number of reasons: Gloves not only act as a barrier but also an outlet for her imagination. This pose is reflective of a lady posing with expensive arm length gloves on her way out to dinner. Instead of a harsh tug to pull up the rubber with outstretched fingers this action is graceful and pointed which juxtaposes the kitchen surroundings and rubber dish gloves. A pair of full length dinner gloves show that she doesn’t need to get her hands dirty since they’re expensive and that would be a waste of flashy gloves. While she is dreaming of being the wealthy woman attending the expensive dinner she’s more likely to be the cook for the wealthy woman which is not a colourful reality.
The fact these images are in black and white is not only because they were inspired by Cindy Sherman but also the bleak nature of this lifestyle.
Cindy Sherman
Similarities
Both photographs showcase the subject looking away from the sink which shows a disinterest in dishes and rather a desire to be elsewhere. Despite this desire, neither has left. By having both at a kitchen this also buckles down on the idea of gender roles however nothing other then themselves is stopping them from leaving. This is because they have taken onboard societal expectations and fear acting out for the reaction of others around them.
Both subjects inconvenience themselves in order to appear a certain way. Cindy Sherman has a full-face of makeup despite being alone at home which is reflective of the films she was inspired by. The women were by no means realistic in representation order to appeal to the ‘male gaze’. This image is supposed to reflect these ideas by her clothing which is not fit to be at the sink, showy apron and face of makeup. Similarly the subject in my images has her long hair down would will get in her face and the dirty dishes. She’s also wearing new clothes which would get damaged and has a full face of makeup.
Both images are set in black and white but for different reasons. Cindy Sherman is in black and white because the 50s films would have been mostly in black and white as 1961 was the last year Hollywood was mostly not coloured. I chose to change the images to black and white to reflect the dull nature of these tasks and to reflect how old and outdated gender roles tend to be.
Differences
In this image she wears an apron which is purely for show. This is because the fabric will do nothing to keep her clean as opposed to rubber gloves which are over the top, rather useless in the grand scheme but have at least some purpose to distance the work from the person. An apron made of mesh fabric wont do any good with its bottom half covering and permeable material however is completely for show linking back to gender roles and expectations.
Cindy Sherman is looking away from the task and camera with her eyes looking out of frame. This makes her appear as though she is unaware of the camera and is a part of her film inspiration as actors aren’t supposed to acknowledge the camera but also factors into her objectification and underestimation since she seems slightly ditsy. By not challenging the photographic gaze she showcases how women in films were viewed. The subject in my portraits is looking at the camera instead and is stood mostly out of frame which acknowledges the camera and therefore has her posing for it knowingly.
Evaluation
I think that I achieved what I was aiming to with this set of images which was a Cindy Sherman inspired photoshoot highlighting gender roles and how much they have changed. Modern women have better chances of finding work then the ever have and with an unstable economy, even women who do not wish to enter the work force are being forced to take up part time jobs on top of housework. Women still find pressure to cook and clean but nowadays they are also expected to work alongside men. I’m not entirely sure I approached this the right way to tackle the double job point and if I did this again I would plan out additional photoshoots where I covered this topic better. If I had more time I would have also liked to explore the rising househusband which is a reversal of old gender roles.
If I had more time I also would have photographed someone different and in a different location since all of these images are of the same person in the same kitchen which means that they all look very similar.
In conclusion I believe that this photoshoot was successful and that I touched on gender roles in a basic but successful way however in future I would like to delve deeper into how they have changed.
This was a photoshoot named ‘untitled film stills’ where Cindy Sherman took up the persona of different characters. Shes both the model and photographer in these photoshoots making them self-portraits.
Her photographs were taken in the 70s where each character has taken inspiration from the ages. She’s challenging expectations, stereotypes and prejudices. Her characters are removed from her own personality, identity and ideals despite the assumptions of Cindy Sherman projecting the want to be a femme fetale, a common reoccurrence across characters.
Her characters were inspired by films from the 50s which she grew up with. These showed women as objects filmed by male directors leading to the character of the femme fetale, a character Cindy Sherman took inspiration from.
The femme fetale is a French phrase meaning dangerous woman. Its come from old cinema where women were objectified and in many films leading to the title of this collection: “Film Stills”. These images are stills from no film in particular and just a recollection of overlapping ideas. This was a character that Cindy Sherman portrayed in her untitled film stills as it is an easy character to identify. The presence of this character led people to claim that Cindy Sherman’s work was a projection of her fantasies as opposed to an unbiased creation of characters because even in the 70s misogyny was prevalent and a woman photographing herself must have been for attention.
This image is a self-portrait of Cindy Sherman where she is posed in a kitchen as a character. She is stood in front of a sink wearing an apron. This is a response to gender roles/stereotypes shown in the media which in this case is the expectation that women should be in the kitchen. However the character is wearing a mesh apron, not a functional apron showing that the action of standing at the sink is purely for show commenting on films treatment of female characters and how everything they do is for show to appeal to the male audience. Her character is looking away with a bored expression to show that she is simply stood where she would be expected to be despite having absolutely no interest in it.
Similarly to stereotypical art focusing on a woman, her body is in frame. Her head is slightly cut off showing its lack of importance. She is not looking at or acknowledging the camera since the camera is watching her without her knowledge and thus objectifying her. This type of framing is common place in media which shows people in parts instead of as a person which act as signifiers. Additionally the camera will capture moments of characters when they think are meant to be alone which is what this photograph shows.
This image uses the artificial kitchen light overhead which is reflecting on the wall. It has been taken in black and white with little pure white or black and is mostly mid-tone greys. One of the few exceptions to this being the white of her eyes. Her eyes being well lit makes them stand out as bright, large and shiny showing a hope for being out of frame or elsewhere which is where her eyes are looking. The dishes are a dull necessity as opposed to something that she cares about. The use of artificial lights shows that this is supposed to seem just like a normal household.
The use of props around her fully submerges her character into the environment. A sense of depth is created with the counter props which have varying distances from the camera. Some are better in focus than others with dirty dishes being out of focus and the cleaning supplies being in focus. By ensuring that the supplies are in focus this creates a tidier appearance as they are used for cleaning as opposed to being in need of cleaning. This signifies the need for beauty even when alone in the comfort of your own home.
There is a large empty space above the sink which draws the eye away and creates an unfinished environment such as a new house or filming set. It feels as though something is missing which could signify the disingenuous nature of actors reading a script in films or the fact that this lifestyle is unrewarding and empty.
Shannon O’Donnell
Cindy Sherman has been an inspiration to many photographers, one being Shannon O’Donnell. Shannon O’Donnell is a photographer who explores themes such as gender identity.
Shannon O’Donnell filmed herself while playing out characters. This requires many skills such as acting on top of the skills required of a photographer. She’s had to act, direct and shoot all at the same time which is really difficult. She achieved these imaged by shooting on film. This is because switching between a still photograph and acting was a time consuming and difficult process. Instead she filmed in typical 24 frames per second and using adobe premier, selected individual frames.
She photographed herself in character. This character was of a woman around the house. This character was dressed up as though she was going out which directly contradicts with her domestic tasks of tidying up, doing dishes and cooking. Her book is presented in a tea towel further showing this domesticity. I believe this character shows the many expectations placed on women.
This was shot in colour but selected, refined and presented. The images were changed into black and white like Cindy Sherman’s but I believe there’s also another meaning behind this change. I believe the effect of black and white shows how outdated gender expectations are compared to the rapid evolution of technology. Technology has advanced massively and the option of colour was there however these gender expectations still remain. Additionally the black and white seems more personal since there are no flashy colours. This shows how it effects everyone on a personal level.
This image shows Shannon O’Donnell in character in the kitchen. The choice to incorporate background ensures that the images aren’t strictly about the character because the character in her environment puts her into context. This kitchen is just as important as her.
She’s dressed up showing expectations of dress and appearance while the background shows expectations of housekeeping. Despite both expectations of women being well known, its an unusual occurrence for some to be cleaning the house in high heels. This was inspired by Cindy Sherman with much thought put into the composition. This is clear in the dress which is a vintage cut (waistline and shoulder pattern).
A lot of her photos are of her legs and shoes, this is reflective of films objectifying women by introducing them by their body first. A camera will start with the shoes which would typically be heels. These heels are associated with the femme fetale archetype. Heels are not a convenient shoe and lengthen legs which have been historically provocative. The camera would then pan up the legs which are an obvious signifier. This camera action has been shown in these images. This image also uses the reflection from the oven to reflect the shoes to direct additional focus.
I will be focusing on one person mostly since in isolation it is easier to create and understand a character. This is also important to create an isolating atmosphere since I want her to seem lonely or trapped in a way.
What
Inspired by Cindy Sherman I will have the subject posing as a stereotypical olden day woman.
When
Inspiration originally came from the 50s which Cindy Sherman commented on and I will be taking ideas from. Despite this old origin I plan on a modernising it further.
Where
I will not be taking these photographs in the studio as I don’t want these images to exclusively be about the characters as the environment builds up a character. I want these characters in context such as household chores.
Why
I want to highlight gender roles and how different people would respond to them.
Photoshoot 2
Who
This photoshoot will focus on a collective group. As opposed to the first which was about an individual this one will be about atmosphere and collaboration.
What
By association, girls in the media are seen meeting up in small group sleepovers and getting dolled up. The group will help each other get ready, play games and just overall create a collaborative atmosphere.
When
This will be based on modern stereotypes and during the late day. Since it will be a sleepover these wont be taken mid day out in the sun and instead under artificial light.
Why
Group identity is a massive part of what brings people together. By placing a group of people with similar interests together this will focus on the group atmosphere as opposed to an individual and their opinions. these are both just as important when covering topics of identity and stereotypes.
Photoshoot 3
Who
This photoshoot will not focus on a person but instead something that is closely associated with them such as shoes or their bag.
What
I will create a collage of different peoples shoes and bags. Since people typically have a set of shoes they wear often or really like they can be closely associated with a person.
Where
The background will not be important in this photoshoot as all the focus should be on the item. A studio photoshoot would be best for this one.
Why
Someone can use a lipstick for example and be heavily associated with red lips by those around them. Stereotypes are often also following these items for example someone with red lips would be seen as confident. These can makeup the person that people see them as without necessarily having anything to do with their actual identity.
How
I will be taking bird eye view photographs of each object to show their wear, colours, silhouette and overall style.
Lucy Renee Mathilde Schwob, later known as Claude Cahun, was a French born surrealist photographer. Claude Cahun was an artistic name specifically chosen for its genderless associations. Reading the name would not instantly be identified as feminine or masculine. She is best known for her self-portraits. She moved to jersey in 1939 to avoid German captivity as a Jew since at the time it was not yet occupied and she’d assumed it would be safe since she’d come to the island previously on holidays when she was younger. She was sentenced to death in 1944 (after she moved to jersey) during the occupation where the Nazis destroyed much of her work. Fortunately the island was liberated the following year. She survived until her natural death in 1954 suspected to be influenced from her time in German captivity.
In life she did not conform to gender stereotypes, shaving her head and wearing male attire and as early as her teenage age years challenged conventional ideals of beauty. She also never exhibited her photographs and saw herself as a writer which rises question as to the purpose of her photographs.
Claude Cahun stripped back her appearance to a genderless face. She shaved her head removing a stereotypical feminine trait. She wore men’s clothes changing a feminine silhouette to an unidentifiable one. She changed her name to a unisex one to leave behind biases. All of these things are associated with a woman and by removing them she was questioning what truly makes a woman and if without dresses, makeup and long hair would people still see her as one.
This image is of two self-portraits layered together. She has a shaved head, no eyebrows and no makeup for an androgynous appearance. This is a common visual across her work linking to bigger themes she liked to tackle such as gender identity. Without long hair she’s not necessarily quickly seen as a woman which builds the question: What makes a woman?
She is positioned in front of a black background so that all focus is focused onto the faces. Her face is lit with bright lights to fully illuminate the whole thing. The shadows cast by her nose shows the light is coming from that direction which is consistent with the second face to create a full image as opposed to two separate portraits stitched together. I would say that he skin looks extremely pale because the images are slightly overexposed which makes her look ill or ghastly which paired with the two faces creates a surreal or supernatural appearing image.
She utilises tone to achieve a unique appearance to her images. The eye is drawn to the brightest things which in this case is her and is a stark difference to the background. There is no mid-tones present in the image which almost makes her look supernatural or like an apparition.
In my opinion, Cahun’s photographs were a way to explore her identity and what made her the way she is while still exploring and experimenting through the art from. She could portray herself however she wanted with the use of personas and ‘masks’. “Behind this mask another mask, there can be no end to these disguises,” is a quote from the writer herself which I believe supports this idea.
This photograph in particular caught my attention because it stitches two different images together. It is in black and white as it was created before digital and has lower resolution then modern images. She would have had to combine the two during production when she was developing. Claude Cahun is centred with two faces. One with darkened eyes whispering into the others ear. This use of lighting successfully creates a sinister appearance which helps to create a story of intrusive thoughts or the devil on her shoulder whispering into her ear. The turned face is used to act like a physical manifestation of her dark thoughts either internally or a representation of exterior influence although by using her own face it seems more like an internal struggle. The act of whispering has connotations of temptation and an act of evil. The use of a dark, smoky background again helps to the darken the image and create a sinister undertone.
I believe the message of this image is that Claude Cahun is her own demon of sorts. She is the one whispering into her own ear and tempting herself, she isn’t blaming anyone/thing else. In terms of identity this shows the two sides of a coin; the front side and the darker side. She cold be maybe repressing a major side of herself or it could be showing how she is two-faced.
The only differences between the faces is the angle, expression, and amount of light reaching her eyes. This could show a number of things:
That she struggles to differentiate the two faces/ halves of herself as they are so similar.
The two sides are more similar that she would necessarily like to admit or it would seem at a first glance.
The two faces are equal parts of what makes her up.
Only half the second face symbolises she doesn’t fully understand it/she doesn’t see it it for what it is and blames herself. Its purpose is foreign/misunderstood.
