Burnthouse Lane- Michelle Sank

1. Research a photo-book and describe the story it is communicating  with reference to subject-matter, genre and approach to image-making.

Michelle Sank’s photo book Burnthouse Lane explores themes of working-class life, youth culture, and the socio-economic landscape of a specific community in England. The book focuses on the lives of teenagers growing up in a town characterised by a sense of isolation and stagnation. Through her portraits and intimate images, she aims to convey the complexity of identity, youth experience, and the struggles faced by young people in areas marked by limited opportunities and social disillusionment. The subjects seen in her images are portrayed in intimate, unguarded settings, providing a raw and authentic look into their lives.

The title Burnthouse Lane refers to a specific street in the area, and the book takes the viewer through various aspects of daily life, including the personal challenges and moments of vulnerability that these young people experience. It’s both a documentation of a community and a poignant commentary on the broader socio-political issues affecting that group. Ultimately, Sank’s work tells a story of resilience and the search for meaning in difficult circumstances, emphasising the human side of life in a place often overlooked by mainstream narratives.

Her approach to creating Burnthouse Lane was deeply immersive and observational, with a focus on building trust and establishing a personal connection with her subjects. She spent significant time in the community, getting to know the teenagers she photographed, which allowed her to capture intimate, candid moments. Her approach was not merely about documenting the external world but also about delving into the internal worlds of the individuals she photographed.

2. Who is the photographer? Why did he/she make it? (intentions/ reasons) Who is it for? (audience) How was it received? (any press, reviews, awards, legacy etc.)

Michelle Sank decided to create Burnthouse Lane in order to explore and shed light on the often overlooked lives of young people growing up in working-class, economically disadvantaged areas. Her motivation stemmed from a desire to understand and portray the nuanced experiences of adolescents in communities that may be stereotyped or misunderstood in mainstream narratives. She was particularly interested in the intersection of personal identity, socio-economic challenges, and youth culture, and how these factors shape the lives of young people. She wanted to go beyond surface-level representations of these teenagers and to counteract the negative stereotypes often associated with working-class youth, offering a more empathetic and complex portrayal.

She received positive feedback from the public for her book’s sensitive, empathetic portrayal of young people living in a working-class community. Critics and viewers praised the book for its raw honesty and the emotional depth with which it depicted the lives of its teenage subjects. Sank’s intimate, humanising approach to photography was particularly noted for capturing the vulnerability, strength, and complexity of adolescence in a way that felt authentic and not exploitative.

3. Deconstruct the narrative, concept and design of the book and apply theory above when considering:

• Book in hand: how does it feel? Smell, sniff the paper.Paper and ink: use of different paper/ textures/ colour or B&W or both

The pages have a smooth, thick, slightly matte texture, which enhances the richness of the images without being overly glossy or commercial. Burnthouse Lane primarily features colour images. The colour in this book serves to highlight the emotional depth of the portraits, with the vibrant hues of the teenagers’ clothes, the environment, and their facial expressions contributing to the overall narrative. The colour captures the gritty, lived-in quality of the community and the personal vibrancy of the youth she portrays. The book also feels quite heavy due to hardback cover, giving the book a more premium feeling.

• Format, size and orientation: portraiture/ landscape/ square/ A5, A4, A3 / number of pages.

Michelle Sank’s burnthouse lane book is a landscape, rectangular book, with pages slightly wider than A4 piece of paper but the length is smaller than that of an A4 piece of paper. This allows for an immersive experience from the viewer as their attention is solely directed towards the images.

• Binding, soft/hard cover. image wrap/dust jacket. saddle stitch/swiss binding/ Japanese stab-binding/ leperello

This book has a case bound binding. This is useful as it helps to maintain the integrity of the pages over time, especially since the book contains large, full-bleed photographs that deserve to be preserved in the best possible condition. The binding allows the pages to lay flat when opened, which is essential for a seamless viewing experience, especially for double-page spreads. The hard cover also provides protection to the pages, ensuring that the book can withstand handling and wear over time.

• Cover: linen/ card. graphic/ printed image. embossed/ debossed. letterpress/ silkscreen/hot-stamping.

Burnthouse Lane has a linen cover with an image of a girl on it. This material gives the book a tactile, premium feel, making it both visually appealing and durable.

• Title: literal or poetic / relevant or intriguing.

The title Burnthouse Lane is more poetic than literal, though it does have a literal reference to a specific place. Burnthouse Lane is the name of a street in a working-class area in the UK, and the title clearly grounds the book in a real location. However, the way Michelle Sank uses the title is more metaphorical, reflecting the broader themes of the book—identity, isolation, and the environment in which these young people live.

• Narrative: what is the story/ subject-matter. How is it told?

Burnthouse Lane portrays the lives of teenagers in an isolated, economically disadvantaged area. Sank is interested in how these young people navigate their daily lives, deal with the limitations of their environment, and form their identities. The teenagers are not depicted as victims of their circumstances but as individuals with dreams, conflicts, and complex emotions. The images reflect moments of vulnerability, camaraderie, defiance, and introspection. She tells this story primarily through her photography, using a mix of portraits and candid shots that emphasise the rawness and authenticity of her subjects.

Rather than using text to directly explain the story, Sank’s photographs convey the emotions and experiences of the teenagers. The book does not rely on captions or heavy narration. Instead, the images themselves serve as the storytelling medium.

• Structure and architecture: how design/ repeating motifs/ or specific features develops a concept or construct a narrative.

The book is structured in a series of photographic sequences, rather than a strict linear or chronological format. It moves through various moments in the lives of the teenagers, often focusing on small, intimate details that capture the essence of their experiences. The absence of text or captions means that each image stands on its own, yet they are all interconnected, building a complex portrayal of youth, identity, and the impact of socio-economic conditions. The specific, thought out pacing of the images allows the viewer to linger on individual portraits or group shots, giving the photographs time to evoke emotional responses. The book switches between portraits and photographs of the environment.

• Design and layout: image size on pages/ single page, double-spread/ images/ grid, fold- outs/ inserts.

Many of the images are presented as full-page shots, which allows the viewer to focus deeply on individual subjects and moments. These single-page images often create a powerful, intimate connection with the viewer. The sequencing of images in the book is done in a way that builds a visual narrative. While the book does not follow a strictly linear or chronological order, the flow from one image to the next creates a sense of progression. There’s a careful balance of emotional highs and lows—some moments of stillness or reflection followed by more active, expressive shots. This sequencing guides the viewer through different aspects of the teenagers’ lives, gradually revealing the complexity of their experiences. Sometimes the left page is left completely blank this is because as viewers, our attention normally goes straight to right page. So, Michelle Sank may have wanted the viewer to focus on specific images and so put them on a page alone.

• Editing and sequencing: selection of images/ juxtaposition of photographs/ editing process.

There’s lots of juxtaposition of photographs seen throughout her book; specifically on doubles pages. For example, on one double page there was an image of a house with toy unicorns outside and then the image on the other side had a toy dinosaur in it (these are typically opposite interests seen in children, with girls liking unicorns and boys like dinosaurs). On next page, there’s picture of a man with a watering can and then on the other side of the page there’s a lady with a hose (both doing gardening and so she put them on the same page). I also noticed that when a page has an object on the floor, the person in the image next to it is typically sitting down. She does this to link them together by having them at similar heights. It is evident that Michelle Sank carefully looked at ways her images match/ juxtapose one another and designed the layout of the book in a way to accommodate those different images.

• Images and text: are they linked? Introduction/ essay/ statement by artists or others.  Use of captions (if any.)

Michelle Sank’s decision to exclude text from Burnthouse Lane is a deliberate artistic choice that serves multiple purposes. By not using captions, narratives, or explanatory text, Sank allows the photographs to speak for themselves, encouraging a deeper, more personal engagement with the images. It also makes the book more universal as the images, free from specific context or explanation, invite viewers from diverse backgrounds to connect with the emotions and experiences of the subjects.

For this photoshoot, I was inspired by Marcelo Monreal. I began the editing process by first selecting an image of my model where she was slightly on her side (which would allow me to bring her face out to the side later). I then used the object selection tool to create an outline around the model then pressed layer via copy. I then dragged this cut out onto a blank white piece of A4 paper.

Next I used the lasso tool to make a shape on her face and then dragged out that shape to the side to give the illusion of a mask coming off of her face, revealing her true self. I then went onto google and searched up yellow and blue botanical flower prints. I chose these colours as the model is from Sweden and the colours seen on their flag is blue and yellow. This made my idea more personal and about identity as I incorporated her heritage into the image, which is a part of her identity.

Once I had selected a flower, I used the object select tool to make a cut-out of the flower and dragged it onto the model. Then, I had to bring the flower layer below the face cut out so that the flowers were behind the model. I repeated this step many times until I had the desired amount of flowers. I also experimented with adding a Swedish flag amongst the flowers. Finally, I experimented with different background colours and layouts. Ultimately, I decided to add an image of a Swedish newspaper in the corner in order to emphasise the point of the image being about showing her identity. I then tried different colours for the background eg red, blue and yellow. I think the red background made the model pop the most due to the extreme contrast between the black and white model and the red in the background.

This is the photograph of the model I decided to use and the kinds of flowers I wanted to incorporate in my design.

Overall, I like how this idea came out as I managed to successfully resemble the work of Marcelo Monreal but was still able to add my own personal take on it by making the flowers inside of the models head be about her identity by showing the colours of the Sweden flag (which is where she is from). I also liked the idea of adding a rip into the background and adding an extract from a Swedish newspaper to emphasise the point of image being about her identity in the form of her heritage/ upbringing. Next time I would like to experiment with people from other cultures and instead of flowers, add objects that are associated with that place so it makes it clearer what I’m trying to convey.

About him

Marcelo Monreal is a Brazilian visual artist and photographer known for his unique approach to digital art and photography. He combines elements of portrait photography with surreal and sometimes abstract digital manipulation. Monreal often incorporates nature, architecture, and surrealist imagery, blending human faces with intricate designs, textures, and natural elements like plants or animals, creating visually striking and thought-provoking compositions. His work tends to challenge traditional boundaries in portrait photography, making him a distinctive figure in contemporary visual art.

Marcelo Monreal’s floral portraits are a captivating series where he merges human faces with vibrant, intricate floral elements, creating surreal and symbolic images. The portraits typically feature human subjects with portions of their faces or features replaced or integrated with flowers, leaves, and other organic elements.

How he links to identity

Marcelo Monreal’s floral portraits deeply explore the theme of identity by merging human faces with organic elements like flowers, leaves, and plants. This fusion reflects the fluid and multifaceted nature of identity, suggesting that it is not fixed or singular but rather something that evolves, grows, and changes—much like nature itself.

1. 1. Transformation and Growth: By incorporating flowers and natural elements, Monreal evokes the idea that identity is a process of continuous growth and transformation. Flowers, which bloom, wither, and regenerate, mirror the way human identity can change over time, influenced by experiences, emotions, and external factors.
2. 2. Connection to Nature: The integration of nature into human features hints at the interconnectedness between people and the world around them. It suggests that identity is not just individual but shaped by the environment, culture, and the broader ecosystem in which one exists. This can be seen as a commentary on how identity is shaped by external influences, both personal and societal.
3. 3. Fragmentation and Wholeness: In many of Monreal’s floral portraits, parts of the face are replaced with flowers or plants, symbolising the fragmented yet cohesive aspects of identity. The way the flowers fill in or replace human features may imply that we are never wholly one thing, but rather a mixture of different elements—some visible, some hidden—that contribute to our sense of self.
4. 4. Symbolism and Emotions: Different flowers carry symbolic meanings, such as roses for love, lilies for purity, or sunflowers for vitality. By associating these flowers with human faces, Monreal invites viewers to consider how identity is influenced by emotions, memories, and personal stories. The flowers may represent facets of a person’s inner life or emotional state, suggesting that identity is not just physical but also emotional and psychological.

In summary, Marcelo Monreal’s floral portraits use nature as a metaphor for the evolving, interconnected, and multifaceted nature of identity. By blending the human form with organic, ever-changing elements, Monreal captures the complexity and fluidity of what it means to be human.

What Marcelo Monreal has said about his project

Marcelo Monreal has shared insights into his floral portraits project, expressing that it is an exploration of the relationship between the human being and nature. In interviews and statements, he has emphasized how these portraits reflect his fascination with the fluidity of identity and the interconnectedness of humanity with the natural world. He views the human face as a symbol of identity, and by incorporating elements like flowers and plants, he aims to redefine traditional portraiture by highlighting the organic and evolving nature of who we are. He sees flowers as metaphors for human emotions, growth, and the cycles of life, and uses them to convey how identity can be shaped by both internal and external forces.

Through this project, Monreal invites viewers to question the boundaries between the human form and nature, suggesting that identity is not static but rather a dynamic process, constantly influenced by both our inner world and the external environment. The blending of the face with nature is also, for Monreal, a way of challenging conventional notions of beauty and exploring the fragility and strength inherent in both humans and the natural world. Overall, Monreal’s floral portraits are a reflection of his desire to capture the complexity of human identity through the lens of nature, symbolizing growth, transformation, and the transient yet interconnected aspects of life.

For this part in my project, I decided to experiment with AI which is something I hadn’t explored yet. I came across this idea accidentally when I was trying to change the facial expressions on my models face and noticed that every time it would alter her complete face, making her into a different person essentially instead of just changing a specific facial feature. The AI generation tool made 3 completely different, unique faces from the same model.

I decided to do this idea of experimenting with AI as I felt it linked with my project on identity. Through using the AI generation tool on photoshop, I was able to create completely different people just by adding simple sentences such “make it so that the model is smiling” to which it then completely changed the face as well. This highlighted to me the idea that people can easily hide behind a façade these days as they have access to these easy to use tools that drastically change one’s appearance. Additionally, it emphasised to me the fact that you can’t trust what people really look like online as there are so many filters/ edits people use in order to make themselves come off in a different way: whether that be making themselves look more attractive or wealthier, we are constantly exposed to fake versions of people which then causes unrealistic expectations to be formed about how people should look. I think this shows how easily identity is doctored in the present day and how people often lose their own sense of identity due to the tools that distort who they really are. I like how this idea came out as I think it highlights how social media is often filled with fake versions of people who alter themselves in order to fit in with societal expectations.

For this photoshoot, I went into the studio and took some close up headshots of a girl. I made sure to capture her from a variety of different angels by getting her to face different directions. I also placed a light source directly in front of her face to make sure the images would be well lit and the camera would pick up every detail on her face. Once I had finished taking my pictures, I imported them into Lightroom and began the narrowing it down process. This involved me giving each image either a white flag or black flag then giving a rating out of 5 to all the images I had previously given a white flag to. I then adjusted the exposure, contrast, blacks, whites and shadows of the images. Then I exported them into a folder which I could then open up in photoshop.

To begin my editing process, I first chose the image I wanted to have in the background as my vague guide to where I should place the cut outs which would make a different, distorted face. I then cut out only the model from the image using the object selection tool and placed her on a blank piece of white paper as Brno Del Zou’s images are typically on white backgrounds but my background before was grey.

I then selected 7 other images that I wanted to use to get different parts of her face from different directions. I opened one of these images and used the rectangular marquee tool to create a box over the facial feature I wanted to use eg lips. I then dragged this cut out onto the full face image and adjusted it using ctrl t. Once I was happy with its placement I opened up a different image and repeated the process once again but with a different facial feature. When taking the images in the studio, I zoomed the camera into the model more in certain photographs so I could really capture a specific part of her face. This allowed for the random enlarged features seen in Brno’s work to be replicated in mine. Once I had completely reconstructed her face, I then decided to add a drop shadow to all of the cut outs to give my images some more depth and emphasise the idea that it was a face many out of lots of different images.

Finally, I experimented with the use of black and white. I created some images where the whole image was black and white as seen in Brno Del Zou’s work, but also created some where only certain boxes were black and white whilst the others remained in colour.

Final outcomes:

Overall, I like how this idea came out as I managed to closely resemble the work of Brno Del Zou whilst also adding my own twist on his idea. However, I may attempt to do this idea again but with a different model as I have used the same one quite a lot and I want to expand on the idea of identity in young people not just one person.

Second Attempt:

For this second photoshoot, I used photographs of another model I had previously taken in order to get different people in my project and therefore different identities as before it only consisted of one person. I completed the same process as described above to create my final image.

Final outcomes:

I like how these pieces came out as I also used images where she was smiling and then looking sad in order to portray the many emotions one may feel when trying to discover who they are and discuss the complexity of being human simultaneously. However, I would like to further this idea even more by using multiple people to make one face as I think this would portray how there’s such a vast amount of people in the world, each with their own unique identities.

Bruno Del Zou (contemporary artist)

About him

Brno Del Zou is a musician, photographer, sculptor, videographer, software designer, creator of video / sound / interactive installations. After a doctorate in theoretical mechanics, a teaching and research position in information and communication at the University of Poitiers, the creation and management of a university research laboratory on mediated learning, Brno Del Zou now devotes himself exclusively to his artistic productions. His portraits and bodies, in “Photo-sculptures” or video animations, have toured the planet and inspired many artists. Brno del Zou is a French artist/photographer born in 1963. In his “photo sculptures” series, Brno del Zou uses the fragmentation of the body in order to better understand it. Brno del Zou layers various cropped photographs of the face taken from various angles to create a distorted overall portrait. Most of Brno del Zou work is produced in black and white which enables the viewer to focus on the details in the features of the face. Brno also explores the use contrast to show the lighter and darker areas of the face. This helps to attract the attention of the viewer and grab their interest even further.

Analysis of one of his images

How he links to identity

Brno Del Zou’s work often plays with themes of identity, transformation, and concealment. His photography typically explores the tension between the surface appearance and deeper identity, blurring the lines between reality and illusion. This can manifest in several ways such as using lighting, shadows, and abstract compositions to create a sense of visual ambiguity, where the viewer is uncertain about what they are seeing. This suggests that nothing is as it seems, and the true essence of a person or concept is obscured—echoing the idea of disguise as a means of hiding or transforming one’s true nature. In this way, Del Zou’s photography invites a dialogue about identity, self-presentation, and the masks we wear, whether consciously or unconsciously. His approach links closely to the theme of disguise, offering a nuanced exploration of how we conceal, reveal, and alter ourselves in the context of society and personal expression. He often expresses that “photography can act as both a mirror and a mask, revealing and concealing aspects of the subject”. I think his images clearly link to the theme of seek observe and challenge as he is not only looking at the person he’s photographing but also seeking understanding by capturing them from all angles which is more vulnerable than a straight on single shot then encompassing all those separate images to create one whole, real image of that person where they cannot hide any part of themselves. Therefore challenging their natural instinct to hide their true selves. 

Quotes

• One quote by Brno Del Zou is: “beyond the body itself and its beauty, there is unity”. Here he is talking about how he uses photo manipulation of the body to understand and observe it more. For example, he takes photos of people then crops certain elements of their features into a different position on their faces, giving a freakish effect. 

(https://16abimar.weebly.com/portraiture.html#:~:text=Brno%20Del%20Zou&text=A%20quote%20from%20him%20is,faces%2C%20giving%20a%20freakish%20effect.)

•“Fragmenting the body doesn’t mean cutting it up in order to dissolve it, it means trying to recompose it in the hope to achieve and create unity, an identity, perhaps the fundamental one, the one that supports all the differences, all the variations, all the points of view, which is saved despite everything, despite the light variations and the positions in the space, resisting any immediate apprehension, multiplying as it wishes, without ever losing this unity without which the body itself could not exist.” I believe here he is trying to convey the idea of capturing someone from many different viewpoints and variations in order to try and get the most real, whole sense of that person, despite the image looking fragmented these individual pieces allow us to see the person in every angle which could be seen as vulnerable and which you couldn’t get with just one photograph straight on. 

(https://www.artsper.com/us/contemporary-artists/france/845/brno-del-zou#:~:text=the%20provided%20link.-,Biography,create%20installations%20of%20multiple%20scales.)

•“In the manner of the first cubists, a body, a face, or even a landscape, can be represented from different points of view both on the same plane space. For my part, I add a “thick” compared to the canvas of painters. But the process is the same, I am as faithful, perhaps even more, to the subject photographed by representing it from different angles, different scales, than by using the unique point of view of classical photography.”

(https://www.kooness.com/artists/brno-del-zou)

David Hockney and joiners (historical artist)

About him

David Hockney is a renowned British artist known for his contributions to painting, drawing, printmaking, and photography. In the context of photography, Hockney is particularly famous for his innovative exploration of photo-collage and multi-image compositions.

One of his most significant photographic works is the joiners series, which he began in the 1980s. In these works, Hockney took multiple Polaroid photographs or 35mm snapshots of a single subject from various perspectives and then arranged them into a grid-like collage. The resulting images present a fragmented, yet cohesive, view of a scene, emphasizing the passage of time, movement, and the subjective experience of vision. This technique reflected Hockney’s interest in how the mind perceives and processes visual information, challenging traditional notions of perspective and photographic representation.

Hockney’s approach to photography is often seen as a bridge between the worlds of painting and photography, pushing the boundaries of both media. His work in this area was part of a broader exploration of how visual art can represent time, space, and multiple viewpoints simultaneously.

How he links to cubism

David Hockney’s work is often linked to Cubism due to his exploration of multiple perspectives and the fragmentation of visual space, similar to what was pioneered by artists like Pablo Picasso and Georges Braque in the early 20th century. While Hockney is not a Cubist in the traditional sense, his use of collage, the reordering of visual elements, and the representation of time and space in non-linear ways bear a clear influence from Cubism.

Key ways Hockney connects to Cubism:

Multiple Perspectives: One of the core ideas of Cubism was showing an object from multiple angles simultaneously. Hockney adopted this idea in his photography and painting. For example, in his famous joiners series, he used multiple photographs of the same subject taken from different angles and arranged them to depict a scene in a fragmented, Cubist-inspired way. The result is a multi-dimensional view of a moment, much like how Cubist artists would depict a subject from various viewpoints in a single work.

Collage and Assemblage: Like Picasso’s collage techniques, Hockney also employed collage in his photography, combining many images to form a larger composition. This aligns with the Cubist tendency to deconstruct and reassemble reality in a fragmented form.

Time and Space: Cubism challenged traditional perspectives of space by representing subjects from different angles simultaneously, allowing for a more complex, layered depiction. Hockney’s photo collages achieve a similar effect by showing the passage of time within a single image. In his joiners, the viewer can see different moments and viewpoints of the same subject, which echoes the Cubist interest in representing time and space as fluid and interconnected, rather than fixed and linear.

Flatness and Abstraction: Hockney also experimented with the flattening of space, a characteristic of Cubism. His works often defy traditional perspective, with figures and objects appearing fragmented and disjointed, emphasizing flatness and abstraction, much like Cubist paintings.

In sum, while Hockney’s style is not strictly Cubist, his work draws on many of the techniques and ideas that defined the movement, particularly in terms of reimagining how we perceive and represent space, time, and perspective in art.

How he links to identity

In his joiners series (photographic collages), Hockney deconstructs the traditional idea of a singular, static identity by fragmenting the image and presenting it from multiple perspectives. This approach suggests that identity is not a fixed or singular thing but is instead constructed from many different viewpoints, experiences, and moments. Just as the collages break down and reassemble a subject, identity itself is presented as something dynamic, evolving, and open to reinterpretation.

Overall, Hockney’s work suggests that identity is not a static or singular thing, but rather a continuous process of change and reinvention. Through his experimentation with different media and his constant revisiting of themes such as self-portraiture, portraiture, and the relationship between people and their environments, Hockney offers a nuanced and multifaceted view of identity as an evolving, dynamic experience. David Hockney’s exploration of identity is multi-layered, examining not only personal and sexual identity but also how identity is shaped by memory, time, environment, and perception. Through his diverse body of work, Hockney provides a complex and ever-evolving portrait of the self and others.

Similarities between Brno Del Zou and David Hockney

1. 1. Exploration of Perspective and Viewpoints:

David Hockney is known for his use of multiple perspectives, particularly in his photographic joiners series, where he assembled photographs from various angles to create a fragmented but cohesive image. This approach challenges traditional perspectives and encourages a more dynamic understanding of time and space.

Brno Del Zou similarly plays with perspectives in his photographic work, often manipulating the viewer’s perception by presenting scenes from unusual angles, fragmented viewpoints, or by employing collage techniques. Both artists use the concept of perspective to challenge conventional ways of seeing and depict a more complex, multidimensional world.

2. Collage and Fragmentation:

Hockney’s joiners (photo collages) are famous for combining multiple photographs of the same scene into one large composition, fragmenting the image into parts while maintaining a cohesive whole. This approach reflects his fascination with the process of perception and time.

Brno Del Zou also uses collage techniques and fragmented imagery in his work, creating complex and layered compositions. Both artists embrace fragmentation not as a disintegration of the subject but as a means to deepen the viewer’s engagement with the image and explore new ways of experiencing a scene or subject.

3. Portraiture and Identity:

Hockney’s portraiture, whether in painting or photography, is deeply concerned with identity—how it can be represented through the interaction of people, environments, and emotional depth.

Brno Del Zou often incorporates identity exploration into his photographic work, using layering, light manipulation, and distortion to suggest different facets of a person’s identity. Both artists treat the subject of portraiture as an exploration of more than just the visual appearance, delving into psychological and emotional dimensions.

Chuck Close (historical artist)

Chuck Close was an American artist renowned for his large-scale portraiture, which bridged the worlds of painting, photography, and printmaking. In the context of photography, Close is best known for his innovative work in photo-based portraiture, where he applied photographic techniques and processes to create highly detailed, often monumental portraits of his subjects. His approach to photography significantly influenced contemporary art, especially in the realm of hyperrealism and photo-realism. 

One of the defining aspects of Close’s work was his use of the grid method, which he applied both in painting and photography. He would divide a photograph into a grid of small sections and replicate each section on a larger scale. This method allowed him to focus on minute details, leading to the high level of precision and realism that his works are known for. This process, while rooted in photography, also aligns with artistic traditions in painting.

Close’s work in portraiture explores identity and individuality. His large, close-up portraits often focus on the face, allowing for an intense scrutiny of the human condition. These works highlight the uniqueness of each subject while also drawing attention to the texture, form, and subtleties of human features, often rendered with a photographic precision.

Chuck Close’s work stands as a pivotal example of how photography can intersect with painting, particularly in the realm of portraiture. His use of photography to capture and render the human face with extreme attention to detail reshaped the way that both mediums were perceived. Close’s work has had a lasting influence on both the fine art world and contemporary photography, particularly in terms of how we think about identity, representation, and the artistic process.

For this photoshoot, I was inspired by Manny Robertson. I began recreating his work by taking photographs of a model in the studio. I placed one of the studio lights directly in front of her face to ensure my images would be clear and without shadows. I photographed her in front of a white background as this is the background colour typically seen in his images. I then got the model to experiment with different poses for example, looking to the side or tilting her head. I then imported my images into Lightroom and began narrowing down what images I wanted to use. I did this by first giving either a white flag if I liked the image or a black flag if I didn’t like it. I then gave all my images with a white flag a ranking out of 5. 5 being the best and 1 being the worst. I then used the filter tool to make it so I could only see my images with a 4 star rating. Then I edited the contrast and exposure of each image. These are the images which I will edit in photoshop.

I then exported my photos into a folder which I could then open in photoshop. I began by opening up an image where the model’s head was tilted to the side then used the object selection tool the make a cut out of her outline and dragged the cut out onto a white piece of paper. I then opened up a different image where her head was facing upwards and used the lasso tool to go around a section of her face. Next, I pressed layer via copy and dragged that cut out onto the face on the white piece of paper. After that, I pressed on the top layer and made it black and white as seen in Manny Robertson’s work. Next, I worked on the stitching effect seen between the two faces. I recreated this effect by using the pen tool on photoshop to make marks going from one face to another then made the thickness of it lower so it looked like stitching. Finally, I wanted to emphasise the idea a mask being pulled off her face so I decided to add a drop shadow to the mask layer which created depth and the idea of her being two different people.

These are the images by Manny Robertson that inspired my idea.

Final outcomes:

Overall, I like how this idea came out as I think I managed to successfully recreate the work of Manny Robertson and I feel like these images clearly relate to the theme of identity as it portrays the idea of people putting on masks in front of people and hiding their true identity due to fear of being cast out of society etc. However, one improvement I would make to this idea is actually stitching on the black lines instead of using the pen tool in photoshop as it would make my idea more creative in the sense of how its presented.

About him

Manny Robertson is a photographer, artist, and visual storyteller, known for his work that often intersects with themes of fashion, portraiture, and conceptual art. He is recognized for his distinctive approach to photography, often combining elements of storytelling, emotional depth, and visual experimentation to create compelling and thought-provoking images. His photography often features bold compositions, dynamic lighting, and a blend of contemporary and classic aesthetics. He uses photography not just as a medium for capturing moments, but as a tool for expressing broader themes, including identity, transformation, and the human experience. Manny Robertson’s style and artistic vision place a strong emphasis on visual communication, and his work can be described as both cinematic and introspective, with a focus on the emotional and psychological states of his subjects. The emotional resonance of his images is often paired with a sharp attention to detail, making his photographs both visually striking and conceptually rich. Like many contemporary photographers, Robertson explores the concept of identity, both in terms of how individuals present themselves and how they are perceived. His portraits often convey a sense of vulnerability or introspection, encouraging viewers to engage with the emotional undertones of the images.

Manny Robertson’s series called “Embroidered Metropolis” was created to represent how dark emotions like Depression can attach and fuse themselves to people like masks of sorts. Using a robotic aesthetic inspired by the film Metropolis, to distinguish between normal feelings (colour) and the emptiness of the others (black+white), whilst using thread to act as both robotic attachments, and the struggle of dealing with said affliction.

How he links to identity:

Manny Robertson’s photography often explores themes of identity, transformation, and the complexity of human emotions, which makes his work particularly suited to the theme of disguise in photography. While his approach is varied, several key elements in his work resonate strongly with the theme of disguise such as the exploration of masked identities. Robertson’s portraits often feature individuals who appear in altered versions of themselves, where their outward appearance might be drastically changed through editing and manipulation of light. For example, he makes a cutout of the person’s face which comes slightly off their actual face and is held together by stitches. This alteration acts as a disguise, hiding or distorting the person’s “true” identity. In this sense, the subject’s outward appearance becomes a mask, revealing a version of themselves that may not reflect their inner identity. By playing with visual transformations, Robertson challenges viewers to question the authenticity of appearances, a core aspect of disguise.

Beyond the visual aspects of disguise, Robertson’s work often delves into the psychological layers that people wear, whether consciously or unconsciously. His subjects may not be physically disguised, but the emotional or psychological “masks” they wear are evident in their expressions or body language. This emotional veil can be interpreted as a form of disguise, where the subject’s true feelings or inner self are hidden behind a curated exterior. Robertson’s photography invites viewers to consider the emotional disguises we wear in daily life, and how these layers can either protect or distance us from others.

Quotes

He said his series ‘Embroidered Metropolis’ was inspired by the film Metropolis, and this series of portraits were created to “… represent how dark emotions like Depression can attach and fuse themselves to people like masks of sorts. Using a robotic aesthetic…to distinguish between normal feelings (color) and the emptiness of the others (black+white), whilst using thread to act as both robotic attachments, and the struggle of dealing with said affliction.” 
(https://chantellegracephotography4.wordpress.com/2020/04/20/assignment-four-photographer-research/)

in book add pics of just her and just landscape then my edits also the questions and answers.

For this photoshoot, I was inspired by Aneta Ivanova. I began the process of recreating her work by first taking photographs in the studio. I first set up the space by adding tow lights directly in front of the model to ensure my images would have good lighting. I also ensured I used a white background as a key feature of her images of the blank white space behind the subject (which allows for direct focus on the subject and nothing else). I then got the model to experiment with different poses typically seen in Ivanova’s images. For example faced to the side with her arms up to her chest. My images for this photoshoot turned out quite successfully as I think it closely mimicked the positions of the models seen in her images and they are all in good focus.

For the next part of my photoshoot, I first gave some questions to my model to complete. This allowed me to take photos of things that had personal meaning to her and therefore her identity. These questions consisted of:

1. Where is your favourite place in jersey?
2. What makes you happy?
3. What does the word identity mean to you?
4. How would you describe yourself?
5. How would others describe you?

Her answers:

1. My favourite place in Jersey would probably be anywhere with nature such as the beach or forests. I specifically like Corbiere Lighthouse due to the views surrounding it.
2. I feel happiest when I’m being creative like creating sculptures or painting.
3. Identity to me means the way you express yourself and what it means to be you
4. I would describe myself as creative, funny, talkative and unique.
5. I think others would describe me as funny, creative, weird and pretty.

From these answers, I then visited various natural landscapes around Jersey such as Corbiere Lighthouse. I think this part of the photoshoot turned out well as the images are in good focus and will make my final piece more personal as I’m using images of nature that have a personal meaning to my model instead of picking a random environment to photograph which I originally intended to do.

To being the editing process, I first imported all of my images into Lightroom and narrowed down the images that I wanted to edit. I then adjusted the exposure, contrast, whites and blacks of these images. Once I was happy with the edits, I then exported them into a folder which I could then open up in photoshop. I began by opening up a blank A4 page then opening up an image of the subject. I then used the object selection tool to cut around the person only, right clicked on the cut out and pressed layer via copy. I then dragged the cut out onto the white piece of paper. I did this as Aneta Ivanova’s images are all displayed on a blank sheet of white paper behind the model. Next, I opened the landscape image and dragged it onto the image. I put this layer at the bottom. Next, I pressed on the person layer and used the object selection tool once again. However, instead of cutting it on that layer, I instead went to the white layer and pressed layer via cut. This then created a hole in the white layer. Finally, I went back to the person layer and cut her out using the same process. This left me with the landscape background coming through both layers.

Next I experimented with turning the landscape black and white as some of Aneta Ivanova’s pieces are black and white instead of in colour. To finish off this first part of the idea, I added a drop shadow to the person. This helped bring some depth to my images. Overall, I like how this idea came out as I think it closely resembles the work of Aneta Ivanova and clearly displays the theme of identity and disguise as the background layer, making it so you cant see any features of the person, portrays the idea of people feeling as though they are blending into the background of life as they struggle to understand who they really are as a person. Additionally, it could also show how people try to blend in to their surroundings (disguise) as to not be judged or seen as indifferent. One thing that I could improve about this photoshoot however is the opacity of the person layer. As in my images I just cut out the person but in Aneta Ivanova’s images you can still see a vague outline of the persons facial features. This would’ve made my images slightly more exact to her images.

I then decided to further my idea by adding three of my different attempts of creating her work together to create one image. In order to do this, I opened up a landscape blank piece of paper on photoshop. Next I opened up the three black and white images I created above and used the object selection tool to create a cut out of the person. I then dragged each cut out onto the piece of paper and adjusted the size and placement of each cut out. Once I was happy with the layout, I finished off this design by adding a drop shadow to each of the cut outs. Overall I like how this idea came out as I think it makes the piece look more complete and advanced than just having singular people on each page. However, next time I would take a photograph of the model looking to the left (as seen on the right side of the inspiration image) in order to make my piece more replicable of the original image.

For the second part of my photoshoot, I took pictures of various art pieces in the art room that Liv and her friends had created eg paintings and sculptures. I also wanted to delve into her childhood too as that is a part of her identity so I used a projector in the studio in order to project images of her in her childhood. I will then merge these personal images with her outline. I think this will be effective in showing the different things that makes the model who she is and therefore her identity.

Final outcomes:

Overall, I think this idea came out successfully as you can still clearly see the link between the artist and my work but I have also adapted the idea to make my pieces more personal and about identity as the photographs seen inside the model’s outline has a personal meaning to her.

About her

Aneta Ivanova is a 23 year old Bulgarian photographer who, after focusing her work on a lot of conceptional work and portraits, began experimenting with different techniques to give a new meaning to her photographs. She began with long exposures, then double and multiple exposures combining a number of portraits, and then she focused on portraits with landscape and nature elements. She states that she tries to keep her work as personal as possible, shooting self-portraits or portraits of her sisters mostly, and she prefers the method of double exposure because it allows her to combine two completely different scenes in one, allowing the pieces to become more expressive. Her style is based on a compilation of pictures from her trips, and photos where she acted as the model. She really knows what she wants to transmit, and adapts it. She experiments with her digital camera, and manually adjusts the effects to get the desired result. Ivanova’s style is characterized by minimalism, soft lighting, and a muted color palette, giving her images an ethereal and otherworldly feel. She often uses surreal elements like unusual textures or forms, creating a sense of ambiguity and mystery.

Analysis of one of her images

How she links to identity

Aneta Ivanova is a photographer and visual artist whose work often explores themes of identity, transformation, and emotional depth. Her photography is known for its conceptual approach and symbolic use of elements like lighting, makeup, and surreal compositions, making it particularly well-suited to the theme of disguise. Aneta Ivanova blends photos of people into photos of scenery, whether it be trees, birds or the sea. Many of her photographs are expressed in black and white to enhance the shapes; however she does also portray some of her work in colour, creating bright, lively images. I think her work links to disguise in identity as she combines humankind with nature which are two completely different yet similar things. Nature is seen for how it is (it’s natural) and cannot hide behind a mask unlike humans who constantly hide behind a metaphorical or physical mask. Whether that be putting on a happy face or wearing makeup, each are used in a way to hide the vulnerable true part of ourselves. By combining the two images, I think it highlights to the viewer that it’s okay to be yourself and that you don’t have to hide who you truly are as nature is still beautiful despite it being fully exposed to us with no mask to cover itself behind. Ivanova’s work often delves into the psychological aspects of identity, exploring the emotional facades that people put on in different situations. Disguise, in this sense, can be metaphorical: her subjects might appear one way on the surface, but their internal, emotional state may tell a different story. Through her photography, Ivanova might challenge the viewer to question the difference between how a person presents themselves and who they truly are.

Quotes:

• Ivanova often explores the malleability of identity, saying things that convey how people are constantly changing or performing different versions of themselves. A general idea she might express is how “Identity is not fixed—it is fluid and often shaped by external and internal forces.” This quote suggests to me that people often don’t know who they truly are and mould themselves to be like the people they’re around at the time. Implying people disguise their true selves in order to not be judged by those around them.

• “A photograph should evoke a feeling, a moment of vulnerability, or an introspective thought from both the subject and the viewer.” I think she successfully does this in her photographs as she addresses the issue of identity and how people often pretend to be something they’re not. 

• “Photography is a way to create new realities, where the ordinary transforms into something extraordinary. Through this, we can examine the deeper truths of who we are.”