After doing some evaluation, I want to edit the photos in black and white, to contrast with the coloured archived photos, or visa versa.
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Virtual gallery –
“Explore the dichotomies of the characteristics between the day and the night.”
‘Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. ‘(Sontag 1977:4)
Introduction
During the day, the natural sunlight brings energy, clearness of the landscapes around and life to the world around us, however, at night the same landscapes/spaces give a sense of mysteriousness, loneliness and emptiness. These changes not only alter the location/setting itself but the emotional impact it has on those who experience it. The contrast between the day and night has a strong effect, with the light and shadow influencing our emotional reactions to the surroundings as well as the way we experience them.
My personal study`s main target is to explore the differences between day and night, particularly targeting how the change of time from day to night creates different moods and portrays different emotions. To explore this theme, the two photographers I have decided to do an in depth study of is: William Eggleston and Todd Hido, these two photographers capture photographs taking into account the use of light, colour and the setting in unique ways. Eggleston`s photography captures the ordinary in extraordinary ways, differently Hido`s style of photography spotlighting isolation and mystery.
In addition, I will include Pierre Putman, whose work compliments both artists by offering a different perspective on the play between light and shadow. Putman’s cinematic photographs focus on solitary dark urban settings, where artificial lighting and glowing lampposts create a dreamlike, interesting scenery, turning empty streets into powerful, emotional stories.
I will respond to their work by featuring both daytime and night-time images, influenced by the work of these three artists, in my final photobook.
Historical /Theoretical context within art
Photography, starting off with being mainly monochromatic images, changed incredibly after The World War II (1939-1945). Initially, colour photography was only seen and linked with advertising, fashion photography and in photojournalism through publications like: Life, The Sunday Times Magazine and National Geographic. These publications made colour photography popular, by showing it to a wider audience; making colour photography more casual to view in the media. Although this type of photography was becoming popular, the world of fine art and documentary photography was slower to accept colour photography, sometimes being viewed as “vulgar” and “brash”. Black and white was always the ordinary, many artists said and believed that the importance and high detail of the monochrome photographs could not be replicated with colour photography, once again spotlighting the initial refusal to accept colour photography.
Although, colour photography at the beginning of its origin was resisted, the 1970s was a crucial period for it. In the 1970s photographers started to utilise and experiment with colour, rather than using colour photography as a tool strictly for representation, they instead focused on how it can create emotional, psychological and visceral depth in their work.
The director of photography at the Museum of Modern Art (MOMA) in New York City, John Szarkowski had a core feature in changing how people perceived colour photography in the art world. Szarkowski helped put together the first solo exhibition which was dedicated to colour, showing off Ernst Haas`s unique work in 1962, this had a huge influence on the acceptance of colour photography in fine art. Another huge influence on the acceptance of colour photography, was Szarkowski’s work with William Eggleston, the 1976 exhibition and the book William Eggleston’s Guide. Eggleston`s work consisted of the dye-transfer printing process which allowed him to one up the “snapshot aesthetic” and made colour photography a tool for reflection of society and an expression of creativity.
Joel Meyerowitz, Stephen Shore, and Joel Sternfeld were other American photographers who started to use colour to capture the small, little details of the American Landscape. Joel Meyerowitz published “cape light” in 1979, Stephen Shore published “uncommon places” in 1982 and Joel Sternfeld publishing “American prospects” in 1987, these three books show how the traditional camera, traditionally used with black and white film was also used to capture colour, these books became strongly influential for the development of colour photography.
In conclusion, the late 1970s and early 1980s had a fundamental change in colour photography, this was mainly because of the hard-working photographers like Eggleston, Shore, Meyerowitz and Sternfeld. The work of these photographers is perfect in showing off how colour can be used to create emotional depth and can create an interesting story, setting up future artists to use colour photography as a powerful form of art.
William Eggleston
William Eggleston, also known as the “father of color photography”, he has earned this title due to his inspirational work that raised colour from a basic advertisement tool to a serious form of fine art / art. Eggleston challenged the usual standard for art, black and white photography, he challenged this by making the most of dye transfer printing. Dye transfer printing is an expensive process which intensifies the saturation and colour balance of an image, although his images are quite normal and ordinary, they are turned into an incredible piece of work due to his use of colour and the dye transfer printing process aids him to get this lively feel, this is clearly shown in Eggleston`s work.
Set Of Images done with dye transfer process:
The primary moment where Eggleston started to become more known was in 1976 when he had his initial solo exhibition at the Museum of Modern Art in New York where he showcased his first book, William Eggleston’s Guide. John Swarovski, the director of photography at the Museum Of Modern Art, was a key role in making Eggleston`s Guide acquire public attention. Swarovski helped Eggleston not only by choosing his excellent solo exhibition in 1976 but also helped by writing an introductory essay to the photobook. In this essay, Swarovski states that Eggleston`s work is “perfect”, and he also says that Eggleston`s work is “related in iconography and technique to the contemporary standard of vernacular camera work,” homing in on Eggleston`s focus on ordinary subjects. Many viewers initially criticized Eggleston, saying that his images lacked depth, however over time many recognized the perfect composition`s and his idea behind these photographs, opening a door for artists and photographers to use colour to express their ideas artistically.
William Eggleston`s work was normally captured instinctually rather than conceptually, meaning he would never plan his photoshoots and would go with the flow. In an interview, Eggleston states “I never know beforehand Until I see it, it just happens all at once”. This quote shows the connection he has with his surroundings, having an impulsive and observational style of photography which still is executed successfully. Eggleston would waste no time with his photoshoots, taking one photograph per subject / focal point.
Similarly, when taking my photographs I took the same approach as Eggleston, finding the beauty in things we see every day. Like Eggleston, I did not plan the photograph above; by contrast I came across this setting whilst on a walk and created this response spontaneously. Eggleston`s work has a huge focus on the contrast of colour in everyday life, therefore I also did the same; the vibrant, colourful mural on the plain wall and the bright blue sky showcase the contrast in colours, I was able to capture in this image.
Even though my photo is digital, and Eggleston often used the dye transfer printing technique to achieve the excellent use of colour and the strongly saturated tones shown in his work. My photo shows off the strong vibrant blue sky, the earthly colours of the landscape and the bold mural, almost looking like I have used the same technique as William Eggleston to capture this shot. This ties with Eggleston`s ideology that the colour on its own can form the overall mood and story of an image.
Todd Hido
Todd Hido is a widely famous photographer. He thrives in photography by the way he uses light, colour and the overall location to create a sense of mystery and a mix of emotions. Hido`s work, especially the photographs of urban areas at night, has made him one of the biggest names in modern day photography. Similarly to William Eggleston, Hido also takes photographs of the everyday scenery, however Eggleston mainly focuses on the beauty of the everyday life and Todd Hido does the opposite, capturing the feeling of loneliness, isolation and possible nostalgia.
Todd Hido`s best known work is House Hunting, published in 2001. The book consists of long exposure shots taken at night of residential houses, with one single lit up window which is beaming out onto an isolated, dark road / street. The images are very mysterious and do not have a definite clear story behind them, grabbing the viewers’ attention as the viewer will pay more attention to every detail to see what is happening behind the window. Most of the photographs are taken from far away and often through car windshields, to add a blurry, dreamlike effect to his images. Unlike William Eggleston, Todd Hido does not take his photos with precise clarity but does use distortion and softness to strengthen the mood of his work.
Inner Pages From House Hunting (2001) – Todd Hido
The process which Todd Hido goes through during his photoshoots is very much instinctual, he drives around aimlessly looking for locations and areas which he can relate to emotionally. As discussed before this process is also done by William Eggleston where he takes a more spontaneous approach without planning his photographs and collections. Hido`s work is a lot more cinematic in comparison to Eggleston`s, Hido is inspired by filmmakers like David Lynch and Alfred Hitchcock, this inspiration from filmmakers leads to an eerie, dreamlike feature which has a narrative unfolding just behind the frame of the images.
Similarly to my project and what I investigated, Hido`s work explores the themes of solitude, emptiness and mystery. Some of his photographs are connected with his own personal memories of his own childhood and living the American suburban life.
The most obvious similarities between my images and his is the use of light in a space. In this image above by Todd Hido, light is diffused from the sun by the mist, which gives off this dreamlike, misty appearance. The approach makes it difficult to understand background from background, resulting in a sense of depth in a picture. Similarly, in my image shown above, the lights on the road turn into a yellow glowing beam because of the thick fog surrounding it, giving the same dreamlike theme / style which Hido has. The light is directly next to the darkness that is surrounding it, making solitude, loneliness and abandonment more apparent within my image.
Compositionally, both mine and his photograph guide the viewers eyes, this is done using the obvious leading lines. In this image specifically Hido captures the sky as well as trees, however in my work I am using continuous lines created by the lamp posts and roads to add depth in my image. In both the photos, the lack of people and human presence adds to the sense of isolation, allowing the viewer to add their own emotions relating with my picture.
Conclusion
Throughout my project, I have understood how both Todd Hidos and William Egglestons photography has affected me as a photographer in terms of composition, mood and setting. At first, my assumption was that Hidos cinematic approach to light and Egglestons open approach to colour were two extremes of how to approach photography. However, once I had commenced my project, I realized that both photographers make the mood, narrative and the setting a key aspect of their work, which has really influenced my work despite their differences.
In this project, I’ve been inspired to take photos instinctively by Eggleston’s ability to find beauty within the ordinary. I also learn from his work and from his guide (William Eggleston’s Guide) that form can portray feelings and emotion just as powerfully as colour can. In contrast, Hido’s eerie, dreamlike images, like those in Bright Black World, influenced me in regards of light and loneliness, inspiring me to experiment with mood and story in my nighttime photography. Thanks to these photographers, I now have a greater understanding of how light, composition and instinct work together to create effective imagery.
As my perspective developed, I began to realise that the way I work is in between Eggleston`s spontaneous approach and Hido`s careful storytelling style. I originally believed that in order to be excellent in photography, photoshoots had to be carefully planned and conceptualized but after diving deeper into Todd Hido`s and William Eggleston`s work, I now have a better appreciation of instinctual reaction to capture photos.
In future projects or work, I will continue to take inspiration from Eggleston and Hido whenever possible whilst also taking inspiration from other photographers / artists, to create a more advanced style which suits me uniquely.
Bibliography
Websites:
Sontag, S. (1977). In Plato’s Cave. [online] Available at: https://openlab.citytech.cuny.edu/chengphotoarth1100f2019/files/2018/02/Susan-Sontag-In-Platos-Cave.pdf. [Accessed 24 Jan. 2025]
Burroughs, A. (2016). William Eggleston, the Pioneer of Color Photography. The New York Times. [online] 17 Oct. Available at: https://www.nytimes.com/2016/10/17/t-magazine/william-eggleston-photographer-interview-augusten-burroughs.html.[Accessed 26 Jan. 2025]
REBEKAH JACOB GALLERY. (n.d.). William Eggleston. [online] Available at: https://www.rebekahjacobgallery.com/william-eggleston. [Accessed 26 Jan. 2025]
Film Still Photography. (2025). William Eggleston’s Guide. [online] Available at: https://www.filmstillphotography.com/william-egglestons-guide.html [Accessed 26 Jan. 2025]
Atlas Gallery | Fine Art Photography. (n.d.). ERNST HAAS: NEW YORK IN COLOUR, 1952-1962. [online] Available at: https://www.atlasgallery.com/exhibition/ernst-haas-new-york-in-colour-1952-1962. [Accessed 26 Jan. 2025]
Farache, E. (2013). It Was Too Strong: An Interview with Todd Hido. [online] The Paris Review. Available at: https://www.theparisreview.org/blog/2013/11/19/it-was-too-strong-an-interview-with-todd-hido/. [Accessed 28 Jan. 2025]
Hido, T. (2017). Todd Hido On ‘Homes at Night’ and Illustrating Memories in Photography – Interview by Coralie Kraft | LensCulture. [online] LensCulture. Available at: https://www.lensculture.com/articles/todd-hido-todd-hido-on-homes-at-night-and-illustrating-memories-in-photography. [Accessed 28 Jan. 2025]
Grieve, M. (n.d.). Todd Hido’s Bright Black World – 1854 Photography. [online] www.1854.photography. Available at: https://www.1854.photography/2019/01/todd-hido-black/. [Accessed 29 Jan. 2025]
Hido, T. (n.d.). House Hunting. [online] www.toddhido.com. Available at: http://www.toddhido.com/househunting. [Accessed 29 Jan. 2025]
Books:
Jaeger, A.-C. (2008). Image makers, image takers : the essential guide to photography by those in the know. London Thames & Hudson.
Lowe, P. (2019). A chronology of photography : a cultural timeline from camera obscura to Instagram. New York: Thames & Hudson.
Justine Kurland – Girl Pictures
1. Research a photo-book and describe the story it is communicating with reference to subject-matter, genre and approach to image-making.
between 1997 and 2002, Justine Kurland travelled across the United States photographing girls living different lives. The story communicates the rebellious life of a teenage girl where she depicts them in rural areas and in the wilderness. Justine Kurland focusses on themes of freedom, rebellion, and the defiance of gender expectations
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.)
The photographer is Justine Kurland. Kurland’s main project was called ‘Girl Pictures’. Kurland started this project in 1997 when she was a graduate student at Yale. Kurland decided to focus on teenagers because of their everlasting state of becoming. She wanted to show girls’ lives, centring them by creating an all-female society. Kurland decided to reverse certain stereotypical representations by rather than showing girls as passive or vulnerable, she represented them as strong, confident and free-spirited. The main environment of her images are usually in wild settings like rural or urban places which would be the opposite of a typical environment where girlhood would be imagined to be placed. Kurland shows her opinions and thoughts by using other people to reflect herself onto them. In her work ‘Girl Pictures’ she depicts young woman in wilderness settings and shows the ongoing theme of freedom and rebellion where she often places the individuals (herself) in natural environments.
3. Deconstruct the narrative, concept and design of the book and apply theory above when considering:
Kurland’s book is a portrait hard cover which is slightly bigger than A4. It has a single photo imprinted on the top half of the book in colour which depicts 5 teenagers in a field. the title of her project (Girl Project) is imprinted on the bottom half of the front cover and it stands out so that when you run your hand across it you can feel where the words are risen above the page. She also has the same on the spine, along with her name. The book is a saddle stitch. Kurland has chosen a single colour for her book which is a light/soft pink. this resembles the stereotypical girl colour and works really well for the theme of her project. If she had used blue it would not have the same effect as it may not match the theme as blue is a stereotypical boy colour. throughout the book, Kurland either puts one phot0 on each side of the page or she puts one big image across the two page spread. these images are glossy and in colour. This theme is consistent apart from the first page where the large image is printed onto pink paper and also in black and white to create a coloured effect to the image. the photo is also textured and not glossy. She also does this at the end of the book as well as the start.
UNDERSTANDING PHOTOBOOKS:
NARRATIVE, EDITING, SEQUENCING, DESIGN, FORM, FUNCTION
I have decided to make a Typology Study of Railings as I had 9 edited images of them.
Typology 1
I made this Typology by, firstly opening up a template a made in photoshop. I made this Grid Template during the Portraiture project. I then added each of my images in to Photoshop on top of the grid.
I then played around with the images, deciding on where to put them and this is my final result:
This is my final typology. There is a range of different types of railings which can be categorised together as they all have the same function. I personally think that, if I had more photos of railings to choose from, I could have made this typology better, however, I had exactly 9. This is because I don’t think some of the images are as strong as other and, due to the formatting of my grid, some have been cropped badly.
Typology 2
I then decided to also do a typology of images where I have taken the photo of the building by looking up at it. Here is the final result:
This is another typology which I decided to do. I attempted to form a grid of images that can be linked by the way in which they have been photographed from. The images in this typology have all been photographed from below, looking up at the building. I’m not sure that this typology works as I expected it to as it’s not obvious when you look at it what I was trying to do and the buildings are all of a different architectural style. Furthermore, these buildings all function differently and were made for different purposes. This makes it less of a typology and more just a grid displaying images.
12% out of a 100, accounts for the grade
possible-essay-questions-to-investigate
Can the recreation of family portraits show how relationships have developed and changed over time?
How connection can be represented in the medium of photography?
How can photography change the way we remember and connect people and events?
Some examples of Personal Study essays from previous students:
Essay Plan
Make a plan that lists what you are going to write about in each paragraph – essay structure
My aim was to capture colour that was revealed through dynamic formations I found within the street. Alongside this unusual shapes, patterns, lines were revealed overall adding more depth.
Favourite Selection:
This photoshoot I used the TV setting on the camera which gave me this cool/warmth tone and candid feature. Inspired greately by Seigfreid Hansen and Saul Lieter I fosued on colour and how this could be clearly defyned through the unqiuenes of the features that are revealedd, and would otherwise go unnoticed
I was drawn to the reflections from within the window which created this layered affect therefore creating unique depth and structure. I wanted to express this feature, as I was already drawn to the warmth revealed by the colour then features such as the letters and writing displayed on the shop window, so decided to enhance this and clearly define these features when editing.
I experimented with various camera angles which help to produce images from unique perspectives, one giving a confrontational effect. This meant the viewer could further realise more within the photo and see things differently. Focusing on colour too, this allowed me to create particular/ subtle features that show a story when you look into it, as things are being presented to you from different angles or perspectives. It guides you into the photo, giving depth.
Siegfried Hansen Inspired
Inspired by Siegfried Hansen’s use of simplicity and capturing moments that you would perhaps not notice otherwise, I felt this gave a unique characteristic within the images which is what influenced me to produce images with similar features. It creates this gripping narrative as he has particular ways of expressing formations and shapes through vivid, bold, pigmented colour- overall creating a contrasted, and defining effect. Hansen looks at road markings and particular signs which is what I further looked into. I felt this revealed a certain aesthetic which before captured you wouldn’t notice it. The narrative is expressed through this in particular ways as only the legs of someone is displayed, giving this sense of unknown, whilst also being mesmerised by the visual features (of colour, line, shape, formation.) I edited the images to further enhance the formations in which gave this in-depth contrast, for example I firstly altered the contrast making this an obvious feature, I then altered the black and white levels as this further increased the shadows and pigmented colours
For the photo above, I firstly altered the contrast making this an obvious feature, I then altered the black and white levels as this further increased the shadows and enhanced the pigmented colours so each feature was clearly defined.
For this photoshoot my aim was to capture both colour and forms within the streets of St Helier, and how they work together to create this dynamic relationship meaning that when you look at the images your mind is completely mesmerised by the abstraction but also your confronted with something totally different and unusual – perhaps becoming unrecognisable. I took photos from various angles which helped to achieve these effects, but mainly focusing on how I can turn my sights into something complete unrecognisable, by presenting to the viewer a different perspective. My aim was for colour, formations, and shapes to take over, which creates an abstract view.
Overall I think this photoshoot was successful as you are ultimately being displayed something unusual and attractive. Throughout my goal was to capture moments or particular sights I saw in town which I through best described colour, saps, and formations. I felt this was a necessary thing to focus on as its not only until you look closely at something, it is where you notice it (colour). Then from this you notice complementing features such as lines, patterns and shapes.
Siegfried Hansen was one of my main influences. Noticing is simple yet engaging photos where subtle features distract you:
The visual elements are what you notice straight away, colour, shape, texture, form, pattern, and line. Then closely looking into this we see how they complement one another and create this dynamic connection between one another, one that we wouldn’t notice if it wasn’t for the abstract approach we are presented with straight away.
This photo instantly appeals to me. Through the structure to the colours that outline this in a formational way. It is minimalistic yet very revealing. This means the particular way the photo has been captured, to the markings on the road which lead up to the legs of an unknown person. The road markings coincidentally create leading lines towards the legs of an unknown person which automatically create a contrasting affect between this but also the pigmented, pure blocks of colour against the black. This dynamic contrast creates intense depth through the sharp, bold lines.
Relating closely to Formalism, the intense lines, layout, and colour create a close connection, bringing this much deeper meaning. Although the meaning is not presented through a specific subject, its shown instead to us through the visual aspects of the work, which enhances the aesthetic feature. Formalism is a focus on quality of colour, brushwork, form, line and composition which is what influenced Hansen’s style of work. – we can see the close connection. We are clearly presented with the structured /orderly layout expressed by blocks of colour that is then outlined by thick black lines. The visually attractive structure of formalism further complements the legs of the unknow person that comes into the photo from the right, as this creates a unique subject.
Edit One
This shot was originally yellow from the garage lighting, I did manage to correct this using colour grading within Lightroom however, it didn’t match the rest of the photos. By choosing to turn the photo black and white I adjusted it to fit the other photoshoots. It has also helped highlight the texture from the rust and age of the bike, similar to the photoshoot with the ford.
Edit Two
This photo had a similar issue, the lighting was too yellow. By moving the temp. slider down to a bluer tinge it has reduced the yellow lighting. I do like the photo now the tinge has been removed, it has allowed the bike to be seen within the garage context.
Edit Three
I did this edit in a similar way, adjusting the temperature to a suitable level of blue adjustment, allowing for the yellow tinge to be removed without changing the tint to blue. While the yellow tinge added to the age it did not fit with the rest of the photoshoots.
Edit Four
This photo is taken from an interesting angle, on a wide angle lens. I wanted to enhance the deep colours against the off white background. To do this I first adjusted the temp. slider before making small adjustments on the other sliders, enhancing the orange and blacks within the photo.
Edit Five
An insurance disc is something everyone knows, I wanted this shot as it shows the bike hasn’t been used for over 20 years, but still holds many memories. I originally thought I’d like this shot in black and white but I actually liked it in colour showing the typical insurance disc colourings. I decreased the exposure and highlights to bring out the pattern on the disc itself, which adds to the photo.
Edit Six
The texture on the tank from rust is something I wanted to highlight, adding back texture and increasing the clarity has done this. Alongside the decrease in exposure which brought out the slightly washed out colour. I took this using a 35mm zoom length so the focus was the writing rather than the rest of the bike, the writing being the brand name.
Edit Seven
This shot will pair nicely with the previous one, adding to the idea on what the bike is, I preferred this shot in black and white to provide contrast with the textured, bold colour of the previous shot.
Edit Eight
Having heard many stories about this bike, but having never ridden it myself. I wanted to create the idea of what the bike would look like from the perspective of being ridden. While the world isn’t black and white so would not appear that way when riding, it forces the viewer to look at the details within the bike. The needles on the speedometer and temperature gauge showup better in the black and white version, it also helped remove the distraction of the floor from the shot.
Edit Nine
This shot is an interesting angle, I liked the comparison between the colour of the rust and the brown of the seat. Taken from through the handle bars it has a unique viewpoint on the bike.
Edit Ten
While I don’t think this shot is particularly great by itself I think the number plate plays an important part in the narrative of the book, I remember being told how the number plate was just a sheet of metal with paint on it. It also shows the bike is not from Jersey and adds to its story.
Edit Eleven
This shot is interesting as it shows the whole bike side on, giving a fuller picture of how it was used and how basic it is in comparison to it’s modern counterparts.
Edit Twelve
Compared to the rest of the shots, this photo is dynamic and interesting. While it doesn’t give a fuller picture like previous shots, it does make a comparison between new and old. The newer bike, my bike being in the background and the mirror of the older bike reflecting the older bike, my dads bike.
Edit Thirteen
I liked this shot because it had the name of the bike framed in the middle. I just did basic adjustments to add to the photo but I think I do have stronger photos.
Edit Fourteen
Similarly to the mirror shot, I loved the way this one had the old and the new, the two generations of the families bikes. I used masking overlays to create depth within the image, the background darker and increasing the exposure on the bikes adding more focus onto them.
Final Edits
This photoshoot, produced a range of shots, from more contextual style shots to narrative enhancing shots. Each photo can be used in a specific way to benefit the books narrative. I also want to link these to archive photos of the trip done on this bike, adding comparisons and emotion to the photos. I have used a mixture of black and white editing alongside colour edits, to add depth and contrast within the final photos. I was limited with this shoot as the bike can’t move so I had to take the photos on the driveway but I think I have enough dynamic and interesting photos to make the intended impact. Having researched W Eugene Smith and his style I looked to add a human emotion element to the photos, which is tricky without a person in the photos but I looked for small details and otherwise unseen perspectives which created the strong range of images above.
Why I changed ideas
Firstly, I decided to change my exploration of racial injustices through women to domestic abuse. I changed this for many reasons. One reason was because my photoshoot exploring cultures and working- class women did not fit the sequencing of my photobook. This is because these photos were the opposite of staged and carefully crafted ultimately changing my theme. I did not begin to realise this until my photoshoot was completed, however I learnt through this and decided for my updated photoshoot to be of the same subject of my other photoshoots such as 1st and 2nd wave. To keep a seamless sequence in my photobook, I decided to explore domestic violence which a lot of women go through. This is shown statically. Globally, an estimated 736 million women—almost one in three—have been subjected to physical and/or sexual intimate partner violence, non-partner sexual violence, or both at least once in their life (30 per cent of women aged 15 and older). One of these women, including Nan Goldin, my other artist study. Nan Goldin was very open talking about her issues and her photoshoots taken in 1984, this significantly inspired me. I learnt that I wanted to mix both elements of Sherman and Nan Goldin by staging an abuse themed photoshoot, meanwhile maintaining an element of femininity and the traditional housewife. Although, my photos are not taken in the kitchen, they express the role of women serving for men in other ways, such as clothing and posing.
Ultimately, this was more inspiring to me as the 3rd wave feminism movement focuses o sexual harassment, domestic violence and abuse. Some people still believe we are still in the 3rd wave due to the fact there isn’t a massive shift or growth. This is because, to this day women still fight for their equality especially within this theme.
Contact sheet-
Filtering-
Firstly, I began by rated my images from 1-5 and either flagging or rejecting them. The main factors I took into account was lighting, posing, surroundings/props, and the gaze my subject executed. Before I began my filtering, I cropped every image therefore other things that were potentially taking the attention away from the main factor of the image, therefore I went through and cropped them to my preference before editing. This is a very efficient way of editing the images that are preferred and making your photoshoots organised and ready for editing. As this photoshoot is indoors, it was easier to get the correct lighting however my editing ability should be able to perfect any lighting inefficiencies. One final thing I took into account was how well you could see the subjects fake bruising and bleeding. This is because this photoshoot is to focus on domestic violence, therefore I put fake makeup on my subject to attempt to convey this element. However, it is not the only element I wanted to add. Overall, I wanted to add a sexual element linking to femininity stereotypes but also sexual harassment as the third wave focused on this just as much. I attempted to bring this sexualised element through the subjects clothes and red heels. Red can be a symbol of passion, confident, sexuality and love. This could ultimately signify the growth women fought for during these movements as they were encouraged confidently to fight for their passion and rights. This would significantly contrast to the clothing as women still felt as if they had to play a role in order to satisfy and serve men. This is interesting to me as it differs from my subjects face. This is because many women still stay (representing the clothing choice) even after circumstances (damage) which is a very big important contrast to these images. Lastly, I took into account the lamp facing down on her. I really like this touch as it keeps all attention on the subject which is exactly what I intended too, gives a spotlight effect.
Editing-
B&W-
This image is one of my favourites within this photoshoot. This is because the lighting giving the spotlight effect with in depth shadows really sticks out to me. The deep shadows to me portrays an element of sexuality emphasizing by the heels which is what I ultimately intended too. Not only this, I like the image in black and white as it conveys this element but also adds a mystery element. One drawback is the fact that you cannot see the coloured heels and that the fake violence on her face is not as bright and obvious.
B&W:
In colour: Potential front cover of photobook
In colour:
In colour:
In colour:
In colour:
Evaluation and critique
Overall, I like many factors of this photoshoot. One thing in particular that I like is the lighting, creating in-depth shadows which ultimately makes the image more eye catching. To emphasize this, I experimented by putting my photoshoots in black and white which I definitely prefer as it adds more of an vintage aesthetic I was aiming for as Nan Goldin’s images are taken in-between 1979 and 1986. Not only this, but black and white still shows the bold lipstick and makeup. However, the fake domestic violence is not as obvious and vibrant which is a potential drawback as that is what my photos are to be focused around. One thing I would change would be to put the fake bruising etc on the subjects right side of the face so the lighting would shine on it, allowing viewers to focus on it. This would definitely benefit my images as it will focus on the theme of sexual and domestic abuse. I found the type of posing very feminine emphasized by the ‘ female gaze’ which is ultimately signifying my overall theme of feminism and movements. Another draw back of having my images in black and white is that you cannot see the symbols included such as the red bold lipstick and high heels. However, this can be significantly fixed as I am thinking of this being my front cover in my photobook as it represents feminism and confidence ultimately representing the empowerment women felt through the movements.
I would keep this in colour, meanwhile my book being in black and white. This is because red heels represents confidence, bold, sexuality and femininity, which ultimately covers my themes therefore tells the viewer from the front page what my book narrative is. Overall, I like this photoshoot and I think I executed it successfully.
This book – Girlhood, is all about what it’s really like to grow up as a girl, told through a series of raw, real photos that show both the strength and the tough moments we go through. It’s not just about looking pretty in pictures—it’s about the real stuff: dealing with a world that often tries to control or judge you. The photos capture those little moments of joy, rebellion, and the everyday struggle to just exist as a girl. It’s about how we’re expected to be one thing but are always trying to push back, balancing what the world wants from us and what we really are. It’s real, it’s messy, and it’s all us.
I want the book to be smooth and soft, small and not too big with black ink and a while boarder and white pages – inspired by the book FEMALE, with A4 pages and a hard cover.
The title is going to be Girlhood, with roughly 20 pages with one white on one side and the photo in the middle on the next page. There will be some words on some pages, not all – relating to the exact photograph.
There will be a range of different images, ranging from girlhood and trying to make awareness for misogyny, girlhood and what girls have to go through.