Studio Lighting: An Overview

Studio lighting refers to artificial lighting used in a controlled environment, like a photography or film studio, to illuminate a subject. It allows the photographer to manipulate light to create desired effects, emphasize particular features, and achieve consistent results regardless of ambient light conditions.

Why use studio lighting?

1. Provides total control over light intensity, direction, and quality.
2. Enables unique effects like dramatic shadows, soft highlights, or a specific mood.
3. Maintains the same lighting conditions across multiple shots or setups.
4. Helps eliminate unwanted shadows, balance highlights, or fill darker areas.

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Common Lighting Techniques

1-Point Lighting

Setup: A single light source, typically positioned at a 45-degree angle to the subject.

• Use: Creates dramatic shadows and emphasizes texture or mood.
• Drawbacks: May cause harsh shadows on the opposite side of the subject.

2-Point Lighting

Setup: Two light sources — key light and fill light.

• Use: The key light defines the main source of illumination, and the fill light softens shadows.
• Advantage: Balances the shadows while retaining some depth.

3-Point Lighting

Setup: Adds a third light (backlight) to the 2-point system.

• Key light: Primary source, highlighting the subject.
• Fill light: Reduces contrast and softens shadows.
• Backlight: Separates the subject from the background by adding a rim of light.
• Use: Widely used in portrait photography and videography for balanced, professional lighting.

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Notable Lighting Styles

Rembrandt Lighting

• Features: A triangle of light under the subject’s eye on the shadowed side.
• Use: Creates dramatic, moody portraits with a natural feel.
• Setup: Key light placed at 45° above and to the side, creating shadows.

My attempt.

Butterfly Lighting

• Features: A butterfly-shaped shadow under the nose.
• Use: Flattering for beauty shots, minimizes wrinkles and skin imperfections.
• Setup: Key light positioned directly in front and slightly above the subject.

Backlighting

Features :High contrast , silhouette , highlights edges, gives glowing outline. Dramatic effect

Use: This method is used to create visually stunning and dramatic effects in photographs.

setup : the technique where the main light source is positioned behind the subject, illuminating them from the back and facing the camera.

My attempt.

chiaroscuro

chiaroscuro lighting is a technique that emphasizes strong contrasts between light and dark to create a dramatic, three-dimensional effect. The term “chiaroscuro” originates from the Italian words chiaro (light) and scuro (dark), and it was historically used in painting, especially during the Renaissance period, by artists like Caravaggio and Rembrandt.

• Features: High-contrast light and shadow, emphasizing dramatic intensity.
• Use: Evokes mood and depth; often seen in film noir and classical paintings.
• Setup: Key light with minimal fill, or a single harsh light source.

In photography and studio lighting, chiaroscuro is achieved by using a single light source or a focused lighting setup to create pronounced shadows and highlights. This technique is particularly effective in creating depth, mood, and a sense of volume in portraits, still life, and conceptual photography.

Artist Reference research

1. Annie Leibovitz: Known for her dramatic use of soft lighting and shadows in portraiture.
2. Richard Avedon: Famous for minimalist lighting in studio portraits, highlighting facial expressions and details.
3. Irving Penn: Renowned for his use of controlled lighting to emphasize form, texture, and elegance.
4. Gregory Crewdson: Uses cinematic lighting setups to create complex, mood-driven narratives.
5. David LaChapelle: Known for vibrant and surreal compositions, utilizing bold lighting techniques for impact.

Further detail on my favourite artist, David LaChapelle

David LaChapelle

David LaChapelle is a renowned photographer and director known for his bold, surreal, and hyper-stylized imagery. His work often combines elements of fine art, pop culture, and social commentary, resulting in vibrant and thought-provoking compositions. LaChapelle’s photography is iconic for its extravagant use of colour, dramatic lighting, and creatively staged sets. He frequently collaborates with celebrities, creating editorial pieces that blur the line between fantasy and reality.

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• LaChapelle’s work often addresses themes like materialism, celebrity culture, religion, and human vulnerability. His images tell intricate stories through their elaborate setups and symbolic elements.
• Staging and Detail:
  Every element in LaChapelle’s photographs is carefully planned and executed. He uses custom-built sets, costumes, and props to bring his visions to life.
• Colors: His work is saturated with intense, often unnatural colors that make his images pop.
• Lighting: He uses bold lighting setups to create a sense of drama and dimension, often blending hard and soft light for contrast.
• Surrealism: Props, costumes, and sets are often exaggerated or surreal, adding layers of meaning to his work.

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LaChapelle`s Work

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My attempts at using Coloured gels in the studio.

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I used coloured gels and strategic lighting to emphasize contrasts and create a sense of mood and depth in the portraits. Here’s how I approached the process:

Lighting Setup

I placed coloured gels over two types of lights to achieve this effect:

1. Spotlight: Used to direct focused light on the subject’s face or create striking highlights. The gels added bold, saturated colours, like red and blue, which helped shape the mood of the image.
2. Honeycomb Light Modifier: This was key to controlling the spread of light. By narrowing the light beam, I could focus on specific areas of the subject while preventing unwanted spill into the background, allowing for sharp contrasts between light and shadow.

Creative Process

• Colour Selection: I chose complementary colours (e.g., red and blue) to create visual tension and contrast in the portraits. These colours helped highlight the contours of the face and added a dynamic energy to the shots.
• A red gel on the side light created a strong outline of the subject.
• A blue gel from the opposite side added cool highlights.

Camera Settings

1. ISO 100: I selected a low ISO to ensure the cleanest possible image with minimal noise. Studio lighting provides ample light, so a higher ISO wasn’t necessary.
2. Shutter Speed 1/125: Studio flashes have a sync speed limit, and exceeding this (e.g., going faster than 1/125) could result in a partially exposed frame, as the camera shutter might not fully open during the flash. Keeping it at 1/125 allowed me to properly sync with the studio lights without losing any of the exposure.
3. Aperture (f-stop): I set the aperture based on the intensity of the studio lights and the desired depth of field. A moderate aperture (e.g., f/8) helped maintain focus on the subject while keeping the lighting balanced across the face

Shooting Process

• Flash Syncing: The studio flash provided consistent light bursts, so I ensured my settings were in sync with the flash duration for even illumination.
• Colour Gels: The gels absorbed some light, so I occasionally adjusted the aperture to compensate and maintain the correct exposure.

This photo shows difference types of lighting and how it affects the portrait.

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What is Studio Lighting and why do we use it?

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Studio lighting setups give photographers the flexibility to create different looks and lighting effects in their photos. These setups have a big impact on the style and mood of your images–allowing you to create the effect you or your clients desire.

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1, 2 and 3 point lighting

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In photography, 1-point, 2-point, and 3-point lighting refer to different setups for illuminating a subject. These setups control the mood, depth, and focus of the subject through how light is positioned. Each technique addresses different visual and narrative needs.

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1-Point Lighting

One-point lighting is the most basic lighting setup, involving a single light source. This primary light, known as the key light, is typically placed at an angle to the subject. The result is a photograph with strong shadows and high contrast, which adds a dramatic and mysterious feel to the image. This setup is often used in portrait photography to create a moody and intense atmosphere.

In this portrait, I used a hard one point lighting so create half light half shadow effect. This one point lighting technique uses a single key light at an angle to the face this makes one half of the face lit up and the other in darkness. This particular one point lighting technique is also called split lighting. This is where the face is split in contrast between light and shadow. This technique is used to create a dramatic and moody atmosphere. I also experimented with a black and white version of the portrait which gives the image a dramatic effect.

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2-Point Lighting

When moving to a two-point lighting setup, an additional light source is introduced—the fill light. The key light remains the primary source of illumination, placed at an angle to the subject, while the fill light is positioned opposite the key light. The purpose of the fill light is to soften and reduce the shadows created by the key light, resulting in a more balanced and natural look. This technique is useful in both portraits and product photography to highlight details without casting overly dramatic shadows.

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3-Point Lighting

The three-point lighting setup is more advanced, involving three light sources: the key light, the fill light, and the back light (also known as the rim light). The key light and fill light are positioned similarly to the two-point lighting setup. However, the addition of the back light, placed behind the subject, adds a crucial element by creating a sense of depth. This back light helps to separate the subject from the background, giving the image a more three-dimensional and professional appearance. This technique is widely used in film, television, and portrait photography to achieve a polished and well-lit look.

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Rembrandt Lighting

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Rembrandt lighting is a popular technique in photography where the light source is positioned at about a 45-degree angle from the subject. This setup creates a distinctive triangular patch of light under the eye on the side of the face that is in shadow. It’s named after the Dutch painter Rembrandt, who often used this lighting style in his portraits. This technique adds depth and dimension to the subject’s face, making the photograph look dramatic and visually appealing. It’s particularly effective for portraits, as it enhances facial features and adds a professional touch to the image.

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Recreating Rembrandt Lighting

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In these photos, I attempted to create Rembrandt Lighting by positioning the light source at about a 45 degree angle from the subject. These photos were successful as I managed to create the distinctive Rembrandt triangle underneath the eye. To improve these portraits, I could experiment with the angle of the lighting more to create a more vivid and bold triangle of light on one side of the face making it more distinct and standing out more. I also experimented with black and white versions of the portraits which accentuate the lighting technique and creates a more dramatic effect with the light and shadow.

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Butterfly lighting

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Butterfly lighting is a technique where the main light source is placed directly in front of and above the subject, typically above their eye level and angled downwards. This setup creates a shadow under the nose that resembles a butterfly, hence the name. This lighting style highlights the cheekbones and creates a flattering, glamorous look, making it popular in beauty and fashion photography. Butterfly lighting is especially effective for subjects with prominent cheekbones or a slim face, as it enhances facial contours and adds a touch of elegance to the portrait.

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Chiaroscuro lighting

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Chiaroscuro lighting is a technique in photography that creates a strong contrast between light and shadow, resulting in a dramatic and moody effect. The term “chiaroscuro” is derived from Italian, where “chiaro” means clear or light, and “scuro” means dark or shadow. This lighting style uses a single light source to illuminate the subject, while the rest of the scene is left in shadow. The stark contrast enhances the three-dimensionality of the subject and adds a sense of depth and texture. It’s often used in portrait photography to create intense, powerful images with a striking visual impact.

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Fill lighting

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Fill lighting in photography is used to reduce shadows and soften the overall lighting of a scene. Imagine you’re taking a photo of someone, and one side of their face is in deep shadow because of the main light source, called the key light. By adding fill light, you gently illuminate those darker areas, creating a more balanced and natural-looking image. This helps to ensure that details are visible in both the brightly lit and shaded parts of the photo. Essentially, fill lighting adds that extra touch to make your photos look more even and pleasing to the eye.

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Experimenting with fill lighting using a reflector

In these portraits I used one key light positioned to one side of the face. As shown in the first portrait, one side of the face is lit up and the other is in shadow. In the second portrait, the model held up a reflector. This reflector acts as a fill light in which it subtly lights up the other side of the face. This fill light reduces the shadows and improves the general lighting in the portrait and shows more detail in the face. This creates a more balanced and natural looking image. Essentially the reflector makes the image more pleasing to the eye and reduces the moody effect that the extra shadow portrays

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Back lighting

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Back lighting in photography is when the main light source is behind the subject, pointing towards the camera. This creates a silhouette effect, highlighting the edges of the subject with a glowing outline while the front of the subject is darker. It’s often used to create dramatic or ethereal images, making the subject stand out against the background.

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This isn’t perfect backlighting in this portrait because the light source isn’t directly behind the subject, it is more to the side. As shown in the example images above, the image on the left is more silhouette like and is what backlighting would look like if the light source was directly behind the subject. The example image on the right of Leonardo di Caprio is more like the image I created. With this particular lighting the left side of the face is illuminated however there is shadow around the eyes and the centre of the face. This creates a moody tone and a different effect.

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This is a portrait with the same lighting as the last however, the subject is in a different pose which their face is illuminated and since they are looking up at the light and the light is shining down on them, it creates shadow underneath the chin and from the jaw. This makes most of the neck area in shadow. This lighting creates a dark and moody effect with the shadow, however the face being in light still gives the image a natural look.

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Virtual gallery

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Finally, I created a virtual gallery to show all the different types of lighting techniques in my portraits. One, two, three point lighting, Rembrandt lighting and butterfly lighting. All these different lighting techniques are used to create different atmospheres and each portrait has its own mood and vibe set by the lighting. If that’s lots of shadow or minimal shadow in different areas, all the techniques create unique portraits with their own feel.

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Cindy Sherman is a contemporary genius in the world of photography that challenges social norms. She plays a significant role in the “Pictures Generation,” which is a group of American artists who gained fame and artistic growth in the early 1980s, a time known for the fast spread of mass media images. Inspired by philosophers such as Roland Barthes, who had questioned the very idea of originality and authenticity in his manifesto The Death of the Author, the Pictures Generation set out to make art that analysed their relationship with popular culture and the mass media.

 Before photography, she was painting in a super-realist style in art school during the aftermath of American Feminism, later turning to photography toward the end of the 1970s in order to explore a wide range of common female social roles, or personas.

Sherman’s artistic practice, while she tends to distance herself from theoretical frameworks, is frequently categorized as feminist. A key focus of her work is the challenge to dominant female stereotypes. By staging and capturing images of herself in diverse contexts, she highlights the objectification of women.

Cindy Sherman uses parody and distortion as techniques to create dissonance, thereby highlighting that the construction of “gender” is heavily influenced by numerous symbolic elements that individuals routinely enact. Her aim is to deconstruct not only the notions and attributes associated with female identity but also the constraints imposed on it within the context of “performance.” Furthermore, she seeks to examine the mechanisms through which “performance” culture shapes and reinforces these concepts.

Her work is characterized by her use of self-portraiture to create fictional characters and explore themes such as identity, representation, and the construction of femininity. She meticulously constructs her photographs, controlling every aspect of the image, including makeup, costumes, lighting, and settings. Through her elaborate and often satirical transformations, Sherman encourages viewers to question societal norms and expectations, particularly those imposed on women.

When questioned about whether she considers her work self-portraits, she stated ‘I guess technically they’re pictures of me, but not, because I’m doing all these weird things to my face so it doesn’t look anything like me.’

‘I always want [my photographs] to be a little off, whether it’s the background not quite fitting in or, in the old work, you’d see the shutter cord, or be able to tell that I’m using fake tits or a fake nose. Everybody knows it’s not real anyway.’

Image Analysis

Visual – In the photo above, Cindy has positioned herself on the right third with dishing liquid, pans and other kitchen supplies taking up the other two thirds of the image (hinting that she is playing the stereotype of a housewife) almost making them seem superior and more important in the image compared to her – furthermore, her being placed in a kitchen (the stereotypic environment of housewives) with nothing but objects relates to the objectification of women and how they were deemed as inferior and nothing but housewives. Also, she is squashed and cramped in the corner, creating an uncomfortable environment which is reinforced with her seeming to be distressed holding her stomach with one hand and glancing over her shoulder looking visibly concerned as if something outside of the frame is making her feel on edge and uncomfortable. As a ‘film still’, the photo subtly challenges the stereotypical female character portrayed in movies at the time.

Technical – A wide aperture has been used to capture as much detail of a housewife’s stereotypic environment, combined with a fast shutter speed to keep the subject in focus as well as keeping exposure balanced. The photo has been taken from a slightly lowered angle since Cindy herself isn’t fully in view with the top of her head exiting the frame whilst most details of her environment and surrounding objects are kept, implying they are of higher importance compared to her linking to how at the time women were treated as inferior. The photo itself is a half body shot since her legs and the top of her head are not fully visible, creating more focus on her outfit which is an apron that matches the environment she is placed in, relating to how easy it is for the media to force women into these stereotypic roles.

Contextual – Historically, women in the media were always presented in their stereotypic roles such as housewives and were always deemed inferior to men, especially in movies when the majority of lead roles and screen time went to men whereas women had smaller roles and much less screen time – implying their only purpose was to fulfil the roles that had become societal norms (cleaning, cooking, taking care of children etc).

Conceptual – Sherman’s ‘untitled film stills’ series intended to resemble the representation of women in the mass media, challenging how the media only depicted women in their stereotypic roles, environment and outfits. In the modern day, Sherman now directs her attention to selfies and highlights how online profiles and presentations of people are not their true selves but rather them trying to be their best selves to impress others and fit in, criticising how people take tens and even hundreds of selfies searching for the perfect one.

Claude Cahun

Claude Cahun, originally named Lucy Renee Mathilde Schwob, was born on October 25, 1894, and passed away on December 8, 1954. She was a prominent French surrealist known for her work as a photographer, sculptor, and author. In 1914, Schwob adopted the alias Claude Cahun, under which she gained recognition primarily as a writer and self-portrait artist, frequently embodying diverse performative identities.

In her literary writing, Cahun predominantly employed grammatically feminine terminology to describe herself, whilst stating that her true gender identity was fluid. For instance, in her text Disavowals, she articulates: “Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me.” Cahun is particularly recognized for her androgynous appearance, which challenged the strict gender roles of her time.

Cahun offered a distinct viewpoint within surrealism by incorporating mirrors, collages, and the concept of doubling in her photographs to challenge societal norms. In several of Cahun’s portraits, she gazes directly at the viewer with a shaved head, often showcasing just her head and shoulders, which removes the body from the frame. This approach blurs traditional gender markers and behaviors, effectively challenging the male perspective. For instance, one image features Cahun wearing a top that says, “I am in training, do not kiss me,” highlighting that her identity and gender can be acknowledged but should not be objectified or fetishized by men. Scholar Miranda Welby-Everard has discussed the significance of theater, performance, and costume in Cahun’s work, suggesting that these elements may have influenced her diverse expressions of gender.

Cahun’s life was filled with actions that went against the norm, and her public persona has turned into a statement that questions society’s ideas about gender, beauty, and logic.

Her work aimed to shake up how people viewed photography, moving it away from just being a record of reality. Additionally, her poetry pushed against the gender norms of her time and critiqued the social and economic limits of the modern world. Cahun’s involvement with the Surrealist group in Paris added a unique perspective to their work, leading to fresh representations. While most Surrealist artists were men who often portrayed women as mere symbols of sexuality, Cahun showcased a more fluid and non-conforming identity. Her photographs, writings, and overall life as a revolutionary in both art and politics continue to inspire many artists today (such as Cindy Sherman).

Image Analysis

Visual – The image is a full body portrait of a woman sitting cross-legged positioned in the centre of the photo, with very little detail in the background making it very clearly she is the focus and subject of the photograph. Her hair has been gelled in the form of an upside down heart and hearts have also been drawn on her cheeks, with another one visible on her thigh as well as her mouth being in the shape of a heart too – this was done to highlight how at the time society viewed women as nothing but a pretty face, with the hearts reinforcing this. Furthermore, the text ‘I am in training dont kiss me’ can clearly be seen on her shirt which contrasts with all the hearts almost subtly going against social norms of femininity and being nothing but an object of beauty, showing her willingness to rebel against these stereotypes. She also has leather wrist bracers of a circus strong man and a barbell laying across her thighs which are stereotypically masculine items, contradicting with the rest of the image and creating a clear sense of contrasting between masculinity and femininity.

Technical – The use of a straight-on angle creates a connection between the subject and the viewer of the image, creating focus on and directing viewer’s attention to the contrasting masculine and feminine elements being clearly displayed to them whilst simultaneously subtly challenging societal norms, expectations and stereotypes of women. Also, the fact it is a full body portrait means there is more room for different contrasting elements all over her body to be displayed to the viewer, whereas if it had been a half body portrait the heart on the thigh and potentially the barbell wouldn’t have been visible so the fact a full body portrait has been used helps to further emphasise her ideas of critiquing gender stereotypes and norms.

Contextual – During the time period Cahun was producing photography, gender stereotypes and expectations were deeply rooted within society and as a rebellious, creative Jewish person her work would have had backlash and been critiqued especially in a post World War One society (hence why her work only began to get public attention and gain relevance 40 years after her death). The contrasting stereotypic masculine and feminine elements in the image also relate to Cahun’s true gender identity being fluid and how she didn’t perceive herself as being either male or female.

Conceptual – The idea behind this particular image was to showcase her gender fluid identity as well as challenge gender stereotypes and expectations of a post-WW1 society which would have been extremely strict but beginning to change as women took over traditional male roles and jobs in society after many left to fight in the war.

Cindy Sherman

Who is she ?

Sherman tends to stay away from theoretical discussions, but people often categorize her work as feminist. A key focus of her art is challenging common stereotypes about women. By taking photos of herself in different scenarios, she highlights how women are often objectified.

Initially, while studying at art school and influenced by the wave of American Feminism, Sherman focused on super-realistic painting. However, by the late 1970s, she shifted her attention to photography to delve into various typical female social roles and identities.

Cindy Sherman is known for her unique approach to art, where she uses self-portraits to invent fictional characters. Through her work, she dives into important topics like identity, how people are represented, and what femininity really means.

Cindy Sherman explores some pretty intense themes in her self-portraits, like sexual desire and the idea of control, along with how we create our identities through deception. Her art really reflects the overwhelming consumer culture and the explosion of images that defined the late 20th century.

While she was in college, she found her love for photography and started trying out self-portraits, which would eventually shape her career. By dressing up, posing, and taking pictures of herself in various situations, Sherman skilfully comments on how women are represented in mainstream media.

Some of her photos

Image Analysis

Visual – In this photo the character is Cindy Sherman, she is possibly portraying a housewife. she is on the right third of this image, she appears trapped or cramped in the small apartment kitchen. She is looking over her shoulder as if something is taking her attention. Her left arm is fully extended onto the counter, furthermore her right arm is across her stomach as if she’s on guard. In the image is dishes and other kitchen appliances which take up more space in the image than she does which could show that they are more important than her and it could hint at the stereotype of women at the time.

Technical – The aperture is likely wide aperture and a shallow depth of field as the foreground is blurred. The shutter speed is to be faster due to the subject being fully in focus with a balanced exposure. The angle was taken from roughly waist height which makes her seem taller, it also makes the view seem like they are part of the setting and up close with her.-

Contextual – Historically women where seen as house wife’s or kitchen maids, this is shown by the image. Sherman casts herself in various stereotypical female roles inspired by 1950s and 1960s films. They represent clichés or feminine types.

Conceptual – Overall, Cindy is using selfies to show she can deceive everyone and can be who she’s wants to be. Furthermore challenging mass media. This also relates to the current culture of phones and media.

Second Artist Analysis

Claude Cahun

Who is she?

Claude Cahun, originally named Lucy Renee Mathilde Schwob, was a French artist born on October 25, 1894, and she passed away on December 8, 1954. She was known for her work as a surrealist photographer, sculptor, and writer. In 1914, she chose the name Claude Cahun as her pseudonym. Cahun gained recognition for her writing and her unique self-portraits, where she often took on different performative identities.

Some of her photos

Image Analysis

Technical – The lighting in this image is likely to be natural lighting, this is because the setting is quite dark and there isn’t any obvious artificial light sources. The aperture is likely to be low, something like f/1.8 or f/2 with a shallow depth of field, I think this because the background seems to be out of focus and the subject seems to be the only thing in focus. Moreover the shutter speed is probably fast, something 200 or above, I think this because the subject is in focus and the image is rather dark which could be caused by a fast shutter speed. Finally the ISO is likely to be quite high, something 800 or above, this is because I can see visual noise within the image.

Visual – There is little colour in this image, it is all black and white which creates a nice contrast between the subject and the background. there id little outstanding or obvious texture in this image, The subjects skin is pretty smooth with only some texture apparent on the back of the head. There is a decent amount of negative space which probably equals nearly half the image, however it does not take the focus away from the subject.

Contextual – This image was taken in the early 1930s and was in Western Europe. In this image she shaved her head due to the fact that she was trans gender and identified as a man, furthermore it also alludes to the war how the Nazis as she was Jewish.

Conceptual – She could be alluding to the concentration camps with the shaved head, furthermore her back turned could means she’s trying to make it harder for the view to distinguish if its a woman or a man. Finally the tank top she’s wearing is typically men’s clothing, meaning she is further trying to resemble a man.

She is among the most significant artists of the Pictures Generation, responding to the mass media landscape surrounding them with both humor and criticism, appropriating images from advertising.

At first painting in a super-realist style in art school during the aftermath of American Feminism, Sherman turned to photography toward the end of the 1970s in order to explore a wide range of common female social roles, or personas.

What was the purpose of Cindy Sherman’s photography? To portray the various roles and identities of herself and other modern women. Influenced by a previous generation of performance artists, Sherman developed a fascination for disguise, a fascination that had been with her since childhood, now in encounter with her own camera.

She meticulously constructs her photographs, controlling every aspect of the image, including makeup, costumes, lighting, and settings. Through her elaborate and often satirical transformations, Sherman encourages viewers to question societal norms and expectations, particularly those imposed on women.

Cindy Sherman’s work is characterized by her use of self-portraiture to create fictional characters and explore themes such as identity, representation, and the construction of femininity.

Image Analysis

Shows an photo of a woman dressed in a type of evening and seems to going somewhere important. Likely to have a narrow aperture and longer depth of field to show the smoke and her dress. The subject looks to be set in some type of living room or kitchen but it is uncertain to the limited visuals shown in which is a very eery scene in where much things seem to be disturbed and uncertain. I think before the photo was taken, there was some type of action, what makes me to believe this is that the person seems to be quite protective and startled, with her hiding the side of her neck and holding what seems to be a evening bag but with a very similar shape to some type of knife. In the background there is a mirror, in which shows her back and the vulnerability she has.

The mirror shows what looks to be a cloud of smoke but also in the foreground, telling us that she isn’t alone and that someone could potentially be smoking in the room as well. The frame of the photo also makes it so there is a sense of unknown and that there could be many factors that take place in the story of it. The reflections of a cocktail glass and a jacket slung over a chair, hint at a second, troublingly absent figure, who’s next move we can only imagine.

This suspense feels second-hand because elements like Sherman’s black dress and the pearl-clutching gesture remind us of horror and melodrama films from the 1950s and early ’60s, where women were often shown as victims or sex objects. Sherman hints at these old tropes but also pushes back against them. Her character holds a knife-shaped object in her right hand, maybe even challenging the idea of victimhood that the scene brings to mind. She’s caught between a nostalgic view of women as passive icons and the possibility of feminist empowerment. Film theory often looks at Sherman’s work, especially how it plays with genre and critiques the limiting male gaze in cinema.

Claude Cahun

Cindy Sherman and Claude Cahun both use photography to explore identity and challenge ideas about gender. They take self-portraits, changing their appearance to show that identity isn’t fixed. Cahun’s photos often used disguises to blur gender lines, questioning how society sees men and women. Sherman did something similar in her “Untitled Film Stills,” where she plays different female characters and challenges how women are usually shown in movies. Both artists use costumes and changes in appearance to make us think about how society defines gender and identity. While Cahun worked first, Sherman’s art is often compared to hers for exploring the same ideas.

Claude Cahun was a French artist and writer, known for her unique self-portraits that played with gender and identity. She often dressed up in different costumes and poses, blurring the lines between genders and questioning traditional ideas about who we are. Her work focused on the idea that identity isn’t fixed, it’s fluid and can change. Cahun was part of the surrealist movement and worked closely with her partner, Marcel Moore. She explored themes of gender, sexuality, and self-expression long before these topics became popular in the art world. Besides her photos, Cahun also wrote poems and essays about identity and society. While her work wasn’t widely recognized during her life, it has gained a lot of attention in recent years.

Claude Cahun was born as Lucy Schwob on October 25, 1894, in Nantes, France. She later adopted the name Claude Cahun as part of her artistic and gender identity exploration.

Claude Cahun’s work challenged traditional ideas about identity, gender, and self-expression. Through surreal self-portraits, she blurred the lines between male and female, exploring themes of transformation and ambiguity. Cahun sought to break free from societal expectations and fixed roles, particularly for women, promoting personal freedom and empowering people to question rigid norms.

She achieved this by photographing herself in different costumes, mixing masculine and feminine looks to show that gender isn’t fixed. Her work highlighted the fluidity of identity and encouraged people to question societal labels and embrace more open expressions of gender and self.

Cahun also had a strong connection to Jersey, where she and her partner, Marcel Moore, moved in 1937 to escape fascism. During WWII, they joined the resistance against the German occupation, using art and writing to defy the Nazis. Cahun lived in Jersey until her death in 1954, and today the island honors her legacy with exhibitions and a museum dedicated to her work.

She is regarded as one of the leading figures of the Pictures Generation, a collective that includes distinguished artists such as Richard Prince, Louise Lawler, Sherrie Levine, and Robert Longo. This group emerged in the 1970s, responding to the dominant mass media landscape by employing humour and critique while appropriating imagery from advertising. In 1972, Sherman began her studies in the visual arts department at Buffalo State University, where she concentrated on painting. It was during this time that she started to explore themes that would later become central to her artistic persona: she dressed in various characters, utilizing clothing obtained from thrift stores. Her work aims to challenge mass media on gender norms. Sherman carefully crafts her photographs, controlling every aspect of the image, including makeup, costumes, lighting, and settings. Through her elaborate modifications, she encourages viewers to question societal norms and expectations, particularly those imposed on women. In a 1990 interview with The New York Times, she expressed, “I see myself as anonymous in my work. When I look at the photographs, I do not recognize myself; they do not function as self-portraits.”

Some of her Work

Image Analysis

Woman in the image has dark hair and wearing evening clothes, as if she’s about to go out. She is Holding her neck with a rather startled expression and her other hand is holding what seems to look like a knife. In the mirror we can see her back which exposes herself making herself vulnerable as people can see what she cannot. There is also a table in-between her and the photographer, potentially acting as a barrier which can also back up the point regarding the feeling of vulnerability.

Smoke that is seen in the mirror at the back suggests that someone else is present. We can make an assumption that this picture is based in her home as there is a picture of her sitting on the furniture in the background The aperture is more likely to be lower so that the audience can see the closer details.

Furthermore there could be a bruise on her arm which would explain her expression of discomfort and vulnerability.

In this image we get a full body shot and we get to see the back of her. This makes the subject seem very exposed.

She is criticising films as they portray women to be distressed at the time and seen to be helpless when in reality they are not

What is identity?

Identity is the set of qualities, beliefs, personality traits, appearance, and/or expressions that characterize a person or a group. Identity emerges during childhood as children start to comprehend their self-concept, and it remains a consistent aspect throughout different stages of life.

What is femininity?

Femininity (also called womanliness) is a set of attributes, behaviors, and roles generally associated with women and girls. Femininity can be understood as socially constructed, and there is also some evidence that some behaviors considered feminine are influenced by both cultural factors and biological factors.

What is masculinity?

Masculinity involves displaying attitudes and behaviours that signify and validate maleness, and involves being recognised in particular ways by other men and women. Traits traditionally viewed as masculine in Western society include strength, courage, independence, leadership, and assertiveness.

How can Identity be affected?

Identity can be affected in lots of different ways, for example:

Gender Identity:

Gender identity is defined as a personal and internal sense of oneself as male, female, or other. Gender expression is defined as the way in which an individual publicly expresses their gender, for example, through aspects such as clothing, hair, makeup, and body language.

Cultural Identity:

Cultural identity refers to an individual’s sense of belonging and connection to a particular cultural group or community encompassing the shared values, traditions, customs, language, beliefs, and behavioral norms that define and distinguish a specific cultural or ethnic group.

Social Identity:

Social identity refers to people’s self-categorizations in relation to their group memberships (the “we”). These categorisations are often assigned to us or something we are born into.

Geographical Identity:

Geographical identity refers to an individual or group’s sense of attachment to the country, region, city, or village in which they live.

Political Identity:

Political identity is how a person or group of persons think of themselves in relation to the politics and government of a country. Everything that makes up our sense of self are components of our political identity. This includes our ethnicity, religion, gender, class, ideology, nationality and even our age and generation.

Lack of/ Loss of Identity:

Loss of identity may follow all sorts of change; changes in the workplace, loss of a job or profession, loss of a role that once defined us, as a child, as a parent, as a spouse, as an employee. This leaves a gap, an abyss, an empty space.

Stereotypes:

A stereotype is a fixed general image or set of characteristics that a lot of people believe represent a particular type of person or thing.

Prejudices:

Prejudices is a favoring or dislike of something without good reason, unfriendly feelings directed against an individual, a group, or a race. prejudice.

CLAUDE CAHUN

– ARTIST REFRENCE –

Born: October 25, 1894, Nantes, France

Died: December 8, 1954 (age 60 years), Saint Helier

Their Work

Claude Cahun was best known for her experimental self portraiture although she often collaborated with Marcle Moore (Born: July 19, 1892, Nantes, France Died: February 19, 1972 (age 79 years), Jersey ) , her partner , step siblings , and romantic lovers.

Cahun enjoyed using different mediums in her work , using multiple symbols and messages in each portrait.

“You should discover, handle, tame, make irrational objects yourself.”

– Claude Cahun

Both Marcle Moore and Claude Cahun changed their gender affirming birth given name to a gender neutral ambiguous alternative title , representing their identity of being non conformist surrealist.

Claude was born  Lucy Renee Mathilde Schwob

Marcle was born  Suzanne Malherbe 

GOALS AND METHODS OF ACHIEVEMENT

Examples

VISUAL

1. Who is in the image? Claude Cahun
2. How are they posed? Hands behind their back tilted to the side , feet pointed to the side theyre leaning towards.
3. Where is their gaze pointed? Directly at the camera
4. What are they wearing? Long dress with cross stitching , and simple pattern , also wearing some kind of wig and over done makeup

TECHNICAL

• Lighting – Do you think this uses artificial or natural lighting? Could be either artificial or natural , projected straight onto the subject from behind the camera and possibly above aswell maybe butterfly lighting
• How does the lighting accentuate the figure? Makes the figure apear more lit than the background giving the impression of importance and status highlighting the subject drawing focus to it.
• Aperture – Does this image have a soft or sharp focus background? The image background is slightly blurred but still easily depictable
• What could this tell us about the aperture? Most likely around f/8
• Angle – What angle has the photo been taken at? Directly in front of the subject from slightly lower down but not on the ground the angle however is not tilted up and is deadpan
• What does this contribute? Makes the subject appear a higher satus of importance and present Cahun or rather the character shes playing as strong and confident
• Is it a full body shot / half body shot / three-quarter body shot? Full body shot

CONTEXTUAL

• Refrences the role of women in 1930s
• Relates to an old fable of Bluebeard and she is dressed as Elle
• “After lavishly entertaining a group of ladies, the youngest daughter of a noble lady decides to marry him. He gives his wife a set of keys to all the treasures in the house, commanding her not to use the smallest key, and leaves for business. She discovers his murdered wives after her curiosity gets the best of her.” – a brief summary of the tale of Blue beard

CONCEPTUAL

• How does Cahun’s work react to the role of women / gender in the 20s and 30s? – although many believe the tale of blue beard is a cautionary one to warn women to obey their husbands i believe Claude Cahun used it to give the message that women should not unquestioningly conform to and follow patriarchal expectations/rules as they do not ensure safety and comfort like the are promoted to

Case study

Who were they ?

Claude Cahun, (born October 25, 1894, Nantes, France—died December 8, 1954, St. Helier, Jersey), was a French surrealist photographer, sculptor, and writer in which she is best known for her self portraits in which she explored many different personas, but overall using the same style, while spreading the same message with each one. In 1937 she moved to Jersey with her step sister and lover, Marcel Moore and because of this she ended up being captured by the Nazis in the German occupation of Jersey, because of this she died in German captivity in 1954 through illness and from the harsh living conditions she most likely had to go through. Because of the difficult times caused by the struggles and prejudice from this time in history that she had to endure, most likely influenced the ideas and point she was trying to make within her work. As said by Cahun “Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me.”, through this she is trying to convey an idea that was not only uncommon in those times, but also unpopular in which she created an idea much more ahead of its time which inevitably, coinciding with her Jewish heritage, resulted in her capture and demise. Cahun’s not so much sacrifice but identity which was abnormal to the world she lived in has helped to shape the way people are treated and the way identity is viewed within the world of photography. Cahun’s lover and step sister, Moore killed herself in 1972. They are both buried together in St Brelade’s churchyard as lasting memories of what they fought for.

Moodboard

Image analysis –

Who

Claude Cahun was a French surrealist artist and photographer, born Lucy Schwob in 1894. She adopted a gender-neutral name and used her art to challenge and defy traditional gender roles and norms. Cahun’s work was deeply introspective and often explored themes of identity, gender fluidity, and the subconscious.

What

Cahun is renowned for her surrealist self-portraits and experimental photography. Her work often involved blending her image with various props, settings, and imaginative elements to create thought-provoking compositions. She also engaged in writing and sculpture, contributing to her multifaceted artistic expression.

When

Most of her significant work was created during the 1920s and 1930s, a period marked by artistic experimentation and the rise of surrealism. Cahun continued her artistic pursuits into the 1940s and even during World War II, maintaining her creative output despite the challenges of the time.

Where

Cahun’s artistic journey began in Paris, where she became involved in the Surrealist movement and collaborated with other avant-garde artists. During World War II, she moved to Jersey with her partner, Marcel Moore, where they continued their creative work and engaged in resistance activities against the Nazi occupation.

How

Cahun utilised innovative photographic techniques such as multi-exposure, solarisation, and surreal compositions to explore and challenge traditional concepts of gender and identity. Her self-portraits often featured dreamlike and fantastical elements, creating a unique and impactful visual style that stood out in the art world.

Why

Cahun’s work aimed to question and defy societal norms, particularly around gender and identity. Through her art, she sought to express her unique perspective and challenge conventional ideas, making a lasting impact on the world of art and photography. Her work continues to inspire and provoke discussions around these themes, cementing her legacy as a pioneering figure in both surrealist art and LGBTQ+ history.

World War II activism

In 1937, Claude Cahun and Marcel Moore moved to Jersey. When Germany occupied Jersey during World War II, they became active in the resistance, creating anti-German fliers. These fliers often included translated BBC reports on Nazi crime, arranged into rhythmic poems and harsh criticisms. Using the pseudonym ” The Soldier With No Name,” they aimed to deceive German soldiers into thinking there was a conspiracy among the troops. They secretly distributed the fliers at military events and in carious places for soldiers to find.

On one occasion, they hung a banner in a church saying, “Jesus is great, but Hitler is greater – because Jesus died for people, but people die for Hitler.” Their resistance efforts combined political activism with artistic creativity, using dark humour to undermine authority. In 1044, Cahun and Moore were arrested and sentenced to death, but the sentence was never carries out as Jersey was liberated in 1945. Cahun’s health suffered from their imprisonment, and they died in 1954. At their trial, Cahun famously told the German judge they would need to be shot twice as they were both a resister and a Jew, which reportedly led to laughter in the court and may have spared them from excecution.

Social Critique and Legacy

Claude Cahun created art for herself and did not seek fame. Her work remained largely unrecognized until 40 years after her death. Cahun’s life was marked by actions that defied convention, challenging public notions of gender, beauty, and logic. Her art aimed to unsettle viewers’ understanding of photography as a mere documentation of reality.

Her poetry challenged gender roles and criticised the social and economic boundaries of the modern world. In the Parisian Surrealist group, Cahun introduced new, diverse representations, contrasting with the male-dominated view of women as symbols of eroticism. Instead, she presented a gender non-conforming, chameleonic figure. Cahun’s photographs, writings, and revolutionary lifestyle continue to influence artists today.

Marcel Moore

Marcel Moore, born Suzanne Alberte Malherbe, was a French illustrator, designer, and photographer. She was Claude Cahun’s romantic and creative partner, and they were also step-siblings. Their parents married each other after their respective divorces, making them stepsisters before they fell in love as teenagers. Together, they formed a powerful artistic duo. Moore and Cahun collaborated on numerous projects, with Moore often assisting in the creation of Cahun’s iconic self-portraits and other works. Their relationship was not only personal but also deeply intertwined with their art, making them a significant force in the surrealist movement.

Religious Background, Gender and Cahun’s mother

Claude Cahun was raised in a wealthy, interfaith family with strong Jewish roots from their father’s side. Their mother, Mary-Antoinette Courbebaisse, suffered from severe mental illness and was eventually institutionalized, which left Cahun to be primarily raised by their grandmother. This challenging family dynamic contributed to Cahun’s sense of being an outsider and influenced their work, as they used art to challenge societal norms and explore themes of identity and gender fluidity.

During the early 20th century, society had rigid and conservative views on gender, with strict expectations for men and women. Cahun defied these norms by presenting themselves in androgynous and ambiguous ways in their self-portraits, using costumes, makeup, and props to blur the lines between male and female.

Image analysis

“I am in training dont kiss me”

The statement on Claude Cahun’s shirt, “I am in training dont kiss me,” is a powerful and provocative declaration that encapsulates her radical approach to gender and identity. By wearing this inscription, Cahun subverts traditional gender expectations and societal norms. The phrase “I am in training” suggests a process of self-discovery and transformation, indicating that identity is not fixed but rather fluid and evolving. The command “dont kiss me” rejects conventional female passivity and objectification, asserting autonomy and control over her own body and identity. This defiant message aligns with Cahun’s broader artistic and philosophical exploration of gender ambiguity and self representation, challenging binary notions of male and female embracing a more nuanced, multifaceted understanding of self. Through this visual and textual statement, Cahun invites viewers to reconsider their assumptions about gender and identity, foregrounding the performative and constructed nature of both. This is exceptionally striking as during the early 20th century there were strong stereotypical gender roles and expectations, and Claude Cahun and their work totally contradicts these societal norms and that is why they are extremely inspirational and inspiring as an artist.

Emotional Response

Cahun’s “Behind the mask another mask” portrait evokes a complex array of emotions. The image elicits a sense of intrigue and introspection, compelling viewers to contemplate the layers of identity and self-perception. The solemn expression and the direct gaze of the subject create an intense connection, while the mask motif adds an element of mystery and ambiguity, prompting reflections on the nature of appearance and reality.

Mise en Scene

The photograph features a close-up of Claude Cahun, adorned with a mask. The mask itself is a focal point, symbolizing the theme of duality and the concealed aspects of the self. The subject’s head is slightly tilted, and the background is nondescript, ensuring all attention is drawn to the intricate details of the face and mask.

Visual Aspects

The composition of the portrait is tightly framed, focusing on the subject’s face and the mask. The stark contrast between light and shadow highlights the contours of Cahun’s features and the mask, adding depth and drama. The visual elements include sharp lines and defined textures, creating a visually striking image that captures the viewer’s attention.

Technical Aspects

The portrait was likely taken using a large-format camera, which was common during Cahun’s time. The high contrast and sharpness suggest careful control of lighting and exposure. The photograph might have been developed using traditional darkroom techniques, which allowed for precise manipulation of contrast and detail.

Conceptual Aspects

Conceptually, the image explores themes of identity, performance, and the fluidity of self. The mask serves as a metaphor for the multifaceted nature of personal identity and the societal roles individuals play. Cahun’s work often delved into gender and identity politics, challenging conventional norms and encouraging viewers to question their perceptions.

Contextual Aspects

Claude Cahun was active during the early 20th century, a period marked by significant social and political upheaval. The photograph reflects the avant-garde artistic movements of the time, particularly Surrealism, which sought to explore the unconscious mind and challenge traditional representations. Cahun’s work was also influenced by the burgeoning feminist discourse and the questioning of gender binaries, making this portrait a significant commentary on the evolving notions of self and society during that era.

Gillian Wearing

Gillian Wearing is a British conceptual artist, born on December 10, 1963, in Birmingham, England. She is known for her thought-provoking works that explore themes of identity, memory, and the boundaries between public and private life. Wearing gained recognition as one of the Young British Artists (YBAs) and won the prestigious Turner Prize in 1997. Her work often involves engaging with strangers and inviting them to express themselves through signs or masks, blurring the lines between reality and fiction1.

Wearing was inspired by Claude Cahun’s work because of its exploration of identity and gender fluidity. She discovered Cahun’s photographs in the mid-1990s and felt a strong connection to the playful yet profound way Cahun used masks and self-portraiture to question societal norms. This inspiration led Wearing to create her own version of Cahun’s “Behind the mask, another mask,” reflecting her ongoing interest in the performative aspects of identity and the layers of self that we present to the world

Gillian Wearing’s version of Claude Cahun’s “Behind this mask, another mask” is a fascinating exploration of self identity and artistic homage. In her 2012 self portrait titled “Me and Cahun holding a mask of my face,” Wearing reconstructs Cahun’s iconic 1927 self portrait, creating a powerful dialogue between the two artists across time. Wearing’s interpretation not only pays tribute to Cahun’s pioneering work but also reflects her won ongoing exploration of identity, gender, and masquerade. By holding a mask of her own face, Wearing emphasises the performative aspects of identity and the layers of self that we present to the world. This act of mirroring and reimaging Cahun’s work highlights the enduring relevance of Cahun’s themes and the continuity of artistic inquiry into the nature of selfhood.