Surrealist photography is experimental. Photographers employ manual camera settings, imaginative composition, and unusual photo editing techniques to represent unconscious ideas, dreams, and emotions. “Surreal images tend to be dreamlike and tap into people’s unconscious.
Artists who utilise these techniques.
Dora maar
Henriette Theodora Markovitch (22 November 1907 – 16 July 1997), better known as Dora Maar, was a French photographer, painter, and poet. A pioneering Surrealist artist and passionate antifascist activist, Maar’s work spanned a wide range of subjects, from commercial photography for fashion and advertising to documenting the social and economic struggles during the Great Depression. Her art frequently explored Surrealist themes, and her innovative darkroom techniques delved into psychology, dreams, and inner states.
In the 1930s, Maar was one of the few photographers to exhibit alongside prominent Surrealists like Man Ray and Salvador Dalí in major exhibitions in Paris, New York, and London. Her bold and experimental approach to photography was central to the Surrealist movement.
Maar’s political activism and distinctive photographic style also had a significant impact on Pablo Picasso, especially during their romantic relationship. Many believe her influence contributed to Picasso’s creation of Guernica (1937), his powerful anti-war masterpiece. According to Amar Singh, curator of the Amar Gallery in London, “She influenced Picasso to paint Guernica – he had never entered political painting before.”
Picasso depicted Maar in several of his paintings, such as Portrait of Dora Maar and Dora Maar au Chat. However, Maar herself remarked, “All his portraits of me are lies. They’re all Picassos. Not one is Dora Maar,” suggesting that the images Picasso created of her did not capture her true essence.
Man ray
Man Ray (born Emmanuel Radnitzky; August 27, 1890 – November 18, 1976) was an American visual artist who spent most of his career in Paris. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known for his pioneering photography, and was a renowned fashion and portrait photographer. He is also noted for his work with photograms, which he called “rayographs” in reference to himself.
jerry Uelsmann
Jerry Norman Uelsmann (June 11, 1934 – April 4, 2022) was an influential American photographer, renowned for his surreal and enigmatic photomontages. Emerging as an artist in the 1960s, Uelsmann gained international acclaim for his unique approach to composite printing, which he used to explore and express the emotional depths of the human experience. Over his six-decade career, his work was showcased in major exhibitions, earned him prestigious awards, and was widely published.
Among his many honors were a Guggenheim Fellowship, a National Endowment for the Arts grant, a Royal Photographic Society Fellowship, and a Lucie Award. Uelsmann described his creative process as a journey of discovery in the darkroom, which he considered a “visual research laboratory.” Rather than adhering to the previsualization technique popularized by photographers like Ansel Adams and Edward Weston, Uelsmann coined the term “post-visualization,” creating his final image after taking the photograph, rather than planning it in advance. This allowed him to construct visual narratives akin to dreams, resulting in works that often felt emotionally more truthful than the physical world itself.
By the 1980s, Uelsmann became one of the most collected photographers in the United States, influencing both analog and digital photographers. Although he admired digital photography, Uelsmann remained firmly dedicated to the craft of black-and-white film photography, preferring the darkroom’s alchemical process.
ERIC Johansson
Erik Johansson (b. 1985) is a Swedish photographer and visual artist based in Prague, Czech Republic. He is known for creating surreal worlds through the combination of photographs. He primarily focuses on personal projects and exhibitions, and his approach to photography is unique in that he seeks to capture ideas rather than moments. Using his camera and imagination, he strives to create a single, realistic image that tells a story, even if it includes elements that seem impossible. Essentially, he works to solve the problem of how to capture the impossible.
WORK PROCESS
Erik places a strong emphasis on realism in his work and aims to make the viewer feel as though they are part of the scene. While much of his process involves post-production and combining photographs, he also makes an effort to capture as much as possible on location. This often involves building props and carefully planning the shoot.
Lighting and perspective are crucial in creating realistic compositions through the combination of images. If certain elements cannot be captured on location, Erik recreates them in a controlled environment. He has a thorough understanding of every aspect of the process, from idea and planning to photography and post-production, in order to ensure that everything comes together seamlessly. Each photograph and element serves a purpose in the final image.
Erik handles all post-production himself in order to have complete control over the final result. The idea, photography, and post-production are all interconnected, and the final image does not surpass the quality of the photographs used to create it. Similarly, the strength of the photographs is derived from the underlying idea.
Erik does not use computer- or Ai-generated material, nor illustrated- or stock images, relying solely on complex combinations of his own photographs. This process is time-consuming, and he produces only about ten new works per year. To learn more about how his images come to life, you can watch his behind-the-scenes videos as well.
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
Femininity
Femininity (also called womanliness) is a set of attributes, behaviours, and roles generally associated with women and girls. Femininity can be understood as socially constructed, and there is also some evidence that some behaviours considered feminine are influenced by both cultural factors and biological factors.
Masculinity
Masculinity involves displaying attitudes and behaviours that signify and validate maleness, and involves being recognised in particular ways by other men and women.
Masculinity Photography MoodBoard
How identity can be influenced by “place”, or belonging, your environment or upbringing.
There are many factors that shape identity, and they can be both external and internal factors. Society, family, friends, ethnicity, culture, location, media, interests, self-expression, and life experiences are all common factors that shape identity.
Multiple pathways exist through which families may influence adult identity formation, including levels of social control and monitoring, warmth and closeness, responsibility, and hierarchical family relations
When we are in familiar surroundings, we tend to feel more secure and strengthen our sense of identity. We feel more in control of our lives and boost our self-confidence. On the other hand, when we lack an established place, a home, we may feel lost and disconnected.
“Placefulness” is an awareness of the place—where one is or where one comes from. And remembering that places shape one’s expectations and understandings of the world. Feeling a sense of belonging is very important.without it, we’re unmoored in the world.but it can also lead to a lack of awareness.
Our sense of identity and belonging is impacted by various factors, including our experiences, relationships, and our environment. The journey to find identity and belonging can often be a struggle, since we ask ourselves, ‘who am I?
Claude Cahun (1894–1954)
Who: Claude Cahun, born as Lucy Schwob in Nantes, France, was a pioneering photographer, poet, and writer. She adopted the name Claude Cahun as a gender-neutral persona, reflecting her resistance to societal gender norms and her exploration of identity beyond the binary. Cahun’s work was highly experimental, challenging conventional notions of gender, sexuality, and the self.
What: Cahun is best known for her self-portraiture, which she used as a tool for gender exploration and identity fluidity. She transformed herself into various personas using makeup, costumes, and props, blurring the lines between masculine and feminine. Her works often included surrealist elements, utilizing symbolic imagery and dreamlike compositions to challenge perceptions of reality and identity. Cahun’s photographs also explored the performative nature of identity, questioning how roles and gender are constructed.
When: Cahun’s most significant photographic work was created in the 1920s and 1930s, during her involvement with the surrealist movement in Paris. Her later works, particularly during the 1940s, became politically charged as she and her partner, Marcel Moore, were involved in resistance activities during World War II.
Where:
Born in Nantes, France, Cahun moved to Paris during the 1920s, where she became part of the avant-garde and surrealist circles. In the late 1930s, she and Moore relocated to the Channel Island of Jersey, where they lived during the German occupation in WWII. It was in Jersey that Cahun’s work took on a more political tone as she used photography for resistance propaganda.
How: Cahun’s photography was deeply performative, with the artist using herself as the subject to create multiple constructed personas. She utilized props, costumes, and makeup to transform her identity, playing with gender ambiguity and challenging the traditional notions of the feminine and masculine. Her works often included surreal, dreamlike compositions and symbolic imagery. Cahun’s approach to self-portraiture was collaborative, particularly with Marcel Moore, who assisted in capturing many of her most iconic works.
Why: Cahun’s photography was a direct challenge to societal norms around gender and identity. By using self-portraiture as a tool for experimentation, she questioned the fixed nature of gender roles and explored how identity is shaped by culture. Cahun’s work, much of which was feminist in nature, critiqued the traditional expectations placed on women and offered an early commentary on gender fluidity and sexuality. Her photographs also explored the performative aspects of identity, positioning her as a significant figure in the history of self-representation and early critiques of fixed gender norms.
World war II activism
In 1937, Cahun and Moore moved to Jersey, where they became active in resisting the German occupation during World War II. Opposed to war, they produced anti-German propaganda, including rhythmic poems and critical messages derived from BBC reports on Nazi atrocities. Using the pseudonym Der Soldat Ohne Namen (The Soldier With No Name), they secretly distributed these flyers at German military events, placing them in soldiers’ pockets, on chairs, and in cars. One notable act was hanging a provocative banner in a church that mocked Hitler’s authority. Their resistance was not just political, but also artistic, reflecting their desire to challenge and undermine authority.
In 1944, they were arrested and sentenced to death, but the sentence was never executed due to the liberation of Jersey in 1945. Despite this, Cahun’s health suffered from her imprisonment, and she died in 1954. During her trial, she reportedly told the German judge that they would have to shoot her twice, as she was both a resistor and a Jew, which led to laughter in the courtroom and may have saved her life. Cahun and Moore are buried together in St Brelade’s Church. Their resistance efforts were a deeply personal, lifelong fight for freedom.
LEGACY
Claude Cahun’s work, which remained largely unrecognized during her lifetime, has since gained significant attention for its social critique and revolutionary impact on art and gender norms. She used her photography and writing to challenge societal expectations, particularly those related to gender, beauty, and logic, destabilizing conventional notions of reality. Cahun’s involvement in the Surrealist movement added new perspectives, especially with her portrayal of women not as erotic symbols but as fluid, gender-nonconforming figures. Her work has been described as “prototransgender,” with some considering her a precursor to modern trans self-representation.
Cahun’s life and legacy have gained renewed recognition in recent years. A street in Paris was named after her and her partner Marcel Moore in 2018. Cahun’s WWII resistance work, along with Moore’s, was highlighted in the 2020 book Paper Bullets. She was also honoured by Google in 2021 with an animated Doodle for her birthday. A novel based on her life, Never Anyone But You, was published in 2018, and in 2023, a graphic novel about her life, Liberated: The Radical Art and Life of Claude Cahun, was released, further exploring her artistic and political activism.
Image Analysis
Visual Aspects
Claude Cahun’s black-and-white self-portrait immediately draws you in with its strong composition and exploration of identity. The image is split between two versions of Cahun: her physical form on the left and her reflection in the mirror on the right. This duality feels deeply personal, almost like a visual representation between how she sees herself and how the world perceives her.
Her androgynous appearance is striking. The short hair, checkered shirt, and upturned collar challenge conventional ideas of femininity. The raised collar seems to suggest she’s hiding a part of herself, while the reflection, showing her bare neck, hints at a more vulnerable side. Creating a interesting contrast between what’s concealed versus what’s revealed.
Her serious expression adds emotional weight. She looks directly at the viewer, almost challenging us, yet she turns away from the mirror, as if rejecting her own reflection. The plain background keeps all the focus on her, amplifying the intensity of her presence and the interplay with the mirror.
Technical Aspects
The soft, natural lighting in this photo enhances the fluency of the photograph , Shadows are gentle, giving depth to her face and texture to her clothing. The absence of harsh contrasts makes the image feel intimate and smooth.
The composition feels deliberate, with the mirror perfectly aligned to create balance. The camera is at eye level, making the connection between Cahun and the viewer feel direct and personal. Her sharp focus ensures both she and her reflection demand equal attention, forcing us to at least acknowledge the tension between the two.
Conceptual Aspects
This portrait is a conversation about identity, duality, and self-perception. Traditionally, mirrors in art symbolize vanity or beauty, but here, Cahun flips the script. She doesn’t admire her reflection. she seems to reject it. Her pose suggests discomfort with what the mirror reveals, yet she confronts the viewer head-on, as though asking us to consider the same questions about identity.
The raised collar adds layers to this narrative. It hints at concealment. something she’s choosing not to show us. But the mirror exposes her neck, a symbol of vulnerability and openness. This interplay between hiding and revealing feels universal. Highlighting the internal conflicts we all face about how much of ourselves we show to the world.
Cahun’s choice of clothing and androgynous style were radical for her time. By rejecting societal expectations of femininity, she challenges us to think about gender as something fluid , not as a fixed and deeply cemented concept. This bold self-representation speaks to themes that feel just as relevant today as they did during her time, as she battles her own physical reality with how she really feels.
Contextual Aspects
Cahun created this photograph in the early 20th century, a time when gender roles were rigid and societal expectations weighed people down heavily. As a French artist associated with Surrealism, she was part of a movement that loved to explore dreams, illusions, and hidden truths. This aligns perfectly with her use of mirrors to delve into identity and self-perception.
During this period, photography was gaining traction as an art form, and Cahun used it not just to create striking images but also to push boundaries. Her work feels like a quiet rebellion/ refusal to conform to the era’s strict ideas of gender and identity.
Emotional Response
Looking at this photograph, you can’t help but feel a mix of unease and empathy. The direct gaze pulls you in, almost demanding your attention, while the turned-away reflection creates a sense of conflict. It’s as if Cahun is wrestling with self-acceptance, a struggle that feels both deeply personal and universally human.
The raised collar and the mirror deepen this emotional tension. They remind us of the parts of ourselves we keep hidden and the vulnerability of having them exposed. Her serious expression feels heavy, as though she’s carrying the weight of these questions. questions we might ask ourselves, too. In the end, the portrait leaves you thinking about the complex, often contradictory nature of identity, making it as impactful today as it was then.
Clare Rae: Exploring the Body, Landscape, and Performance
Melbourne-based artist Clare Rae is known for her evocative photographs and moving image works that challenge traditional representations of the female body by exploring its relationship with physical environments. In 2017, Rae participated in the Archisle International Artist-in-Residence programme in Jersey, where she delved into the Claude Cahun archive. During her residency, she created new photography and film, ran workshops, and examined Cahun’s connections to Jersey’s cultural and physical landscapes.
Her residency culminated in the creation of the series Entre Nous (Between Us): Claude Cahun and Clare Rae, which debuted at the Centre for Contemporary Photography in Melbourne (March 22–May 6, 2018) and later exhibited at CCA Galleries in Jersey, UK (September 7–28, 2018). Accompanying the series, Rae published Never Standing on Two Feet in April 2018, featuring an introduction by Susan Bright and an essay by Gareth Syvret.
Never Standing on Two Feet: A Feminist Perspective on Landscape and Identity
In this series, Rae investigates how Claude Cahun’s engagement with Jersey’s landscapes shaped her work, particularly in relation to its coastal geography and Neolithic ritual monuments. Rae reflects:
“Like Cahun’s, my photographs depict my body in relation to place; in these instances, sites of coastal geography and Jersey’s Neolithic ritual monuments. I enact a visual dialogue between the body and these environments and test how their photographic histories impact upon contemporary engagements.”
Rae builds on Cahun’s legacy of using self-portraiture to critique the male gaze, positioning her work as a feminist exploration of self-representation. Her practice integrates gesture and performance to reimagine the female body in landscapes, contrasting and unsettling traditional depictions.
Artistic Influences and Methodologies
In an artist talk, Rae contextualized her practice, drawing connections to artists such as Claude Cahun, Francesca Woodman, and Australian performance artist Jill Orr. She highlighted the role of performative photography in her work, where gesture and the body become tools for disrupting conventional narratives. Rae also discussed her engagement with architecture and the body, her methodologies for image-making, and the conceptual outcomes of her projects.
Her work invites viewers to reconsider the interplay between identity, landscape, and performance, building on historical contexts while addressing contemporary feminist concerns. For a deeper exploration of her process and its influences, see the blog post Photography, Performance, and the Body.
Identity self portrait mini project.
This series of photographs delves deeply into themes of identity, self-discovery, and the conflict between societal expectations and personal desires. The illuminated balloon replacing the subject’s head becomes a powerful metaphor, serving both as a mask and a representation of the subject’s emotions and turmoil. The balloon, glowing with a surreal, almost childlike quality, evokes nostalgia for the simplicity and freedom of childhood—a time unburdened by the rigidity and monotony of adult life. Its weightlessness contrasts sharply with the heavy symbolism of the suit the subject wears, a uniform of professionalism that hints at his role as an office worker trapped in the endless loop of societal conformity. The suit signifies the oppressive nature of his identity, reduced to being just another cog in the machine, an “ant” in the larger structure of a system that suppresses individuality.
The balloon also serves as a visual representation of his inner conflict—its glow suggests fleeting moments of clarity and self-awareness, while its fragile, impermanent nature symbolizes his longing to escape the identity forced upon him. The balloon’s presence acts as a mask, concealing the emotions and dissatisfaction beneath, while amplifying his hatred toward the person he has become. The use of color strengthens this narrative: blue evokes sadness and the monotony of routine, purple reflects introspection and the deep yearning for escape, and yellow hints at fleeting hope or memories of a happier, untainted self.
The subject’s body language—tense and reflective—paired with the dramatic interplay of light and shadow, further emphasizes his internal struggle. The darkness around him reinforces his feelings of isolation, while the illuminated balloon stands out, as if mocking him with its surreal brightness, a symbol of both his desire for freedom and his inability to achieve it. By removing the subject’s facial features, the series universalizes its narrative, inviting viewers to project their own feelings of nostalgia, dissatisfaction, or longing onto the imagery. Ultimately, the photographs capture the haunting idea of a man who despises his identity and longs to shed the mask of adulthood, yearning to return to a time when life was defined by freedom, playfulness, and authenticity.
Statement of intent
The intention behind this series of photographs was to explore themes of identity, nostalgia, and the conflict between personal desires and societal expectations. The images were created in my living room, using household lamps as lighting sources to craft dramatic and moody atmospheres. I utilized a tripod to keep the camera steady and relied on a timer to capture self-portraits. To achieve the surreal illusion of the balloon replacing my head, I held a lit-up balloon in my mouth, allowing it to appear as though it were my head glowing with emotion and inner turmoil.
By wearing a formal suit, I aimed to symbolize the restrictive nature of adulthood, particularly the monotonous life of an office worker. The suit represents societal conformity and the feeling of being trapped in an endless cycle of professional obligations, reducing individuality to mere functionality. The illuminated balloon, serving as both a mask and a metaphor for my emotions, embodies the tension between self-awareness and dissatisfaction. Its glow evokes fleeting moments of clarity, while its fragility and playful, weightless nature reflect a yearning to return to the innocence and freedom of childhood.
The colour choices and lighting were intentionally dramatic to convey specific emotions: blue suggests melancholy, purple reflects introspection, and yellow symbolizes fleeting hope or moments of self-discovery. The series aims to capture the struggle of defining one’s identity within societal constraints while expressing the longing to shed the burdens of adulthood and rediscover authenticity and joy.
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:
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.
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
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.
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.
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.
Creative Portraits
Creative Montages
Montages in photography, often referred to as photomontages, are a creative technique where multiple photographs or visual elements are combined to create a single composite image. This approach allows photographers and artists to transcend the boundaries of traditional photography, crafting narratives, exploring symbolism, or simply creating visually striking compositions. Here’s a deeper look into photomontages:
History and Origins
Photomontage originated in early 20th-century Dadaism, where artists like Hannah Höch and Raoul Hausmann used it to critique political, social, and cultural norms. Höch’s works, in particular, challenged gender roles and societal hypocrisies through cut-outs from mass media. Beyond Dadaism, photomontage became a powerful tool for propaganda and political critique, using juxtaposed images to deliver subversive messages.
Techniques
Photomontage techniques include the traditional cut-and-paste method, where photographs or printed materials are physically assembled on a canvas for depth. Modern digital tools like Adobe Photoshop have transformed the process, using layers, masks, and blending modes for seamless integration. Adding textures or frames enhances the montage by providing richness, depth, and a tactile or vintage feel.
Aesthetic and Conceptual Elements
Photomontages can evoke surreal, dreamlike imagery by combining unrelated elements, a technique often associated with artists like Max Ernst. They also carry symbolic meaning, with juxtapositions like a human hand and machinery exploring themes such as labour or technology. Additionally, montages can craft narratives by blending details and scenes that wouldn’t naturally coexist in a single image.
Applications in Modern Photography
Photomontages are widely used in fine art to create thought-provoking or abstract pieces for gallery displays. In advertising and media, they craft visually engaging content by blending lifestyle imagery with product shots. For personal projects, photographers use montages to explore conceptual ideas or enhance storytelling.
Examples of Artists
Hannah Höch: Pioneer of photomontage, known for her feminist and political critiques during the Weimar Republic era.
John Heartfield: Another Dadaist, whose montages were explicitly anti-fascist, criticizing the Nazi regime through powerful imagery.
Jerry Uelsmann: A modern pioneer of surreal photomontages, Uelsmann used analogue darkroom techniques to combine multiple negatives into seamless compositions long before digital tools existed.
El Lissitzky
El Lissitzky (1890–1941) was a Russian artist and designer, a key figure in the avant-garde movements like Constructivism and Suprematism. His work spanned painting, graphic design, and architecture, and he sought to reflect the social and political changes in post-Revolutionary Russia.
Lissitzky is especially known for his photomontages—artworks that combine photographs with other graphic elements like typography and abstract shapes. These montages often carried political messages, supporting the Bolshevik Revolution and promoting socialist ideals. His style was bold and geometric, blending dynamic visuals to capture the energy of modern, industrial society.
One of his most famous works, Beat the Whites with the Red Wedge (1919), used a simple red wedge to symbolize the victory of the Bolsheviks over their enemies. Lissitzky’s innovative use of space, color, and form extended beyond montages, influencing architecture and design.
Lissitzky contributions to modern art continue to inspire graphic design, typography, and architecture, and he remains a crucial figure in the history of 20th-century art.
Here is my attempt at recreating some of his work.
My Attempt at recreating his work.
-John Heartfield
(1891–1968), born Helmut Herzfeld, was a German artist and pioneer of political photomontage, renowned for his sharp critiques of fascism and social injustice. A member of the Berlin Dada movement, he used innovative cut-and-paste techniques to create bold, satirical works that exposed Nazi propaganda, such as Adolf, the Superman: Swallows Gold and Spouts Junk and Hurrah, die Butter ist Alle! His photomontages, often published in leftist magazines like AIZ, combined visual allegory and typography to advocate for socialist ideals and workers’ rights. Forced to flee Germany in 1933 due to his anti-Nazi stance, Heartfield lived in exile before returning to East Germany after World War II. His legacy as an artist-activist continues to inspire contemporary visual and political art.
Who he was: A celebrated portrait photographer of Hollywood’s Golden Age (1930s–1950s), Hurrell is known for his glamorous black-and-white images of film stars.
Connection to butterfly lighting
Hurrell mastered the use of butterfly lighting to sculpt faces with soft, even illumination. By placing a high key light directly in front of his subjects, he highlighted their cheekbones, smoothed imperfections, and created an elegant, polished look. This technique became synonymous with the Hollywood aesthetic, showcasing stars like Greta Garbo and Joan Crawford in their best light.
Caravaggio
Who he was: An Italian Baroque painter (1571–1610) famed for his revolutionary use of dramatic lighting and realism.
Connection to chiaroscuro lighting
Caravaggio’s work exemplifies chiaroscuro, using stark contrasts of light and dark to add drama and emotional intensity. In paintings like The Calling of Saint Matthew and Judith Beheading Holofernes, he directed light to illuminate key elements of the scene, drawing the viewer’s eye to the focal point while surrounding areas fade into shadow.
Rembrandt van Rijn
Who he was: A Dutch painter (1606–1669) whose portraits and self-portraits are celebrated for their emotional depth and technical brilliance.
Connection to chiaroscuro lighting
Rembrandt’s use of chiaroscuro is subtle yet impactful, often combining soft transitions between light and shadow with dramatic contrasts. His works, such as The Night Watch and Self-Portrait with Two Circles, create a sense of realism and intimacy, influencing portraiture and lighting techniques across centuries.
Artist Reference research
Annie Leibovitz: Known for her dramatic use of soft lighting and shadows in portraiture.
Richard Avedon: Famous for minimalist lighting in studio portraits, highlighting facial expressions and details.
Irving Penn: Renowned for his use of controlled lighting to emphasize form, texture, and elegance.
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.
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.
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.
Overview of Rembrandt Lighting
Rembrandt lighting is a classic and widely-used lighting technique in studio portrait photography and cinematography, named after the renowned Dutch painter Rembrandt van Rijn. This lighting style is highly valued for its ability to create dramatic yet natural-looking images with minimal equipment, making it a popular choice among photographers and filmmakers alike.
At the core of Rembrandt lighting is the distinct illuminated triangle, or “Rembrandt patch,” which appears on the subject’s face under the eye on the shadowed side. This triangle of light, typically formed by the nose casting a shadow on the cheek and chin, is a defining feature of the style and contributes to the depth and dimensionality of the portrait. The illuminated triangle adds a sense of realism and visual interest, giving the image a balance of contrast without overwhelming the subject’s features.
Achieving Rembrandt lighting can be done using a single light source combined with a reflector to bounce some light back onto the shaded side of the face, or through the use of two light sources for more control over shadows and highlights. The key to this technique is the positioning of the light: the main light is typically placed at a 45-degree angle from the subject, both horizontally and vertically, so that the light falls across the face in such a way that one side is illuminated, while the other side is left in shadow, with the exception of the illuminated triangle under the eye.
This lighting technique is prized for its versatility and dramatic effect, and it works especially well for creating portraits with a sense of mystery, depth, and emotional impact. It is commonly used in both traditional and contemporary portrait photography, as well as in cinematic scenes where the interplay of light and shadow is used to enhance the mood or character development.
While the style is closely associated with Rembrandt, who used a similar lighting technique in his paintings to create contrast, depth, and a sense of volume in his subjects, it has since evolved into an established technique in modern visual arts. Rembrandt lighting is often contrasted with other portrait lighting techniques, such as butterfly lighting, which produces a more uniform and softer lighting effect, emphasizing a different mood and appearance.
Rembrandt mood board
Originals
studio Lighting photoshoot
Rembrandt Lighting photos
Butterfly Lighting
Features: A butterfly-shaped shadow under the subject’s nose, created by the light’s high and centered position.
Use: Produces flattering, symmetrical lighting that enhances facial features, softens imperfections, and adds a polished look. Popular for beauty, fashion, and classic Hollywood-style portraits.
Setup: Position the key light directly in front of and slightly above the subject, at a 25–30° downward angle. Use a reflector or fill light below the subject to soften shadows under the chin.
Overview
Butterfly lighting is a timeless and elegant lighting technique commonly used in portrait photography and cinematography. It derives its name from the distinct butterfly-shaped shadow that forms under the subject’s nose when the lighting is properly positioned. Renowned for its ability to produce soft, even illumination, this technique highlights facial symmetry and contours, making it ideal for beauty and glamour photography.
The defining feature of butterfly lighting is the gentle interplay of light and shadow, which sculpts the face and enhances features like cheekbones and jawlines. This style of lighting minimizes imperfections and creates a luminous, polished look, often associated with the iconic portraits of Hollywood’s Golden Age.
To achieve butterfly lighting, place the key light directly in front of the subject and slightly above their eye level, angling it downward at approximately 25–30 degrees. This placement ensures even lighting on the face while casting the characteristic shadow beneath the nose and chin. Adding a reflector or fill light below the subject can further refine the look by reducing shadows under the chin and enhancing the overall softness of the image.
Butterfly lighting is especially effective for creating glamorous and professional portraits. Its ability to flatter various face shapes and skin textures makes it a popular choice for headshots, senior portraits, and beauty campaigns. While traditionally associated with female subjects, this technique can also produce stunning results for male portraits when paired with slight adjustments to highlight strength and confidence.
Compared to other techniques like Rembrandt lighting, which emphasizes dramatic contrast and depth, butterfly lighting offers a clean, radiant aesthetic with smooth transitions between light and shadow. Its versatility and simplicity make it an essential tool for photographers and filmmakers aiming to create refined and timeless portraits.
Butterfly mood board
Originals
This was unsuccessful because the lighting was to soft and not harsh enough to create the butterfly effect.
Chiaroscuro
Features: Strong contrast between light and shadow, creating a dramatic and three-dimensional effect.
Use: Adds depth, mood, and intensity to images, commonly used in fine art, portraiture, and cinematic storytelling.
Setup: Use a single directional light source, such as a spotlight or window, positioned at an angle to create sharp contrasts and defined shadows on the subject.
Overview
Chiaroscuro lighting is a dramatic technique that emphasizes strong contrasts between light and shadow to create a sense of depth, volume, and mood. The term originates from the Italian words “chiaro” (light) and “scuro” (dark), reflecting its focus on the interplay of illumination and shadow. It is a hallmark of fine art and cinematography, often used to evoke emotion, mystery, or intensity.
This technique relies on a single directional light source, such as a spotlight, lamp, or window, placed at an angle to the subject. This setup casts deep shadows and highlights specific areas, sculpting the subject with striking dimensionality. The surrounding areas often remain in shadow, drawing attention to the illuminated elements and creating a focused, moody atmosphere.
Chiaroscuro lighting works particularly well for portraiture, still life, and dramatic scenes. It has roots in Renaissance and Baroque art, with masters like Caravaggio and Rembrandt using it to add realism and emotional depth to their paintings. In modern photography and filmmaking, chiaroscuro is a powerful tool for storytelling, helping to convey tension, intrigue, or character depth.
Compared to softer techniques like butterfly lighting, chiaroscuro is defined by its bold use of contrast and shadow, making it ideal for creating impactful and visually striking images. Its versatility and timeless appeal have made it a staple in both classic and contemporary visual arts.
Mood Board
Originals
Coloured Gels
Whole Photoshoot
EXPLORING LIGHTING
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?
Provides total control over light intensity, direction, and quality.
Enables unique effects like dramatic shadows, soft highlights, or a specific mood.
Maintains the same lighting conditions across multiple shots or setups.
Helps eliminate unwanted shadows, balance highlights, or fill darker areas.
Francesca Woodman is my inspiration for my photography project. I like how her photos give a sense of mystery and thrill.
Francesca Woodman’s entire body of work was produced as a young person and created over just eight short years. Her photographs explore many themes that affect young people such as relationships, sexuality, questions of self, body image, alienation, isolation and confusion or ambiguity about personal identity.
who is she?
Francesca Stern Woodman was an American photographer best known for her black and white pictures featuring either herself or female models. Many of her photographs show women, naked or clothed, blurred, merging with their surroundings, or whose faces are obscured. Francesca Woodman committed suicide at the age of 22, jumping from a window. She had only about five years of photography behind her, much of it done as a student. this also contributes to the eeriness of her ghost like photos.
Why is she so important?
Woodman’s feminist photography dealt with tilting the conventions of life, art, and death. In her photographs, she tried to both hide and define herself; in death, she crystallized and ensured her legacy in the feminist art movement.
How did she take her photos
Woodman used long shutter speed and double exposure when photographing so that she could actively feature in her own work. This also meant that she could capture different stages of movement, in a way that could trace the pattern of time. As a result, her image is blurred, which suggests motion and urgency.
Francesca Stern Woodman was an American photographer best known for her black and white pictures featuring either herself or female models. Many of her photographs show women, naked or clothed, blurred, merging with their surroundings, or whose faces are obscured.
Francesca Woodman is best known for photographing herself. But her pictures are not self-portraits in the traditional sense. She is often nude or semi-nude and usually seen half hidden or obscured – sometimes by furniture, sometimes by slow exposures that blur her figure into a ghostly presence.
Meaning behind her photos
Francesca Woodman’s entire body of work was produced as a young person and created over just eight short years. Her photographs explore many themes that affect young people such as relationships, sexuality, questions of self, body image, alienation, isolation and confusion or ambiguity about personal identity.
Francesca Woodman photographed herself, often nude, in empty interiors. But her pictures are not traditional self-portraits. She is usually half hidden by objects or furniture or appears as a blur. The images convey an underlying sense of human fragility.
Why did Francesca Woodman take her photos?
Woodman knew that not showing a clear subject could be more impactful that showing it. Her photos, which already have an abstract quality due to the black and white film, present the viewer with something to interpret rather than just observe.
What was Francesca Woodman’s photography style?
Woodman applied some of the characteristics associated with surrealism to her own work. She created dreamlike environments with interesting and unusual objects, such as shells and eels, and combined familiar things in unfamiliar contexts to evoke uncanny feelings.
What is the power of identity in photography?
Defining your photographic identity will allow you to say who you are, what you want to be, and how you are to be perceived by others. This should be apparent to each viewer, regardless of whether they are a photographer or not. Your photographic identity will define how you will be perceived by the world around you.
Identity is the term used that, in short, makes a person who they are. Your identity can be influenced in many different ways by many different factors, such as – your environment or upbringing with reference to gender identity, cultural identity, social identity, geographical identity, political identity, lack of, loss of identity, stereotypes and prejudices. All of these create and mould the kind of person that you are today and will be in the feature. This in simple terms as the dictionary puts it ‘the distinguishing character or personality of an individual‘.
Masculinity vs Femininity
explain how identity can be influenced?
Identity is shaped by “place” in many ways, as our environment influences how we see ourselves and how others perceive us. Gender, cultural, social, geographical, and political identities are often formed by the norms, values, and expectations of the places we belong to. For example, a particular culture or community may define gender roles, while a specific geographic or political context can impact one’s sense of belonging or alienation. Stereotypes and prejudices based on place can further affect how we express our identity, sometimes leading to a loss of self or a struggle to fit in. Thus, our identity is not just personal but shaped by the places and societies we interact with.
Case study – Claude Cahun
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 –
In the image you can see above we can get a broad yet good idea of how Cahun created her images and the idea she was trying to convey to the viewer of the image. As you can see the image is taken in black and white, which was likely to do with the time period it was taken in, the image is well lighted, it is sharp most likely using a 50 mm lens, she likely used a fast shutter speed in this image and ISO was probably relatively low due to good lighting. I plan to try to incorporate these features throughout my work while also using similar framing, form and other visual features. In the image we can see Cahun is created a more masculine look which is seen throughout her work in which she blurs the lines between masculinity and femininity. Within the image we can see that she has used a mirror, in the use of this simple object, she has created a deeper meaning and shown two sides to the story, in my work I plan to use this in an abstract way that can be interpreted but also has a clear meaning to it.
Quote –
“Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me.”
Second artist reference – Clare rae
Who is she ?
Clare Rae, an artist from Melbourne, Australia who produces photographs and moving image works that interrogate representations of the female body via an exploration of the physical environment. Rae visited Jersey as part of the Archisle international artist-in-residence programme in 2017. She was researching the Claude Cahun archive, shooting new photography and film in Jersey, as well as running workshops.
Image analysis –
In the image you can see above Clare Rae has used Cahun as an artist reference trying to convey the same ideas that she did. As you can see the image is taken in black and white, which was likely to do with the artist reference she used, the image is well lighted in an outdoor environment, it is sharp most likely using a 50 mm lens, she likely used a fast shutter speed in this image and ISO was probably relatively low due to good lighting. I plan to try to incorporate these features throughout my work while also using similar framing, form and other visual features. In the image we can see Rae is hiding her face to create a mysterious atmosphere with abstract yet clear ideas. Within the image we can see that she has used rock which fits in with how she creates her work by embodying the natural environment within the image, I plan to take this idea within my work to further convey this idea.
Quote –
“I am the (sublime) space where I am, that surrounds me with countless presences.”
Photoshoot plan –
I plan to go down to the sand dunes and use the surroundings as props in my images much like both my artist references did and attempt to use similar visual and contextual elements while it still having a focus on the story I am trying to create. I plan to get the subjects in my image to hide their faces which will create a mysterious and deep image. Much like Clare Rae, I will interrogate representations of the body via an exploration of the physical environment.
Contact sheet
Image selection
as you can see above I used P and X to flag my images to filter out the bad ones from the ok and good ones, next I rated these images 4 or 5 stars as 4 being ok ones and 5 being good ones, finally I gave them the colour yellow or green, green being the best and yellow being good. I will now edit these images that I selected and present them bellow.
Experimentation
Photoshop –
Original Image
As you can see in the image above I used the spot healing brush tool in photoshop to remove the cars and people in the background of the image.
I then used the cropping tool to centre the subject of the image a bit more so the wall more creates line that leads up them.
Lightroom –
I then went into light room and had a look at some black and white filters that were available just to see if anything worked and found this one (B&W Red Filter V2), if I didn’t find one I liked I would have done this myself.
Outcome –
I then repeated this process throughout my selected images.
Final images
Evaluation
As you can see in the images above I have selected, edited and presented six final images from my identity photoshoot. Although these images may look different in appearance, they hold the same meaning which are taken from my artist references which explored masculinity vs femininity and my experiences.
In all of these images you can see that the subjects are hiding there faces from the camera, I have chosen that they do this to blur the line between masculinity and femininity much like Claude Cahun did in there work, on top of this, in Cahun’s work they had expressionless features on there face in which further imbedded this idea. My second artist reference for this photoshoot was Clair Rae, Rae used herself as an expression of her emotions in her images, often attempting to use the environment around her to do so, although in some images it is only used slightly, I tried to use this idea as much as possible allow interpretation from a viewer of the image, but also allowing me to create my own ideas within the bigger picture. Within the images above I attempted to create the idea of struggle which not only Cahun went through, but people all around the world go through every day for many different reasons.
Overall, I believe that although this was a good photoshoot and got some pretty good images in terms of identity, I could’ve done better and tried to stick more to my artist references and masculinity vs femininity as a whole. In my next photoshoot for this I plan to use this as a learning experience and keep what went well and change what could’ve been done better.
Cindy Sherman was born in 1954 she is an American Photographer born and film maker who mostly explores gender and identity. What made her famous is the use of her own body in roles or personas in her work, with her seminal untitled Film Stills ( 1997-1980) being particularly important. These black and white photographs feature the artist herself as a model in various costumes and poses, and are her portrayals of female stereotypes found in film, television, and advertising. Sherman examines and distorts femininity as a social construct ” I like making images that from distance seem kind of seductive, colourful, luscious and engaging, and then you realize what you’re looking at is something totally opposite, ” she reflected. ” It seems seems boring to me pursue the typical idea of beauty, because that is the easiest and the most obvious way to see the world. It’s more challenging to look at the other side.”
( information taking from artnet)
Analyse
Visual
In this image Sherman is portraying as a house wife her hair is done and so is her make up, and she is also wearing a put together top. This can symbolize the stereotypical women that always has to look her best even when cleaning. The image is situated in a kitchen which is stereotypical place for women around her there are dishes and soap. She is standing wish a hand on the counter and the other one placed around her belly this can suggest her insecurity even when she is put together. Her gave is on something behind her might be her husband. And the her face expression looks uncomfortable.
Technical
Looking st the picture I can see the the objects on the counter around her are unfocused this suggests that the image has a wider aperture. The shutter speed is most likely fast since the subject ( women) is in complete focus. I would say that this picture was taken in a low angle comparing it to the women, I think that the camera was placed on the counter top I say this because the objects are in the way of the camera. This image is definitely a half body shot.
Contextual
Historically, women have often been portrayed in the media through limiting and stereotypical roles. The common roles include domestic caretaker who spends her day cleaning, making food, taking care of the children, prepare, dinner before the husband comes home, always looks put together while the husband goes to work a gains a lot of money. Women in Hollywood were extremely sexualized instead of being their own person with a personality they were seen as an object that sometimes it cleans and sometimes it looks beautiful and makes children. Media concisely showed women as inferior to men. They were seen as very week, always In need of help from a male character. Images of women’s appearance, hair, weight and voice consistently been distorted towards sexual attractiveness.
Conceptual
Cindy Sherman’s untitled films Stills series critiques how Hollywood and mass media construct identity and stereotypes, particularly for women. Sherman posed as typical characters from old movies and shows that those roles are fake and created to meet society’s expectations. Her photos exposes how media reduces women’s roles to simpler.
In total for this project I took 169 photos in total. This was across two photoshoots. These photos were in various different places such as A Dolmen , Noirmont Point and some taken at Anne Port Beach. I took 169 photos to experiment with the lighting in the outside environments and to also try different poses with the rocks and the landscapes. I tried to replicate the project ‘never standing on two feet’.
