Photoshoot 1

Contact Sheets:

Image Selection

Photoshoot 2

Contact Sheets:

The images in green are the ones I have chosen to edit.

Artist: Michael Betzener:

In the double exposure images, the overlapping imagery suggests that a person cant be reduced to a single image or perspective. Instead, we are multifaceted, shaped by different things for example our emotions, memories, experiences which come together to form our sense of self. I believe these portraits ask us to consider not just the visible aspects of a person, but also the invisible, the inner complexity that often goes unnoticed.

The overall effect feels like peering into someone’s soul, not just focusing on the surface, it makes you think about the subjects experiences, thoughts and internal contradictions.

When I look at the mirrored images, the symmetry powerful, the subject is split in half with a perfect mirror image on either side. It feels like you’re staring at a reflection in a way that feels both calming and unnerving. The symmetry creates a sense of balance, but there’s something about it that doesn’t feel totally natural. It’s like there’s another version of her that on the surface level is identical but i think it is representing another vulnerable side that the subject is reflecting upon.

In terms of technique, Betzner is extremely precisise in these mirrored images. The way he aligns everything with perfect symmetry but still leaves a little room for imperfection gives the images a sense of realism that’s slightly unsettling.

The perfect split image feels like Betzner is playing with the idea of fragmentation, how our identities are often divided between how we project ourselves to the world and how we experience our inner selves. It’s like the mirror isn’t just about reflecting what’s in front of it, but about making us question what we really see when we look at ourselves.

Betzner’s use of double exposure inspires me to experiment with the idea of layering in my own work. The layers in his images don’t just add visual interest, they tell a story, often suggesting that the subject’s identity is never fully visible or contained within a single image. And I am going to attempt to expose that other side in my images.

My experiments with double exposure:

In this image the eye contact is what draws you in. The eyes create a direct connection, that feels personal, as though the subject is looking right at you. There’s a feeling of being watched or observed, but also of being unable to fully understand what’s being communicated. The eyes are clear, sharp, almost as if they’re holding something back, while the rest of the image feels like it’s slipping away as the colours and features blur. It’s unnerving because the subject feels both present and distant, both familiar and foreign at the same time.

In this image the contrast between the deadpan expression and the screaming overlay creates a strong tension throughout. In the background image her face is almost emotionless, as if she’s holding something back, like a mask of control, suppressing her true feelings. The screaming image almost erupts out of her face, disrupting the calm and revealing her raw emotion.

In this double exposure portrait, I used pink and blue/green to create a strong contrast that gives the image both depth and emotion.

Pink (Warm)

The pink tones add warmth and a personal touch to the photo. They make the subject feel more intimate and alive, like you’re connecting with them on a deeper level.

Blue/Green (Cool)

The blue/green tones, on the other hand, bring a sense of calm and tranquility to the image. It also creates a distant feel between the two images, the eye contact in the camera makes it feel like she’s looking right through you which creates a sense of unease.

The Contrast Between Pink and Blue/Green

The way pink and blue/green work together creates a nice balance. The pink draws your attention to the subject, giving it warmth and intimacy, while the blue/green tones add space and mystery. One colour feels close and emotional, while the other feels farther away, even though it is layered in front of the other image..

Using a double exposure camera:

Contact Sheet:

Images:

Experimenting with Photoshop:

Inspiration: El Lissitzky

El Lissitzky is a Russian artist, architect, and graphic designer, that was closely involved in the Russian avant-garde movement. His photomontages combine photography, graphic design, and typographic elements to create strong, political layered images.

The Image I used as inspiration:

My Image

Final Images

Photo Shoot 1

Experimenting with editing using photoshop:

In this image I had Emily serve him food to show how women’s main purpose was to ‘serve men.’

I set this up so he had a lot of food and she had whatever was left over to symbolize the superiority men had over women. I also had Emily look straight into the camera to create the sense that she is almost trapped; whilst he was sat oblivious watching television.

Here again, I added a grainy filter to attempt to give the image a vintage feel.

Cindy Sherman is a key figure in the Pictures Generation, an art movement from the late 1970s and early 1980s. This group of artists critiqued how media and popular culture shape ideas about identity, gender, and societal norms. They challenged traditional notions of originality and explored how imagery from advertising, movies, and other media influences perceptions of self and society.

Sherman initially studied painting at Buffalo State College but found it too restrictive for her creative ambitions. This led her to photography, where she discovered more freedom to experiment with themes of identity and representation.

Her photography focuses on exposing societal stereotypes and roles, particularly those imposed on women. By emphasizing the constructed nature of identity, Sherman challenges the idea that identity is fixed or inherent. Her work critiques how media reinforces gender norms and cultural archetypes, drawing on visual references from movies, advertisements, and art history to highlight these dynamics.

Sherman photographs herself exclusively but uses her image to embody various characters rather than explore her own identity. Through costumes, makeup, props, and carefully staged settings, she transforms into housewives, actresses, clowns, historical figures, and exaggerated personas. These transformations critique the roles and stereotypes imposed by society and media, revealing their artificiality and underlying power dynamics.

While she is the subject of her photos, Sherman does not consider them self-portraits. Her intent is not autobiographical but rather to use herself as a tool to investigate broader cultural and societal issues. Her work serves as a platform for exploring themes of representation, identity, and the influence of media.

Image Analysis

Cindy Sherman adopts the role of a mid-20th-century woman, possibly a housewife or small-town figure. Her modest clothing, hairstyle, and makeup reflect traditional gender roles and evoke a character rooted in a specific cinematic archetype.

The photograph is set indoors, likely in a domestic or urban environment, with subtle details in the background such as walls or furniture that add context. These elements create a sense of intimacy and realism.

Sherman’s character is posed in a moment of stillness, gazing outward with an expression that suggests contemplation or unease. Her posture feels slightly tense, and the overall mood of the image is introspective and subdued.

The subject is framed in a medium shot, which captures part of her body while focusing on her expression and the immediate surroundings. This framing creates a sense of voyeurism and invites the viewer into a private moment, heightening the cinematic atmosphere.

The image suggests an implied narrative, as if the character has been caught during a reflective or routine moment. Sherman’s gaze and expression hint at something happening beyond the frame, adding tension and curiosity for the viewer.

The title, Untitled Film Still #14, is intentionally ambiguous. It evokes the idea of a larger fictional story, allowing viewers to project their own interpretations onto the scene.

The background being in focus suggests a narrower aperture, which ensures that both the subject and the environment are clear and contribute to the overall narrative. The clarity and balanced exposure indicate the use of a fast shutter speed to capture the stillness of the moment.

The photograph is taken from a slightly low angle, placing the viewer just below eye level with the subject. This creates a sense of intimacy and makes the viewer feel as though they are part of the setting. It is a half-body shot, which emphasizes Sherman’s expression and body language while maintaining relevance to the surrounding context. The framing feels balanced between safety and vulnerability, adding subtle tension to the image.

Historically, women in media have been portrayed in stereotypical roles such as housewives, femme fatales, or damsels in distress. These portrayals often objectified women or reduced them to secondary roles defined by their relationships to men. During the mid-20th century, women in film were frequently idealized, with their primary focus placed on domesticity, beauty, and passivity.

Sherman’s Untitled Film Stills were intended to resemble scenes from fictional movies. They mimic cinematic tropes and reference Hollywood and European films to critique how media constructs female identity and reinforces cultural stereotypes.

Sherman’s work highlights how cinema and media perpetuate unrealistic and limiting portrayals of women. By performing as these characters, she exposes these roles as artificial constructs rather than authentic representations of femininity. Her critique remains relevant today, as modern media continues to reinforce gender stereotypes through advertising, social media, and entertainment, reminding viewers to question and challenge the narratives presented to them.

Why did I chose Cindy Sherman as my Inspiration for this project?

I chose Cindy Sherman because her work challenges the way we think about identity and stereotypes in such a powerful and creative way. She’s able to take something as simple as a pose or a setting and turn it into a critique of how society imposes roles on people, especially women. I admire how she uses herself as a tool to explore these themes while making the images feel both familiar and unsettling.

Her focus on exaggerating and deconstructing stereotypes gives me a framework to explore similar ideas in my own work, especially when it comes to highlighting how certain roles, like the “perfect housewife” or the “ideal woman,” are so ingrained in our culture. I feel like her style allows for a lot of creativity and depth while still keeping the images accessible and relatable.

She inspires me to think beyond just creating visually interesting photos and to really question the narratives and expectations that come with the roles I’m portraying. Her work is the perfect combination of storytelling, critique, and artistry, which is exactly what I want to bring into my project.

How I want to convey Identity

In this photoshoot, I want to convey identity as something that is not fixed but rather constructed and influenced by societal expectations. By focusing on women’s stereotypical activities. I aim to highlight how these roles are often assigned to women and presented as “ideal” identities.

I want to show that these roles can feel performative or even restrictive, exposing the gap between how these identities are portrayed and the reality behind them. Small details, like an expression of boredom or frustration, or imperfections in an otherwise polished setting, will help emphasize the tension between the expectation and the individual’s experience.

My goal is to make viewers question how much of identity is shaped by external pressures, like media or cultural norms, and to encourage them to see these roles not as natural or inherent but as constructs that can be challenged and redefined. By staging these scenes with a mix of familiarity and exaggeration, I want the photos to feel reflective of shared experiences while also encouraging deeper thought about the stories we tell ourselves about identity.

What does identity mean to me?

To me, Identity means how you are perceived by yourself and others. I think it is made up of your characteristics, values, appearance, actions, interests and experiences.

Ideas

Female Stereotype’s–

I want to explore women’s stereotypes in my identity project because these roles are such a powerful reflection of how society shapes expectations. Women have historically been placed into narrowly defined categories—like the housewife, the beauty queen, or the caretaker. They each carry specific expectations about how they should look, act, and live. By focusing on these stereotypes, I can examine how these roles influence identities and challenge the idea that they are ‘natural’ or ‘instinctive.’

Mood Board

Photoshoot Ideas and How They Explore Identity

• Household Chores
  • A woman hoovering, washing dishes, or ironing in a slightly exaggerated 1950s-inspired setting.
  • Exploration: Highlights the societal expectation of women as caretakers and homemakers. Contrasts the idealized image with subtle expressions of frustration or detachment to question the performative nature of these roles.
• Beauty Routine
  • Scene: A woman sitting at a vanity mirror doing her hair or makeup with excessive products and tools scattered around.
  • Exploration: Examines the pressure on women to maintain appearances and conform to beauty standards. Smudged makeup or an overwhelmed expression could reflect the emotional toll of these expectations.
• “Looking Pretty” Pose
  • Scene: A woman dressed glamorously, posed on a couch or chair with a staged, magazine-like elegance.
  • Exploration: Critiques the stereotype of women as objects of visual pleasure. A stiff or overly dramatic pose could emphasize the artificiality of this role.
• Overworked Multitasker
  • Scene: A woman juggling multiple tasks—cooking, holding a baby, typing on a laptop—all at once.
  • Exploration: Represents the modern “superwoman” stereotype and the unrealistic expectations placed on women to balance career, home, and personal life seamlessly
• Mirror Reflection
  • Scene: A woman looking at her reflection in a mirror, but the reflection shows a different, stereotyped version of herself (e.g., a housewife, beauty queen, or businesswoman).
  • Exploration: Represents the tension between personal identity and societal roles, asking who defines a woman’s identity herself or the expectations placed on her.

Artist Research:

1. Claude Cahun (1894–1954) was a French surrealist artist, photographer, and writer, best known for her exploration of gender, identity, and self-representation. She is recognized as a pioneer in challenging traditional gender norms, often presenting herself in androgynous or ambiguous ways in her self-portraits. Cahun’s work questioned fixed gender roles long before such ideas were widely accepted, making her a significant figure in early feminist and queer art.
2. Born Lucy Schwob in 1894 in Nantes, France, she later adopted the name Claude Cahun, choosing a gender-neutral identity that reflected her rejection of binary gender categories. This name change was part of her broader exploration of identity as something fluid and self-defined, rather than tied to societal expectations.
3. Cahun’s primary artistic goal was to challenge the societal norms surrounding gender and identity. She used self-portraiture as a tool to deconstruct and explore various personas, often presenting herself in androgynous or fragmented forms. Through costumes, makeup, and props, Cahun blurred the lines between masculinity and femininity, demonstrating that identity is not fixed but rather fluid and performative. Her work aimed to provoke viewers to rethink conventional notions of gender and self-expression.
4. In 1937, Cahun moved to Jersey with her partner, Marcel Moore. During World War II, they became active in the anti-German resistance, using their artistic skills to create and distribute anti-Nazi propaganda. Jersey became an important base for their political activism and creative work, and Cahun’s legacy on the island is commemorated today, highlighting both her artistic achievements and her courage during the war.

Image Analysis

‘I am training don’t kiss me’

Visual Analysis

The image features Claude Cahun herself, an artist known for exploring themes of gender, identity, and self-expression through self-portraiture. In this photograph, Cahun is posed facing the camera, yet her gaze is directed downward, with her face partially obscured by her hands. This creates a sense of mystery and ambiguity, which challenges the viewer’s ability to categorize her into a traditional gender role. The obscured face also speaks to Cahun’s exploration of the fluidity of identity, rejecting fixed, conventional representations.

Cahun’s attire is simple and androgynous, contributing to the blurring of gender boundaries in the image. She wears a loose, neutral outfit, steering away from the traditional feminine dress of the time. This ambiguity in dress further challenges societal expectations of how women should present themselves in the 1920s.

The object Cahun holds in her hands is a dumbbell, an unexpected item for a female figure during the 1920s, a time when women were often portrayed as delicate and passive. The dumbbell symbolizes strength, power, and physicality, which is in stark contrast to the more passive, ornamental role often assigned to women. The choice of this object reinforces Cahun’s rejection of gender norms and her embrace of physicality, autonomy, and control over her identity.

On her chest, a sign reads: “I am training – don’t kiss me.” This statement is both a literal and symbolic declaration of independence. It suggests that Cahun is focused on personal growth or training—whether intellectual, artistic, or physical—and rejects traditional romantic or sexual roles. The sign speaks to her resistance against being objectified or defined by external expectations, emphasizing her control over how she is perceived and the boundaries she wishes to set.

Technical Analysis

The photograph uses artificial lighting, likely studio lighting, given the sharp contrast between light and shadow. The lighting accentuates the contours of Cahun’s face and hands, guiding the viewer’s attention to the expression and gesture while adding a sense of mystery through the shadows. This high contrast effect contributes to the surrealist quality of the image and reflects the tension between visibility and concealment.

The background is blurred with a shallow depth of field, which suggests that a wide aperture (low f-stop) was used. This sharp focus on Cahun’s figure, contrasted with the soft, out-of-focus background, directs the viewer’s attention entirely on her and the symbolic elements she presents, such as the dumbbell and the sign.

The image is captured from a straight-on or slightly elevated angle, which eliminates any power dynamics between the subject and the viewer. This neutral angle emphasizes the subject’s autonomy and suggests that Cahun is presenting herself on her own terms, without relying on traditional hierarchical positioning.

The shot is a three-quarter body shot, focusing on Cahun’s torso and hands. This framing allows for a detailed examination of the subject and the symbolic elements in the image, while also emphasizing the performative nature of Cahun’s self-representation. The three-quarter shot also allows for a sense of intimacy while keeping the viewer at a slight distance, further playing with the boundaries between self-expression and public perception.

Contextual Analysis

In the 1920s and 1930s, women were navigating a complex shift in societal expectations. The 1920s, known as the “Roaring Twenties,” saw the rise of the “New Woman,” who was more independent, more mobile in public spaces, and more outspoken about her rights. This period also marked the victory of women’s suffrage in many Western countries. However, societal pressures remained, especially as the Great Depression in the 1930s ushered in a return to more traditional, conservative gender roles. In this context, Cahun’s work responds to these shifting dynamics, particularly the tensions between newfound freedoms and the persistent constraints on women’s roles.

Conceptual Analysis

Cahun’s work challenges the rigid roles imposed on women in the 1920s and 1930s, using her art to critique both gender expectations and the broader societal limitations placed on individuals. By adopting an androgynous appearance and rejecting traditional representations of femininity, Cahun subverts conventional notions of gender and identity. Her self-portraits, particularly this one, show that identity is not fixed but can be fluid, fragmented, and self-constructed.

The sign on Cahun’s chest, “I am training – don’t kiss me,” serves as a direct declaration of independence and autonomy. It suggests that Cahun is focused on her personal growth—whether intellectual, artistic, or physical—and rejects the idea of being defined by romantic or sexual attraction. The phrase “don’t kiss me” implies a refusal of objectification and a desire to assert control over how others interact with her.

The words “Totor” and “Popol” inscribed on the dumbbell may refer to private nicknames between Cahun and her partner, Marcel Moore. These playful names could represent the multiple identities Cahun navigated in her personal and artistic life. They may also allude to Cahun’s quote, “My soul is fragmentary,” suggesting that she viewed herself as a collection of overlapping, sometimes contradictory identities. This complexity is mirrored in the image, where Cahun presents herself as both a powerful, physically engaged figure (through the dumbbell) and an introspective, vulnerable individual (through her facial gesture and body language).

The juxtaposition of the feminine pose and the dumbbell in the image creates a powerful contradiction. On one hand, Cahun’s soft, contemplative pose suggests femininity, vulnerability, and passivity. On the other hand, the dumbbell, an object associated with strength, masculinity, and action, challenges traditional gender roles. This contrast reflects Cahun’s broader critique of fixed gender categories and her exploration of identity as something fluid, performative, and complex. By combining these elements, Cahun emphasizes that identity and gender are not defined by external expectations but are multifaceted, negotiable, and ever-evolving.

What is Identity?

Identity- the qualities, beliefs, personality traits, and characteristics that make an individual or group distinct from others.

Types of Identity:

Personal Identity: A person’s understanding of who they are, based on their experiences, values, memories, and self-image. (What makes a person ‘them’)

Social Identity: How a person defines themselves through their association with various groups, such as family, ethnicity, nationality, gender, or profession. This is influenced by societies expectations.

Cultural Identity: A sense of belonging to a particular culture or ethnic group, shaped of shared morals, values, language, and traditions.

Femininity:

What is Femininity?

Femininity- the qualities, behaviors, and attributes traditionally associated with being female or womanly in society. For example traits like nurturing, sensitivity, empathy, and emotional expressiveness. However, femininity is culturally and socially constructed, and its definition can vary across different cultures and historical periods.

Traits associated with Femininity:

1. Appearance: Societal expectations about how women should dress, or present themselves, such as wearing dresses or makeup (though these have changed through time.)
2. Social Roles: The roles women are often expected to take on, such as care-giving (traditionally to their husbands and children), homemaking, or being emotionally supportive.
3. Behavioral Expectations: Traits like politeness, compliance, and being nurturing toward others are often associated with femininity.

Masculinity:

What is Masculinity?

Masculinity-the qualities, behaviors, and roles that are traditionally associated with being male or manly in a given society. Like femininity, masculinity is socially and culturally constructed, meaning that what is considered “masculine” can vary across cultures and historical periods.

Traits associated with Masculinity:

1. Strength: Physical power or resilience, often in traditional masculine roles (physical work ect.)
2. Independence: Ability to be self-reliant, and the ability to manage things alone.
3. Assertiveness: A tendency to take charge, express opinions confidently, or lead.
4. Stoicism: The ability to remain emotionally controlled or unaffected, particularly in tough or challenging situations.
5. Courage: A willingness to take risks or face danger, often seen as a sign of manliness.
6. Dominance: A tendency to assert authority or leadership, sometimes linked to traditional gender roles in which men hold power over women.

How different aspects of Identity are influenced by your environment/ upbringing:

Gender Identity: The culture and environment in which someone is raised can affect how they express and understand their gender. In some places, traditional gender roles are strict, while in others, there’s more freedom to explore your gender.

Cultural Identity: Where you grow up shapes your connection to culture, language, and traditions. In a community that shares the same values, language, religion ect, cultural identity might be strong, while in diverse areas, people may adopt multiple cultural influences.

Social Identity: The groups we belong to, such as family, social class, or religion, are influenced by our surroundings. The values and norms of these groups shape our sense of self and how we relate to others.

Geographical Identity: Your sense of self can be tied to the region or country you’re from. For instance, a person from a bustling city like New York might identify with the fast-paced, diverse, and modern lifestyle. They may see themselves as part of a larger, diverse culture .On the other hand, someone raised in a rural village might identify with a quieter, more community-centered lifestyle, valuing close relationships and a connection to nature.

Political Identity: The political environment of where you live can influence your beliefs and values. Growing up in a particular political climate can strongly shape your political views and affiliation.

Loss or Lack of Identity: Migration, or rapid societal change can lead to a sense of lost identity. People who move away from their home cultures may struggle to fit into new environments, leading to confusion or social isolation.

Stereotypes and Prejudices: Stereotypes based on race, gender, or background can impact one’s identity. Living in an environment where prejudice is common can cause people to challenge these views.

Studio Lighting Mood Board

What is studio lighting?

Studio lighting in photography involves using artificial lights to shape and control how a subject is lit. This allows photographers to create specific effects, moods, and emphasize details that natural light can’t achieve.

The main components are:

1. Key Light: The main light that highlights your subject.
2. Fill Light: A softer light that reduces harsh shadows from the key light.
3. Back Light: Light behind the subject, adding depth and separation from the background.
4. Background Light: To light up the background and create texture or mood.

Why do we use it?

Studio lighting gives photographers control over how a subject is lit, allowing for specific looks and effects. Unlike natural light, it offers:

1. Control: Consistent lighting regardless of time or weather.
2. Flexibility: Different modifiers create various lighting styles.
3. Creativity: You can highlight details and create moods that natural light can’t.
4. Consistency: Reliable results, important for commercial or portrait work.
5. Detail: It brings out textures and features more clearly.

What is the difference between 1-2-3 point lighting?

1. One-Point Lighting:

• Setup: Just one light
• What it does: Creates strong shadows and a dramatic look, with high contrast.
• When to use: Good for moody or minimalist shots.

2. Two-Point Lighting:

• Setup: Key light + fill light to soften shadows.
• What it does: More balanced lighting, keeping some shadows for depth.
• When to use: Great for flattering portraits or when you want softer light but still some contrast.

3. Three-Point Lighting:

• Setup: Key light + fill light + back light (creates separation from the background).
• What it does: Well-rounded, balanced light with depth and dimension.
• When to use: Ideal for professional portraits or video, giving a natural, detailed look.

The types of lighting we are exploring:

1. Rembrandt Lighting

Rembrandt lighting is a classic portrait lighting style named after the famous painter. It creates a triangle of light on the shadowed side of the face. To set it up:

• Position the light at a 45-degree angle, slightly above the subject.
• This setup casts a shadow on one side of the face and forms a small triangle of light under the eye. It’s often used for dramatic, moody portraits.

Lighting Set Up:

2. Butterfly Lighting

Butterfly lighting is named for the butterfly-shaped shadow it casts under the subject’s nose. To achieve it:

• Place the light directly above the subject’s face.
• The result is a shadow under the nose that looks like a butterfly, with the rest of the face well-lit. This style is popular in beauty and fashion photography because it’s flattering and emphasizes the cheekbones.

Lighting Set Up:

3. Chiaroscuro

Chiaroscuro is a technique where light and dark are used in strong contrast to create depth and drama. It’s a concept from painting but is also used in photography and film. It involves:

• Lighting parts of the subject while leaving other parts in deep shadow.
• The contrast between light and dark adds a sculptural, dramatic feel to the subject. It’s great for creating a strong, artistic look or a mysterious, intense mood, like in noir films.

Lighting Set Up:

In summary:

• Rembrandt Lighting: Creates a triangle of light on one side of the face.
• Butterfly Lighting: Makes a butterfly-shaped shadow under the nose.
• Chiaroscuro: Uses light and shadow contrasts for depth and drama.

What is Fill lighting?

Fill lighting is used in photography or video to brighten up the shadows created by the main light. It helps soften harsh shadows, making the overall lighting more balanced and natural looking.

The idea is to add just enough light to the darker areas without making them too bright, so the image doesn’t look too contrasty. Fill light is usually dimmer than the key (light about half or even less) so it doesn’t overpower the main light.

You can use things like reflectors or even a second light set to a lower power to create fill light. The aim is to make the shadows less intense while keeping the overall look nice and even.

First Photoshoot

Editing

Chiaroscuro Lighting

This image shows chiaroscuro lighting. I achieved this by only having a light source on one side of the image and having a black background to exaggerate the contrast between light and dark.

Here Chanell put her hands in the middle of her face in order to show and exaggerate the clear distinction between the light and dark parts of her face.

Butterfly Lighting

I put the light source high up to create the butterfly shaped shadow under her nose.

Second Photoshoot

Contact Sheet

Butterfly Lighting

Chiaroscuro Lighting

I got her to scrunch her face to convey emotion but also to exaggerate the shadows formed by the lines on her face.

Rembrandt Lighting

Fill Lighting

Experimenting with photoshop

Final Images:

These 3 images include Rembrandt, butterfly and chiaroscuro lighting.

Environmental portraits are images where the subject is shown in their natural environments, like their home, workplace, or doing their daily activities. They can reveal the persons interests, passions, lifestyle and what they do for work.

Mood Board

Artist Research- Arnold Newman

Arnold Newman was a great photographer who made a name for himself by shooting portraits of people in their own environments, like artists in their studios or musicians with their instruments. His photos told a story about who they were as people. He photographed icons like Picasso and JFK, and his style have a big impact on portraits today.

Examples of his images

Photo Analysis

Visual:

The man is in the centre of the image, he is leaning towards the camera with his chin resting on his clasped hands. He is the main focal point due to his positioning in the photo and the contrast between him and the dull, eerie background. His eye contact is piercing and his smug, confident appearance suggests he is in charge of the train station behind him. The concrete pillars and the dark and light areas, bring contrast to the image.

Technical:

The artificial looking lighting makes his stare appear dark and serious and his face look lifeless and sinister. The sharply focused foreground against the softer background suggests a medium aperture as the background is still identifiable just not as focused. it seems like the image was taken at a fast shutter speed due to the subjects level of focus. The eye level angle gives the impression he is attempting to intimidate us.

Contextual:

The subject in the image is Alfred Krupp who was a German industrialist who ran the Krupp empire, which was war factories that made weapons for the Nazi’s n WW2. He was convicted as a war criminal for his use of slave labour. His company forced around 100,000 people including children to work practically to death. The majority of boys and men who died were Jewish; this is why he is hated by Jewish people. He was later released, but his reputation and ruthless past was not forgotten. The photographer Arnold Newman was Jewish and didn’t want to take the image but he eventually agreed. When taking the image, Newman asked Krupp to lean forward and the light hit his face ideally, Newman said ‘He felt the hair stand up on the back of his neck.’ This image that he took became one of Newman’s most famous photos.

Concept:

For Newman this image was a bit of revenge for Krupp’s awful past. When Krupp saw the image he was said to have been very angry due to the way he had been captured which was in a sinister, threatening way. The population of the image brought up Krupp’s actions and allowed Newman to share his loathing for this man.

Photoshoot Mind Map:

Photoshoot Action Plan:

Contact Sheet:

Image Selection:

Editing (Using Lightroom)

Final Images:

Evaluation:

I chose these 3 final images as they each represent different environments and some of my images were taken in very similar environments. I like these 3 images together as they all share a slight warm tone, which allows them to work with eachother.

Formal Elements:

• Colour
• Line
• Shape
• Space
• Repetition
• Texture
• Value/Tone

Colour

Colour is a phenomenon of light

It has 3 properties:

• Brightness
• Hue
• saturation

Colour creates atmosphere, contrast, vibrancy ect amongst images. It usually has the most immediate affect.

Line

Line creates a visual path across an image and it can be used to covey a message within an image

It can be used to create movement, direction, pattern ect

Shape

Shapes can be used to define an image and create focus points. Shapes can be used to make silhouettes by paying attention to shadows.

Space

Shape can add depth to an image and allow space around the main point of focus.

Repetition

Repetition allows an image to have balance and a sense of rhythm throughout.

Texture

Texture allows you to capture the colours, shape and movement upon the surface of an object.

Value/Tone

Value/tone in an image creates definition amongst different elements in an image and it can create a 3D affect.