Who is Ansel Adams?

Ansel Adams was an American photographer and environmentalist, best known for his black-and-white landscape photographs of the American West, particularly Yosemite National Park. His work helped define modern landscape photography and played a significant role in conservation efforts.

What can you tell me about his childhood?

Ansel Easton Adams was born on February 20, 1902, in San Francisco, California. As a child, he was somewhat shy and struggled with formal schooling, partly due to what some believe may have been dyslexia. He was home-schooled by his father and aunt, which allowed him to explore his interests more freely. One of the defining moments of his childhood was the San Francisco earthquake of 1906, which caused Adams to fall and break his nose, leaving it permanently crooked. His love for nature started early, as he spent much of his childhood exploring the outdoors.

What national park did he visit that inspired his photography career?

Adams first visited Yosemite National Park in 1916 when he was 14 years old. His parents gifted him a Kodak Brownie camera, and he was immediately captivated by the landscape. This trip was a turning point in his life, sparking both his love for photography and his deep commitment to conservation.

‘I knew my destiny when I first experienced Yosemite’

Adam Ansel

How did this inspire his photography career?

During his early visits to Yosemite, Adams took numerous photographs and experimented with darkroom techniques. He later joined the Sierra Club, which played a major role in shaping his environmental consciousness. Through the club, he met influential conservationists and began to see photography as a tool to advocate for nature preservation. His early Yosemite images led to his first portfolio and professional recognition.

What is the Sierra club? and can you find out what happened in 1927 that became a major factor in his career?

The Sierra Club is one of the oldest and most influential environmental organizations in the United States. Founded in 1892 by naturalist John Muir, the club focuses on protecting natural spaces, promoting environmental policies, and advocating for conservation efforts.

In 1927, Adams created one of his most famous images, “Monolith, the Face of Half Dome” in Yosemite. This photograph marked a turning point in his career, as he moved away from soft-focus pictorialism to a more sharp, detailed style. This year was also when he began using a larger format camera, which allowed him to capture more precise detail and tonal range—techniques that would define his later work.

As well as capturing photography through photography, what else was he involved in?

While photography was his main passion, Adams was also deeply involved in environmental activism. He worked with the Sierra Club, using his images to support conservation efforts, and played a key role in lobbying for the establishment of Kings Canyon National Park in 1940. The powerful rushing Kings River peaked the interest of the nearby and fast-growing city LA. Because the river plunges nearly 11,000 feet in just 80 miles, it carried enormous potential as a hydroelectric power source. Additionally:

• He was an author, writing books and essays on photography and conservation.
• He developed the Zone System, a technique for controlling exposure and contrast in black-and-white photography.
• He served as a consultant for Polaroid, testing new film and cameras.
• He was a teacher, mentoring aspiring photographers through workshops and writings.

Why were Ansel Adams’ images first used for environmental purposes?

Ansel Adams’ images were first used for environmental purposes because they showcased the beauty and grandeur of natural landscapes, particularly in the American West. His black-and-white photographs captured the majesty of places like Yosemite and the Sierra Nevada, inspiring public appreciation and support for conservation efforts. His work was instrumental in advocating for the protection of wilderness areas, as his striking images helped convince policymakers and the public of the need to preserve these landscapes.

Why was Kings Canyon at risk?

Kings Canyon was at risk due to logging, grazing, and potential development, which threatened its pristine wilderness. In the early 20th century, there was pressure to use the land for commercial purposes, but conservationists, including Ansel Adams and the Sierra Club, worked to prevent this and advocate for its protection as a national park.

How did Ansel Adams protect the Sierra Club?

Ansel Adams played a key role in protecting and promoting the Sierra Club by using his photography as a powerful advocacy tool. He was an active member of the club and served on its board of directors for many years. His images were used in Sierra Club publications, helping to garner public and political support for conservation initiatives. His work significantly contributed to the success of the club’s campaigns, including the push to establish Kings Canyon as a national park.

When was the proposal to create the national park approved, and what prompted this?

The proposal to create Kings Canyon National Park was approved in 1940. The movement to protect the area gained momentum in the 1930s, thanks in part to Ansel Adams’ photography, which helped highlight the region’s natural beauty. His 1938 book Sierra Nevada: The John Muir Trail was sent to President Franklin D. Roosevelt and Congress, influencing their decision to grant national park status and protect Kings Canyon from development.

What presidential medal did he receive?

Ansel Adams received the Presidential Medal of Freedom in 1980 from President Jimmy Carter. This award recognized his contributions to photography and environmental conservation, as his work had played a crucial role in inspiring efforts to protect America’s natural lands.

Ansel Adams was all about visualisation in his photography what does this mean?

Ansel Adams describes The Monolith, The Face of Half Dome (1927) in his book The Negative as his first true example of visualization—the process of imagining the final print before capturing the image. Initially, he took the photograph using a yellow filter but soon realized that it did not achieve the dramatic effect he had envisioned. The yellow filter resulted in a more neutral, less striking image that did not fully convey the depth and intensity he sought.

Recognizing this, Adams took a second exposure, this time using a red filter, which dramatically darkened the sky and enhanced the contrast, creating a bolder and more powerful composition. This decision aligned with his pre-visualized idea of the scene, as the red filter emphasized the blue light in the atmosphere, intensifying the shadows and adding a sense of drama.

Although Adams was known for his darkroom techniques, the foundation of his images was always established at the moment of capture. Unlike modern digital photography, where extensive post-processing allows for greater manipulation, film photographers had to make critical choices in-camera to ensure the final print aligned with their artistic vision. This method of working underscores Adams’ mastery of light, exposure, and the Zone System to create his iconic landscapes.

What is the Zone system?

The Zone System is a photographic technique for determining optimal film exposure and development, formulated by Ansel Adams and Fred Archer. It divides the tonal range of an image into eleven zones, from pure black (Zone 0) to pure white (Zone X), with various shades of grey in between.

What is romanticism?

Romanticism is an artistic movement that emerged in the late 18th century and flourished throughout the 19th century. It was a reaction against the rationalism and order of the Enlightenment and the industrialization of society, emphasizing emotion, imagination, and nature as the true sources of beauty and truth.

Key Characteristics of Romanticism:

• Emotion Over Reason – Feelings, passion, and intuition were valued more than logic and rational thought.
• Imagination & Creativity – Romantic artists and writers sought to explore new, fantastical ideas rather than adhere to traditional structures.
• Nature & The Sublime – The natural world was seen as a place of spiritual renewal, beauty, and power, often depicted as wild, untamed, and awe-inspiring.
• Individualism & Rebellion – Romanticism celebrated the unique individual, particularly those who defied societal expectations and pursued their own path.
• Mysticism & The Supernatural – Interest in folklore, the occult, and the unknown played a significant role in Romantic literature and art.
• Melancholy & Nostalgia – A longing for the past, lost love, or unfulfilled dreams was a recurring theme in Romantic works.
• Idealism & Transcendence – Many Romantic thinkers believed in the pursuit of higher truths, often through artistic expression, dreams, or personal introspection.

What was Romanticism a reaction against?

The Enlightenment (18th Century Rationalism)

• The Enlightenment emphasized reason, logic, science, and order, promoting structured thought and empirical evidence.
• Romanticism rejected this, believing that emotion, imagination, and intuition were just as important as reason.
• While the Enlightenment valued universal truths, Romanticism focused on individual experience and personal truths.

2. The Industrial Revolution (18th–19th Century)

• The rise of industrialization and urbanization led to crowded cities, pollution, and a shift away from rural life.
• Romanticism responded with a nostalgia for nature, portraying it as pure, spiritual, and untainted by human corruption.
• Many Romantic thinkers opposed the dehumanization of workers in factories and celebrated the individual over machines.

3. Neoclassicism & Structured Art

• Neoclassicism, which dominated the 18th century, emphasized order, harmony, and rationality in art and literature.
• Romanticism rejected strict forms and celebrated experimentation, spontaneity, and emotional expression.

4. Political & Social Order (Revolutions & Rebellion)

• Romanticism was influenced by the French Revolution (1789), which symbolized the power of individual freedom and rebellion.
• Many Romantics championed the rights of the individual and celebrated outcasts, revolutionaries, and misunderstood heroes.
• Figures like the Byronic Hero (dark, rebellious, passionate characters) emerged as symbols of Romantic defiance.

5. Scientific Rationalism & Materialism

• The scientific advancements of the 18th and 19th centuries prioritized materialism and mechanistic worldviews.
• Romantics, however, explored spirituality, mysticism, and the supernatural, believing in forces beyond human understanding.

Enlightenment

The Enlightenment (1685–1815)

The Enlightenment was an intellectual and cultural movement that emphasized reason, logic, science, and individual rights over tradition, superstition, and religious dogma. It emerged in the late 17th century and peaked in the 18th century, influencing politics, philosophy, science, and society.

Key Ideas of the Enlightenment:

• Reason Over Tradition: Knowledge should be based on rational thought and empirical evidence, not religious faith or inherited beliefs.
• Scientific Progress: The Scientific Revolution fueled belief in human ability to understand and control the natural world through observation and experimentation.
• Skepticism of Authority: Many Enlightenment thinkers questioned monarchy, aristocracy, and the Church, advocating for political reform.
• Individual Rights & Freedom: Thinkers like John Locke and Jean-Jacques Rousseau argued for natural rights, democracy, and self-government.
• Separation of Church and State: Many Enlightenment thinkers promoted religious tolerance and secular governance.
• Optimism & Progress: There was a strong belief that humanity could improve through education, science, and reason.

Key Figures of the Enlightenment:

• John Locke – Advocated for natural rights (life, liberty, property) and government by consent.
• Voltaire – Criticized religious intolerance and promoted freedom of speech.
• Jean-Jacques Rousseau – Explored democracy and the idea of the “general will.”
• Montesquieu – Proposed separation of powers in government.
• Immanuel Kant – Defined the Enlightenment as “daring to know” (Sapere aude), encouraging intellectual independence.

Impact of the Enlightenment:

• Influenced Revolutions – Inspired the American Revolution (1776) and French Revolution (1789) by promoting democracy and human rights.
• Shaped Modern Democracy – Ideas about constitutional government, checks and balances, and civil liberties remain influential today.
• Advanced Science & Secularism – Led to the decline of religious influence in politics and an increase in scientific thinking.

The Sublime

The sublime is a concept in art, literature, and philosophy that refers to experiences that evoke awe, terror, or overwhelming beauty, often associated with nature’s power and human insignificance. It was a key idea in Romanticism, emphasizing emotions beyond ordinary perception—something vast, infinite, or beyond human control.

Edmund Burke on the Sublime

Edmund Burke, in his 1757 work A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, defined the sublime as something that provokes “the strongest emotion which the mind is capable of feeling.” He argued that the sublime is linked to feelings of terror and awe, especially when encountering vast, powerful, or obscure things.

Quote from Burke:
“Whatever is fitted in any sort to excite the ideas of pain and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime.”

Key Aspects of the Sublime:

• Terror & Awe – The feeling of being overwhelmed by something vast or powerful (e.g., storms, mountains, or the night sky).
• Nature’s Power – The sublime is often found in untamed landscapes like waterfalls, thunderstorms, and vast oceans.
• Obscurity & Mystery – The unknown or the infinite can evoke a sense of the sublime, such as deep space or dark forests.
• Contrast with Beauty – Unlike beauty, which is harmonious and pleasing, the sublime is intense, sometimes even terrifying.

Impact of the Industrial Revolution on Romanticism

The Industrial Revolution (late 18th – 19th century) dramatically transformed society through urbanization, mechanization, and technological advancements. While it brought progress, it also led to pollution, harsh working conditions, and a loss of connection to nature. Romanticism emerged as a reaction to these changes, emphasizing emotion, nature, and individualism in opposition to industrialization’s focus on rationalism, efficiency, and mass production.

Romantic Artists

John Constable (1776–1837) – The Beauty of Rural England

• Style: Naturalistic landscapes, soft colour palettes, and emotional connection to the countryside.
• Themes: Romanticized rural life, nostalgia for pre-industrial England, and a deep appreciation for nature.
• Famous Works:
  • The Hay Wain (1821) – A peaceful, idyllic scene of a rural wagon crossing a river, representing a simpler life untouched by industrialization.
  • Wivenhoe Park (1816) – A lush, serene depiction of an English estate, emphasizing the harmony of nature.

How He Embodied Romanticism: Constable’s paintings reject urbanization and celebrate the emotional and spiritual power of nature, reflecting the Romantic ideal that the countryside was pure and unspoiled.

J.M.W. Turner (1775–1851) – The Power and Drama of Nature

• Style: Dramatic lighting, expressive brushwork, and intense colour contrasts.
• Themes: The sublime in nature, the overwhelming force of storms, seas, and industrialization’s impact on the world.
• Famous Works:
  • The Fighting Temeraire (1839) – A nostalgic farewell to an old warship being towed by a modern steam-powered boat, symbolizing the transition from the past to the industrial age.
  • Rain, Steam and Speed (1844) – A blurred, powerful depiction of a steam locomotive racing through the landscape, capturing the awe and terror of technological progress.

How He Embodied Romanticism: Turner’s work focused on the power of nature and the sublime, showing humanity’s smallness in the face of storms, fire, and the vast ocean. His later works blurred the lines between realism and impressionism, emphasizing feeling over precision.

3. Caspar David Friedrich (1774–1840) – The Mysticism of Nature

• Style: Melancholic, atmospheric landscapes with solitary figures.
• Themes: The spiritual and mystical connection between man and nature, solitude, and contemplation.
• Famous Works:
  • Wanderer Above the Sea of Fog (1818) – A lone figure stands atop a misty mountain, gazing at the vast landscape, symbolizing human insignificance and self-reflection.
  • The Abbey in the Oakwood (1809–1810) – Ruins of a Gothic church stand among barren trees, evoking themes of death, decay, and mystery.

How He Embodied Romanticism: Friedrich’s paintings convey the mystical and transcendent qualities of nature, aligning with Romanticism’s fascination with emotion and the unknown.

4. Francisco Goya (1746–1828) – Dark Romanticism & Human Emotion

• Style: Dramatic, often dark and nightmarish imagery with emotional intensity.
• Themes: The horrors of war, human suffering, madness, and the supernatural.
• Famous Works:
  • The Third of May 1808 (1814) – A powerful depiction of Spanish civilians being executed by French soldiers, showing the brutality of war.
  • Saturn Devouring His Son (1820–1823) – A disturbing, nightmarish image of the god Saturn eating his child, reflecting madness and horror.

Hay Wain by John Constable

“I shall endeavor to get a pure and unaffected manner of representing the scenes that may employ me… there is room enough for a natural painter. The great vice of the present day is bravura, an attempt to do something beyond the truth.”

John Constable

Artist	John Constable
Year Painted	1821
Genre	Landscape Painting
Period	Romanticism
Medium	Oil on canvas
Dimensions	51.2 x 72.8 in
Where it’s kept	National Gallery, London

Notes- from video

-Landscape wasn’t a popular art style- ambitious

-Hay Wain 6 ft landscape (1821)

-River where he grew up farmers in field

-Father was a land owner, came from well to do family

-Machines were taking employment away, losing jobs in countryside ( industrial revolution)

-Painting relaxed/ romanticized

-Landscapes were usually people doing something legendry unlike constables landscape that was mundane

-He deliberately created rough texture- to feel the nature

key terms associated with romanticism

•Emotion – Romanticism emphasized deep, raw emotions over logic, celebrating feelings as the truest form of human experience.

•Imagination – The movement valued imagination as a means of transcending reality and exploring new artistic and intellectual possibilities.

•Nature – Romanticists saw nature as a source of inspiration, beauty, and spiritual renewal, often portraying it as a powerful and untamed force.

•Sublime – The concept of the sublime captured the awe-inspiring and sometimes terrifying aspects of nature and human experience.

•Individualism – Romanticism championed the unique individual, often portraying solitary heroes who defied societal norms.

•Rebellion – Many Romantic works celebrated defiance against authority, embracing revolution and personal freedom.

•Freedom – Personal and artistic freedom were central, with Romanticists rejecting rigid structures in favor of self-expression.

•Passion – Love, desire, and intense emotional experiences were key themes, often explored in dramatic and tragic narratives.

•Melancholy – A sense of longing, loss, and nostalgia permeated much of Romantic art and literature, adding depth to its themes.

•Mysticism – The supernatural, folklore, and mystical experiences were often woven into Romantic works to explore the unknown.

•Transcendence – Romanticism sought to elevate human experience beyond the mundane, reaching for deeper truths and higher states of being.

•Idealism – Romantic thinkers often pursued ideals of beauty, truth, and love, even in the face of harsh realities.

•Beauty – The movement emphasized beauty in all its forms, whether in nature, art, or the human spirit.

•Spirituality – Romanticism embraced a deeply personal and often unconventional spirituality, rejecting institutionalized religion.

•Intuition – Instinct and feeling were valued over reason, with artists and writers trusting their inner voice.

• Dreams – Dreams and the unconscious mind were seen as gateways to deeper truths, influencing much of Romantic poetry and art.

Meaning of Landscape

Landscape refers to the visible features of an area of land, often depicted in art or photography to showcase its natural beauty. In artistic terms, it describes works that focus primarily on natural scenery such as mountains, rivers, forests, and fields.

Emergence of Landscape as a Genre in Western Culture

Landscape painting began to emerge as an independent genre in Western art during the Renaissance (15th–16th centuries). However, it remained secondary to historical, religious, and portrait painting. It gained prominence as artists began incorporating more detailed backgrounds into their works.

Classical Landscape Genre

Classical landscape painting became a distinct genre in the 17th century, particularly in the works of artists like Claude Lorrain and Nicolas Poussin. These artists created idealized, harmonious landscapes influenced by classical antiquity, often incorporating mythological or historical themes.

Rise of Landscape Art in the Late 18th / 19th Century

The rise of landscape art during this period was influenced by several factors:

• Romanticism: Artists sought to express emotions and the sublime power of nature, as seen in the works of Caspar David Friedrich and J.M.W. Turner.
• Industrial Revolution: As cities grew and industrialization changed rural life, people became more nostalgic for untouched nature.
• Scientific Exploration: Increased interest in geology and natural sciences led to a fascination with documenting landscapes.
• National Identity: Many countries, including the U.S. and Britain, used landscape art to celebrate national pride and beauty, as seen in the Hudson River School and John Constable’s works.

Origin of Landscape Photography

Landscape photography originated in the mid-19th century, with early pioneers like Carleton Watkins, William Henry Jackson, and Eadweard Muybridge capturing dramatic scenes of the American West. The development of better cameras and exposure techniques allowed photographers to document landscapes in ways previously reserved for painters.

Identity

For my final images in this identity project, I selected this series because they effectively capture female stereotypes in a playful and exaggerated way, drawing inspiration from Cindy Sherman. Her work explores identity, performance, and the construction of femininity, which I aimed to reflect through these staged portraits.

I chose these specific images because they showcase a range of over-the-top expressions and poses that highlight different stereotypical portrayals of women, particularly in relation to beauty, vanity, and performative femininity. The use of bold makeup, oversized hair rollers, and a glamorous satin robe enhances the theatrical feel, making the subject appear almost like a caricature of traditional beauty standards.

Each image plays with the idea of femininity as a performance, with exaggerated expressions that range from playful confidence to sultry allure. The lipstick application and open-mouthed pose, for example, reference the expectation that beauty is both a ritual and an obligation for women. By emphasizing these details in a humorous and exaggerated manner, I wanted to challenge how these stereotypes are both reinforced and internalized.

I aimed to create thought-provoking yet visually engaging images that reflect the societal pressures placed on women. The staged, performative nature of the series ties back to Sherman’s conceptual approach, making these selections the strongest representation of my exploration of identity and gender roles.

I chose to include this second set of images because it explores a different side of female stereotypes, contrasting with the playful and glamorous feel of my first set. These have a moodier vibe to them, playing into the idea of the ‘mysterious’ or ‘rebellious’ woman often seen in films and media.

The cigarette, dramatic lighting, and detached expression plays into the stereotype of the ‘troubled woman’ a figure that is often romanticized in popular culture. The shadows and natural light add to the atmosphere, making the images feel more cinematic and reflective.

I wanted to include this set to show a contrast between two extremes of femininity -the over-the-top, glamorous persona in my first set and this more detached, ‘deep in thought’ stereotype. Both tie back to Cindy Sherman’s work and her exploration of constructed female identities.

Comparison to Cindy Sherman

When I compare my photos to Cindy Sherman’s work, I feel like we’re both exploring similar ideas around gender, identity, and the roles society expects women to play. Sherman critiques these stereotypes by creating exaggerated characters and using herself as the subject. With my photos, I focused on those same expectations, specifically through the rituals of doing hair and makeup.

The tone of my work, though, feels a bit different. Sherman’s photos often have this unsettling vibe, while mine are more playful and light-hearted. I wanted to keep things fun and relatable, but still make people think about how these routines connect to societal pressures.

Visually, Sherman’s work is very theatrical and carefully staged, with dramatic lighting and props that make her characters feel larger than life. In my photos, I used exaggeration in the poses and actions, but I kept the scenes grounded in the everyday. I think this gave my work a lighter tone, while still paying homage to her ability to critique through performance.

In the end, I think my photos reflect the spirit of Sherman’s work, challenging ideas about femininity, but with my own twist that feels more playful and true to my perspective.

Creative Portraits

Studio Portraits

Environmental Portraits

Chosen Layout

Images in Online gallery

Other Final Images

Chosen Layout

Images in Online Gallery

Photoshoot 1

Contact Sheets:

Image Selection

Photoshoot 2

Contact Sheets:

The images in green are the ones I like the most.

I like these 4 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.

Second Photoshoot- Editing

I chose my favorite images them edited them in the same way in order to explore ideas for my final images.

Editing 1

Editing 2

I think these 3 images work the best together.

Image Layout

I chose this layout because it creates a strong visual flow. The larger image on the left draws attention first, setting the tone with its dramatic lighting and intense expression. The two smaller images on the right complement it by showing different angles and variations of the same character, adding depth and reinforcing the theme of the ‘ brooding’ or ‘mysterious’ woman.

The placement of the images also helps balance the composition. The central focus on the cigarette and the drifting smoke creates a sense of continuity throughout.

Final Images- Option 2

Editing and image selection

Image Selection & Layout

I used PowerPoint to experiment with what images I wanted to include and the layout of the images and this layout was my favourite.

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.

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.

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.