I think my photoshoot was successful, it was based on the photographer Clare Rae. I took a selection of photos, each one exploring different angles, lighting, and compositions. Out of those, I was able to narrow it down to 7 final pieces that I believe work well together and intertwine geometric structures with human form. As a group of photos, the diversity in the angles and shapes created by the human form and geometric shapes, creating a sense that these are human sculptures.
Clare Rae often discusses themes of being trapped in her work, and I was drawn to that concept as an inspiration for my own project. The idea of being trapped became a central theme in my photos, so I incorporated picture frames to symbolize this feeling of confinement as well as the idea of the human sculpture. By framing my model in various ways, I was able to visually represent the idea of entrapment, as if the frames themselves were a boundary the model was trying to escape.
For the editing process, I decided to convert the photos into black and white, as I wanted to emulate Clare Rae’s distinctive black-and-white identity photo style. The black and white removes any distractions on colour, putting more focus on the shape and form.
Looking back, if I were to do the photoshoot again, there are a few changes I’d consider making. I would experiment with a wider range of angles to capture more diverse perspectives. I think there’s potential to push the composition further and bring even more variety to the images and shapes. Additionally, I would encourage my model to experiment with a greater range of poses and shapes within the frames, exploring more dynamic and unexpected positions. This would add even more depth and complexity to the overall concept, helping to tell a more unique story about restriction, freedom and the geometric shape of the body with the frame.
Portraiture
I also printed out my environmental and studio portraiture photos along with my identity ones.
These are the specific 3 photos I have taken inspiration from and I am going to try and replicate in my photoshoot.
Contact Sheet1
There were three photos that really stood out to me in this photo shoot.
After editing this is how they came out.
Photoshoot 2
In my second photoshoot, I’m going to push myself to be more creative and take photos that are bolder and more unconventional, experimenting with interesting shapes and compositions. I plan to focus on using negative space more intentionally, paying attention to how it can enhance the overall visual impact of each shot. By playing with the balance between the subject and the empty space around it, I hope to create images that evoke a sense of tension, mystery, or simplicity. I want to explore how negative space can help direct the viewer’s attention and add depth or meaning to the scene. This will be a great opportunity to experiment with new angles, perspectives, and framing techniques, making my photos more dynamic.
Contact sheet 2
Here are 7 of my favourites edited
For the editing process, I decided to convert the photos into black and white, as I wanted to emulate Clare Rae’s distinctive black-and-white identity photo style. The black and white removes any distractions on colour, putting more focus on the shape and form.
Paul M Smith is course director for the BA Hons Photography at Coventry University. He originally studied Fine Art at Coventry University and as part of his course he undertook a research project into contemporary art which included living on an Aboriginal reserve for four months.
After completing his degree at Coventry he completed a Masters degree in Photography at the Royal College of Art. During this time he examined the meaning and construction of masculinity, concentrating on the cultural and visual creation of various alpha male identities.
Smith’s commissioned work includes pieces for Channel 4, Matterson’s, and the CD cover for Robbie Williams’ Sing when you’re winning. His work has been shown at the Saatchi Gallery, Museo de Arte Carrillo Gil in Mexico City, The National Portrait Gallery, The Photographers Gallery, Technisches Museum Wien in Austria the Australian Centre for Photography.
In 2004 Goliath published ‘Paul M Smith, Photographs’. This book catalogued his work from 1997–2004. Smith’s work can also be found in ‘Digital Art’ published by Thames and Hudson.
Clare Rae
she said: I’m an artist I also teach in photography and I’ve been making artwork for about nearly 20 years that utilizes my body in relation to architectural space.
In her photographic practice Clare explores ideas of performance and gesture to interrogate and subvert dominant modes of representation. Her work is informed by feminist theory, and presents an alternate and often awkward experience of subjectivity and the female body, usually the artists’ own.
A central interest within her practice is the exploration of performance documentation, specifically how the camera can act as a collaborator, rather than mute witness, to the performer.
Known for her engagement with domestic and institutional spaces, recently Clare’s work has been captured and exhibited in locations such as the Australian Centre for Contemporary Art (ACCA), the National Gallery of Victoria, Monash University, the Abbotsford Convent, Sutton Project Space and the Substation, Melbourne.
In 2020 Clare began a PhD at the Victorian College of the Arts, University of Melbourne. She completed a Master of Arts by research in 2014 at Monash University, and received first class Honours in Fine Art in 2009 at RMIT University. Her work is held in public and private collections nationally, including Art bank, The National Gallery of Victoria, Monash University, RMIT University.
Hands are unique because they combine dexterity, strength, and precision in a way that few other body parts do. The human hand’s ability to perform fine motor tasks, like writing or playing an instrument, is unmatched in the animal kingdom. The thumb allows for gripping, manipulating, and creating tools, which has been essential to human evolution and culture. The complex arrangement of bones, muscles, and tendons in the hand also enables a vast range of movements, from delicate gestures to powerful actions, making it a remarkable feature of human anatomy.
Family is important to me because they provide love and support. The people surrounding me also give me a sense of belonging, helping me push through life’s challenges and celebrate my successes.
Identity is important because it shapes how we understand ourselves and our place in the world. It influences our values, decisions, and relationships, helping us navigate with a sense of purpose and direction. A strong sense of identity fosters confidence, self-acceptance, and resilience. Ultimately, understanding who we are enables us to live authentically and connect fully with others.
Love is important because it forms the foundation of human connection, empathy, trust, and understanding. It provides emotional support, helping us through life’s struggles and amplifying its joys. Love nurtures personal growth, encourages kindness, and strengthens relationships, creating a sense of belonging and security. Love is what binds us together, making life richer and more meaningful.
Cindy Sherman is a renowned artist from the Pictures Generation, a group of artists who sought to critique and analyze their relationship with popular culture and mass media. Sherman grew up on Long Island, New York, and in 1972, she enrolled at the State University of New York at Buffalo, initially majoring in painting before switching to photography. Her work is defined by her use of self-portraiture to create fictional characters, exploring themes such as identity, representation, and the construction of femininity. Through her art, Sherman challenges the societal norms and expectations placed on women. While Sherman herself contends that her images are not self-portraits, I believe that, technically, they still function as such, as she uses herself to explore and question the roles and stereotypes imposed on women.
Mood Board of her work
Image Analysis
Mise en scene
It is the arrangement of the scenery. Sherman has used it effectively to portray the woman as a house wife sort of person. The way she is stood over the sink with the white basket for dirty plates and cutlery and washing up liquid near her is very stereotypical. also you can see a pan in the bottom left and a mug bottom centre which she looks to be cleaning. The woman is also wearing an apron tied around her waist.
Visual
Sherman has taken on the role of a housewife preparing a meal for her family, as indicated by her apron and the cooking supplies visible in the frame. The photo appears to have been taken at the kitchen counter, with part of her head cropped out, emphasizing the cramped space and the sense of confinement she may be experiencing. She stands at the counter, holding her stomach and looking over her shoulder, conveying a sense of worry or concern about what might be happening behind her. The act of cradling her stomach suggests protectiveness, possibly toward herself or an unborn child. The overall atmosphere is one of unease, further emphasized by the tight space around her, as she is positioned against the wall, hinting at isolation. Her placement to the right third of the image subtly reinforces her secondary role or diminished importance in the scene.
Technical
The shutter speed in this image is relatively fast, ensuring the subject remains in sharp focus with a well-balanced exposure, despite the monochrome palette. The camera angle is positioned lower, enhancing the sense that we are either sharing the moment with her or observing the scene from an outsider’s viewpoint, much like a friend. The composition is a half-body shot, focusing on her waist and above, which adds intimacy by bringing us closer to her—rather than seeing her full body from a distance. The aperture appears small, keeping most of the image in focus, although the depth of field is shallow, with the pan handle in the foreground blurred.
Contextual
Historically, women have often been depicted in the media as housewives whose roles were limited to depending on men, staying at home to clean, cook, and care for children. They were also expected to maintain their appearance for their husbands, always having their makeup and hair done, in addition to fulfilling these domestic duties. This portrayal reduced women to objects, reinforcing traditional gender roles. However, Sherman subverted these stereotypes by dressing as these idealized women, challenging the media’s narrow and unrealistic representations. Through her series Untitled Film Stills, she highlighted that these portrayals are mere stereotypes, not reflective of the diverse and complex reality of womanhood.
Conceptual
Given the context, it’s clear that Cindy Sherman is the subject in every one of her images. She uses herself to embody various stereotypes, critiquing the film industry through her Untitled Film Stills series. By choosing this title, Sherman targets the film industry as the source of these limited, dominant portrayals of women. By acting as the subject, she mocks the media’s idealized image of the “typical” woman, revealing how these depictions are fabricated. Sherman exaggerates her features, using fake noses and eyebrows to transform her appearance, highlighting the artificiality of these representations. Her work also resonates with today’s media landscape, where many young girls are influenced by models who embody similar stereotypes of femininity, something Sherman was already challenging in her time.
Linking Image
In this pseudo-self portrait, Sherman assumes the persona of Claude Cahun, pioneer of self-portraiture and the French surrealist movement. Like Sherman, Cahun’s interdisciplinary and political art practice explored notions of gender performance, using masquerade and costumes to play with identity construction for the camera.
Close-cropped and black and white, Sherman highlights the artists’ signature French mime makeup and confrontational gaze. She holds a piece of silk fabric tightly bound at her chin.
Claude Cahun
Like Sherman, Cahun’s interdisciplinary and political art practice explored notions of gender performance, using masquerade and costumes to play with identity construction for the camera. Close-cropped and black and white, Sherman highlights the artists’ signature French mime makeup and confrontational gaze.
Her work left a huge impression on photography and directly influenced contemporary photographer Cindy Sherman who developed a fascination for disguise.
The fact of being who or what a person or thing is.
Identity is the set of qualities, beliefs, personality traits, appearance, and/or expressions that characterize a person or a group. Identity emerges during childhood as children start to comprehend their self-concept, and it remains a consistent aspect throughout different stages of life.
What is femininity ?
qualities or attributes regarded as characteristic of women or girls.
Femininity, in the context of the Social Sciences, refers to a socializing ideology that encompasses various interpretations and expressions of being a woman. It is not a fixed set of essential traits, but rather a concept that defines and organizes gender-related practices and relationships.
what is masculinity ?
qualities or attributes regarded as characteristic of men or boys.
Masculinity involves displaying attitudes and behaviours that signify and validate maleness, and involves being recognised in particular ways by other men and women.
Gender Identity
Gender identity is your deeply-held inner feelings of whether you’re female or male, both, or neither.
Cultural Identity
Your cultural identity is a critical piece of your personal identity that develops as you absorb, interpret, and adopt or reject the beliefs, values, behaviours, and norms of the communities in your life. Our cultural identity can evolve, as culture is ever-evolving and dynamic.
Social Identity
Social identity refers to the ways that people’s self-concepts are based on their membership in social groups. Examples include sports teams, religions, nationalities, occupations, sexual orientation, ethnic groups, and gender.
Geographical Identity
An individual or group’s sense of attachment to the country, region, city, or village in which they live.
Political Identity
Political identity is a form of social identity marking membership of certain groups that share a common struggle for a certain form of power. This can include identification with a political party, but also positions on specific political issues, nationalism, inter-ethnic relations or more abstract ideological themes
loss of Identity
A lack of self belief. Questioning value and worth – who am I without this job, role, title? Feeling lost without a sense of direction. Disconnected to personal values
Stereotypes
Stereotypes are characteristics that society instinctively attributes to groups of people to classify them according to age, weight, occupation, skin colour, gender, etc. Sexual stereotyping involves associating girls and boys with separate and, at times, opposing sets of characteristics.
DOUBLE/ MULTI-EXPOSURE: layer or merge two or three images into one portrait.
MONTAGE: Select an appropriate set of portraits and create a montage of layered images in Photoshop as an A3 document.
Double or multiple exposures are an illusion created by layering images (or portions of images) over the top of each other. This can be achieved in the camera settings, or on Adobe Photoshop by creating LAYERS and then using BLENDING OPTIONS and OPACITY CONTROL, but also by erasing through parts of layers to reveal parts of other images.
Artist Reference
Man Ray
Man Ray, originally named Emmanuel Radnitzky, was born on August 27, 1890, and passed away on November 18, 1976. He was an influential American artist who spent a large part of his life in Paris. While he played an important role in the Dada and Surrealist movements, his connections to these movements were more casual than formal. Man Ray created significant pieces across various art forms but primarily identified as a painter. He gained fame for his innovative photography and was well-known for his work in fashion and portrait photography. Additionally, he is recognized for his unique photograms, which he referred to as “rayographs” as a nod to his own name.
Multi-Exposure
Multi-exposure in photography is a technique where multiple exposures are combined into a single image, creating a composite that captures different moments, subjects, or perspectives in one frame. This technique can be achieved either in-camera or through post-processing.
In-Camera Multi-Exposure:
Many modern cameras have a multi-exposure mode, where you can take multiple shots and have them automatically merged into one frame. For instance, you might take two exposures, and the camera blends them into a single image.
This can be used to create a layered effect, where the elements of each exposure blend together, often in artistic and creative ways. It’s useful for capturing motion, combining portraits with landscapes, or adding surreal effects.
Post-Processing Multi-Exposure:
In post-processing, you can manually combine several exposures using software like Adobe Photoshop. You might take several photos, each with a different subject or lighting, and layer them into one image, adjusting opacity, blending modes, and masking.
This method allows for much greater control over the final result, such as selectively blending certain parts of each exposure.
Creative Uses:
Motion and time: Capturing a subject in multiple positions over time, such as a person walking, leaves blowing, or a bird flying.
Double Exposure: A specific form of multi-exposure where two different images (e.g., a portrait and a landscape) are merged in a way that they overlap and interact.
Surreal Effects: Combining unrelated elements or scenes to create dream-like or abstract compositions.
Key Tips:
Exposure Control: Each exposure in a multi-exposure sequence should be carefully managed to avoid overexposure or unwanted artefacts.
Composition: Consider how the subjects or elements will interact, as the layering effect can sometimes cause confusion or distraction if not thoughtfully arranged.
Multi-exposure offers creative flexibility, allowing photographers to produce imaginative and unconventional results.
Photo Montage
Montage in photography is a technique that involves combining multiple photos or elements to create a single, unified image. This can be done by digitally blending different photographs or physically assembling pieces of images, often by cutting and pasting. Montage allows photographers to create complex, layered compositions that can convey a range of ideas or emotions, often in an abstract or surreal way.
Historically, montage gained prominence in the early 20th century, particularly within the Dadaist and Surrealist movements. Artists like Hannah Höch and Raoul Hausmann used photomontage as a form of political expression or to critique societal norms. The technique also played a significant role in Soviet cinema, where filmmakers like Sergei Eisenstein used montage to build powerful narratives and emotions.
In photography, montage can serve a variety of creative purposes. It allows for storytelling by combining images that represent different moments or ideas. It also gives room for symbolism, where contrasting images are brought together to create a deeper meaning or message. A photographer might use montage to form visual metaphors, such as blending a portrait with nature or cityscapes to explore themes like identity or societal pressure. Juxtaposing seemingly unrelated images can create striking contrasts or harmonious compositions, depending on the artist’s intent.
To achieve a successful montage, a photographer must pay careful attention to the technical aspects of blending images. This includes adjusting lighting, colour, and shadows so that the combined elements appear cohesive. The composition also plays a crucial role in ensuring the image is balanced and that the viewer’s attention is guided through the visual elements in a meaningful way.
Overall, montage is a versatile and creative technique in photography, enabling the photographer to build new realities or present complex ideas in a single frame.
Here are some of my creative images
Photomontage is often used as a means of expressing political dissent.
It was first used as a technique by the Dadaists in 1915 in their protests against the First World War. It was later adopted by the surrealists who exploited the possibilities photomontage offered by using free association to bring together widely disparate images, to reflect the workings of the unconscious mind.
In 1923 the Russian constructivist Aleksander Rodchenko began experimenting with photomontage as a way of creating striking socially engaged imagery concerned with the placement and movement of objects in space.
Coloured Gels
Coloured Gels is a transparent coloured material that is attached on to the red-head lights which can modify the temperature and the feel of the image which is useful if you want to find a type of lighting to suit the subject your taking a picture of or if you want to make your picture look unique or standout more.
It is used for multiple different purposes such as to colour light and for colour correction and it is used in not only just photography but in videography and theatre as well.
Here are three examples of lighting in more detail
Top Lighting, Bottom Lighting, Side Lighting, Front Lighting, Back Lighting
Top lighting is when the source of light is above the object being shot.
Bottom lighting is when it is below the object being pointed up.
Side lighting is when it is to either side of the object lighting up one side of the face.
Front lighting is when the light is at the front being pointed straight at 90 degrees.
Back lighting is when the source of light is behind the object you are shooting shining through the face.
1. Key Light
What it provides: The Key Light is the main source of illumination in the scene. It’s typically the strongest light and is placed at an angle to the subject to create depth, texture, and contrast. It defines the overall look and mood of the scene.
Positioning: The Key Light is often placed at about a 45-degree angle to the subject, slightly above eye level, and to one side (either left or right).
Effect: The Key Light creates shadows and highlights on the subject, shaping their features and adding drama or contrast. The direction and intensity of the Key Light largely control the mood of the shot (e.g., soft lighting for a gentle mood, hard lighting for a more dramatic or intense look).
2. Fill Light
What it provides: The Fill Light is used to soften the shadows created by the Key Light. It doesn’t create its own shadows but fills in the areas of the subject that would otherwise be dark or underexposed.
Positioning: The Fill Light is usually placed opposite to the Key Light, often at a lower intensity. It may also be positioned close to the camera to light the subject from a more neutral angle, reducing harsh shadows while maintaining some contrast.
Effect: The Fill Light ensures that the subject’s features are visible in the shadow areas, preventing the shot from looking too contrast-heavy or having overly dark regions. The amount of Fill Light can be adjusted to achieve the desired balance of shadow and detail.
3. Back Light
What it provides: The Back Light is placed behind the subject, often at a high angle, to illuminate the subject from the rear. It’s used to separate the subject from the background and add a sense of depth and dimension to the scene.
Positioning: The Back Light is usually placed opposite the camera, behind the subject, and sometimes slightly elevated, depending on the effect desired. It can also be called a Rim Light if it’s used to highlight the edges of the subject, or a Hair Light if it’s specifically used to light the hair.
Effect: The Back Light creates a rim or halo around the subject, which can help define the subject’s silhouette and give the subject more visual separation from the background. It adds contrast and depth, preventing the subject from looking flat. In portraiture, it can also create a nice glow around the subject’s hair or shoulders.
Rembrandt Lighting
What it is: Rembrandt Lighting is a classic lighting setup that creates a distinctive triangle of light on the subject’s cheek, often on the shadowed side of the face. It is named after the Dutch painter Rembrandt van Rijn, who famously used this lighting technique in his portrait paintings to create a dramatic yet natural look.
Butterfly Lighting
What it is: Butterfly Lighting is named for the butterfly-shaped shadow that is cast under the subject’s nose when the light is positioned directly above the subject’s face. It’s a glamorous and high-fashion lighting style that was popularized by Hollywood portrait photographers in the 1930s.
Chiaroscuro
What it is: Chiaroscuro is an Italian term that means “light-dark” and refers to the technique of using strong contrasts between light and dark to create a dramatic, three-dimensional effect. This technique has its roots in painting, especially in the works of artists like Caravaggio, who mastered the use of light and shadow to create a sense of depth and volume in his subjects.
Fill Lighting
Fill lighting is a key lighting technique used to soften and balance the shadows created by the key light in a lighting setup. While the key light is the primary source of illumination, creating contrast and defining the subject’s form, fill light serves to reduce the intensity of those shadows without eliminating them entirely. This allows for a more natural, balanced look in the image or scene, ensuring that important details in shadowed areas are visible without compromising the dramatic effect created by the key light.
Purpose of Fill Lighting:
Softens Shadows: The primary purpose of fill light is to soften or “fill in” the dark areas (shadows) created by the key light, reducing contrast in a way that maintains a more even exposure across the subject.
Balance Exposure: Fill light helps ensure that no areas of the subject are too underexposed (i.e., too dark), which can be especially important for preserving detail in portraits and ensuring the subject’s features are clearly visible.
Control Mood and Contrast: By adjusting the strength of the fill light, you can control the overall contrast in the image. A stronger fill light will result in a flatter image with fewer shadows, while a weaker fill will maintain more dramatic shadow areas.
Preserve Depth and Dimension: While fill light softens shadows, it doesn’t remove them entirely, allowing for some sense of depth and three-dimensionality in the shot.
Artist Reference 1
Rankin
John Rankin Waddell (Rankin) is a British photographer and director who has photographed, amongst other subjects, Björk, Kate Moss, Madonna, David Bowie and Queen Elizabeth II.
The London Evening Standard described Rankin’s fashion and portrait photography style as “high-gloss, highly sexed and hyper-perfect”. He has directed music videos, documentaries, a feature film, short films and commercials. He is renowned for revolutionising visual culture.
Rankin charges around £500 per shoot. He lets customers pose in front of the lens, solo or with a friend and takes there photos. After the shoot they will receive a digital version of their final portrait and an A4 authenticated print.
This is one of his photos which I really love. He has put the photo in black and white which I think is really effective as it helps emphasise and highlight all the different tones whilst keeping it simple. The lighting in this photo is well thought about her whole face is lit up and you can clearly see she is happy. However, the sides of her face are a bit darker which could mean he is using front lighting where the light is pointed straight at her face. I also really like how her hands are placed the one close to the camera adds a 3D perspective and looks really cool.
As you can see I drew lines on the image and realised that Rankin also uses the rule of thirds in this image as her face sits on the line.
Photoshoot
Rembrandt Lighting
This lighting is created when the light is shining at a 45 degree angle across the models face. The lighting creates a triangle just below the eye as you can see I have highlighted this triangle.
Butterfly Lighting
with this lighting the shadow is formed under the nose. It is achieved by shining the light directly down on the models face from above.
Chiaroscuro
This lighting is half light half dark. it can be achieved by shining the light at a 90 degree angle to the face so half his face is lit up and the other half is getting no light.
Fill lighting
Fill lighting is a key lighting technique used to soften and balance the shadows created by the key light. This allows for a more natural, balanced look in the image
how you are going to produce the images (lighting / equipment etc)
Photoshoot 1
I photographed Connie in her garden as she loves gardening so this was her natural environment. I did the photoshoot mid day so the sun was out and there was good natural light.
These were all my photos I took 90 overall and I think overall it was very successful
In this snip you can see my favourite photos as I have highlighted them in green there is quite a few of them.
These are my favourite photos up close. There are 6 of them that I really like I am going to take them into Lightroom and do a bit of editing.
In this process I am rotating my photo so the background is straight and using the rule of thirds so she is sort of walking into the photograph.
This is how the photo ended up. I think it looks much better as the stairs in the back are straight and she is walking into the photo.
