I will be trying to combine these two mood boards as I am inspired by the way Ralph Eugene Meatyard masks identity and Cerises Doucedes successful presentation of people in their own environment and thoughts
In my photoshoot I will try to focus on the binary opposites of masculinity and femininity and try to create a powerful narrative, by mixing clothing and accessories traditionally associated with each gender—such as pairing a tailored suit with delicate lace details or a soft dress with structured, bold accessories. Lighting can enhance the contrasts as well—using harsh lighting to accentuate strength and softer lighting to bring out vulnerability or softness. Split lighting, where one side of the subject is in shadow and the other is illuminated, can visually symbolize the opposing forces. For composition, I might place the masculine and feminine elements on opposite sides of the frame or use reflective surfaces like mirrors to show both sides of the subject’s identity. Props associated with each gender, such as boots or ties alongside flowers or jewelry, will deepen the symbolism, and playing with contrasting colours can further strengthen the mood. This approach will create a visual dialogue between masculinity and femininity, inviting the viewer to explore and interpret the boundaries between them.
An environmental portrait is a style of photography that captures a subject in a setting that reveals something about their personality, profession, or life. Unlike traditional studio portraits that isolate the subject, environmental portraits use the surroundings to add context and depth, making the image more storytelling and meaningful. For instance, a chef might be photographed in a busy kitchen, an artist in their studio surrounded by their tools, or a musician with their instrument in a performance space.
Mood board and definitions
This style allows the setting to complement and enhance the subject’s identity. Arnold Newman, a master of this approach, often used environments to highlight his subjects’ essence. One of his most famous works is a portrait of composer Igor Stravinsky, where the placement of a grand piano becomes an integral part of the composition, emphasizing Stravinsky’s connection to music and creativity.
Image Analysis:
Visual:
The lighting in this image appears artificial, casting strong contrasts on Krupp’s face. The shadows darken his features, making him look more sinister and intensifying his presence. This dramatic effect exaggerates the eerie atmosphere, reinforcing his infamous reputation.
The aperture seems to be set at a medium level, as the background has a slight blur while the foreground remains sharp. This keeps the focus on Krupp while still allowing the industrial setting to be recognizable.
A fast shutter speed is likely used, ensuring that the foreground is crisp and well-defined. The image has a balanced exposure, with highlights and shadows carefully controlled to enhance depth and drama.
The angle is eye level, positioning the viewer directly opposite Krupp. This perspective creates an unsettling confrontation, heightened by his piercing eye contact. His pose—leaning forward with clasped hands—evokes a sense of power, control, and even menace. This composition was intentional, as photographer Arnold Newman, a Jewish man, strongly disapproved of Krupp’s past, particularly his use of slave labour and connections to Nazi war crimes.
Krupp is the main focal point, positioned towards the lower center of the frame, and is visually framed by concrete pillars. This setting reinforces his dominance, as if he owns or controls the industrial background.
Leading lines guide the viewer’s eye toward his face. The top of the image and the receding lights in the center middle create depth while drawing focus to his portrait.
The balance in the image is striking—light at the top contrasts with the darkness below, creating a visual harmony while reinforcing the sinister mood. The strong contrast between highlights and shadows exaggerates his intimidating presence, making the atmosphere even more oppressive.
Contextual:
Arnold Newman was a photographer known for changing the way portraits tell a story. Instead of taking traditional headshots, he put people in settings that revealed something essential about their work or personality. He believed that where you see a person can be as telling as their expression or pose. This approach is called environmental portraiture, and it’s something he became famous for.
One of his best-known photos is of the composer Igor Stravinsky, who he positioned next to a grand piano, making it almost as much a part of the photo as Stravinsky himself. This creative choice highlighted Stravinsky’s life in music without needing words, and it became an iconic example of how to use an environment to enhance a portrait.
Newman’s work stands out because of his dramatic compositions and his use of natural or available light, which gave his photos an honest, timeless quality. He carefully considered each element in the frame, often using strong shapes and lines to make his portraits feel like more than just pictures. they felt like small stories. His subjects were often artists, musicians, writers, and political figures, including famous people like Pablo Picasso, John F. Kennedy, and Salvador Dalí.
Studio lighting in photography refers to the use of artificial lighting setups within a controlled indoor environment to create high-quality and consistent images. It allows photographers to manipulate light and shadow to highlight their subject effectively and achieve a specific mood or style. A typical studio lighting setup includes a key light, the main light source that illuminates the subject, and a fill light to reduce harsh shadows. Backlights or rim lights can be added to separate the subject from the background and create depth.
How come we use studio lighting?
Studio lighting is used in photography to give precise control over the light in a scene. Unlike natural light, which can be inconsistent and unpredictable, studio lighting ensures reliable and steady lighting, making it ideal for professional-quality images. It allows us to shape and direct the light to achieve specific visual effects, such as softening shadows, emphasizing textures, or creating dramatic highlights. By using tools like reflectors, and diffusers, photographers can manipulate the light to suit their creative vision. Additionally, it offers complete control over background lighting, helping to create depth or separation between the subject and the backdrop. Overall, studio lighting provides the consistency, flexibility, and control needed to achieve polished and professional results, regardless of external conditions.
This is a set up of the lighting used in a studio. As you can see there are multiple different lights facing in different directions
What is the difference between 1 2 and 3 point lighting and what does each technique provide/solve?
1-Point, 2-Point, and 3-Point Lighting are essential lighting setups used in photography and filmmaking, each offering different effects and solutions.
1-Point Lighting uses a single light source, typically placed in front or to the side of the subject. This setup creates high contrast with deep shadows, giving a dramatic, moody look. It’s simple to set up and effective for portraits, but can result in flatness without fill light.
2-Point Lighting adds a second light, usually a backlight or rim light, placed behind the subject. This creates separation from the background and adds depth by outlining the subject. It’s great for dramatic effects, mystery, and defining edges but still relies on the main key light for illumination.
3-Point Lighting is the most common and balanced setup, consisting of a key light, fill light, and backlight. The key light provides the main illumination, the fill light softens shadows, and the backlight adds depth, helping the subject stand out from the background. This setup is versatile and used for flattering, natural looks in interviews, portraits, and narrative scenes.
Each technique addresses specific needs like mood, clarity, or depth, helping to shape the subject and the overall visual effect.
Rembrandt Lighting
What is Rembrandt lighting?
Rembrandt lighting is a dramatic and classic photography technique named after the Dutch painter Rembrandt, known for his use of light and shadow. It is characterized by a small, triangular patch of light on the shadowed cheek, achieved by positioning the light at a 45-degree angle to the subject and slightly above their eye level. This technique creates a striking contrast between light and shadow, adding depth and dimension to portraits. Typically, it involves a single light source, though subtle fill light can soften shadows if desired. Rembrandt lighting is widely used to create mood and emphasize facial features in portrait photography.
This is my most successful image that represents Rembrandt lighting, it does this as we can see a upside down triangle placed just below the models eye on the left of the picture
After developing this picture in photoshop this is my final image
Before :
After:
Butterfly lighting
How can butterfly lighting be described?
Butterfly lighting is a popular portrait photography technique named for the butterfly-shaped shadow it creates under the model’s nose. Achieved by positioning the light source directly in front of the subject, slightly above eye level and angled downward, it provides a soft, even illumination that highlights cheekbones and smooths facial features. This symmetrical lighting is especially flattering for beauty and glamour photography, creating a polished and professional look. We placed a reflector under the model’s face which eliminates the shadows under the model’s chin
In Lightroom I have developed this as it has enhanced the models skin making his skin smoother, this adds to the picture as the shadows darken under his nose.
This is a comparison of the picture before and after I imported it into Lightroom and edited it.
I personally prefer the black and white one as it puts emphasises on the shadows on his face.
Fill lighting
Why do we use it?
Fill lighting reduces shadows created by the primary light, also known as the key light. Its primary purpose is to soften harsh contrasts and ensure that details in shadowed areas are visible, creating a more balanced and visually appealing image. By lightening the darker parts of a scene without overpowering the key light, fill lighting helps to enhance details that might otherwise be lost in shadows. It also plays a significant role in setting the mood of a photograph. For instance, a subtle fill light can maintain a dramatic look with deeper shadows, while stronger fill lighting can create a more evenly lit and neutral appearance.
An example:
My Example:
To improve my image I should of put the light closer on the right hand side to eliminate slight shade.
Chiaroscuro
Chiaroscuro lighting is a way of using strong contrasts between light and shadow to create a bold, dramatic look. It helps add depth, dimension, and mood to an image or scene. The term comes from Italian, meaning “bright-dark,” and was made popular by artists like Caravaggio and Rembrandt during the Renaissance. It’s still a go-to technique in photography, film, and art for drawing attention to specific details, creating a three-dimensional feel, or setting the tone of a story. It’s all about using light and dark in creative ways to make visuals more striking.
Tableau photography is a style of photography that involves carefully staged scenes that resemble a theatrical tableau, painting, or cinematic still. The term “tableau” refers to the creation of highly composed and deliberate photographic narratives.
Key Characteristics of Tableau Photography:
Narrative Focus: Tableau photographs often tell a story or suggest a larger narrative, leaving room for the viewer’s interpretation. A good example of this is some of Cindy Sherman’s work that I have already looked at. These are commonly studied and popular as each person that sees it, views it in a different light and from different perspectives
This picture is a good example of the use of narrative focus as you do not know what this hand is aiming to achieve but you can annotate it and compare with someone else and the annotations might be completely opposite.
For example I would talk about how this seems to be a child’s hand and how they value their marbles as they are portrayed in colour whilst the rest of the picture is in black and white. Furthermore this could also portray a sense of what this child finds fun as the colour could represent what brings the child joy. You could also go on to talk about the hard concrete floor that could be that of a car park or a neglected street. Then this brings in a factor of juxtaposition as a child is seen to be something to nurture and to take time and care over and in contrast a cold old floor.
This is just an example and shows how you can keep building on annotations and why this is a good type of photography.
Staged Composition:
Staged Composition refers to the layout of the entire shot; staging is the arrangement of objects and characters within the frame. Good composition and staging are key ingredients in any compelling professional image. The scenes are purposely arranged, with careful attention to lighting, props, costumes, and setting. They often mimic theatrical or cinematic techniques.
Painterly Aesthetic:
Many tableau photographers are inspired by the composition and lighting of classical paintings, creating works that resemble fine art.
The painterly aesthetic in photography is all about creating images that feel more like paintings than typical photographs. It focuses on mood, texture, and emotion rather than sharp details or realism. Photographers who go for this style often use soft lighting, blurred edges, and rich tones to give their work a dreamy, artistic feel. Sometimes, it’s about mimicking the look of old paintings, like those from the Impressionist or Romantic periods, with a focus on storytelling and atmosphere. It’s a way to turn photography into something more expressive and timeless, where the image feels carefully crafted, like a piece of art.
Symbolism:
Symbolism in tableau photography helps tell a deeper story through objects, colours, and body language. An apple might suggest temptation, a mirror could hint at self-reflection, and a clock can represent time slipping away. Colours set the mood for example: red for passion or danger, blue for sadness or calm, and black for mystery. Even the way people pose matters; looking away might suggest secrecy, while standing tall can show confidence. All these details work together to create images that make you think and feel something beyond what’s just in the frame.
A good example this picture taken by Cindy Sherman as the audience can look at it and pick out the finer detail
Jeff Wall
Jeff Wall is a Canadian photographer known for creating large, carefully staged images that feel like scenes from a movie or a painting. His photos might look like real moments, but they’re actually planned down to the smallest detail, sometimes taking months to complete. He often uses symbolism to suggest deeper meanings, drawing inspiration from art, literature, and everyday life.
One of his most famous photos, A Sudden Gust Of Wind (1993), shows four people outside as papers fly through the air, caught in an invisible gust. It’s inspired by a Japanese woodblock print by Hokusai, and the flying papers can symbolize lost ideas, sudden change, or the chaos of life. The whole scene looks natural but was actually pieced together from multiple shots to get the perfect effect.
Wall plays with the idea of reality and fiction. His 1978 photo Mimic looks like a documentary-style street shot but was staged to highlight racial tension.
In Insomnia (1994), a man sprawled on a kitchen floor creates an eerie, unsettling scene that could suggest exhaustion, mental struggle, or something more mysterious.
What makes Wall’s work so powerful is how it pulls you in. At first glance, his images seem like everyday moments, but the more you look, the more details emerge, making you question what’s really happening beneath the surface.
Cerise Doucède is a French photographer widely known for her imaginative and surreal style, which brings the hidden corners of the mind to life. Originally trained in graphic design, she found her passion for photography and graduated from the Spéos Photographic Institute in 2010. Her background in design and her attention to detail shine through in her work, which often feels like a mix of fine art and storytelling.
Doucède gained widespread recognition in 2013 when she won the prestigious Prix HSBC pour la Photographie. Her award-winning series, Égarements (which translates to “Wanderings”), features people surrounded by suspended objects—like cups, books, or paper—seemingly frozen mid-air. These surreal scenes represent the inner thoughts, memories, or emotions of her subjects, giving a visual shape to the chaos and beauty of the mind. What makes her work especially captivating is that these images are not the result of digital manipulation; Doucède painstakingly builds her installations by hand, creating something real and tangible before photographing it.
Her book, Liens Intimes (“Intimate Connections”), published by Actes Sud, gathers four of her photographic series created between 2010 and 2013. It explores themes of human connection and the way people relate to their surroundings, continuing her exploration of perception and reality. Her work often walks the line between the everyday and the extraordinary, transforming familiar objects into something magical and thought-provoking.
What makes Doucède’s photography stand out is its craftsmanship and the dreamlike quality of her scenes. By avoiding digital editing and instead focusing on elaborate, handmade setups, she adds an authentic, tactile depth to her images. Her photos invite viewers into a world where imagination runs wild, and where the inner workings of the mind become a vivid, visual experience. Doucède’s work is both relatable and otherworldly, offering a fresh perspective on the way we see and interpret our own thoughts and emotions.
How she inspired me
This is what inspired me to create the images I created as I strongly agree with the sense of portraying what’s going on inside someone’s head on the outside. I also agree and enjoy the fact that you use physical items and try to set it up really focusing in on the depth of field and other important areas of photography
This is my contact sheet. I went through and rated all of my images from the photoshoot on a star scale from 1-5. 1 being the poorest and 5 being the best. I rated them depending on important qualities such as the lighting and making sure everything is in focus. A big factor in this photoshoot was trying to manage to see the full depth of field.
Editing: As these pictures were taken with a relatively high iso, they required a high amount of editing. Also what I did was on Photoshop make layers of the blueberries and then duplicate them and enhance the saturations to make them pop more as they become more blue
Final Pictures:
My Annotation
In this photo, a woman stands in a kitchen with her hands on a blender, which contains fresh blueberries. Surrounding her head, blueberries appear to float in mid-air, adding an unexpected and magical element to the scene. The soft, natural lighting creates a warm and inviting atmosphere, enhancing the overall feeling of comfort and homeliness. The woman’s calm, focused expression contrasts with the playful movement of the suspended berries, bringing a sense of balance to the image. The photo is inspired by the work of Cerise Doucede, who often blends elements of everyday life with surreal, whimsical touches. Here, the kitchen—a place typically associated with routine—becomes a canvas for creativity, where ordinary objects take on a new, fantastical life. The floating blueberries add a sense of wonder and movement, transforming a simple moment into something extraordinary. The combination of vibrant colours and the surreal composition creates an enchanting feeling, inviting the viewer to see the magic hidden in the everyday.
As the picture was already well lit i don’t believe there was much editing that could of been done. Even though I tried it in black and white I felt as if it took away the colour too much which is one of the best aspects of the picture. I picked these pictures as I preferred the contrast of the black background and the colourful flowers as it made the colours jump out more. In editing I slightly increased the saturation to exaggerate the colours
My final pictures:
My annotations
The photo shows a teenage girl sitting quietly, wearing a flowery dress that matches the flowers hanging above her. She looks calm and relaxed, her pose giving off a sense of youthful grace. The bright colours of the flowers and her dress really pop against the black background, making the whole scene feel vivid and full of life. There’s a nice balance between her and the flowers, almost like they’re connected, which adds a sense of harmony to the image. The dark backdrop makes everything else stand out, giving it a magical, dreamy vibe
The photo captures a girl wearing a sleek black dress that contrasts beautifully with the pink rose she’s holding. The soft colours of the rose stand out against her outfit, creating a delicate yet striking balance. Above her, flowers are hung gracefully, adding a whimsical touch to the scene. The black background enhances the mood, making the vibrant details of the rose and the hanging flowers pop even more. Her confident stance and the gentle way she holds the rose give the image an elegant, almost cinematic feel. It’s a mix of simplicity and formality, with a touch of romance brought in by the flowers. The whole scene feels timeless, like a moment frozen in beauty.
The picture shows two girls standing back to back, each with their own unique style. One is wearing a flowery dress that feels bright and cheerful, while the other is in a simple black dress, holding a pink rose that adds a soft, elegant touch. Above them, flowers hang gently, tying the whole scene together. The black background makes the colours pop, from the flowers to their outfits and the rose. Their poses feel close but still highlight their differences, showing off two sides of beauty—one light and lively, the other calm and classic. It’s a simple but eye-catching moment that feels both connected and unique.
To get the flowers to be like how they are in the photoshoot i used a frame. This frame is shown in the picture below. This allowed me to be able to use a slower shutter speed and not have to focus on quickly taking loads of pictures whilst the flowers are thrown in the air.
She is regarded as one of the leading figures of the Pictures Generation, a collective that includes distinguished artists such as Richard Prince, Louise Lawler, Sherrie Levine, and Robert Longo. This group emerged in the 1970s, responding to the dominant mass media landscape by employing humour and critique while appropriating imagery from advertising. In 1972, Sherman began her studies in the visual arts department at Buffalo State University, where she concentrated on painting. It was during this time that she started to explore themes that would later become central to her artistic persona: she dressed in various characters, utilizing clothing obtained from thrift stores. Her work aims to challenge mass media on gender norms. Sherman carefully crafts her photographs, controlling every aspect of the image, including makeup, costumes, lighting, and settings. Through her elaborate modifications, she encourages viewers to question societal norms and expectations, particularly those imposed on women. In a 1990 interview with The New York Times, she expressed, “I see myself as anonymous in my work. When I look at the photographs, I do not recognize myself; they do not function as self-portraits.”
Some of her Work
Image Analysis
Woman in the image has dark hair and wearing evening clothes, as if she’s about to go out. She is Holding her neck with a rather startled expression and her other hand is holding what seems to look like a knife. In the mirror we can see her back which exposes herself making herself vulnerable as people can see what she cannot. There is also a table in-between her and the photographer, potentially acting as a barrier which can also back up the point regarding the feeling of vulnerability.
Smoke that is seen in the mirror at the back suggests that someone else is present. We can make an assumption that this picture is based in her home as there is a picture of her sitting on the furniture in the background The aperture is more likely to be lower so that the audience can see the closer details.
Furthermore there could be a bruise on her arm which would explain her expression of discomfort and vulnerability.
In this image we get a full body shot and we get to see the back of her. This makes the subject seem very exposed.
She is criticising films as they portray women to be distressed at the time and seen to be helpless when in reality they are not
The fact of being, or feeling that you are, a particular type of person, organization, etc.; the qualities that make a person, organization, etc.different from others
What is femininity
qualities or attributes regarded as characteristic of women or girls.
What is Masculinity
qualities or attributes regarded as characteristic of men or boys.
How can Identity be influenced?
Identity is shaped a lot by where we live, where we belong, and how we grow up. These things influence how we see ourselves and how others see us, especially when it comes to gender, culture, social roles, politics, or even feeling like we don’t have a clear identity.
Gender Identity
Where you grow up can play a big role in how you see your gender. Some places have strict ideas about what it means to be “male” or “female,” which might make it harder for people who don’t fit into those boxes to express themselves. On the other hand, living in a more open-minded community might give people the space to figure out and show who they really are. Family, school, and social circles also influence what we believe about gender, and stereotypes about things like being “tough” or “delicate” can make this even more complicated.
Cultural Identity
The culture you’re raised in—like its traditions, food, and language—becomes a big part of who you are. But that can shift if you grow up in a mix of cultures, like in a diverse city, or if you move to a new place. This can sometimes feel like juggling two (or more) identities. Stereotypes about certain cultures might also make you feel like you need to prove something or distance yourself from those assumptions.
Social Identity
The people and groups around you—friends, classmates, co-workers—shape your social identity. Feeling like you belong somewhere (a sports team, a community group, or even online spaces) can give you a sense of identity. But being excluded or not fitting in can make you question where you belong.
Geographical Identity
Where you’re from can feel like a huge part of your identity, whether it’s pride in your hometown, country, or even just your neighbourhood. At the same time, leaving that place or feeling disconnected from it—like moving far away—can make you feel a little lost.
Political Identity
Your political beliefs are often shaped by your environment—what your family values, the political climate where you live, or what issues are important to your community. These influences might push you to agree or rebel against what you grew up with.
Loss or Lack of Identity
Sometimes, people feel like they don’t have a solid identity—like if they’ve moved around a lot, been excluded from certain groups, or experienced discrimination. This can leave them searching for where they fit in. Stereotypes can make this worse by creating unfair expectations or making someone feel they can’t truly be themselves.
In the end, our identity is always evolving, influenced by the places and people around us. It’s about figuring out where we fit—and sometimes, creating a new space for ourselves.
Lines are a great starting point when thinking about formal elements, as they are almost everywhere. Start by looking for lines in your composition that can guide the viewer through your shot or to a specific focal point. These are known as leading lines.
Shape
Effectively representing shape and form in your compositions can turn objects, landscapes and figures into defined, striking focal points. Using various lighting techniques, such as backlighting, silhouettes, and paying attention to shadows, will help elevate the shapes and forms in your shot.
Space
Building space into your compositions creates a sense of scale and brings added depth to your shot. It can also provide breathing room for your image’s main subject, allowing the viewer to focus on the scene’s primary features.
Repetition
This can involve the repeated use of lines, shapes, colors, textures, or other visual elements that create a sense of consistency and uniformity. The repetition photography examples could be anything—a row of trees, a series of arches, a field of sunflowers, or even a group of people dressed similarly.
Texture
Texture is a visual representation of how something feels, whether it is rough or smooth or soft or prickly. The cues we use to determine texture as we look at a subject (or scene) are variations in colour, shadow, line, shape, and depth.
Colour
A prominent colour in your image – whether it’s a concrete colour block or a set of similar colours that form a palette can make a bold statement in your shot.
Colours can also convey a mood to your image that will be emotive to the viewer. And you could also single out one particular colour to make a striking statement and have it ‘pop out’ of your shot.
Value/Tone
Focusing on tone in your image means using variables of contrast and light and dark areas to bring depth to your image.
The tone is fundamental in black-and-white photography, where it should be used to guide the viewer through your image where there is no colour present to focus their attention.
Practice makes perfect when it comes to tone, and we recommend trying different lighting scenarios and contrast levels for your preferred aesthetic.
Francis Bruguière
Francis Bruguière (1879–1945) was an American photographer and avant-garde artist known for his pioneering work in abstract photography. Initially a portrait and commercial photographer, Bruguière became famous for his experimental use of light and shadow, creating abstract images through techniques like multiple exposures and cut-paper compositions. His work was influential in pushing photography beyond its traditional documentary role into the realm of fine art. Bruguière also worked in film and design, collaborating with prominent figures in the early 20th-century modernist movement.
Francis Bruguier inspires me as he uses unique styles and cut outs of paper. He also intelligently configures light by using cut-outs held against un-natural light to get shadows.
Photoshoot
I put all of my pictures from the photo shoot into
My Chosen Images
Using Lightroom I picked out and made a folder regarding my best pictures from the Photo Shoot. I then proceeded to compare my images and pick the top 20.
Using the colour-coding method on lightroom i picked out my favourites and marked them in green. This made it easier for me to then go on to organize them into a set folder
