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

Contact sheet:

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.

Contact Sheet:

Editing:

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

What is it?

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.

Formal Elements

Line

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.

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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.

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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

Editing

Final Image:

What is Lightroom?

Well, Lightroom is many things but what Lightroom is actually used for is to enhance and sharpen pictures. it is commonly used as using certain methods (I will go into further along this post) it is easy to identify the ones with bad quality and good quality and eliminate the ones you don’t want to work on.

To start actually putting pictures into Lightroom, you have to import them. In the bottom left of your screen you will see the import button.

Once you have pressed this a screen will come up and on the left hand-side you can choose where the images come from and what images you would like.

Here is where you can uncheck and check images to choose which ones you would like to import into your Lightroom library. Once you have selected them in the bottom right of your screen you will see this button.

If you press import, these images you have selected will appear into your library. Furthermore this will unlock multiple different features that can improve your photos and make them easier to navigate to.

By going through your images and pressing in the top right corner of each image you can flag the images. This aids you further as you can prioritise the pictures that have certain features

Diptych

What is a Diptych?

A Diptych is a creative format that combines two images side by side. This approach allows photographers to explore relationships between the images, whether through contrasting themes or the monitoring and comparing of the two images. By pairing two photos it is easier to identify and pick out more final details. For instance, one image could focus on texture and detail, while the other provides context or a broader view, encouraging viewers to make connections between the two. Diptychs are an effective way to engage the audience and invite deeper interpretation of the photographic narrative.

This is my Diptych and it easily shows my original picture and the final product.

The aperture helps the photographer decide what they want to be in focus. It also links with the depth of field. For example the wider the aperture the smaller the depth of field. This means that the foreground is in focus and the background is blurry.

The F stop is what is used to measure the aperture

The image below has an aperture of 22. This means that the lens gets smaller and everything becomes in focus.

 

This image has an Aperture of 5 so the plane is in focus and the pencils in front and the toys behind. The lens expands in comparison to 22. This means there is a Medium level of: depth of view.

What is ISO…

ISO is a number that represents how sensitive your camera sensor is to light. The higher the ISO number, the higher your camera’s sensitivity, and the less light you need to take a picture. The trade-off is that higher ISOs can lead to degraded image quality and cause your photos to be grainy or “noisy.”

When might you use High ISO?

High ISO is generally well suited to low-light situations, especially when a fast shutter speed or a narrow lens aperture is essential to achieving a creative goal. For example, using a higher ISO setting for hand-held street photography at night allows one to use fast shutter speeds to create bright, sharp images.

My Own Photo using high ISO

This is an example of me using high ISO in a dark room setting.

As you can clearly see this picture has become very grainy. I used an ISO of 6400