romanticism definition – a movement in the arts and literature that originated in the late 18th century, emphasizing inspiration, subjectivity, emotion and the primacy of the individual.

who – Both the English poet and artist William Blake and the Spanish painter Francisco Goya have been dubbed “fathers” of Romanticism by various scholars for their works’ emphasis on subjective vision, the power of the imagination, and an often darkly critical political awareness.

what – a literary and artistic movement marked chiefly by an emphasis on the imagination and emotions

The origins of Romanticism – Romanticism started in Western Europe, around the middle of the 18th century. At this time, the dominant artistic and cultural movement is Neoclassicism, which finds its inspiration in the aesthetics of ancient civilizations.

how – Scholars say that the Romantic Period began with the publishing of Lyrical Ballads (1798) by William Wordsworth and Samuel Taylor Coleridge. This was one of the first collections of poems that strayed from the more formal poetic diction of the Neoclassical Period.

why did it start – Romanticism was a reaction against this spread of industrialism, as well as a criticism of the aristocratic social and political norms and a call for more attention to nature.

why did it end – By World War I, Romanticism was overshadowed by new cultural, social, and political movements, many of them hostile to the perceived illusions and preoccupations of the Romantics.

John Constable

John Constable (11 June 1776 – 31 March 1837) was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home – now known as “Constable Country”- which he invested with an intensity of affection. “I should paint my own places best”, he wrote to his friend John Fisher in 1821, “painting is but another word for feeling”.

Constable was one of the first artists of the Romantic movement to create landscape paintings drawn directly from nature rather than the idealised and dramatic depictions favoured by other artists of the period and in taking this stance he pioneered Naturalism in Britain.

Constable’s later years were saddened by the death of his wife. So, his works became more «expressionist», he wanted to communicate the emotional reality of the situation, and he emphasized the dynamism of the natural world. Thus, his landscapes appear more sinister and turbulent, expressing the feeling of the sublime

his painting was radical at the time, which would be quite traditional now, which is ambitious.

father is a land owner

land was fragrant movement with tension from industrial revolution removed tension

landscapes not popular at the time , classical landscapes

given over an area of the canvas to the sky

subtle current undercurrent

creating beauty in low movement

personal to him

6 foot

deliberate of rough textures, to feel nature

capture nostalgic memory of place

with this 6 foot painting, at the time is would not be considered traditional

the sublime

Theory developed by Edmund Burke in the mid eighteenth century, where he defined sublime art as art that refers to a greatness beyond all possibility of calculation, measurement or imitation.

Capability to terrify or over well the viewer in photography

The sublime has contrasting positive + negative elements. It could be both beautiful and decaying at the same time, or it could illicit both awe and fear, such as powerful sea waves that can destroy boats on the open sea, which this feeling is shown within the painting.

JMW turner

Turner was born near Covent Garden in London and entered the Royal Academy Schools in 1789. His earliest works form part of the 18th-century topographical tradition. He was soon inspired by 17th-century Dutch artists such as Willem van der Velde, and by the Italianate landscapes of Claude and Richard Wilson.

Any discussion of the sublime in the second half of the nineteenth century should start with Turner. Of all Romantic painters influenced by the aesthetic of the sublime, his works have been widely recognised as the most successful in capturing the effect of boundlessness which Burke and Kant saw as a prerequisite for the sublime in verbal and visual representation – the sublime being something that can be evoked but not achieved. Those works by Turner typically seen as sublime employ a formal language that avoids precise definition, instead using paint to hint at the terrifying and awesome but on a relatively modest scale when compared to the bombastic productions of painters such as Francis Danby and James Ward. Through juxtapositions of dark and light, obtrusive facture and subtle blending effects, combined with energetic centrifugal and vortex configurations and exaggerated distortions of scale, Turner’s works have been seen to both elevate and inspire perception in the beholder

The term “landscape” actually derives from the Dutch word landschap, which originally meant “region, tract of land” but acquired the artistic connotation, “a picture depicting scenery on land” in the early 1500s (American Heritage Dictionary, 2000).

Landscape photographs typically capture the presence of nature but can also focus on human-made features or disturbances of landscapes.

When did landscape emerge as a genre in western culture? ​

Artists have been painting the landscape since ancient times. The Greeks and Romans created wall paintings of landscapes and gardens capes. After the fall of the Roman Empire, the tradition of depicting a pure landscapes declined, and the landscape was seen only as a setting for religious, figural scenes. This tradition continued until the 16th century when artists began to view the landscape as a subject in its own right. The artistic shift seems to have corresponded to a growing interest in the natural world sparked by the Renaissance.

When did classical landscapes emerge as a genre?​

In the 17th century the classical landscape was born. These landscapes were influenced by classical antiquity and sought to illustrate an ideal landscape recalling Arcadia, a legendary place in ancient Greece known for its quiet pastoral beauty. The Roman poet Virgil had described Arcadia as the home of pastoral simplicity. In a classical landscape the positioning of objects was contrived; every tree, rock, or animal was carefully placed to present a harmonious, balanced, and timeless mood. The classical landscape was perfected by French artists Nicolas Poussin + Claude Lorrain. Both artists spent most of their careers in Rome drawing inspiration from the Roman countryside. Italy, at the time, was the preferred location for many artists, who often travelled there with patrons on the Grand Tour. Poussin, who in his early years focused his talent on history painting, came later in life to believe that landscapes could express the same very powerful emotions as the human dramas depicted in history paintings. From that point on, he worked to elevate landscape to a much higher status.

During the 18th century, Italy continued to be a popular source of inspiration for landscape artists, as the Grand Tour’s popularity increased and peaked in the later half of the century. France + England became the new centres of landscape art, although the ideals of 17th-century Dutch and Italian landscapes, including the classical model, retained popularity. While landscapes were often commissioned by patrons, the subject remained low in the hierarchy of the academies, particularly at the Académie Royale in France, an incredibly powerful organization that set the standards for what was taught

What prompted the rise of Landscape Art during the late 18th / 19th century?​

In the late 18th century, Pierre-Henri de Valenciennes changed the tide for landscape painting in France. Like Poussin, he saw landscape painting as worthy of the status of history painting and worked to convince the Academy and his contemporaries. In 1800 he published a ground-breaking book on landscape painting, Elements de perspective practicum. this book emphasized the aesthetic ideal of the “historic landscape,” which has to be baced on the study of real nature. The success of the book pushed the Academy to create a prize for “historic landscape” in 1817. The next generation of French landscape painters would benefit greatly from Valenciennes’ efforts. Among them was Jean-Baptiste-Camille Corot, who was heavily influenced by the historic landscapes of Valenciennes and by his own travels in Italy.

The 19th century held many milestones for the history of landscape art. As the Industrial Revolution altered the traditions of rural life, the old hierarchy of subjects vanished. Throughout Europe + North America landscape painting gained a new supremacy. Barbizon painters such as Théodore Rousseau and Charles Daubigny became less concerned with idealized, classical landscapes and focused more on painting out-of-doors directly from nature, a practice known as plein air painting.

When did landscape photography originate?

in the 19th century is when the birth of landscape photography, which would greatly influence the landscape painters’ compositional choices. Revolutionary artists surfaced, like Gustave Courbet, who pushed the boundaries of landscape painting even further by making it both a tactile + visual experience. Courbet’s radical painting techniques and independent spirit paved the way for the next generation of painters to break from the Academy, the Impressionists. The Impressionists, consist of artists including Claude Monet, Camille Pissarro, Auguste Renoir, and Alfred Sisley, would devote most of their careers to studying and painting the landscape, working most often out-of-doors. The influence of Courbet’s distinct use of paint and the way he structured his landscape views extended well beyond Impressionism, deeply impacting the work of Cézanne and Van Gogh, which also impacted painters within 20th century.

In the early 20th century, painters continued to embrace the landscape. As photography gained acceptance as an art form, artists used the medium to create interpretations of the land through pictorialist effects and, later, through formal compositions of close-up, cropped views of the landscape. In America, photographer Ansel Adams captured the country’s attention with his breathtaking views of the wild beauty of the American West. Even though the major artistic movements of the mid-20th century were no longer dominated by the landscape as a subject, the genre’s importance continued as artists responded to fears of increased industrialization, the threat of global destruction, and ecological disasters.

possible final layout –

within in these photos it gives off a dramatic scene to it, which in the way the subject has been edited it shows a timeless effect. which these photos will be presented as A5.

another print layout to go with the previous print layout.

other possible prints will be in A4 –

virtual gallery –

within this photo I edited by cropping it so each face is in one 3rd each and as been put into a black and white which makes it seem more like its been taken when most photos would be taken in black and white which is similar to Ilse Bing, which is quite similar to the one I edited below. however within this photo its slightly blurry, so dose not capture the full essence of the photographs that are similar to this photograph. (image above)

The edits in this photograph create a vintage, artistic vibe through the use of a black-and-white filter, which adds a timeless and nostalgic feel. The high contrast emphasizes textures and details, such as the reflection in the mirror and the roller skate in the foreground, while the composition, using the mirror and layered elements, adds depth and intrigue. Additionally, the graininess evokes a film photography aesthetic, enhancing the analogue feel and transforming a casual self-portrait into a stylistic and expressive piece. (image above)

this photo has a similar pose to a photos which Anastasia jobson took and how its been done in black and white however in all of her photos there is more of an facial expression , which in the photos is similar to Ilse Bing. (image above)

The edits in this image create a dramatic and emotional effect through the use of black-and-white conversion, high contrast, and sharp details. By removing colour, the focus shifts to the subject’s expression and textures, while the strong contrast highlights key features like the eyes and facial structure, adding intensity. The dramatic lighting creates depth and a sense of mystery, emphasizing vulnerability or introspection. Together, these techniques evoke a powerful emotional connection with the viewer. (image above)

the edits in this black and white photo create a moody and timeless atmosphere. the absence of colour emphasizes texture and contrast, bringing attention to the subjects posture, expression, and surroundings. the gritty details, like wood grain floor and soft fabric of the chair, contribute to a vintage, reflective feel. (image above)

the edits enhance the photo by using dramatic lighting and a dark background to make the subject stand out, while the muted pastel tones and warm skin hues create a nostalgic, vintage feel. the focus on textures, like skates and hoodie, adds detail, while the soft emphasis on the subjects face and evokes an intimate and timeless aesthetic. (image above)

the edits in the photo creates a striking and intimate effect by emphasizing the subjects expression with soft lighting and dark background, which isolates and draws attention to her. the warm skin tones and subtle blush add a natural, emotional touch, while the pastel tones of roller-skates contribute to a nostalgic and youthful vibe. these elements work together to evoke a sense of quiet reflection and simplicity.

the edits in the image creates a dramatic and emotional tone by using a silhouette effect, where the subject is fully un shadow, contrasting sharply with a bright background. the high contrast enhances the textures of the ground and water, while the backlighting highlights the subjects edges, drawing focus to the glowing effect of the setting sun. the black and white filter removes colour distractions, emphasizing composition, light and texture, while adding a timeless and nostalgic quality. altogether, these elements combine to evoke a reflective, serene, or melancholic mood. (image above)

the edits in this image builds on the pervious image on the dramatic mood by maintaining the subjects is now standing still, facing the light, the background further highlights their shape while leaving their features undefined, emphasizing form and posture. the black and white tone enhances the reflective and timeless quality, while the textures of cracked ground and shimmering water adds dept. the stationary stance and quite composition evoke a scene of calm contemplation or solitude.

all of the black and white ones are quite similar by that in most of the its a black out subject that the shape is quite prominent but the photo below that’s in black and white show the facial features and expression and how is quite a sad tone within this photo.

the image shifts the tone by revealing the subjects face and details, breaking away from the pervious silhouette style. the natural light creates contrast, but emphases the texture of subjects clothing and reflective background, adding depth. the subjects posture and expression feel candid and contemplative, while the monochrome palette maintains the timeless and nostalgic atmosphere. the inclusion of the skates and casual attire adds a scene of personality, blending a reflective mood with subtle dynamism. (image above)

the edits of this photo give a very cold effect to this image, which also with the subjects face facing downs its shows the mood of sadness and the blue background adds to this dramatically.

within theses 3 photos it gives a similar effect of timelessness but there is a more lighter pale shade within the photos.

this style of editing is what i will be doing on the day of the exam (2 photos above) these photos give off an effect of timelessness and the vibrant colours in the background make the subject more dramatic.

some of these edits don’t have the final edits on it.

some of these photos will be give their final edits on exam day.

edited photos that need final edits

inspired contact sheet and selection –

with the photography I took its been baced on 2 artist Anastasia jobson and Ilse Bing, the photos in green I used the style of self portraiture which Ilse Bing and I involved roller skates like some of the photos which Anastasia jobson, and I also do similar with the photos which are highlighted in blue via the roller skates and similar poses. with this photo shoot I will be taking more photos because there wasn’t as many good usable ones available and haven’t tried taking photos out in the street. which would relate more to Anastasia Jobson.

which the best raw photos are flagged

best raw photos –

with this photos I took it quite like Anastasia jobson but the facial expression is more so like Ilse Bing

these photos are inspired by Ilse Bing by the they have been taken as self portrait mirror selfie.

Another photo shoot –

within this photos shoot, which relate a lot to Anastasia jobson with roller-skating within an environment that you wouldn’t normally see people doing that type of activity and in some of the photos relates to her because of the facial expressions which my subject is given with in some of the photos. however with some of her images is quite bland which relates to Ilse Bing

best raw photos

Anastasia jobson

stuff she has said on her website about her –

“A little about me and what I do… I am a bit of a rolling stone, I have lived and worked in four different countries. Formerly a professional dancer, now I’m a professional photographer and video creator operating in Birmingham, West Midlands. I am really excited to see where my craft takes me next!”

“Simply put, I love working with people, hence why portrait photography is my passion.“

“As a former professional dancer and choreographer, I understand the way the body moves. I have transposed this skillset into my photography; I can instruct my clients to make subtle body adjustments that will transform an image in a spectacular fashion!”

“I’ve been studying posing for years and I believe there’s no “one pose fits all”. To me, effective posing requires a personal approach. I work with every single client by studying their body language, in order to find the flattering shapes, angles and poses specifically for them, and the personality they are trying to project.”

“I deeply believe that every single person I photograph should love their portrait, especially when it comes to a professional headshot/business portrait. I know how frustrating it can feel having a photo that you’re not particularly happy with, on a public display representing you. “

examples of her work – on a photoshoot of roller-skating –

analysis –

Visual Analysis

This black-and-white portrait exudes a sense of joy, individuality, and empowerment.

• Composition: The subject is positioned in a relaxed, squatting pose, which feels natural and inviting. Her smile and gaze directed away from the camera suggest spontaneity and an effortless connection with her surroundings.

• Lighting: Soft, natural light emphasizes the subject’s features, creating contrast against the smooth marble backdrop. The shadows cast by her figure and braids add depth and texture to the image.

• Contrast and Tonal Range: The monochrome palette enhances the interplay of light and shadow, drawing attention to the subject’s expression and the texture of her braids, denim jacket, and the marble wall.

• Textures and Details: The mix of soft and sharp textures—the smoothness of the marble, the braided hair, the denim fabric, and the sneakers—creates a dynamic visual experience.

Technical Analysis

The photographer has carefully balanced the technical elements to highlight the subject’s personality and style.

• Framing: The tight crop ensures the subject is the focal point, while the diagonal lines created by her posture and shadows guide the viewer’s eye through the composition.

• Depth and Focus: The shallow depth of field keeps the subject sharp and detailed while softening the background, further emphasizing her presence.

• Lighting and Shadow Play: The direct sunlight creates crisp shadows that enhance the three-dimensionality of the image while maintaining a flattering softness on the subject’s face.

• Monochrome Choice: The decision to render the image in black and white eliminates distractions and focuses attention on form, texture, and emotion.

Conceptual Analysis

This photograph captures themes of individuality, freedom, and self-expression.

• Representation of Identity: The subject’s confident pose and vibrant smile suggest a celebration of individuality. Her braids, denim jacket, and roller skates express her personal style and evoke a sense of youth and freedom.

• Timelessness: The monochrome aesthetic lends the image a classic, timeless quality, allowing it to transcend specific eras and connect universally with themes of joy and authenticity.

• Movement and Energy: The roller skates hint at mobility and playfulness, while her relaxed yet dynamic posture conveys a sense of ease and energy.

Contextual Analysis

The image’s cultural and stylistic elements provide deeper context:

• Cultural Identity: The subject’s braided hairstyle and casual attire suggest a celebration of cultural heritage and individuality.

• Urban and Contemporary Aesthetic: The roller skates and denim jacket speak to modern, urban fashion and lifestyle trends, emphasizing a connection to contemporary youth culture.

• Symbol of Liberation: Roller skating is often associated with freedom and self-expression, further reinforcing the photograph’s uplifting and empowering tone.

Evaluation

This photograph is a striking example of how simplicity can convey depth. The combination of visual, technical, conceptual, and contextual elements creates a portrait that feels both personal and universally relatable. Its balance of light and shadow, relaxed composition, and joyous energy make it a celebration of individuality, self-confidence, and freedom.

also one other artist which more links in with the previous artist reference, which showed femininity and masculinity –

Ilse Bing –

a pioneering German-born photographer known for her innovative work and use of the Leica camera. Often referred to as the “Queen of the Leica,” Bing played a significant role in modernist photography, blending artistic creativity with technical mastery. This passage highlights her early life, academic pursuits, and eventual pivot to photography, which became her lifelong passion and career.

examples of her work –

analysis-

visual Analysis

This self-portrait by Ilse Bing presents a layered and reflective composition that draws the viewer into its complexity.

• Composition: The image is carefully framed to include multiple perspectives of Bing, with her reflection in the mirror to the left and her direct gaze toward the camera lens. This interplay of reflections creates a fragmented yet intimate atmosphere.

• Lighting: Soft, natural lighting enters from the left, casting subtle shadows and emphasizing Bing’s facial structure. The highlights on the camera’s metallic surface provide a focal contrast in the otherwise muted tones.

• Contrast: The black-and-white tonal range enhances the drama, with deep blacks in her clothing contrasting with the brighter, overexposed window in the background.

• Focus: The sharpness of Bing’s face contrasts with the softer, blurred edges of her mirrored reflection, further emphasizing her direct engagement with the viewer.

Technical Analysis

Ilse Bing’s technical mastery is evident in her use of innovative techniques for the time.

• Camera and Equipment: Bing holds a Leica camera, a symbol of modernity and mobility in the 1930s. Its inclusion in the image reflects her identity as a pioneering photographer.

• Framing and Depth: The use of mirrors introduces layers of depth, making the viewer question what is “real” versus a reflection. This effect also speaks to her technical precision in controlling multiple focal planes.

• Exposure: Bing skilfully balances the light to avoid overexposure of the reflective surfaces while maintaining detail in her face and the camera.

• Self-Portraiture Technique: Using a mirror and tripod, Bing constructs a self-portrait that feels both candid and deliberate, showcasing her dual roles as both subject and creator.

Conceptual Analysis

Conceptually, the photograph explores identity, perception, and the role of the photographer.

• Themes of Reflection: The use of mirrors signifies introspection and the multifaceted nature of selfhood. Bing presents herself not just as an individual but as an artist in control of her image.

• Breaking the Fourth Wall: By directly engaging the viewer through her gaze, Bing asserts her presence, creating an intimate yet authoritative connection.

• Photography as Art: The inclusion of her camera within the composition blurs the line between the act of creation and the creator, emphasizing her role in redefining photography as an art form.

• Modernist Ideals: The image reflects modernist influences, with its focus on technology, innovation, and a rejection of traditional portraiture.

Contextual Analysis

Understanding the historical and cultural context deepens the appreciation of this work.

• Cultural Context: Taken in 1931, this photograph situates itself within the interwar period, a time of significant technological advancements and shifts in artistic expression. Bing’s work is emblematic of the avant-garde movement, which sought to challenge conventional forms.

• Artistic Influences: Bing was known as the “Queen of the Leica,” and her work aligns with contemporaries such as Man Ray and László Moholy-Nagy, who explored experimental and abstract photography.

• Feminism and Identity: As a woman photographer in a male-dominated field, this self-portrait can be interpreted as an assertion of autonomy and professional identity, with Bing presenting herself as both subject and creator.

• Personal Context: Bing’s use of the Leica camera not only symbolizes technological progress but also represents her personal connection to her craft, making the photograph a testament to her innovation and artistry.

Evaluation

Ilse Bing’s 1931 self-portrait is a remarkable fusion of visual, technical, conceptual, and contextual elements. Its layered composition, technical precision, and conceptual depth challenge the boundaries of self-portraiture and photography itself. Through reflections, lighting, and her direct gaze, Bing captures not only her physical presence but also her identity as a pioneering photographer and artist.

While minimalist in its setting, the photograph is rich in meaning, serving as a testament to Bing’s ability to combine personal expression with innovative techniques, making it a landmark in modern photography.

subject – trying in self portrait but will mainly use a subject as in my sister who roller-skates as well.

Cindy Sherman

What photography movement was Cindy Sherman a key figure of? And what was their purpose?

Cindy Sherman was an important figure in Conceptual Photography, especially in Feminist Art and Postmodernism.

Her work involved taking self-portraits where she dressed up as different characters to explore themes like identity, gender, and how women are shown in media.

Purpose: Sherman’s goal was to challenge the typical ways women are portrayed, like the “femme fatale” or the “damsel in distress.” She showed that these roles are not real, but rather performances influenced by society. Her work made people think about how media shapes our ideas of gender and identity.

What did she do before she became a photographer?

Before becoming a photographer, Cindy Sherman studied art. She initially attended Buffalo State College in New York, where she earned a degree in fine arts with a focus on painting. However, she became increasingly drawn to photography as a medium to express her ideas. While at college, she also experimented with other forms of art, including drawing and film.

Sherman’s shift to photography allowed her to explore concepts of identity, gender, and representation in a new way, eventually leading her to become one of the most influential photographers in contemporary art.

What are the key goals of her photography?

Cindy Sherman’s photography focuses on challenging stereotypical representations of women and exploring the performative nature of gender and identity. Through self-portraits in which she transforms into various characters, she critiques how women are portrayed in media, pop culture, and art, often highlighting the artificial and constructed nature of these roles. By using herself as the subject, Sherman questions the “male gaze” and shifts the control over female representation, urging viewers to reconsider how images shape our understanding of identity and gender. Her work ultimately seeks to provoke thought about how societal expectations influence how we see ourselves and others.

how dose she achieve these goals?

Cindy Sherman achieves her goal by photographing herself in a variety of personas and roles, using costumes, makeup, props, and elaborate set designs to transform her appearance. She doesn’t photograph other people but instead uses herself as the model, allowing her to explore and manipulate different identities. Through these self-portraits, Sherman portrays a wide range of characters, such as the “victim,” “heroine,” “mother,” “old woman,” “sex object,” “movie star,” and various figures drawn from stereotypes in film, advertising, and art. These personas often exaggerate or distort societal expectations of women.

Through this process, Sherman conveys a message about the constructed nature of gender roles and identity. By embodying different characters, she reveals how these roles are not inherent but are shaped by external influences like media and culture. Her work challenges viewers to question how much of their identity is influenced by societal norms and stereotypes, especially in how women are portrayed and objectified in the media. Sherman’s use of transformation and performance in her photography critiques the power of visual imagery in shaping perceptions of gender and identity.

Does Cindy Sherman consider her photos to be self-portraits?

Cindy Sherman does not consider her photos to be traditional self-portraits. While she is the subject of her work, her photos are not about capturing her “true” self or identity. Instead, Sherman uses herself as a medium to explore and critique various personas, stereotypes, and societal roles. Through her transformations, she embodies a wide range of characters, often drawing from cultural and media archetypes like the “victim,” “femme fatale,” or “older woman.”

Her work is more about examining how identity is constructed and how roles are performed rather than portraying herself in a direct or autobiographical way. Sherman’s photographs aim to reveal the artificial nature of these roles, rather than offer an intimate or personal glimpse into her own identity. In this sense, while she is the subject, the focus is on the broader themes of representation, gender, and identity, rather than a self-portrait in the traditional sense.

examples of her work –

Analyst –

visual –

within the photo you can see and women betrayed as a stereotypical women and that’s its in black and white, that’s shows that its been seen in an old mind set. furthermore how she is dressed is quite proper for a young women and also her outfit seems very feminine compared to how people dress now a days. on the face you cant see the facial expression, its very plain and doesn’t show any personality of the person. within this the photo is cute spacious its got only building, which go straight up high, and the subject is positioned in the lower middle and in the frame is the shoulders up.

Technical –

aperture – the background is mostly blurred in the left side and the right is in focus, the subject is fully in focus.

Shutter speed – which could of been quite a fast shutter speed as the subject is in focus, with a balanced exposure

Angle – Has it been taken from a slightly lowered angle, which is to create a sense of power or dominance in the characters she portrays. This challenges traditional depictions of women, who are often shown from higher angles to appear passive. The lower angle also emphasizes that the roles she embodies are not natural, but constructed, reflecting her critique of how society and media shape identity. By shifting the viewer’s perspective, Sherman encourages a more critical engagement with the images, inviting them to question the power dynamics and the meaning behind the characters.

this photo is taken as a head shot, this adds more mystery of to what’s going on below her.

Contextual –

Cindy Sherman’s Untitled Film Stills is a suite of seventy black-and-white photographs in which the artist posed in the guises of various generic female film characters, among them, ingénue, working girl, vamp, and lonely housewife.

Conceptual –

 a subtle satire of the feminine. stereotypes plaguing society now and in the past. By confronting viewers with a. familiar image of the ideal 1950s woman, she attempts to have viewers realise their. indoctrination to stereotypes.

another photo analysis –

visual –

within this photo you can see a very lady like subject, also it can be seen that its a hole body which shows the femininity of her outfit, as she is wearing a dress.

technical –

aperture – the backgrounds is out of focus and the foreground (the tree) is very in focus and same with the subject.

Shutter speed – should be relatively fast, ensuring the subject remains sharp and in focus while maintaining a well-balanced exposure.

the angle being taken from straight on creates a sense of direct confrontation or engagement with the viewer. This perspective often emphasizes the subject’s presence, allowing for a more intense or provocative interaction. By using a straightforward, frontal angle, Sherman often challenges traditional representations of identity and the roles people play, highlighting the constructed nature of the persona she’s portraying. This directness can evoke a feeling of discomfort or force the viewer to question their perceptions, as the subject seems to confront them head-on.

Identity refers to the characteristics, qualities, beliefs, and traits that define a person or thing. It is the concept of who or what someone or something is, often shaped by a combination of internal and external factors. In the context of a person, identity can include aspects like:

1. Personal identity: This encompasses one’s sense of self, personality, and individual experiences. It includes things like values, interests, and life history.
2. Social identity: This refers to how a person identifies with groups, such as family, culture, nationality, gender, religion, or profession. Social identity connects an individual to larger communities or societal roles.
3. Cultural identity: This involves the sense of belonging to a particular cultural group, which can include shared traditions, language, customs, and heritage.
4. Gender identity: This refers to a person’s personal understanding and experience of their gender, which may or may not align with the sex they were assigned at birth.
5. Digital identity: In the modern world, digital identity refers to the online presence or persona of a person, shaped by their activity, accounts, and interactions on the internet.

Identity is a complex, multifaceted concept that can evolve over time as individuals grow, learn, and adapt to different experiences and environments. It plays a central role in how people navigate relationships, society, and the world at large.

femininity –

Femininity refers to qualities and behaviours that society traditionally associates with being female or womanly. These can include:

1. Physical traits: Soft features, beauty, and appearance.
2. Behavioural traits: Nurturing, empathy, and emotional expressiveness.
3. Social roles: Caring roles like being a mother or caregiver.
4. Emotional expression: Showing sensitivity, compassion, and understanding.
5. Clothing and appearance: Dresses and other traditionally feminine clothing.
6. Cultural differences: What is seen as feminine can vary by culture and time.

While femininity has often been tied to women, anyone can express feminine traits. Today, there’s a growing understanding that femininity can look different for everyone.

masculinity –

Masculinity refers to qualities, behaviours, and roles traditionally associated with being male or manly in a given society. These can include:

1. Physical traits: Strength, muscularity, and toughness.
2. Behavioral traits: Independence, assertiveness, and competitiveness.
3. Social roles: Being a provider, protector, or leader.
4. Emotional expression: Traditionally, masculinity has been linked to controlling emotions and showing less vulnerability.
5. Clothing and appearance: Often associated with more practical or “strong” styles, like suits or casual wear.
6. Cultural differences: What is considered masculine can differ between cultures and over time.

Like femininity, masculinity is not fixed and can be expressed in many different ways. In recent years, ideas of masculinity are evolving, encouraging more diverse and inclusive expressions of what it means to be masculine.

how identity can be effected by theses –

Identity can be influenced by femininity and masculinity in the following ways:

1. Social Expectations: Society teaches us to act in ways that are seen as masculine (strong, independent) or feminine (nurturing, emotional), which shapes how we see ourselves.
2. Self-Expression: The traits linked to femininity or masculinity affect how we act, talk, and face challenges, which in turn shapes our identity.
3. Cultural Influence: Different cultures value certain masculine or feminine traits, and this influences how we form our identity based on those values.
4. Personal Choices: We may choose to embrace or reject certain masculine or feminine traits, which affects our sense of self.
5. Gender Identity: People may align with or challenge traditional masculinity or femininity based on their gender identity, influencing how they see themselves.
6. Relationships and Society: How others treat us based on our masculinity or femininity can boost or harm our self-esteem and shape our identity.

Overall, our identity is influenced by how we express or challenge traditional ideas of masculinity and femininity.

multi exposure

a technique in which the camera shutter is opened more than once to expose the film multiple times, usually to different images.

Man Ray –

In 1922, Man Ray (born Emmanuel Radinsky) freed himself from traditional painting by working with light through camera-less photography. He called this technique “rayographs,” where objects were placed on photosensitive paper and exposed to light, creating abstract images. Though the process existed since the 1830s, Man Ray focused on chance, irrational combinations, and abstraction. His early rayographs were featured in Champs delicious (1922), with an introduction by Dada leader Tristan Tzara, and he later explored moving images in his 1923 film Le Retour à la raison.

Rooted in the Dada movement, which rejected traditional art for randomness and spontaneity, Man Ray’s work embraced these ideas in both paintings and photograms. His photography and art also connected with the Surrealist movement, which aimed to explore the unconscious and the uncanny. He created surreal images like Anatomies, which transformed the human form, and iconic objects like Gift (an altered iron) and Indestructible Object (a metronome with a photo of an eye). A major figure in early MoMA exhibitions, Man Ray’s work was featured in Cubism and Abstract Art (1936) and Fantastic Art, Dada, Surrealism (1936–37). In 1941, MoMA added key works, including 24 rayographs, highlighting his desire to make photography as automatic as a typewriter.

Alexander Rodchenko –

Alexander Rodchenko was a ground breaking artist, both politically and artistically. He worked in many fields, including design, printing, painting, sculpture, and photography. He was also an art theorist and educator, teaching at VKhUTEMAS in Moscow starting in 1920. As a key figure in Russian Constructivism, he co-wrote the 1921 manifesto, advocating for the use of industrial materials in art for a society in revolution.

Rodchenko began photography in 1924, inspired by his earlier work in illustration and design. He incorporated his own images into photomontages and made it a key technique. Known for his experimentation, Rodchenko viewed the camera as a versatile tool for drawing, using unique angles and foreshortening. He encouraged photographers to take multiple shots of an object from various angles.

my image inspired by these artists –

for this photo I edited in photo show 3 different photos then made the effect in photo shop by dragging one photo on top of each other and then making so its blend is lighten and did same on other photo and edited the amount of opacity, on one of the photos the opacity was low so it blended in with the face and the other one is a bit higher but still blends in.

with in this photo multi exposure is used to seem like there is multiple of the subject, 3 different photos with this the subject is looking in 3 different directions to make photo look more interesting. which this photo style is seem more like man rays work.

for this photo i used double exposure, within in this photo, which its most similar to Alexzander Rodchenko. which I also tried with the same photo but added one more photo.

Montage –

 process and the result of making a composite photograph by cutting, gluing, rearranging and overlapping two or more photographs into a new image. Sometimes the resulting composite image is photographed so that the final image may appear as a seamless physical print. A similar method, although one that does not use film, is realized today through image editing software. This latter technique is referred to by professionals as compositing, and in casual usage is often called photoshopping. A composite of related photographs to extend a view of a single scene or subject would not be labelled as a montage, but instead a stitched image or digital image mosaic.

John Stezaker –

Stezaker is a British artist who creates collages by combining classic movie stills, vintage postcards, and book illustrations. By manipulating and merging these images, he gives them new meaning. His Mask series, which blends glamorous portraits with scenes like caves or waterfalls, is known for its eerie beauty.

Kensuoke Koike –

Kensuke Koike (b. 1980, Japan) creates unique art by altering vintage photos. His approach focuses on using only the elements within the original image to craft a new, contemporary story. For Koike, each piece starts like a puzzle, with its own challenges to solve.

Aleksander Rodchenko –

In 1927, Alfred H. Barr, Jr., the first director of the Museum of Modern Art, visited Moscow and met Aleksandr Rodchenko, one of the first Anglophone art historians to do so after the Russian Revolution. Barr was shown a wide range of Rodchenko’s work, including Suprematist paintings, woodcuts, posters, book designs, photographs, and kino sets. Rodchenko was proud of his work, especially his 1921 declaration that painting was dead. He demonstrated this with three monochrome paintings—Pure Red Colour, Pure Yellow Colour, and Pure Blue Colour—exhibited alongside works by other Russian artists. These pieces focused on the material nature of paint, using the primary colours to eliminate representation and reduce painting to its simplest form.

image inspired by these artists –

within this photo its seems most like the artist Kensuoke koike, by that the face has been made into multiple circles which look a bit like an optical allusion.

within this photo I edited it so would give this rectangle distorted effect by the parts are lifted up. also the one blow i used the same original photo however I duplicated it and inverted it and then deleted the sections.

for this photo I used a similar method however i brightened the layer underneath and then blended the top layer, to give this effect.

final photos –

possible print layout –

visual gallery –