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.

Studio lighting is a popular choice for portrait photographers who want complete control over their lighting environment. In a studio setting, photographers can use a variety of lights, such as soft boxes, umbrellas, and beauty dishes, to create the perfect lighting setup for their subject.

Studio lighting in photography happens when a photographer uses an artificial light source to either add to the light that’s already there, or to completely light their photograph. Setups can range from using a single flash that you mount onto your camera, to multiple off-camera lights.

difference between 1-2-3 point lighting

point 1 – key light

usually the strongest point of light and most influence within the area, places to on side of camera or subject.

point 2 – fill light

if are to lights the more stronger one is your key light and the less one is your fill light, which is usually places the opposite side of the key light, which is used to full the shadows created by the key light. The fill will usually be softer and less bright than the key

point 3 – back light

the third light in your kit after setting up the key and fill will become the back light which is also known as the rim, hair, or shoulder light.

The back light is normally placed behind the subject and lights it from the rear.

The back light is the light that makes your shot ‘pop’. Rather than providing direct lighting, like the key and fill, its purpose is to provide definition and subtle highlights around the subject’s outlines. If setup correctly there should be a subtle rim of light around your subject. This helps separate the subject from the background and provide a three-dimensional look.

additional lighting – 4 point light setup

If there is a fourth light available to you then it would become your background or environment light.

The background light is placed behind the subject. Unlike the other three lights, which illuminate foreground elements, it illuminates background elements, like walls or outdoor scenery. This technique can be used to eliminate shadows cast by foreground elements onto the background, or to draw more attention to the background.

This setup would then typically become known as a four point lighting setup.

Rembrandt lighting

is a classic photographic and cinematic technique that creates a dramatic yet natural look by using a single light source positioned at 45-degree angle to the subject and slightly above eye level. it is characterized by a distinct triangle of light on the shadowed cheek, under eye, formed by the interplay of light and shadow. this high contrast effect adds depth and dimension, emphasizing facial features. commonly used in portrait photography and dramatic scenes, Rembrandt lighting evokes a sense of mystery and intensity, making it a popular choice of creating moody, compelling visuals.

Butterfly lighting

is a portrait lighting technique characterized by a small, butterfly shaped shadow directly under the subjects nose. it is achieved by pacing a single light source above and directly in front of the subject, normally a a 30 – 45 decree angle. this setup highlights the cheek bones and creates a smooth, flattering look, making it popular for beauty, glamor and headshot photography.

Chiaroscuro

is an artistic technique that uses a strong contrasts between light and shadow to create sense of depth, volume and drama. originating in the renaissance it was formally used by artists like Caravaggio and Rembrandt to emphasize three dimensional forms and evoke mood. in visual arts, chiaroscuro highlights specific areas of a subject while leaving others in shadow, gilding the viewers focus and enhancing the emotional intensity of the sense. this technique is also widely applied in photography and cinematography for dramatic lighting effects.

fill lighting

A fill light is a the style of lighting which is often used in theatre and film as well as in photography. Often used as part of a three point lighting set up, fill lighting is utilised in order to light up the shadowed parts of your setting – this creates less contrast where you do not want it.

raw photos

best raw photos –

yellow shows chiaroscuro and red is Rembrandt and green shows butterfly

Rembrandt –

in this photo its shows the light technique of Rembrandt lighting, and with in this photo a reflector is used to the shadows don’t completely block out half of the face. Also even with the glasses u can see the triangle and how it dose not effect the lighting.

same for this one but its more obvious that’s its Rembrandt lighting, as can see the triangle more so. And the light was moved more so closer to the camera, like half way between the model and camera.

more Rembrandt raw photos

chiaroscuro –

for this photo you can see that its lighting represents more so like Chiaroscuro, this is shown by that half of the face is lit up and the other half is shadow but u can still see the shadow side cause a reflector has been used.

similar for this photos that it represents chiaroscuro, this is achieved by the light to be beside the model, so that the light on the face is only on one side. and again the reflector is used so that the shadow side of the face is still visible.

more chiaroscuro raw photos

butterfly –

within this photo you can kinder see the shadow under the nose and the lighting is focused above the subject to give this effect.

Editing –

chiaroscuro –

other experiments –

on this photo i edited it into black and white and made the brightness on one side quite bright and on the other side the shadows so that it blends into the background.

Rembrandt –

all edited main photos close up –

tried different experiments –

with this photo I cropped it to seem closer and focused more on the features of the subject.

for this photo I cropped it so was more background and to make photo seem more ominous and makes subject seem really small.

for this photo I tried to see what it would look like in black and white.

Butterfly –

for this I cropped the photo so was made to seem like the subject is really small

with this photo I edited the background so it get rid of the texture and focused on only the subject, made it to a low exposure.

with this photo I edited it in black and white, which made the butterfly effect more obvious.

with in this photo its similar to the last but some of the texture has been taken away.

colour gel experiments

raw photos –

edited experiment’s –

final photos –

I chose these as my final images because these are the best edited photos out of all of my possible photos and they showed the most seminaries to August Sander. and how in each photos she is looking within the camera.

with those I used artsteps to visualise what it would look like in a gallery and to see that those 4 photos go well together

with this photos so far u can see using the rule of third and how she is in 2/3 of the photo

with this photos iv edited the brightness and contrast, and also took away the deep shadows on the eyes to eyes are a obvious view point. and with most of my photos with my sister in will be edited like this innless in different area.

and similar sort of editing with these people

with this person there is a quite High contrast and the dodge tool has been used.

each colour shows a different person

red is my sister, yellow is my step mum and greens is a yoga instructor and blue is my dad and purple is a couple of my brother.

with the ones for my sister there are a couple of things she is doing, such as dancing poses, gymnastics and reading. and here are some of the best raw examples.

for the ones with my step mum, she id drinking tea and doing trapeze yoga. here is some of the best raw photos.

plus connected to my step mum is the yoga instructor when volunteered to participate. here are some of the best raw photos.

for my dad of him at his work desk, here is some of the best raw photos. which of him at his work from home space.

environments

subjects – I will take photos of my family members and people in the same environment.

for this I will take photos of each family member where they are connected to

dad – his home office space

step mum – trapeze yoga

sister – gymnastics studio and dance at home

poses

will be quite natural and if in a type of hobby will be doing a move from that.

gaze

I intend of all of my subjects to be looking at the camera.

composition

i will experiment to with loots of different types of composition such as rule of 3rds.

framing

i will be experimenting with full body photos and 1/2 and 2/3 head shots and i will not do tighter crop because the environment background wont be at all visible. which are shown below from online.

oriental

in my environmental I will make mine landscape so is able to capture the environment. and here is an example I found online.

Aperture

will experiment with different types of aperature.

Arnold Newman environmental portraits

Newman went on to photograph Eleanor Roosevelt, Pablo Picasso, Frank Lloyd Wright, Golda Meir, Andy Warhol, Marilyn Monroe, Salvador Dalí, and the former president Bill Clinton: decidedly on his own terms. There would be no overstuffed costume fittings or stark studios. Mr. Newman’s portraits were defined by his sitter’s environments, which led him to be known as the “father of the environmental portrait.” which he hated being called.

Otto Frank, who was a businessman and the father of Anne Frank. in Amsterdam, 1960. Credit…Arnold Newman

Gwendolyn Knight, sculptor, and Jacob Lawrence, painter. New York, 1944.Credit…Arnold Newman

George Grosz, painter. Bay side, New York, 1942.Credit…Arnold Newman

What he said about his photos

in his photos he argued that he was not interested in the details of his subjects surroundings. but instead the symbol’s that he could create. furthermore A new book by Radius Books, “Arnold Newman: One Hundred,” published in conjunction with the Howard green burg gallery in honour of the centennial of his birth, shows the range of his symbolic approach.

Some plates in the book are solely of symbols — like a collage of a violin maker’s patterns in Philadelphia. One of his most famous, his mid-1940s portrait of Igor Stravinsky that was commissioned by Harper’s Bazaar, shows the composer at the corner of a large piano. This, Mr. Newman explained, was not about the piano, it was about the symbol the piano represents.

within this photo it shows how he crops to symbolise a music note when cropped and more so how it is in black and white, which also makes all of his photos seem like they are related in some way or another.

Others which show subjects placed within symbols. In his 1956 portrait, Mr. Newman posed the bald head of the painter and sculptor Jean Dubuffet in front of a weathered wall that looked like a huge glob of chipped paint.

Image Analysis:

Emotional responce

this photo graph automatically gives an uncomfortable view because if the way he’s staring out at you with a villainous look to him.

Visual

in the photo there are really dark and gloomy colours such as green and brown. its dark toned with light throughout the middle top. the shape is symmetrical with leading lines. creates a sense of depth with the background in relatively deep focus, and the man is central with pillars either side of him. he is in the foreground. lights repetition leads the eye to the deep background.

technical

in this the lighting bright in the back ground however on him its very dark on his on the front of his face. The aperture is high. also the shutter speed looks over exposed on the lights and where the lights are shining on but where the lights don’t reach it seems like its slightly under exposed. from the high sensitivity in the ISO shows the its all its focus. throughout the photo there is a warm and cold feel about it expect from Krupp because he is the vocal point.

contextual

has a very historical view of after the second world war and Jewish concentration camps. which is very personal to Arnold Newman, who is a Jewish photography, who also originally didn’t want to take the photo. While Alfred Krupp, the subject, was a German Nazi war criminal. with the visual aspect the industrial backdrop, which serves as a reminder of the atrocities committed during WW2.

conceptual

shows that Krupp is seen as scheming and looks evil and cruel, also where he is positioned shows that he’s the owner of the train station where they would transport the Jews to concentration camps. showing this is that he looks bigger and better with him in the spot light. Arnold Newman shows his own poetic justice by making Krupp seen as evil as possible. showing this is the shadows that come down on his face, to create this Newman made Krupp lean forward to create this.

a portrait executed in the subject’s usual environment, such as in their home or workplace, and typically illuminates the subject’s life and surroundings.

which in these types of photos it can reveal lots of things or conceal thing to the naked eye, such as the top second one at the top, as it could reveal that its a child working and and doesn’t look happy doing what he is doing. however the 5th one on the second row only shows a part of the photo, so could mean that its been cropped which is being concealed and it doesn’t reveal much about him except that he looks happy.