• What does Landscape mean? ​A landscape is the visible features of an area of land, its landforms, and how they integrate with natural or human-made features, often considered in terms of their aesthetic appeal.

• When did landscape emerge as a genre in western culture? ​ After the fall of the Roman Empire, the tradition of depicting pure landscapes declined, and the landscape was seen only as a setting for religious and figural scenes. This tradition continued until the 16th century when artists began to view the landscape as a subject in its own right.

• 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.

• What prompted the rise of Landscape Art during the late 18th / 19th century?​ religious painting declined throughout the rest of Europe in the 18th and 19th centuries. That fact, combined with a new Romanticism — which emphasized emotion, individualism, and the glorification of nature — promoted landscapes to the well-loved place in art which they continue to hold today

• When did landscape photography originate? According to records, the earliest known evidence of a landscape photograph was taken between the years of 1826 and 1827. It was an urban landscape photo taken by a French inventor by the name of Nicephore Niepce.

Romanticism

​Among the characteristic attitudes of Romanticism were the following: a deepened appreciation of the beauties of nature, a general exaltation of emotion over reason and of the senses over intellect, a turning in upon the self and a heightened examination of human personality and its moods and mental potentialities​. Romanticism has long been associated within the landscape. In the medium of photography, the sense of romance of the landscape features it spirit in full bloom.​

A fact-file about romanticism​

who:

In English literature, the key figures of the Romantic movement are considered to be the group of poets including William Wordsworth, Samuel Taylor Coleridge, John Keats, Lord Byron, Percy Bysshe Shelley and the much older William Blake, followed later by the isolated figure of John Clare​.

john Constable, the German Caspar David Friedrich, and the American Thomas Cole

what:

Romanticism has long been associated within the landscape. In the medium of photography, the sense of romance of the landscape features it spirit in full bloom. It is very hard to categorise. The very nature of Romanticism is rather uncontrollable and unpredictable.​

how:

With its emphasis on the imagination and emotion, Romanticism emerged as a response to the disillusionment with the Enlightenment values of reason and order in the aftermath of the French Revolution of 1789.​

where/when:

Romanticism was first defined as an aesthetic in literary criticism around 1800. It then went on to gain momentum as an artistic movement in France and Britain in the early decades of the nineteenth century and flourished until mid-century. ​

why:

The main idea of Romanticism is the celebration of the individual and the glorification of nature. More specifically, Romantics embrace the uniqueness of the human spirit, which they feel is reflected in and deeply connected to the untamed wildness of nature.​

An explanation of what The Sublime is​

In aesthetics, the sublime (from the Latin sublimes) is the quality of greatness, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic. The term especially refers to a greatness beyond all possibility of calculation, measurement, or imitation.​

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

Well, then you encountered ‘The Sublime’ or at least the Romantic era version (1800-1850) of it. The Sublime is a western aesthetic concept of ‘the exalted’ of ‘beauty that is grand and dangerous’. The Sublime refers to the wild, unbounded grandeur of nature.​

how did the Industrial Revolution have an impact on Romanticism?

The Industrial Revolution had a profound impact on the Romantic movement, shaping its themes, concerns, and artistic expressions. The loss of connection with nature, the alienating effects of urbanization, and the critique of industrial capitalism all influenced the works of Romantic poets and artists.

The rise of Romanticism can be seen as a literature’s backlash against the Industrial Revolution. Escaping from the crashing modernity and rise of technology, factories, and cities, Romantics focused on nature, rural life and subjectivity.

The importance of the British painters JMW Turner and John Constable​

The landscape painters Turner and Constable were influential exponents of romanticism, an artistic movement of the late 1700s to mid-1800s that emphasized an emotional response to nature. ​

Turner, who travelled extensively, often infused his dramatic seascapes and landscapes with literary or historical allusions. Two of Britain’s greatest painters, J.M.W. Turner and John Constable were also the greatest of rivals. ​

Born within a year of each other Turner in 1775, Constable in 1776 – they used landscape art to reflect the changing world around them.​

Individualism ​

Focus on the self and personal expression, valuing individual creativity over societal constraints. ​

Imagination ​

Emphasized as a powerful and transcendent faculty, often seen as more important than reason. ​

Nature ​

Nature was seen as a source of inspiration, beauty, and spiritual power, often depicted as sublime and untamed. ​

Sublime ​

A concept that refers to experiences of awe and terror in nature or art, where beauty and danger intersect. ​

Emotion ​

Emphasis on intense emotions such as passion, awe, melancholy, and longing, often in reaction to the rationalism of the Enlightenment. ​

The Supernatural ​

Interest in the mystical, the mysterious, and the irrational, including folklore, myths, and gothic elements. ​

The Heroic ​

Celebration of the individual hero, often portrayed as a misunderstood or tragic figure. ​

Exoticism ​

Fascination with distant, mysterious lands and cultures, often portrayed in art, literature, and music. ​

Nostalgia ​

A longing for the past, especially for simpler or more primitive times, often idealized. ​

Rebellion ​

Rejection of established norms, authority, and traditional conventions, including a challenge to societal, political, and artistic constraints. ​

Art for Art’s Sake​

The idea that art should be valued for its intrinsic beauty and emotional power rather than its moral or didactic message. ​

Gothic ​

A style that blends the mysterious, eerie, and dark elements, often involving haunted landscapes or supernatural occurrences. ​

The Byronic Hero ​

A specific type of hero, derived from Lord Byron’s works, characterized by rebellion, isolation, and a troubled, tormented soul. ​

Sentimentality ​

Overwhelming emotion, often expressed in literature or visual arts, with a focus on tender, emotional moments. ​

My Photoshoots

My contact sheets:

These are my contact sheets of my identity project from Lightroom. I have done two separate photoshoots. Overall I have 457 photos which I have taken. This consists of 347 in the first photo shoot and 110 on my second photoshoot. The first photoshoot I did was in the studio with Alisha. I got her to dress up in a flowy dress and spin around so I was able to take photos with long shutter speed like Francesca woodman would have used in her photos. On the second photo shoot I used my sister and also got her to wear a dress, I took her out to a field at dusk so the lighting would be good. Again in this photoshoot I also used a long shutter speed with my ISO on 600.

These four photos are my chosen photos to edit from my first photoshoot.

These are the four chosen photos from my second photoshoot that ill be using.

Before and after editing

First Photoshoot;

Down the left hand side, are my unedited photos. The photos down the middle I have cropped, changed the brightness and contrast and moved around the exposure. the photos on the right I have changed them all into black and white. I did this to show my different ideas of editing my photos. it shows that editing photos can be done in many different ways and still look good. For all of these photos I used a long shutter speed such as 1/6 or 1/8. I used different lights in the studio to help. I found the light that was most effective was the flash light which was connected to the camera. Therefore every time I took a photo the light would flash. I changed between the white and black backdrop throughout the photoshoot to experiment with which ones I liked more.

To edit the Hue/saturation for the middle column photos, I went onto photoshop selected image then scrolled down to adjustments then selected hue/saturation, I then adjusted it to what fitted the best. To change the brightness/contrast for the second and third column did the same thing but except I chose brightness/contrast instead of hue/saturation.

Second photoshoot;

To edit these photos I used photoshop. I firstly dragged one photo on top of the other to create a double exposure photo. I then changed the opacity of the first photo so it would let the second photo come through and be visible. I then cropped the image so that my sister was the main focus and then changed the brightness and contrast on both photos until I got it to be where I wanted it. As I was outside, I did not have access to any lights, however the natural lighting was exactly what I needed for this photoshoot. With the black and white I used the edited photo and added a black and white photo filter, I then changed the brightness and contrast to be able to adjust the black and white to the way I wanted it. The black and white also looks a lot more like Francesca woodman’s photos as hers were all in black and white.

This is how I changed the opacity of the layer 1 so the background layers could come through on my photos.

To adjust my brightness and contrast I went onto image then adjustments then brightness/contrast. I would then play around with it until I was confident with it.

My Final photos

how this links to identity.

In my First set of photos, I’ve used double exposure to separate the two photos, the main photo being the body and the transparent photo being the soul coming out of the body. In my second set of photos I’ve used a long exposure whilst taking the photos, therefore both sets of photos are showing that the spiritual part of a person that some people believe continues to exist in some form after their body has died. The soul is the part of our being that consists of our thoughts, our emotions, and our unique personality. Therefore in these photos I wanted to separate the two to show that your body doesn’t define what or who you are and that your identity shouldn’t be what is seen on the outside. I think that my photos also represent freedom from the body, showing that your soul and body are two separate things.

Evaluation

Personally I would say that my final outcome was successful. However there would be changes that I would make if I were to do it again. With many of the images on my second photoshoot, my ISO was too high, therefore making the sky very bright and some of the photos came out grainier than the photos I took in the studio. Next time I would lower the ISO to make it more sharp and detailed. Or I could take my photos when it was just a little bit darker, therefore I wouldn’t have to worry as much about the ISO being to high. I would also probably take more photos for my second photoshoot so I could have had more options to chose from.

I tried to make spiritual details throughout the photographs just as Francesca woodman did. This is where I did my double exposure photos. In my first set of final photos, I used double exposure to make it look like there was a soul coming out of my sisters body. It gives it a spooky shadow effect and correlates to Francesca Woodman’s photos.

I knew what my intentions were when taking these photos as I had made a mood board on the theme of what I wanted my photos to look like which helped me throughout the process.

• Long exposure
• Movement
• Memories

Francesca Woodman is my inspiration for my photography project. I like how her photos give a sense of mystery and thrill.

Francesca Woodman’s entire body of work was produced as a young person and created over just eight short years. Her photographs explore many themes that affect young people such as relationships, sexuality, questions of self, body image, alienation, isolation and confusion or ambiguity about personal identity.

who is she?

Francesca Stern Woodman was an American photographer best known for her black and white pictures featuring either herself or female models. Many of her photographs show women, naked or clothed, blurred, merging with their surroundings, or whose faces are obscured. Francesca Woodman committed suicide at the age of 22, jumping from a window. She had only about five years of photography behind her, much of it done as a student. this also contributes to the eeriness of her ghost like photos.

Why is she so important?

Woodman’s feminist photography dealt with tilting the conventions of life, art, and death. In her photographs, she tried to both hide and define herself; in death, she crystallized and ensured her legacy in the feminist art movement.

How did she take her photos

Woodman used long shutter speed and double exposure when photographing so that she could actively feature in her own work. This also meant that she could capture different stages of movement, in a way that could trace the pattern of time. As a result, her image is blurred, which suggests motion and urgency.

This is my mood board for identity. ive chosen many photos with slow shutter speed to make some creative and intresting photos. my artist reference which relates to what my identity prodject is going to follow is Francesca woodman. her photos are imaginitve and create ghostly ideas.

IDENTITY

Identity is the set of qualities, beliefs, personality traits, appearance, and/or expressions that characterize a person or a group. Identity emerges during childhood as children start to comprehend their self-concept, and it remains a consistent aspect throughout different stages of life.

FEMEININITY

Femininity (also called womanliness) is a set of attributes, behaviors, and roles generally associated with women and girls. Femininity can be understood as socially constructed, and there is also some evidence that some behaviors considered feminine are influenced by both cultural factors and biological factors.

MASCULINITY

Masculinity (also called manhood or manliness) is a set of attributes, behaviours, and roles associated with men and boys. Masculinity can be theoretically understood as socially constructed. and there is also evidence that some behaviours considered masculine are influenced by both cultural factors and biological factors. To what extent masculinity is biologically or socially influenced is subject to debate. It is distinct from the definition of the biological male sex. as anyone can exhibit masculine traits. Standards of masculinity vary across different cultures and historical periods. In Western cultures, its meaning is traditionally drawn from being contrasted with femininity.

how can identity be found…

In a place:

An important mechanism that supports place identity is the attachment to a specific place. Individuals often develop an emotional bond to their life space, essentially their home and the neighbourhood, but often also urban places and spaces on a larger scale.

in a belonging:

Who and where we belong influences our sense of identity. Other people may believe they know our identity, but in reality, they may not know us at all. Where we belong is influenced more by family than friends. The identity of one changes with different relationships. The sense of belonging is one of our basic human needs. It helps us orient each other in an ever-changing environment.

Your environment:

When we are in familiar surroundings, we tend to feel more secure and strengthen our sense of identity. We feel more in control of our lives and boost our self-confidence. On the other hand, when we lack an established place, a home, we may feel lost and disconnected.

upbringing:

Many of our emotional ties, and even our relationships with money, people and God are influenced by our childhood experiences. Role models have a massive effect on a child’s self-identity. Many of our emotional ties, and even our relationships with money, people and God are influenced by our childhood experiences.

gender identity:

Gender enters into all our social relations. When people interact, their view of themselves, including their identity and their rights and possibilities, comes up against the way they are perceived by other people, and the way that others behave towards them.

cultural identity:

Culture is a defining feature of a person’s identity, contributing to how they see themselves and the groups with which they identify. A person’s understanding of their own and other’s identities develops from birth and is shaped by the values and attitudes prevalent at home and in the surrounding community.

social identity:

 Our family, upbringing, environment, genetic makeup (psychological and physical), and social interactions all play a role in identity formation.

geographical identity:

We can speak to how our geographic locations shape the languages we speak, the practices we engage in, our relationships to the people around us, and how we imagine the future

 political identity

 This can include identification with a political party, but also positions on specific political issues, nationalism, inter-ethnic relations or more abstract ideological themes. Political identities develop in individuals and evolve over time

Cindy Sherman

Cynthia Morris Sherman is an American artist whose work consists primarily of photographic self-portraits, depicting herself in many different contexts and as various imagined characters

Cindy Sherman is among the most significant artists of the Pictures Generation to make the art analysed.

In 1972, Sherman enrolled in the visual arts department at Buffalo State University, where she majored in painting. During this time, she began to explore the ideas which became a hallmark of her work: She dressed herself as different characters, cobbled together from thrift-store clothing.

her main goal in photography was To portray the various roles and identities of herself and other modern women. Though Sherman is both the woman in front of the lens and behind it, she appears masked through make-up and costume, disguised to resemble familiar female stereotypes; her women are images of women, “models of femininity projected by the media to encourage imitation and identification”

She is adamant that her photos are not self portraits, this may be because they are different identities of her, therefore she may not count this as self portrait as it is not who she is as she is roleplaying a housewife.

image analysis:

Cindy Sherman is trying to adopt the character of a housewife in the kitchen. you can see that she is near kitchen apparatus and wearing an apron. Cindy is staring away from the camera with a dull looking expression on her face. this could because she is looking at someone or something. she is cramped into the side of the photo, which could mean that she’s not important. she is also holding her stomach which could either to make her feel protected if she may be pregnant. The title to this photo is ‘Untitled film still #3’ this could mean that she is so un unimportant therefore the film is too.

• the aperture in Cindys photo is large
• The Shutter speed is fast as the photo is focused as we can see the details.
• The photo has been taken from a low angle. this makes it feel like she’s in the same room as us.
• it is a half body shot which makes her look smaller and less important. it also makes it more intimate as we are closer to her.

Contextual

It was a time where there was many stereotypes in mass media. Historically, media narratives have constrained women to traditional roles, depicting them as caring figures or hostile antagonists. Girls were often portrayed as focusing more on their appearance, as well as being judged for their appearance. Entirely fictitious, these “stills” deftly encapsulate the images of femininity that, through the media culture of movies, had a hold on America’s collective imagination at the time.

This photograph from early in Cindy Sherman’s artistic career indicates a burgeoning interest in what has become a lifelong investigation into using herself as subject. Produced in 1975, during her time as an art student at the State University of New York, Buffalo, the work prefigures her famous Untitled Film Stills series by two years. In it, the artist references Claude Cahun, an early Surrealist photographer whose androgynous self-portraits inspired a later generation of feminist theorists to think about gender as a social role that is performed rather than innate—ideas that would become central to Sherman’s oeuvre from the mid-1970s onward.

Claude Cahun

Claude Cahun, first named Lucy Schwob, was born in 1894 and died in 1954, was a French surrealist artist, photographer, and writer, best known for her exploration of gender, identity, and self-representation. She is recognized as a pioneer in challenging traditional gender norms, often presenting herself in androgynous or ambiguous ways in her self-portraits. Cahun’s work questioned fixed gender roles long before such ideas were widely accepted, making her a significant figure in early feminist and queer art.

Cahun’s connection with Jersey began early, with childhood holidays spent in Jersey and Brittany. They were born Lucy Schwob in Nantes, France to a wealthy Jewish family. But in their late teens and early twenties Cahun had been looking for a new, gender-neutral name for a while. They fixed on the name Claude Cahun in 1918. At that time they was in a same-sex relationship with Suzanne Malherbe, who used the pseudonym Marcel Moore. They had become step siblings in their mid-teens and at some point a closer relationship developed.

Cahun’s goal was to challenge the societal norms surrounding gender and identity. She used self-portraiture as a tool to deconstruct and explore various personalities, often presenting herself in androgynous or fragmented forms. Through costumes, makeup, and props, Cahun blurred the lines between masculinity and femininity, demonstrating that identity is not fixed but rather fluid and performative. Her work aimed to provoke viewers to rethink conventional notions of gender and self-expression.

‘I am training don’t kiss me’ by Claude Cahun

In this photograph, Cahun is sat facing the camera, however her gaze is directed downward, with her face partially obscured by her hands. This creates a sense of mystery and ambiguity.

Cahun’s outfit is simple and androgynous which helps contribute to the blurring of gender boundaries in the image. She wears a loose, neutral outfit, steering away from the traditional feminine dress of the time. this challenges the social norm of what woman would wear back then in the 1920s

The object Cahun holds in her hands is a dumbbell weight, an unexpected item for a female figure during the 1920s, a time when women were often portrayed as delicate and wouldn’t lift weights. The dumbbell symbolizes strength, power, and physicality, which is in stark contrast to the more passive, ornamental role often assigned to women.

on her shirt it says : “I am training – don’t kiss me.” This statement is both a literal and symbolic declaration of independence. It suggests that Cahun is focused on personal growth or training—whether intellectual, artistic, or physical—and rejects traditional romantic or sexual roles.

Creative Portraiture often refers to images that go beyond a single frame taken within a camera. Often creative portraiture combines images and other elements to create a final result also known as composite images.

DOUBLE/ MULTI-EXPOSURE:

Multiple exposures are photographs in which two or more images are superimposed in a single frame, and they’re super easy to create using your analogue camera.

Tiffany Sutton:

JUXTAPOSITION:

juxtaposition photography involves combining two or more elements in the same picture, highlighting the interesting contrast between them, to create an eye-catching and thought-provoking image.

MONTAGE:

Photomontage is the process and the result of making a composite photograph by cutting, gluing, rearranging and overlapping two or more photographs into a new image.

Man Ray:

Man Ray was an American visual artist who spent most of his career in Paris. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known for his pioneering photography, and was a renowned fashion and portrait photographer. He is also noted for his work with photograms, which he called “rayographs” in reference to himself.

These are some of Man rays photographs with surrealism.

My Edits:

This one of my edits that I have made with a photo of Nicha and another photo of a painting which I have then layered together and changed the opacity so your able to see the painting on top of her which makes it look like a reflection of the ocean.

This is a two photos of Chanel i have put together which makes it look like their is a ghost behind her. I layered the two photos together and changed the opacity of the photo in the background photo and added a filer onto it to have the translucent blue.

This is another photo of Nicha that I’ve taken, one with the scarf on her head the other without a scarf.

what is studio lighting and why do we use it?

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. Studio light is created artificially by flashes, strobes, or other sources, whereas natural light is the light that comes from the sun, moon, or stars.

It gives you complete control over the illumination of your scene, eliminating the unpredictable nature of natural light. The proper lighting setup ensures uniformity, improves visual clarity, and spotlights the subject effectively.

1-2-3 point lighting

What is butterfly lighting?

Butterfly lighting is a form of studio lighting that is usually used within portraiture photography, as the name suggests the lighting used forms a butterfly shape under the nose of the subject of the image. This is because the light comes from above the camera and you face creates the shadow.

Why should you use it?

Who created it?

Butterfly lighting was not created by one specific individual but rather developed over time in Hollywood back in the 1930’s, it was mainly used on a person called Marlene Dietrich who was a Hollywood star.

How to create a butterfly lighting setup:

Lighting: Butterfly lighting requires a key light that can be a flash unit or continuous. If continuous, it can be artificial or natural. In other words, you can use strobes, speed lights, LEDs or even the sun.

If continuous, it can be artificial or natural. In other words, you can use strobes, speed lights, LEDs or even the sun.

A butterfly lighting effect refers to the setup and not to the quality of light – it can be soft or hard light depending on the effect you want.

Before editing

After editing

What is Rembrandt lighting?

Why use Rembrandt Lighting?

By using Rembrandt lighting you instantly create shadows and contrast . it helps add the characteristic ‘triangle of light’ beneath the subject’s eye to help make the photo more dramatic. Rembrandt lighting adds an element of drama and psychological depth to the character of your sitter.

It also helps give an individual ‘look’ to your portrait photography, but also acts as a photographic device to draw the eye.

You canh use Rembrandt lighting to create not just dramatic portrait photography, but also portrait photography that grabs the viewer’s attention and draws their eye to your subject.

setting up rembrandt lighting:

The person taking the photo should be behind the light and the reflector. the person should be in the middle of the light and the reflector looking preferably forward.

Before editing

This is an example of Rembrandt lighting with my friend.

chiaroscuro lighting

Chiaroscuro is a high-contrast lighting technique that utilises a low-key lighting setup to achieve contrast between the subject and a dark.

Chiaroscuro is not only a storytelling technique but a handy way of creating real depth and intrigue in our frames. Just like the Renaissance painters who pioneered the technique, filmmakers are working with a two-dimensional canvas. Chiaroscuro lighting is a great way to create a three-dimensional effect in our films.

This is an example of  chiaroscuro. the light is shown on half of her face and the other half of her face is covered by the shadow. the shadow then blends into the black background.

This is before editing, my own example of chiaroscuro lighting that i tried in the studio. we used a light and placed it to the right of him so the right side of his face was lightened.

This is after converting my photo into black and white and adjusting the hue/saturation and brightness/contrast.

August Sander biography:

Sander has been described as “the most important German portrait photographer of the early twentieth century”. His work includes landscape, nature, architecture, and street photography. however, he is best known for his portraits and his series ‘People of the 20th Century.’

The environmental factor of August Sander’s portrait meant that the subjects in his photos would always be surrounded by the environmental they work in, in the background of the full-body shot, so their occupation was clear to the viewers.

His photographs:

After photographing local farmers near Cologne, he was inspired to produce a series of portraits of German people of different lives. He was committed to ‘telling the truth’. His portraits were usually photographed straight on in natural light, with facts of the sitters’ class and profession alluded to through clothing, gesture, and backdrop. At the Cologne Art Society exhibition in 1927, Sander showed 60 photographs of “Man in the Twentieth Century,” and two years later he published ‘Face of Our Time’.

Sanders’ photographs are mostly black-and-white portraits of Germans from various social and economic backgrounds: aristocrats and gypsies, farmers and architects, bohemians and nuns. The portraits often include familiar signifiers to help the audience know who they were , but sometimes the visual clues to a subject’s “type” are not so obvious, leaving the title of the work and its placement in one of Sander’s categories to illuminate the subject’s role. Each photograph is a portrait of an individual, and at the same time an image of a type.

With this photo, you can easily see the leading lines which are the walking sticks, leading lines help direct your eyes to the main focus of the photo. in this photo there are three wealthy men standing next to each other with walking sticks and suits, this signifies that they are wealthy and posh compared to other people that August sander has photographed. the posture of the men also help to create the idea that they are smart men due to them standing up straight and not slouching. the men are also looking straight into the camera to help with the firm eye contact.

• Who is in the photo?

– August Sander – Handlanger (Bricklayer) – 1928

• how are they posed?

– formal (posed) with relaxed facial expression

• how are they framed?

– Full body

– Deadpan angle

• what is their gaze?

– Eye contact > engagement with the camera

• Colour

– Black and white

Typologies

what is a typology?

• Typology is a a term that we use in photography that, in simple terms, is the study of types. It can be used to see and represent similarities and differences in images.

This is an example of August sanders typologies.