What is 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.

MINDMAP/ MOODBOARD: Add a mind-map and mood-board of ideas and associated visual stimulus. This is very important for this project, because it will steer your individual photoshoots…. E.g:

Femininity: Femininity (also called womanliness) is a set of attributes, behaviours, and roles generally associated with women and girls. Femininity can be understood as socially constructed and there is also some evidence that some behaviours considered feminine are influenced by both cultural factors and biological factors. To what extent femininity is biologically or socially influenced is subject to debate. It is conceptually distinct from both the female biological sex and from womanhood, as all humans can exhibit feminine and masculine traits, regardless of sex and gender.

Masculinity: Masculinity involves displaying attitudes and behaviours that signify and validate maleness, and involves being recognised in particular ways by other men and women. Traits traditionally viewed as masculine in Western society include strength, courage, independence, leadership, and assertiveness.

Identity in photography explores how we see ourselves as a person but also how we see ourselves in relation to others. The photograph or image is the physical manifestation of an individual experiencing the indexical world. Portraits or self-portraits can reveal aspects of a person’s identity and ways in which it is influenced by family, class, gender, ethnicity, religion, culture, or nationality.

Paul M Smith

Paul M Smith is course director for the BA Hons Photography at Coventry University. He originally studied Fine Art at Coventry University and as part of his course he undertook a research project into contemporary art which included living on an Aboriginal reserve for four months.

After completing his degree at Coventry he completed a Masters degree in Photography at the Royal College of Art. During this time he examined the meaning and construction of masculinity, concentrating on the cultural and visual creation of various alpha male identities.

Smith’s commissioned work includes pieces for Channel 4, Matterson’s, and the CD cover for Robbie Williams’ Sing when you’re winning. His work has been shown at the Saatchi Gallery, Museo de Arte Carrillo Gil in Mexico City, The National Portrait Gallery, The Photographers Gallery, Technisches Museum Wien in Austria the Australian Centre for Photography.

In 2004 Goliath published ‘Paul M Smith, Photographs’. This book catalogued his work from 1997–2004. Smith’s work can also be found in ‘Digital Art’ published by Thames and Hudson.

Clare Rae

she said:
I’m an artist I also teach in photography and I’ve been making artwork for about nearly 20 years that utilizes my body in relation to architectural space.

In her photographic practice Clare explores ideas of performance and gesture to interrogate and subvert dominant modes of representation. Her work is informed by feminist theory, and presents an alternate and often awkward experience of subjectivity and the female body, usually the artists’ own.

A central interest within her practice is the exploration of performance documentation, specifically how the camera can act as a collaborator, rather than mute witness, to the performer.

Known for her engagement with domestic and institutional spaces, recently Clare’s work has been captured and exhibited in locations such as the Australian Centre for Contemporary Art (ACCA), the National Gallery of Victoria, Monash University, the Abbotsford Convent, Sutton Project Space and the Substation, Melbourne.

In 2020 Clare began a PhD at the Victorian College of the Arts, University of Melbourne. She completed a Master of Arts by research in 2014 at Monash University, and received first class Honours in Fine Art in 2009 at RMIT University. Her work is held in public and private collections nationally, including Art bank, The National Gallery of Victoria, Monash University, RMIT University.

Clare is a founding member of LAST Collective.

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.

Ideas For Photos

A Mood Board For Inspiration

This is what I am going to achieve during the identity project. I’m inspired by Clare Rae.

Moodboard

Hands are unique because they combine dexterity, strength, and precision in a way that few other body parts do. The human hand’s ability to perform fine motor tasks, like writing or playing an instrument, is unmatched in the animal kingdom. The thumb allows for gripping, manipulating, and creating tools, which has been essential to human evolution and culture. The complex arrangement of bones, muscles, and tendons in the hand also enables a vast range of movements, from delicate gestures to powerful actions, making it a remarkable feature of human anatomy.

Family is important to me because they provide love and support. The people surrounding me also give me a sense of belonging, helping me push through life’s challenges and celebrate my successes.

Identity is important because it shapes how we understand ourselves and our place in the world. It influences our values, decisions, and relationships, helping us navigate with a sense of purpose and direction. A strong sense of identity fosters confidence, self-acceptance, and resilience. Ultimately, understanding who we are enables us to live authentically and connect fully with others.

Love is important because it forms the foundation of human connection, empathy, trust, and understanding. It provides emotional support, helping us through life’s struggles and amplifying its joys. Love nurtures personal growth, encourages kindness, and strengthens relationships, creating a sense of belonging and security. Love is what binds us together, making life richer and more meaningful.

Studio Lighting is any form of lighting equipment used when taking photos. It’s also used by photographers, often when working in a photography studio, to enhance their photography. Most professional photographers have different light kits they use depending on the situation they find themselves shooting in.

The purpose of studio lighting to illuminate their images and videos. Lighting is a very important tool when it comes to controlling the image. And using studio lights in an effective way is an art in itself.

The Three different types of point lighting are:

• Key Light – 1 point lighting
• Fill Light – 2 point lighting
• Backlight – 3 point lighting

One-point lighting would involve just one light and this would be illustrated as the key light. The way in which we would utilise this light effectively would be to use a softbox in order to convert the light into a powerful diffusion light source.

Two-point lighting is a basic lighting technique used in film and photography that involves the use of two light sources to illuminate a subject. This setup creates depth and dimension, enhancing the visual appeal by casting shadows and highlights that define shapes.

Three-point video lighting is all about creating a three-dimensional look. By placing three light sources at strategic points around the subject, each light source illuminates a separate dimension of the subject and creates an image with greater representation of height, width, and depth.

Rembrandt Lighting, Butterfly lighting, Chiaroscuro

1.  Rembrandt lighting is characterized by an illuminated triangle (also called “Rembrandt patch”) under the eye of the subject on the less illuminated side of the face. It is named for the Dutch painter Rembrandt, who occasionally used this type of lighting.
2. Butterfly lighting is a lighting pattern used in portrait photography where the key light is placed above and pointing down on the subject’s face. This creates a dramatic shadow under the nose and chin that looks like a butterfly.
3. Chiaroscuro lighting refers to the intentional employment of highlights and shadows to draw attention to the shape of the subject. In order to produce striking contrasts, this approach usually entails employing a single light source — such as a lamp or window — positioned at a certain angle.

Artist Research:

David Bailey is an English fashion photographer best known for his images of celebrities, models, and musicians. Born on January 2, 1938 in London, United Kingdom, Bailey dropped out of high school to serve in the Royal Air Force where he developed an interest in the photography of Henri Cartier-Bresson. Over the course of the 1960s and 70s, the artist gained attention from the press after a string of high-profile marriages to Jean Shrimpton, Catherine Deneuve, and Marie Helvin. In 1965, he published his first photography book Box of Pin-Ups, a collection of black-and-white images portraying Mick Jagger, The Beatles, Twiggy, and Andy Warhol, along with several other celebrity figures.

Bailey has gone on to receive the title of Commander of the Order of the British Empire from Queen Elizabeth II, and in 2016 a Lifetime Achievement award from the International Center of Photography in New York. The artist’s photographs are held in the collections of the National Portrait Gallery and the Victoria and Albert Museum in London.

Technical: the lighting is artificial as the photo was taken in a studio where the flash was used as the lighting technique used is split lighting, where half of the face is lit up whilst the other half isn’t. The level of contrast in the face is not that major as the right eye is still very visible and bright, although the right side of the blazer is a much lighter grey than the right shows that the light was more angled at the blazer. A reflector could of been used to create the lighter right eye so the viewer would be able to see a full face. The ISO seems at a low sensitivity as the image isn’t grainy so it doesn’t show that much texture but enough to see it on the blazer. The shutter speed seems quite fast because enough light has entered where it’s not over-exposed but also not under-exposed. The white balance was probably set to daylight as the photographer used a flash trigger.

Visual: the image has been set to black and white to show its tone and contrast better. This also gives a darker, moodier feel to the photo which adds character to it and makes it not boring. You’re able to see the texture of the jacket showing depth . The model is in the centre of the lens which means he is in the middle ground.

Contextual: the photographer normally took pictures of famous singers of the time so Mick Jagger was a perfect model as he was in The Rolling Stones. At the time british rock music was popular so bands like The Beatles and The Rolling Stones and singers like David Bowie would be good candidates.

MOOD BOARD

My aim is to achieve at least 3 good photos with each technique whilst being in different poses and using different colour gels. This would get me a good range of photos to edit as I would have a nice variety to post. I’ll also use the reflector to bounce the light onto the models face to see what that would look like and see what effect is created and with doing that I’d also do a range of different shots and angles: close-ups, rule of thirds, low angle etc this would allow me to get images like David Bailey whom I’m getting inspiration from.

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

Cindy Sherman is a key figure in the Pictures Generation, an art movement from the late 1970s and early 1980s. This group of artists critiqued how media and popular culture shape ideas about identity, gender, and societal norms. They challenged traditional notions of originality and explored how imagery from advertising, movies, and other media influences perceptions of self and society.

Sherman initially studied painting at Buffalo State College but found it too restrictive for her creative ambitions. This led her to photography, where she discovered more freedom to experiment with themes of identity and representation.

Her photography focuses on exposing societal stereotypes and roles, particularly those imposed on women. By emphasizing the constructed nature of identity, Sherman challenges the idea that identity is fixed or inherent. Her work critiques how media reinforces gender norms and cultural archetypes, drawing on visual references from movies, advertisements, and art history to highlight these dynamics.

Sherman photographs herself exclusively but uses her image to embody various characters rather than explore her own identity. Through costumes, makeup, props, and carefully staged settings, she transforms into housewives, actresses, clowns, historical figures, and exaggerated personas. These transformations critique the roles and stereotypes imposed by society and media, revealing their artificiality and underlying power dynamics.

While she is the subject of her photos, Sherman does not consider them self-portraits. Her intent is not autobiographical but rather to use herself as a tool to investigate broader cultural and societal issues. Her work serves as a platform for exploring themes of representation, identity, and the influence of media.

Image Analysis

Cindy Sherman adopts the role of a mid-20th-century woman, possibly a housewife or small-town figure. Her modest clothing, hairstyle, and makeup reflect traditional gender roles and evoke a character rooted in a specific cinematic archetype.

The photograph is set indoors, likely in a domestic or urban environment, with subtle details in the background such as walls or furniture that add context. These elements create a sense of intimacy and realism.

Sherman’s character is posed in a moment of stillness, gazing outward with an expression that suggests contemplation or unease. Her posture feels slightly tense, and the overall mood of the image is introspective and subdued.

The subject is framed in a medium shot, which captures part of her body while focusing on her expression and the immediate surroundings. This framing creates a sense of voyeurism and invites the viewer into a private moment, heightening the cinematic atmosphere.

The image suggests an implied narrative, as if the character has been caught during a reflective or routine moment. Sherman’s gaze and expression hint at something happening beyond the frame, adding tension and curiosity for the viewer.

The title, Untitled Film Still #14, is intentionally ambiguous. It evokes the idea of a larger fictional story, allowing viewers to project their own interpretations onto the scene.

The background being in focus suggests a narrower aperture, which ensures that both the subject and the environment are clear and contribute to the overall narrative. The clarity and balanced exposure indicate the use of a fast shutter speed to capture the stillness of the moment.

The photograph is taken from a slightly low angle, placing the viewer just below eye level with the subject. This creates a sense of intimacy and makes the viewer feel as though they are part of the setting. It is a half-body shot, which emphasizes Sherman’s expression and body language while maintaining relevance to the surrounding context. The framing feels balanced between safety and vulnerability, adding subtle tension to the image.

Historically, women in media have been portrayed in stereotypical roles such as housewives, femme fatales, or damsels in distress. These portrayals often objectified women or reduced them to secondary roles defined by their relationships to men. During the mid-20th century, women in film were frequently idealized, with their primary focus placed on domesticity, beauty, and passivity.

Sherman’s Untitled Film Stills were intended to resemble scenes from fictional movies. They mimic cinematic tropes and reference Hollywood and European films to critique how media constructs female identity and reinforces cultural stereotypes.

Sherman’s work highlights how cinema and media perpetuate unrealistic and limiting portrayals of women. By performing as these characters, she exposes these roles as artificial constructs rather than authentic representations of femininity. Her critique remains relevant today, as modern media continues to reinforce gender stereotypes through advertising, social media, and entertainment, reminding viewers to question and challenge the narratives presented to them.

Why did I chose Cindy Sherman as my Inspiration for this project?

I chose Cindy Sherman because her work challenges the way we think about identity and stereotypes in such a powerful and creative way. She’s able to take something as simple as a pose or a setting and turn it into a critique of how society imposes roles on people, especially women. I admire how she uses herself as a tool to explore these themes while making the images feel both familiar and unsettling.

Her focus on exaggerating and deconstructing stereotypes gives me a framework to explore similar ideas in my own work, especially when it comes to highlighting how certain roles, like the “perfect housewife” or the “ideal woman,” are so ingrained in our culture. I feel like her style allows for a lot of creativity and depth while still keeping the images accessible and relatable.

She inspires me to think beyond just creating visually interesting photos and to really question the narratives and expectations that come with the roles I’m portraying. Her work is the perfect combination of storytelling, critique, and artistry, which is exactly what I want to bring into my project.

How I want to convey Identity

In this photoshoot, I want to convey identity as something that is not fixed but rather constructed and influenced by societal expectations. By focusing on women’s stereotypical activities. I aim to highlight how these roles are often assigned to women and presented as “ideal” identities.

I want to show that these roles can feel performative or even restrictive, exposing the gap between how these identities are portrayed and the reality behind them. Small details, like an expression of boredom or frustration, or imperfections in an otherwise polished setting, will help emphasize the tension between the expectation and the individual’s experience.

My goal is to make viewers question how much of identity is shaped by external pressures, like media or cultural norms, and to encourage them to see these roles not as natural or inherent but as constructs that can be challenged and redefined. By staging these scenes with a mix of familiarity and exaggeration, I want the photos to feel reflective of shared experiences while also encouraging deeper thought about the stories we tell ourselves about identity.

What does identity mean to me?

To me, Identity means how you are perceived by yourself and others. I think it is made up of your characteristics, values, appearance, actions, interests and experiences.

Ideas

Female Stereotype’s–

I want to explore women’s stereotypes in my identity project because these roles are such a powerful reflection of how society shapes expectations. Women have historically been placed into narrowly defined categories—like the housewife, the beauty queen, or the caretaker. They each carry specific expectations about how they should look, act, and live. By focusing on these stereotypes, I can examine how these roles influence identities and challenge the idea that they are ‘natural’ or ‘instinctive.’

Mood Board

Photoshoot Ideas and How They Explore Identity

• Household Chores
  • A woman hoovering, washing dishes, or ironing in a slightly exaggerated 1950s-inspired setting.
  • Exploration: Highlights the societal expectation of women as caretakers and homemakers. Contrasts the idealized image with subtle expressions of frustration or detachment to question the performative nature of these roles.
• Beauty Routine
  • Scene: A woman sitting at a vanity mirror doing her hair or makeup with excessive products and tools scattered around.
  • Exploration: Examines the pressure on women to maintain appearances and conform to beauty standards. Smudged makeup or an overwhelmed expression could reflect the emotional toll of these expectations.
• “Looking Pretty” Pose
  • Scene: A woman dressed glamorously, posed on a couch or chair with a staged, magazine-like elegance.
  • Exploration: Critiques the stereotype of women as objects of visual pleasure. A stiff or overly dramatic pose could emphasize the artificiality of this role.
• Overworked Multitasker
  • Scene: A woman juggling multiple tasks—cooking, holding a baby, typing on a laptop—all at once.
  • Exploration: Represents the modern “superwoman” stereotype and the unrealistic expectations placed on women to balance career, home, and personal life seamlessly
• Mirror Reflection
  • Scene: A woman looking at her reflection in a mirror, but the reflection shows a different, stereotyped version of herself (e.g., a housewife, beauty queen, or businesswoman).
  • Exploration: Represents the tension between personal identity and societal roles, asking who defines a woman’s identity herself or the expectations placed on her.