leanine work.

                                                                Creator 
                                                Madame Yevonde (1893–1975)

                                                    Mrs. Meyer as Medusa

                                                from The Goddesses Series

Madame Yevonde, born Yevonde Cumbers and later becoming Yevonde Middleton, was a well-known society portrait photographer. She is best remembered for her experimental work with early colour, and, in particular, her use of the Vivex process. Her distinctive and highly creative portrait style earned her much praise and she quickly gained advertising commissions and other commercial work.
In 1914 Yevonde set up her first portrait studio, although she did not begin her work with colour until the early 1930s. Her move into colour was bold, as colour photography was still generally regarded as unnatural and brash by the majority of the general public at the time. Her theatrical, stylised approach won much acclaim and by the mid 1930s she was able to secure contracts from large and established companies.

In 1935 she began work on The Goddesses series, from which this image is drawn. The Goddesses is a collection of portraits of society ladies dressed as figures from classical mythology, which not only became her tour-de-force, but changed the fortunes of colour photography by popularising its use. This glamorous, exciting and original series for which she organised the costumes, sitters, poses and props was an instant success when exhibited in the summer of 1935, in Berkeley Square, London.

*human figure + surreal and strange.*

why: i picked this picture because i haves lots of emotion and she looks quite evil. i like this because she looks spooky and deadly and has a snake around her neck, and i think that i would of been able to recreate this image well. 

 i wanted to recreate this image but to take away the makeup and make her look a bit happier so that it shows my models emotions as well as looking like the image that i am trying to copy.

i think the viewer would see the original image as creepy and spooky and old, i think they would also see it as a mean goddess, if a view would to see my image i think they would see my image as happy but scared, and up to date.
the similarities between my image and the original image is that they are both close up, and they are both probably in the studio, they are both instead, they are both a close up image of a girl, they are both looking straight into the camera.
we have used similar approaches by having them in the studio, and also that they are both images of women, there is lighting that we have both used which is similar.
i think my image is effective because it gives off emotion and tells you what it is about, and i think mine is effective because it shows the viewers the picture of a women with a smile.

Creator
Roger Fenton (1819–1869)

The Valley of the Shadow of Death

1855/6

Roger Fenton was one of Britain's most important and accomplished photographers. He is remembered for a large number of remarkably diverse works, ranging from photographs of the Crimea War, to portraits of the Royal Family, landscapes and architectural studies and a series of sumptuous still life compositions.
Born into a wealthy family, Fenton studied both law and painting before taking up photography. He was amongst the first Victorians to regard photography as a commercial venture and photographed landscapes, beauty spots and stately homes with a view to print sales. He was also keen to promote photography's status as an art form and in 1853 was a founder member of The Photographic Society, which later became The Royal Photographic Society.
In 1855 Fenton travelled to Balaclava to photograph the Crimean War, at the direct request of Queen Victoria. The photographs which he brought back are some of the earliest photographs of war ever taken. They do not, however, portray the brutality of war and for the most part are officer portraits and views of the encampments.

This photograph, of a desolate valley strewn with cannon balls, takes its title from a line in Tennyson's famous poem The Charge of the Light Brigade. Fenton's photograph communicates the dismal aftermath, in which the emptiness acts as a symbol of the tragedy of war.

*Environments*

i picked this picture because it reminds me of a lonely path, and looks really quiet and upsetting.

and looks like there is a reason why it is empty. instead of making it the exact same i changed it a little. instead of a lone dirt road, i changed it to a river where the was fencing in front so i thought i would have quite a similar but different feeling to it, i blurred out the back of my image to give an even more lonely feeling to it. i think the viewers would think that this road is empty because i looks like there is been a war near it, and looks like it is a death road. there are similarities between my image and the original, there is i long steam and road doing the same thing, they are both outside, they both are empty or people and both look cut off. the similar approaches that we have used are that they are both outside, we haven't used any studio lighting, and it is in day light.

i think my image is effective because it looks lonely, and people will no that it is off bounds, and it looks like the original picture is as well so they are matching in a way.

Creator
Anna Fox (1961-present)

From Friendly Fire

1989-94

Anna Fox came to prominence during the 1980s when she began producing colour photographs in a style which became known as subjective documentary. Influenced by the new colour work that had begun to be produced in the US in the 1970s and in Britain in the 1980s, Fox's first projectWorkstations: Office Life in London from 1988, chronicled office culture during the time that Margaret Thatcher was Prime Minister. Characterised by harsh flash, and accompanied by satirical captions, this project was a critical look at the aggressive and competitive work politics of the 1980s and was produced in the context of other important documentarists from the period, including Paul Graham, Tom Hunter and Martin Parr.

Friendly Fire, a subsequent project, was undertaken from 1989 – 1994 and documented paint-balling and other weekend war games. The photographs feature a variety of locations, some in and some outdoors and again, are characterised by brash flashlight which heightens the sense of irony in the work. In role herself as war photographer, Fox satirises the motives of the participants as they attempt to foster team spirit through mock battle.

                                

human figure, and Events - personal and communal.

i picked this image because it reminds me of a man having fun, and looks like it has been randomly taken without the man knowing, i also like this image because you think he is in the war when he is actually not, he is paint-balling, so i picked this image because it is off putting and shows something else, i think the image looks like the man is having fun, but is also in war, it has a same looks but different meaning.

there are similarities in this image and mine, they are both wearing masks, with different background but is the same, i drew trees in the background to match a little bit more of the main image.

i used similar approaches by, adding the mask, and adding colour, they are both digital images, mine is inside and this is outside, there are some similar but some not.

i think they are both effective for seconding the images meaning, so you look at one thing on the image but see another. that is why. and people will wonder that the man is doing in my image, also like they do with the other image.