THE FINAL PROJECT

ISO 100, f/3.5, 1/60s, WB 2650k

The shadow cast by the figure here is included in the central framing of the composition, to reflect a sense of dominant ego. The dark corner of the top right of the photo is included to balance the dark shadow to the left of the figure. The wide, landscape orientation is representative of a males domination of space - 'The male protagonist is free to command the stage' (Mulvey, L., 1975, p. 13).

ISO 100, f/4.5, 1/40s,  WB 5600k

In contrast to the wide, landscape orientation above, the elongated portrait orientation here evoking an extension and romanticism of the subjects legs. 

ISO 100, f/4.5, 1/25s, WB 2650k

ISO 100, f/4.8, 1/60s, WB 5600k.

The placement of the subject in dark or bright light is what is comparable between this pair, as well as the difference in body language, specifically the crossing of their arms.

ISO 100, f/3.5, 1/60s, WB 2650k. 

The sharp, bold shadow created by subject symbolic of a genderless figure. Intensity of white colour has been increased through editing here to create bolder white, matching the dramatic intensity of this close up portrait.

ISO 100, f/5.3, 1/60s, WB 5600k.

The obvious lack of eye contact can be noted here in comparison to it's pair above. Contrast of the image was reduced -100 during editing, creating a much softer tone, evoking passivity, tranquillity and romanticism.

ISO 100, f/3.5, 1/50s, WB 2650k.

ISO 100, f/4.5, 1/60s, WB 5600k. 

The composition of each of these photos follows a diagonal across the image created by the subjects' legs, yet each evoke a different connotation: the male evoking dominance, the female exposed to sexualisation.

IN EXHIBITION

For display in an exhibition, the series should be displayed in this order, with alternate 'man' and 'woman' photographs. They should also be displayed distinctly in their male and female pairs, allowing for blatant and direct comparison between the male and female portrayals, emphasising the works' overall message.

CONCLUDING EVALUATIONS

I feel this work successfully demands the viewer to recognise the different ways gender, specifically women, are portrayed in media. Perhaps to take this further, in the future I can develop on this same theme using a male subject model, depicting them as overtly feminine against the hegemonic masculinities of mainstream gender portrayals. I may also like to experiment with different background settings, other than a white infinity curve, to see what a more complex background narrative adds to the message of the work.
If I had more time, I would have liked to research deeper into feminist theory and photographer work that closely relate to gender representations in media, such as Diane Arbus and other works by Laura Mulvey. 

Mulvey, L. (1975) ‘Visual pleasure and narrative cinema’, Screen, 16(3), pp. 6-18