OH

BOY!
Tami Aftab
For my project of ‘Image & Reality’ my first idea was to focus on
distortion of beauty, looking further in to how the media and
society depict the image of beauty. Moreover, comparing or
contrasting that to photographs that perhaps show a more ‘real’
or ‘different’ version of beauty.

I proposed to research ways of showing the reality of beauty in a

wide variety of lives compared to the arguably narrow image of
it. For example, Stephen Shanabrook and Veronika Georgieva
are conceptual artists that appropriated magazine inserts by
giving them ‘paper surgery’, distorting image and reality by
taking stereotypically beautiful or well known people and
transforming their faces using manual manipulation.

Another influence may have been James Mollison’s project on

kids and their bedrooms. The stark comparison between kids all
over the world hits reality hard to the viewers. However, looking
at just the image of the portraits would somewhat hide the truth
of their lives. From this, I may have a look in to comparing
different types of reality focusing on differences in culture,
gender and ethnicity.

“Too frequently, I talk to women who are scared to see

themselves as they truly are.” Kasy Johnson uses studio
photography to empower women and show them their true
selves. Furthermore, helping them to confront the feelings they
have of their image. Johnson’s work may influence me to use
the studio in a soft way, alongside looking in to the psychology
of why women may feel this way and how this can relate to men
also.

The basis of looking at beauty offers a broad range of subjects

to be explored, allowing me to widen my knowledge as well as
experiment with many different and new forms of photographic
practices.
I suggested that I may look in to men also and how hyper-
masculinity is portrayed in the media, perhaps by stripping back
and photographing men from a different perspective. For
example, men that aren’t often represented.
PROPOSAL 1.0
PROPOSAL 2.0
After reviewing my first proposal I then decided to narrow my
focus towards the image of men in the media and the reality of
the wide variety of people that identify as men instead of
women as a subject.

Hyper-masculinity is pushed upon males in almost every form

of media, mainly in advertising. There are many types of men,
along with male struggles, that are never portrayed.
For example mental health, transgender, queer, different
ethnicities and disabilities. Along with this comes the constant
male ego that is pushed to suggest men are not allowed to
show weakness.

Thomas Knights chose to focus on portraying the reality of red

headed males as attractive. He photographed them in a studio
advertisement style, including high key lighting to portray them
the same way other, stereotypically attractive males, are
portrayed in the media. Similarly, I may take this technique of
stereotypical advertisements but use unlikely models or poses.

Another artist that may inspire my work is Megan Magdalena

Bourne who did a project called “Boys Boys Boys” where she
“photographed men in the same way [she] photographs wom-
en”. This concept attracts to me as with a female gaze, I often
photograph women. Therefore, using this concept to
photograph men will create a different take to the image often
seen.

In terms of photographing subjects that aren’t seen regularly in

the media, Katy Grannan’s “Boulevard” is a great example.
When looking at a city “the individual gets lost in the equa-
tion”. Grannan innocently photographs portraits of the every-
day man. Portraying the reality of the image of man.

From this point I am going to begin experimenting,

researching at how males have been portrayed and how I can
relate to and compare against those findings.
 RAZOR ADVERTS
OVER THE LAST
CENTURY
Stereotypes in male advertisement over the last
century is where I decided to
begin researching for examples.
Focusing on razor adverts, I researched images
over the last century from the 1910s to current.
My main source for the older forms of
advertisement came from vintageadbrowser.com
where I came across mainly Barbosol, Colgate
and Gillette promotional posters. The common
denominator over the first 70 decades or so was
a woman pressed closely to the face of the man.
From this, I looked at more recent
advertisements elsewhere and found this
stereotype still occurs as a modern day
technique to promote razors to men.

From this research I could infer that one of the

stereotypes reinforced is heteronormativity. This
has been evident in more than just razor
adverts. It is shown in public figures, movies,
television and books alike.
Furthermore, supporting a woman could infer
that men have to be in control, not allowing
room for them to feel any other forms of
emotion and to remain in a stoic form.
Along with being heteronormative, it reinforced
a hypermasculine ideal, leaving men who
weren't as stereopically manly or that love any
other gender often being unrepresented in the
media.

From this research I have decided to use men

from different backgrounds along with tackling
the idea that men have to act and be percieved
in a strict, uniformed light to be accepted.
BRUNO
STAUD
 Straud’s images for Comodo Square, Spring 2014 create a soothing and
arguably feminine mood despite the male model. This is a rarity for fashion campaigns as
men are usually portrayed as sharp and masculine, with black or navy undertones.
Despite being shot with studio lighting, rather than natural, the photographs appear very
soft and clear. This could be due to the lack of shadows, which would have been created
with soft boxes and reflectors at many different angles.
The flowers add to the feel of a natural image by bringing in part of the enviroment that
contrasts to the simple studio backdrop. The colour tones work well with the models pale,
rosey skin to match the hue of the flowers and back drop.
By having the model posed nude could suggest that he has been stripped back and has
become comfortable with himself. Matched with the direct eye contact, the viewer is
made to feel as though they are being invited to this personal moment.
 The key factors f
in touch with natu
female mode
flowers and soft
gels to light the
the flowers, I cho
as a prop. Thi
emphasised b
viewing a perso
ground and tone
shallow depth of
represen
ors for this shoot were to show vulnerability, sensitivity and a sense of being
nature, I chose to shoot my male model the same way I would photograph a
odel. My inspiration came from Bruno Straud’s use of the pink backdrop,
oft lighting. This was executed through the use of studio lighting with pink
the backdrop and white reflectors to create an even light over the face. For
chose to manually manipulate them in to the images rather than using them
This signified the softer side of the model coming out, this moment was
d by the close up composition to make the viewer feel as though they’re
ersonal moment. Digital manipulation was also used to even out the back-
one all the colours to a muted pink. To create specific, sharp focus I used a
h of field to highlight specific details of the face. These photographs aim to
esent a reality of men that opposes the image of hyper-masculinity.
1) 5)

2) 6)

3)

4)

PHO
 1) Starting with the ‘Patch Tool’, draw around uneven
areas of the skin (e.g. eye bags)

2) Drag to a more even area of skin to create the
appearance of smooth skin and lack of eye bags

3) Lower the opacity to around 50% to create a more
natural look

4) Next, use the ‘Spot Healing Brush’ to disguise any

other prominent flaws in the skin

5) Using the ‘Curves’ tool, pull the curve up to create
highlights, do the same again but pull down to create
shadows

6) On both layers create inverted layer mask and dodge

and burn in specific areas to create definition

OTOSHOP
 ASHLEY
ARMITAGE

Ashley Armitage “believes that diversity is neccisary”, therefore she does not conform to
creating images or using models that dominate our media. Upon first glance, the image
on the top left appears to be a women, however it is infact her boyfriend. This photograph
highlights the fluidity of gender, transgender and queer males are rarely portrayed in the
media in a natural and innocent light.
Soft studio lighting with pink gel is used to create a dreamy, delicate mood. The use of
photographing close ups and generally private parts of the body creates an open feel.
There is a willingness for others to witness the reality of bodies and people rather than the
image shown in the media of airbrushed, ‘perfected’ bodies.
It is evident that Armitage applied very little, perhaps no, digital manipulation in her work
due to the evidence of scars, scratches, bumps and lumps on the models she has used.
 My model, Marc
images of men lik
watching mainstre
Armitage’s use o
model that is not
sensitivity and ‘shi
a lot of hard light
The close up com
trasts well to the s
my own shadow
shadows that co
difficult to find the
Marcus, is a transgender male (FtM) who has voiced how there aren’t many
n like himself in the media. The reality is that he has noone to relate to when
nstream movies, television etc. This photoshoot took inspiration from Ashley
e of close crops on intimate areas of the body along with photographing a
not stereotypical. I chose to use sofer lighting and a light backdrop to show
‘shine a light’ on my subject. Generally, in male model photography there is
ghting, shadows and dark colours to signify the ideals of hyper-masculinity.
omposition creates texture from the skin and the body hair, this texture con-
he smoothness of the backdrop. Studio lighting gave me the ability to create
ows and highlights, placing one black and one white reflector allowed soft
compliments the models features. Due to the purple tones desired, it was
the right tone with gel lights. Therefore, I chose to use digital manipulation
with Photoshop to create the desired hue.
PHO
OTOSHOP
 MAGDELENA
MEGAN

‘Boys Boys Boys’ is a project created by Megan Magdelena Bourne who focused on boys
where she photographs them in the same way she photographs women, the project began
due to her anger towards gender in general. Along with each subject's photoshoot came a
small interview, allowing them to be more personal and explain why the men wanted to be
involved in their shoots. The duality of image and text allowed the reality to come through
further. I would like to take this technique and apply it to my own work to create a more
personal experience.
The location of the photoshoots appear to be in the subject’s own homes. Due to the
invasive style of the photography it allows them to feel more comfortable, along with
giving more context than a studio photoshoot would have done.
There is a variety of images, some appearing candid and some staged, the variety allows
each individual photograph and man show themselves in their own ways.
 PHO

Inspired by Megan Magdelena’s work, I chose

locating the photoshoot inside of the model’
changed, as he would if I weren’t there, I was ab
el doing innocent tasks such as putt
The use of a 35mm 1.4 lens on a cropped sens
making the photographs feel more closed in an
candid images that could have the viewer
Magdelena’s style of film and flash was not po
digitally manipulate the photographs in to
However, this effect did not create the image I
ing digital with analogue and the high ISO cre
Therefore, I have decided to recreate the sh
OTOSHOP

ose to create a personal and intimate style by

del’s bedroom. By directing the model to get
s able to capture soft images of the male mod-
putting in earrings or a necklace on.
ensor created close up compositions, therefore
n and private. The lack of eye contact made for
wer feeling as though they’re in the room.
t portrayed in this photoshoot, but I chose to
n to polaroids to create this ‘snapshot’ feel.
ge I desired perhaps due to the attempt of mix-
created noise and did not allow a sharp focus.
e shoot using film and flash in a closer style.
 To test myself wi
closer style to
photographed
With the same pri
no
This documentary
routine of men rath
‘colo
Using a disposable
positions and diffe
therefore of
f with different mediums of photography, I chose to refine this shoot in a
e to Megan Magdelena by using flash film photography. In this case I
hed the model using a disposable camera with the location of a hotel.
principle as the first shoot, I directed the model to get ready as he would
normally and I shot the images documenting his routine.
tary style of candid photography allows the audience to see the everyday
rather than the finished image that’s projected. In post production I used a
olour lookup’ and ‘curves’ to enhance that disposable effect.
able allowed me only to ‘point and shoot’, therefore I focuesd on my com-
different angles, pushing my creativity. On the other hand, the images are
e of a lower quality so to achieve this ‘behind the scenes’ effect with
higher quality I would use a 35mm SLR instead.
 MILTON
H.GREENE
 Milton H. Greene (D. 1985) was an American photographer along with a film and television
producer, meaning he had access to be one of Marilyn Monroe’s photographers.
His photoshoots were studio based with a timeless feel, this may be due to the use of a
film camera due to the time he was photographing but also the colour tones used.

N
The positioning of hands are evident within his portraits of Monroe, they can be used to
empower, hide or flatten the image of herself which may be different to the reality.
A deep depth of field seems to have been used in all of these images, with a medium shot

E
in order to allow her body and outfit to be in focus also.
Vogue, 1933, claimed lipstick to be “the most important cosmetic for women” and
according to Ken Cosgrove (Mad Men) “lipstick was invented to simulate the flush of a
women’s face when a man treated her right”. However, this does not leave much room for
the reasons men can wear red lipstick. Therefore, Greene’s work will inspire my shoot
however my model will be a male drag queen instead of the female image.
Milton. H. Greene’s photographs
use of glamour and beauty as k
on 35mm film and the rest on a
a drastic contrast between the
create the red backdrop with ge
manipulation. However, due to
to create the same for the othe
‘behind the scenes’ style, creat
The model for this shoot, Harry
in his spare time and still compl
Beauty Dish in the studio create
props,
 phs of Marylin Monroe were my inspiration, with his
as key parts of the images. I shot half of the images
on a Canon 5DMIII with a 50mm 1.2 lens, there was
the two styles. With the digital shots, I was able to
gel lighting, made a classic vintage red with digital
to the functionality of the SLR camera I was unable
ther images. Instead the film shots were styled in a
eating a timeless feeling and a whole new texture.
arry (Drag Name: Rose Zinfandel), is a drag queen
mpletely identifies as a male. Photographing with a
ated soft lighting that added to the elegance of the
ps, outfit and the make up.
 MATTHIEU
BOUREL
 Matthieu Bourel decided to do use mostly black and white portraits and appropriates
them. He believes that “one of the goals of art is not just to distract people, but more to
reveal some ideas or share a point of view”. Manual manipulation can be used as a more
explicit way of contrasting the stereotypical photographs shown in the media in a
dada-esque style, which could be applied to mimick the stereotypical image of men in the
media either using appropriation or my own photographs.
Side profiles are often used in his work, with less or no direct eye contact, this could be to
allow you to be an observer rather than to create a strong connection with the subject. The
location of the tear in the top left image gives signs of subtle but clear vulnerability.
 Rather than d
finer details o
ated this manu

Similarly to t
background
A shallow dep
image to suit
jewellery
The digital ma
rather than the
n doing solely manipulation, like Matthieu Bourel, I instead took inspiration on
ls of his work. The main attention was drawn to the use of a singular tear. I cre-
anually on the subject using Aloe Gel, later using 'dodge' and 'burn' on Photo-
shop to enhance it's prominence on the face.
to the first two shoots, gel lights were used in the studio to create a soft pink
und to compliment the skin and create a feeling of neutrality and innocence.
depth of field allowed my focus to fall on the eyes and the tears and soften the
suit it's location and style. Against this is the harshness coming from the silver
ery, allowing a personal touch of the model to be shown to the audience.
manipulation signifies peeling back the layers to know the reality of the person
the image. However, if I were to do this again I would use manual manipulation
to add texture to further this idea.
1) 4)

2) 5)

3)

PHO
1. Duplicate your layer, using the crop tool expand the edges of your
frame. Then with the ‘Rectangular Marquee Tool’ choose an empty
space near the edge to stretch. Right click and ‘Free Transform’ to
extend the borders of your image.

2. To select the area of the face, use the ‘Lasso Tool’ to select
around the area you wish to duplicate. Once you’re happy with it
select ‘Layer via Copy’

3. Duplicate this layer as many times as desired

4. Drag and drop each new layer

5. To create more depth, click on the ‘fx’ tool, using the drop shadow
tool select a desired shade and opacity

OTOSHOP
 ‘We are told to be ourselves, whi
directly affects the our nature of
When studying ‘Image and Reality
the image of them in the media d
reflection, I considered the fact th
strict framework image.

‘Oh Boy’ as a subtopic of Image a

EVALUATION day to day routines. Men are ofte

them since their first exposure of
ties of men as individuals, their ow

‘Masculinities shown in media als

“real” experiences’ (Sabo, 2004)
not see many people to relate to
it difficult for him to be accepted
malized are stereotypes rather tha
Ashley Armitage, also known as L
that influenced me was of her boy
gendered. I chose to create this u

Mainly, I chose to shoot people I k

ture of the photographs being be
I knew enabled me to open a mor
see the reality of each man, not fo
album of the individual hence the
poses, I highlight different difficul

Despite each image having its ow

photographed them. When I think
shadows. To not allow myself to d
create an almost female gaze. Thi
Michael, L. (2016) Hypermascu-
I didn’t do this to feminise men, b
linity Is A Plague On The Modern orientated image usually found in
Man, Huffington Post (http://www.
huffingtonpost.co.uk/louis-michael/
hyper-masculinity-man_b_13280034.
html) Showing a different variety of men
Context Masculinities: Media Con-
this, giving these men a platform
sumption, Physical Education, and portrayed, hopefully allowing con
Youth Identities, Brad Millington1
and Brian Wilson1 (p. 1684) 2010
SAGE Publications

Sabo, D. (2004). Masculinities

and men’s health: Moving toward
Post-Superman Era prevention. In M.
Kimmel & M. Messner (Eds.), Men’s
lives (pp. 321-334). New York: Pear-
son Education
while simultaneously being expected to remain within a strict framework that
of our lives’ (Michael, 2016)
ality’ I was flooded with ideas of shooting the reality of women compared to
a due to the ongoing, historic controversy of this throughout all medias. But on
t that my thoughts had never steered towards the struggles men face within this

ge and Reality is my vision to show men’s differences, such as sensitivity or just

often limited by the hypermasculine, heteronormative image that is pushed upon
of the world as children. My photographic series therefore highlights the identi-
r own personal normalities.

also normalize particular behaviors and values that can be transferred into
04) One of my models named Marcus, a transgender (FtM) male, stated he “does
to in the media, or if so they are stereotypically portrayed to one ideal” making
ed or find similarities to people in the public eye. The behaviours that are nor-
than personal norms such as him taking off his binder or his breasts on show.
as Ladyist, is a photographer that shoots lgbtq+ models often, the key image
boyfriend laying in the classic position of a woman, nude, appearing almost non
is upclose, personal and intimate style with my work also.

e I know rather than models so that they would feel comfortable due to the na-
behind the scenes, personal and arguabley to some, invasive. Choosing people
more personal side and portray that to the audience. I wanted the audience to
ot for them to look at something staged or mocked. This is the personal, private
the different styles of photography in each. Using a variety of colours/locations/
ficulties the men face in terms of representation.

own style, there was an overarching theme and similarity in the way I chose to
hink of shooting males I automatically drift my mind suits, dark colours and harsh
o do this, I made myself shoot each man in the same way as I would a women to
This idea was inspired by Megan Magdelena's project 'Boys Boys Boys'.
n, but instead to show a female perspective due to the hyper-masculine male
d in male modelling and the media.

men has improved my own techinical, social and photographic skills. Along with
rm to show the reality of themselves and combat the ever narrow image that is
confidence within themselves and for the audience that views them.
CANON 5D MIII + 50MM 1.8

f/3.2 1/125 ISO 100

CANON 5D MIII + 50MM 1.8

f/6.3 1/200 ISO 100

CANON 600D + 35MM 1.4

f/1.8 1/100 ISO 800

BOOTS DISPOSABLE WITH FLASH

FULLY AUTOMATIC
ZENITH TTL SLR CANON 5D MIII + 50MM 1.8

f/6.3 1/200 ISO 100

8 CANON 5D MIII + 50MM 1.8

f/6.3 1/125 ISO 100