Geënsceneerde fotografie (Engels: staged photography) Die vormen van fotografie waarbij voor de camera een nieuwe werkelijkheid wordt opgebouwd, vaak met levende modellen of poppen.

Erwin Olaf Working Class Heroine 1988 Prinses Diana

Rommert Boonstra

Teun Hocks Hocks verzint een grap, bouwt een decor en fotografeert of filmt zichzelf vervolgens in deze setting. Achteraf bewerkt en kleurt hij de foto.

Anja Mulder

Anna Gaskel Anna Gaskel Anna Gaskell crafts foreboding photographic tableaux of preadolescent girls that reference children's games, literature, and psychology. She is interested in isolating dramatic moments from larger plots such as Lewis Carroll's Alice in Wonderland, visible in two series: wonder (1996–97) and override (1997). In Gaskell's style of “narrative photography,” of which Cindy Sherman is a pioneer, the image is carefully planned and staged; the scene presented is “artificial” in that it exists only to be photographed. While this may be similar to the process of filmmaking, there is an important difference. Gaskell's photographs are not tied together by a linear thread; it is as though their events all take place simultaneously, in an ever-present. Each image's “before” and “after” are lost, allowing possible interpretations to multiply. In untitled #9 of the wonder series, a wet bar of soap has been dragged along a wooden floor. In untitled #17 it appears again, forced into a girl's mouth, with no explanation of how or why. This suspension of time and causality lends Gaskell's images a remarkable ambiguity that she uses to evoke a vivid and dreamlike world. Gaskell's girls do not represent individuals, but act out the contradictions and desires of a single psyche. While their unity is suggested by their identical clothing, the mysterious and often cruel rituals they act out upon each other may be metaphors for disorientation and mental illness. In wonder and override, the character collectively evoked is Alice, perhaps lost in the Wonderland of her own mind, unable to determine whether the bizarre things happening to her are real or the result of her imagination. In wonder, Alice's instability is invoked even at the level of presentation: the varied sizes of the photographs refer to her own growth spurts and shrinking spells. Gaskell's allusions to Carroll's story, however, are not always so playful. The seven versions of Alice in override alternate roles as victim or aggressor. They try to control the changes to Alice's body by literally, physically holding her in place—a potent metaphor for the anxiety and confusion experienced by children on the verge of adolescence. hide (1998) derives from a Brothers Grimm tale of a young woman who disguises herself under an animal pelt so that she might escape her own father's proposal of marriage. Gaskell addresses this psychologically loaded subject matter with images of girls wandering in a gothic mansion illuminated by candlelight. Here the psyche in question has been fractured and fraught with terror by a perverse father's look, a voyeuristic gaze.

Loretta Lux Hidden room The drummer Girl with marbles Loretta Lux is het pseudoniem van een Duitse kunstenaar die vooral bekend is om haar digitaal bewerkte foto's van jonge kinderen. Lux volgde een opleiding tot schilder aan de Akademie der Bildende Kunste in München. In 1999 begon ze echter te experimenteren met fotografisch werk. In 2002 ontving ze voor haar werk de Bayerischer Kunstförderpreis en 2005 ontving ze de Inifinity Award for Art uitgereikt door het International Centre for Photography in New York. Door haar onderwerpskeuze doet het werk van Loretta Lux denken aan het werk van Rineke Dijkstra. Doordat haar fotografische werk echter digitaal bewerkt is, doet het eindresultaat ook denken aan werk van Inez van Lamsweerde en Desiree Dolron. Hidden room The drummer Girl with marbles

Thomas Struth Thomas Struth: Born in Geldern, Germany, Thomas trained at the Düsseldorf Academy from 1973 until 1980 where he initially studied painting under Peter Kleemann and Gerhard Richter before settling on Bernhard Becher's photography studio. He won a scholarship to work at P.S. 1 in New York for the year of 1978. His early works largely consisted of black-and-white shots of streets in Japan, Europe and America. Skyscrapers were another favourite feature of his work, with many of his photographs attempting to show the relationship people have with their modern-day environment. In the mid-1980s Struth added a new dimension to his work when he started to produce family portraits. This was after a meeting with psychoanalyst Ingo Hartmann. As a result, these works attempt to show the underlying social dynamics within a seemingly still photograph. Basing himself in the art capital of Germany - Düsseldorf, Struth's profile continued to rise in the 1990s, and in 1997 he was awarded the Spectrum International Photography Prize of Lower Saxony. Struth had his first solo exhibition in the U.S. at The Renaissance Society in Chicago in 1990. He had an exhibition at the Metropolitan Museum of Art in New York City in 2003. The centre of the exhibition was the Museum series, which featured seemingly ordinary shots of people entering churches, museums and other public places.

Simen Johan Simen Johan arranges and manipulates his images digitally. The artist creates the fabricated scenarios in these images from source material ranging from candid snapshots to photographs that he takes on elaborately staged sets in the studio or on location. Work on a single image can take uo to a month as Johan adds, substracts, manipulates, and often rephotographs elements until he intuitively deems the work complete. The children depicted in his work appera uncommonly imaginative and determined. At first, the childre seem focused on ordinary play, but upon closer obervation, their actions, which occur primarily at night and solitude, apperar purposful, as if on a particular mission of quest.

Anastasia Khoroshilov Anastasia Khoroshilova belongs to the new generation of artists from ‘post-diaspora' Russia. Educated and living abroad, they see themselves as part of the international scene but not as emigrants. They use their work to construct their own Russian identity. Anastasia Khoroshilova went at boarding school in Germany in 1993. After spending some time in London and in Moscow, she returned back to Germany to attend the art academy in Essen. Her first series of photographs were about living at the boarding school, subjects she experienced from the times she moved around from one place to another. Her recent series were shot in Russia, photographing daily life in isolated surroundings: a village, a military town, an orphanage, a dance academy and a school for sports. They are al enclosed areas or spaces, not accessible for the accidental visitor. Art for Anastasia is a form of self-analysis, taking stock of her own personal experience of society.

Ruud van Empel

Laetitia Molenaar Schilderij van Hopper Summer in the city, 2008: Laetitia Molenaar exposeerde al regelmatig in verschillende groepstentoonstellingen in VERVERS gallery. In 2010 maakte haar fotowerk Summer in the City deel uit van Fiat Lux, let there be light, een tentoonstelling over de geënsceneerde fotografie. Dit werk, geïnspireerd door Edward Hopper, was de aanzet voor een nieuwe serie waarin zij de werkelijkheid reconstrueert om zo tot een soort minimalistische stilte te komen. Laetitia Molenaar bouwt eerst kleine schaalmodellen van ruimten en omgevingen. Deze fotografeert ze. Later worden die foto’s samen met de studio opnamen van de menselijke modellen met de computer geassembleerd tot een beeld. De dynamiek in de composities van Edward Hopper blijft haar fascineren. De personages lijken in diepe overpeinzing, met een blik van verwachting, kijkend naar eindeloze horizonten. Wat ze zien, vertelt de foto niet. De ruimtelijke omgeving waarin de personages zich bevinden geeft misschien wel iets prijs, maar roept in die combinatie eerder meer vragen op over wat er buiten het beeld gebeurd of wat zich in hun hoofd afspeelt. Zo maar even een bevroren moment, terug gebracht tot de essentie, een split second, mysterieus, ergens….. op een plek met prachtig licht. Schilderij van Hopper

Liesje Reyskens

Bekijk het filmpje over: Gregory Crewdson

Henk Kerstens

De eind opdracht, maak een keuze uit: Maak een reeks van foto's (tien, waarvan drie eindfoto’s) waarin jezelf een belangrijke rol vervult. Met deze foto’s experimenteer je met je eigen uiterlijk. Dit is individueel werk Maak een reeks van foto's (tien, waarvan drie eindfoto’s) waarin je een fantasiewereld bouwt gebruik makend van materiaal dat je zelf aanlevert. Hierbij mag je samenwerken. Maak een reeks van foto’s (tien, waarvan drie eindfoto’s) waarin je vanuit 17de eeuwse schilderijen experimenteert met portretten, inspiratie Henk Kerstens. Hierbij mag je samenwerken.

Je werk wordt beoordeeld op: inzet en planning (aanwezigheid tijdens de lessen, heb je noodzakelijk materiaal verzameld, is het werk op tijd af) de kwaliteit van de foto's de presentatie van het werk het logboek

Bekijk het dit filmpje Schrijf in je werkboek op wat je ervan hebt geleerd.