Anthony Chaves SNHU History of Photography 5-2 Final Project Milestone Two Beauty is one of the themes depicted in fashion photography that has a long history. In 1911, when the golden age was at its height, beauty was highly focused on by famous photographers such as Edward Steichen. This was the time when models were photographed while wearing the beautiful dresses that had been designed by Paul Poiret. The photographs of these models were usually published in the art magazines. During the pre-photography period, there were fashion magazines that were crucial in spreading the theme of beauty in fashion photography. This includes magazines such as Journal des Dames and Le Costume. However, due to engraved illustrations, these magazines had limited readership. Technological advancements that took place later allowed for the printing of photos on the same page with text, which increased readership of fashion magazines. Visual Analysis Cecil Beaton, In the Manner of the Edwardians, Mary Taylor wears Channel, American Vogue, 1935. Museum no. PH.191-1977, © Victoria and Albert Museum, London · In the above image, beauty in fashion photography is revealed through the wearing of long dresses. · The model in this photograph has been used to highlight the level of beauty achieved when wearing a long dress. · This is the image that reflects the roots of beauty in fashion photography. · This photograph was taken when culture was represented in fashion photography. · This portrait is taken from Victorian society portraiture. Vermeer, Johannes: Girl with a Pearl EarringGirl with a Pearl Earring, oil on canvas by Johannes Vermeer, c. 1665; in the Mauritshuis, The Hague. Title: Girl with a Pearl Earring · This is a painting that was made by Johannes Vermeer. · Its medium is oil painting on canvas. · The movement is Dutch Realism. · This painting is found in Mauritshuis Museum, The Hague. · This painting illustrates the things women use to enhance their beauty. In this case, it is a pearl earring. After World War II, a number of things changed in fashion photography. There were efforts to enhance beauty in fashion photography and make art more attractive. At this age, snapshots were considered great beauty photographs. As the feminist movement gathered momentum, fashion photography was used to spread the message of gender equality. In the 1950s, a new dynamism emerged that greatly influenced photographers and fashion magazines. In the 1970s, fashion photographers were interested in pushing the limits for representing beauty in fashion imagery. Through this new understanding, photographers engaged society with the changing attitudes to sexuality and feminism. Moreover, other themes such as religion and violence because evident. At this level, the notion of ideal beauty widened. The use of androgynous and black models increased. For instance, photographers such as Sarah Moon and Deborah Turbeville were models, and their engagement with female forms ...

1. Anthony Chaves
SNHU
History of Photography
5-2 Final Project Milestone Two
Beauty is one of the themes depicted in fashion photography
that has a long history. In 1911, when the golden age was at its
height, beauty was highly focused on by famous photographers
such as Edward Steichen. This was the time when models were
photographed while wearing the beautiful dresses that had been
designed by Paul Poiret. The photographs of these models were
usually published in the art magazines. During the pre-
photography period, there were fashion magazines that were
crucial in spreading the theme of beauty in fashion
photography. This includes magazines such as Journal des
Dames and Le Costume. However, due to engraved illustrations,
these magazines had limited readership. Technological
advancements that took place later allowed for the printing of
photos on the same page with text, which increased readership
of fashion magazines.
Visual Analysis
Cecil Beaton, In the Manner of the Edwardians, Mary Taylor
wears Channel, American Vogue, 1935. Museum no. PH.191-
1977, © Victoria and Albert Museum, London
· In the above image, beauty in fashion photography is revealed
through the wearing of long dresses.
· The model in this photograph has been used to highlight the
level of beauty achieved when wearing a long dress.
· This is the image that reflects the roots of beauty in fashion
photography.
· This photograph was taken when culture was represented in
fashion photography.

2. · This portrait is taken from Victorian society portraiture.
Vermeer, Johannes: Girl with a Pearl EarringGirl with a Pearl
Earring, oil on canvas by Johannes Vermeer, c. 1665; in the
Mauritshuis, The Hague.
Title: Girl with a Pearl Earring
· This is a painting that was made by Johannes Vermeer.
· Its medium is oil painting on canvas.
· The movement is Dutch Realism.
· This painting is found in Mauritshuis Museum, The Hague.
· This painting illustrates the things women use to enhance their
beauty. In this case, it is a pearl earring.
After World War II, a number of things changed in fashion
photography. There were efforts to enhance beauty in fashion
photography and make art more attractive. At this age,
snapshots were considered great beauty photographs. As the
feminist movement gathered momentum, fashion photography
was used to spread the message of gender equality. In the
1950s, a new dynamism emerged that greatly influenced
photographers and fashion magazines. In the 1970s, fashion
photographers were interested in pushing the limits for
representing beauty in fashion imagery. Through this new
understanding, photographers engaged society with the
changing attitudes to sexuality and feminism. Moreover, other
themes such as religion and violence because evident. At this
level, the notion of ideal beauty widened. The use of
androgynous and black models increased. For instance,
photographers such as Sarah Moon and Deborah Turbeville were
models, and their engagement with female forms was different
from that of their male photographers. Their contemplative
images focused on a number of female perspectives on the
themes of sexual objectification and beauty. In the 1980s, more
focus was put on capturing real life. This led to the emergence

3. of new style publications that were focused on perfection of
photography to bring about enhanced representation of beauty.
Articles featured in magazines were focused on culture and
beauty. Alternative forms of beauty representation were evident
in various magazines. In the late 1990s, there was a leading
documentary approach to beauty in fashion photography.
The following are some of the photographs taken during this
period. They all reveal the theme of beauty in fashion
photography.
Erwin Blumenfeld, Model and Mannequin, American Vogue
Cover, 1 November 1945, © Estate of Erwin
Blumenfeld/Victoria and Albert Museum, London
Title: Model and Mannequin, American Vogue Cover
Date: 1 November 1945
Source: Victoria and Albert Museum, London.
Ilse Bing, Salut de Schiaparelli, Perfume Advertisement, 1934,
© Estate of Ilse Bing/Victoria and Albert Museum, London
Title: Salut de Schiaparelli Advert
Date: Jan, 1934.
Source: Victoria and Albert Museum, London
John French, Skater wears a Digby Morton fur trimmed velvet
coat, city gentleman, Michael Bentley in the background,
London. Daily Express, 1955, © Victoria and Albert Museum,
London
Title: Skater wears velvet coat
Year: 1955
Source: Victoria and Albert Museum, London

4. Ronald Traeger, Twiggy wears Twiggy Dresses, Battersea Park,
London. Unpublished Fashion Study for British Vogue, Young
Idea, July 1967, © Estate of Ronald Traeger/Vogue The Condé
Nast Publications Ltd/Victoria and Albert Museum, London
Title: Twiggy wears Twiggy Dresses
Year: 1967
Source: Victoria and Albert Museum, London
Works cited
Graydon, Shari. In your face: The culture of beauty and you.
Toronto, Ontario, Canada: Annick Press, 2004.
Schweitzer, Marlis. "“The Mad Search for Beauty”: Actresses'
Testimonials, the Cosmetics Industry, and the “Democratization
of Beauty”." The Journal of the Gilded Age and Progressive
Era 4.3 (2005): 255-292.
Svendsen, Lars. Fashion: A philosophy. Reaktion Books, 2006.
FAS 326 Final Project Guidelines and Rubric
Overview
Photography is by nature so enmeshed in daily life that one
tends to take a photograph as a self-evident cultural artifact.
Most of us unconsciously and
immediately absorb photographic images—looking through the
medium to the subjects without stopping to ask, “How did this
come into being?” In this course,
we ask ourselves that question by exploring how technology has
influenced our perception of the subjects of photographs, and
how the eye of the photographer
and the camera combine to change how we see the world. These
phenomena are never more apparent than when one views an

5. entire collection of images
organized and displayed so that each one contributes to an
overarching message or meaning. Indeed, this is what occurs
when photographs are properly curated
for an exhibition.
In this final project, you will select and curate at least six
thematically connected images that support an identified thesis
about a significant cultural issue. You
will have the opportunity to demonstrate your command of
visual analysis and historical research, while at the same time
expressing your own passions,
worldview, or personal interests. The product of your
investigation and analyses will be documented in an exhibit
prospectus.
The project is divided into two milestones, which will be
submitted at different points throughout the course to scaffold
learning and ensure a quality final
submission. These milestones will be submitted in Modules
Three and Five. The final project will be submitted in Module
Seven.
In this assignment, you will demonstrate your mastery of the
following course outcomes:
modern art form driven by technological developments
their expression of stylistic influences
and communally constructing cultural significance for
photographic images
subject matter of photographic images to
determine thematic elements using appropriate terminology

6. Prompt
Your exhibit prospectus should be a polished proposal for an
original collection of photographs that are each carefully
analyzed and that clearly demonstrate
your overall thesis.
Specifically, the following critical elements must be addressed:
I. Introduction
A. Set the stage for your exhibit by providing an overview of
the various photographers and periods that you plan to
showcase. Be sure to
comment on the thematic ties that bind your works together, as
well as provide examples of how your selected works may not
“fit the
mold” of their time period or your audience’s expectations.
B. Identify a thesis for your exhibit that addresses a significant
cultural issue. Make sure your thesis is specific enough to offer
a unique
perspective while still being clear and concise.
II. Selection of Photographic Images: You should include
quality digital reproductions of all the photographs you have
selected for your exhibit. They
should be from an authoritative source (e.g., a museum, a
gallery, or an academic institution) to ensure they have not been
edited or manipulated
from the original.
A. Select a minimum of six images that all contribute to the
identified thesis.
B. Your selected images should be sequenced chronologically

7. according to period and should be purposefully organized to
create flow and
continuity.
C. Additionally, they must reflect at least three photographic
technologies discussed in the course.
D. Finally, at least three periods or styles discussed in the
course should be represented.
III. Individual Image Commentaries: Underneath each of your
selected images, include a detailed commentary.
A. Identify the factual information available for the image,
including title, date, photographer, dimensions, location, and
medium, using
appropriately formatted citations.
B. Situate the image within its historical context by explaining
all the important and debated cultural and technological
realities that are
relevant to understanding or appreciating the image, using
specific details.
C. Describe the subject matter in detail and identify all
reasonably discernible formal elements that are present.
D. Assess the image for its broader thematic elements or
figurative meanings, based on your analysis of the subject
matter and form.
E. Interpret the image in terms of its cultural significance in a
way that supports your overall thesis.
F. Apply appropriate terminology for each of your individual
image analyses.
Milestones
Milestone One: Choosing a Theme
In Module Three, you will submit a brief paper on your
proposed final project theme. You will provide support for your

8. choice and discuss its relevance to the
history of photography. This milestone will be graded with the
Milestone One Rubric.
Milestone Two: Proposal
In Module Five, you will submit a short draft addressing the
thesis and theme of your final project. The milestone will also
include an analysis of at least two
images. This milestone will be graded with the Milestone Two
Rubric.
Final Submission: Exhibit Prospectus
In Module Seven, you will submit your completed exhibit
prospectus. It should be a complete, polished artifact containing
all of the critical elements of the final
project. It should reflect the incorporation of feedback gained
throughout the course. This submission will be graded with the
Final Project Rubric.
Final Project Rubric
Guidelines for Submission: Your exhibit prospectus should
include 200–250 words for the introduction and 150–200 words
per image. Use 12-point Times New
Roman font, double spacing, and one-inch margins. Follow
MLA style for citations.
Critical Elements Exemplary Proficient Needs Improvement Not
Evident Value
Introduction:
Overview
Meets “Proficient” criteria and
demonstrates a sophisticated

9. ability to classify photographic
images based on their
expression of complex stylistic
influences (100%)
Provides an overview of the
various photographers and
periods that will be showcased,
commenting on the thematic
ties and examples of how the
works may not “fit the mold” or
audience’s expectations (85%)
Provides an overview of the
various photographers and
periods that will be showcased
but fails to fully or reasonably
comment on the thematic ties
or examples of how the works
may not “fit the mold” or
audience’s expectations (55%)
Does not provide an overview
of the various photographers
and periods that will be
showcased (0%)
8
Introduction: Thesis Meets “Proficient” criteria and
demonstrates keen insight into
the cultural significance of
photographic images (100%)
Identifies an appropriately
clear, concise, and unique thesis

10. for the exhibit that addresses a
significant cultural issue (85%)
Identifies a thesis for the exhibit
but fails to identify an
appropriately clear, concise, or
unique thesis that addresses a
significant cultural issue (55%)
Does not identify a thesis for
the exhibit (0%)
8
Selection of
Photographic Images:
Contribute to the
Identified Thesis
Meets “Proficient” criteria and
demonstrates keen insight into
the cultural significance of
photographic images (100%)
Selects a minimum of six images
that all reasonably contribute to
the identified thesis (85%)
Selects a minimum of six images
but fails to select at least six
images that all reasonably
contribute to the identified
thesis (55%)
Does not select a minimum of

11. six images (0%)
8
Selection of
Photographic Images:
Sequencing
Meets “Proficient” criteria and
demonstrates a sophisticated
ability to classify photographic
images based on their
expression of complex stylistic
influences (100%)
Images are accurately organized
by period and into a purposeful
sequence that creates flow and
continuity (85%)
Images are organized by period,
but there are inaccurate
classifications or missed
opportunities for creating flow
and continuity (55%)
Images are not discernibly
organized by period (0%)
8
Selection of
Photographic Images:
Technologies

12. Meets “Proficient” criteria and
demonstrates nuanced
understanding of the history of
photograph as a debated,
modern art form driven by
technology (100%)
Images are representative of at
least three technologies
discussed in the course (85%)
Images are representative of
fewer than three technologies
discussed in the course (55%)
Not all images are
representative of technologies
discussed in the course (0%)
8
Selection of
Photographic Images:
Periods or Styles
Meets “Proficient” criteria and
demonstrates sophisticated
ability to classify photographic
images based on their
expression of complex stylistic
influences (100%)

13. Images are representative of at
least three periods or styles
discussed in the course (85%)
Images are representative of
fewer than three periods or
styles discussed in the course
(55%)
Not all images are
representative of periods or
styles discussed in the course
(0%)
8
Individual Image
Commentaries:
Factual Information
Identifies factual information
for each image, including title,
date, photographer,
dimensions, location, and
medium, using appropriate
citations (100%)
Identifies factual information
for each image but fails to fully
detail all available information
or use appropriate citations
throughout (55%)
Does not identify factual
information for each image

14. (0%)
8
Individual Image
Commentaries:
Historical Context
Meets “Proficient” criteria and
demonstrates nuanced
understanding of the history of
photography as a debated,
modern art form driven by
technology (100%)
Situates each image within its
historical context by explaining
any important cultural or
technological realities that are
relevant to understanding or
appreciating the image, using
specific details (85%)
Situates each image within its
historical context but fails to
explain all important cultural or
technological realities that are
relevant to understanding or
appreciating the image (55%)
Does not situate each image
within its historical context (0%)
8

15. Individual Image
Commentaries:
Subject Matter
Meets “Proficient” criteria and
demonstrates a sophisticated
ability to conduct a visual
analysis of photographic images
using appropriate terminology
(100%)
Accurately describes the subject
matter of each image in detail
and correctly identifies all
reasonably discernible formal
elements (85%)
Describes the subject matter of
each image but fails to use
sufficient, accurate details or to
correctly identify all reasonably
discernible formal elements
(55%)
Does not describe the subject
matter of each image (0%)
8
Individual Image
Commentaries:
Thematic Elements
Meets “Proficient” criteria and
demonstrates sophisticated

16. ability to conduct a visual
analysis of photographic images
using appropriate terminology
(100%)
Reasonably assesses each
image for its broader thematic
elements or figurative meanings
based on the analysis of subject
matter and form (85%)
Assesses each image for its
broader thematic elements or
figurative meanings, but claims
are not fully reasonable or
based on the analysis of subject
matter and form (55%)
Does not assess each image for
its broader thematic elements
or figurative meanings (0%)
8
Individual Image
Commentaries:
Cultural Significance
Meets “Proficient” criteria and
demonstrates keen insight into
the cultural significance of
photographic images (100%)
Interprets each image for its
cultural significance in a way

17. that supports the overall thesis
(85%)
Interprets each image for its
cultural significance but fails to
make fully reasonable claims
that all support the overall
thesis (55%)
Does not interpret each image
for its cultural significance (0%)
8
Individual Image
Commentaries:
Appropriate
Terminology
Meets “Proficient” criteria and
demonstrates sophisticated
ability to conduct a visual
analysis of photographic images
using appropriate terminology
(100%)
Applies appropriate
terminology throughout each of
the individual image analyses
(85%)
Applies appropriate
terminology in places but does

18. not consistently use correct
vocabulary for each of the
individual image analyses (55%)
Consistently misuses
terminology throughout
individual image analyses,
reflecting fundamental
misunderstandings of critical
vocabulary (0%)
8
Articulation of
Response
Submission is free of errors
related to citations, grammar,
spelling, syntax, and
organization and is presented in
a professional and easy-to-read
format (100%)
Submission has no major errors
related to citations, grammar,
spelling, syntax, or organization
(85%)
Submission has major errors
related to citations, grammar,
spelling, syntax, or organization
that negatively impact
readability and articulation of
main ideas (55%)
Submission has critical errors

19. related to citations, grammar,
spelling, syntax, or organization
that prevent understanding of
ideas (0%)
4
Total 100%
FAS326FinalProjectGuidelinesandRubricOverviewPromptMilest
onesFinalProjectRubric