Delving into the work of three photographers whose work I admire and respect has helped me to really consider what goes into a photograph; there is, obviously, more to it than just pressing the shutter button.
The videos and photos of Floria Sigismondi made me realise the importance of lighting, and that it's not just the subject that matters, but how the subject is shot. The colour and harshness of light, and the angle at which it falls across a subject, all help to create a specific atmosphere just as much as the costumes, props and make-up do. The ever-changing faces of Cindy Sherman showed the limits (or rather, lack thereof) of character creation and working without a real studio; anything can be acheived, any face can become something completely different. Katrina Grekof's ethereal portraits represented a different side to the typical gothic horror genre so favoured by Sigismondi, and showed that you don't have to be covered in prosthetics like Sherman to be disturbing and unsettling.
Essentially, what I learned from this study is that there's no right or wrong when it comes to shooting photos. All you need is an idea and the drive to realise it; whether you shoot in intricately detailed sets like Sigismondi, a small home studio like Grekof, or wherever there's space like Sherman, you can evoke exactly what it is you want, using as much or as little as you see fit.

Grekof has inspired me the most throughout the research and subsequent essay. For future films, I intend to take a leaf out of her costume book and really spend time on making sure my subjects look exactly as they're supposed to and portray the right messages. I realise that it's not enough to simply put on some makeup and a shirt; I need to create a character.