Описание фотографий на английском языке

Здравствуйте, нужно сделать максимально детальное описание фотографий на английском языке. 3 фотографии, на каждую должно выйти 500 слов, но чем больше – тем лучше.Топик: gender identity, feminism, sexuality, intimacy, Nan Goldin.

Пример описания и фотографий:

1) At the beginning of the book there is a picture that may serve as an illustration to my deliberations. It is the one called Roommate in the kitchen, and it is taken in Boston in 1972. It is a black-and-white photograph – like all the early ones – and is probably taken in daylight. No flash is used. It depicts a person in three-quarter body length. The subject is standing against a wall, a doorway behind her to her left, and a picture mounted on the wall to the right, next to the head. The wall is of light colour, but a dark field occupies the lower part of the picture – behind the subject’s lower body – possibly a piece of furniture, and at the picture’s left margin seems to be something that could be a mirror. The subject is wearing what seems to be a light, sleeveless dress, tied with a belt or chord at the waist, and is positioned in a frontal, contrappostal pose; the right hand placed on the hip, the left raised and flexed at the elbow, touching the doorpost behind the head; the look is directed straight at the camera. The picture takes on a grainy, fussy quality. Details are lost. Therefore it is hard to make out the picture on the wall. It probably depicts a young girl in a dress, leaning on a piece of furniture, looking out of the picture plane. It is impossible to determine the medium. It seems to be significant, positioned as it is, right next to the protagonist’s head.

2) Roommate in her chair. Also taken in Boston in 1972, this depicts the same person seated sideways in an armchair, looking straight at the camera. The focus is sharper, much more of the details are revealed – and what is revealed seems like the epitome of femininity. The curled hair is tied up in a knot, some strands still fall gently framing a beautiful, heart-shaped face with full lips, almond shaped eyes, fine eyebrows, and skin without a blemish. There is little or no make up, underpinning the impression of naturalness. The body is slim, the pose relaxed, and the attire is that ultimate female garment: the simple, but elegant summer dress. The limbs are long and slender, flexed at the elbows, wrists and knees, the delicate hands softly placed on the body, the legs crossed. The dress stops halfway down the thighs; it is long enough to be decent, but short enough to reveal the elegant, sensual legs. This picture oozes with feminine qualities: beauty, sensuality, softness – and naturalness. No one would – taken out of context – suggest that this is a picture of “nature gone wild”, that it represents those crimes against Nature that need to be corrected. On the contrary: this would qualify as a representation of Nature at its peak, as the ideal Womanhood. Interestingly, it does so to such a high degree that it is easy not to notice one discrepancy: the roommate has no breasts. That most female of body parts is in fact missing. So how can it be an ultimate expression of Womanhood, when the most crucial of female attributes are not there? In fact, most of the things that we would consider female are not really there. Yet it seems like an ideal depiction of Womanhood. This is a testament to the subversive power of the artist and her subjects, and may be seen as a critique of the intelligibility and self-evidence of the existing gender system.