Portrait research-Jill Greenberg

Jill was born in Montreal, Quebec, and grew up in a suburb of Detroit. She graduated with honors in 1989 from the Rhode Island School of Design with a BFA in Photography and moved to New York City to pursue a career in photography. Greenberg moved to Los Angeles in 2000 where she met her husband Robert. She moved back to New York City in 2013 with her family for Robert's position at Conde Nast Entertainment.
Greenberg is credited by some within the commercial photography industry as having produced several unique styles that have since been emulated by other photographers. "Like LaChapelle and Avedon, Jill has pioneered a new style of photography, and her impact can be seen throughout the entertainment industry", the creative director of a Los Angeles creative agency told Brief magazine, with the publication itself characterizing her work as employing "distinctive ethereal backlighting." A president of NBC Entertainment Marketing who has employed Greenberg on a number of occasions due to what he terms her "distinct and innovative aesthetic" observed that "many other photographers follow her lead."
Greenberg herself has acknowledged having made particular use of digital post production, adapting the nickname "The Manipulator" early in her career due in part to her relatively early adoption of Photoshop, a product she has used since its release in 1990. Nonetheless, she told an interviewer in 2011 that some of what her fans believe to be post production is instead the result of close attention to lighting, merely supplemented with minor "flourishes" afterwards. Greenberg suggested in a 1998 New York Times article on female gamers that her affinity for technology came from her mother: "My mom was a math buff and a science major in college. ... In 1964, she became a COBOL programmer and helped support my father through med school. She used to write programs on keypunch cards for mainframes."

Jills End Times, a series of photographs featuring toddlers, was the subject of controversy in 2006. The work featured stylized hyper-real closeups of children's faces contorted by various emotional distresses. The pieces were titled to reflect Greenberg's frustration with both the Bush administration and Christian Fundamentalism in the United States. The method for getting the children to cry was, in some cases, offering the children candy then taking it away.
The series resulted in hate mail which continued for several years, and at least one lost job for Greenberg. The images, meanwhile, have been imitated and used without permission for unrelated campaigns

 

I really felt like i had to leave it till the bottom of the pictures to actually comment on them as i feel all her work does have a sence of cartoon untill you look closely at the pictures to discover they are actually real photographs, just very clevely photoshoped and i also think the poses she has them helps the sureal look that they all have. I find her work very intresting to look at and found myself looking through all her work for a while and now find im intriged with the technique she has used and will be researching more on that.