Мистецтво

Dybchenko Inha

Photographer, self-employed. Licensed

Carmichael, California, USA

https://www.doi.org/10.25313/2524-2695-2025-11-03-41

HOW VISUAL ART HELPS SHAPE POSITIVE SELF-PERCEPTION IN WOMEN AND ADOLESCENTS

Summary. This study investigates how visual art, primarily photography, contributes to constructing positive self-perception in women and adolescents amid escalating pressure from unrealistic appearance standards intensified by digital media and artificial intelligence systems. The relevance is supported by global data documenting declines in mental well-being and self-esteem indicators. The aim of the research is to analyze and theoretically integrate the mechanisms through which photography supports the formation of a positive self-concept, as well as to empirically verify them using a practical case study. The methodological framework includes a systematic review of scholarly literature, a theoretical synthesis of psychological propositions (D. Bem’s self-perception theory) and sociological approaches (P. Bourdieu’s theory of photographic practice), supplemented by a qualitative analysis of a case study of the author’s method of psychological and artistic photography. The results show that photography, when used within a therapeutic logic, initiates cognitive processes of reappraising one’s own actions and performs the sociological function of ritual confirmation of identity. The case study analysis demonstrates high effectiveness of the practical implementation of these principles for strengthening family bonds and self-acceptance (client retention — 70%). The study concludes that visual art serves as an effective tool for supporting positive self-perception, offering a genuine alternative to dominant digital narratives. The findings are addressed to psychologists, art therapists, sociologists, photographers, and social-sector professionals.

Key words: therapeutic photography, self-perception, self-concept, body image, women, adolescents, art therapy, case study, self-perception theory, sociology of photography.

Introduction. The contemporary social reality, in which visual culture dominates and social media permeate everyday life, is accompanied by an unprecedented crisis of self-perception, most noticeable among women and adolescents. The 2024 Dove global report The Real State of Beauty records alarming indicators: 40% of women are willing to sacrifice a year of life for an ideal appearance, and nearly 9 out of 10 women and girls have encountered harmful beauty-related content online [1]. The threat is intensified by the rapid development of artificial intelligence technologies: by 2025 up to 90% of online content is projected to be generated by AI, leading to the further normalization of unattainable, algorithmically constructed ideals of appearance [2].

This pressure extends to the field of mental health. According to WHO and UNICEF, every seventh teenager in the world suffers from mental disorders [3]. These data indicate that negative self-perception goes beyond individual discomfort and acquires the status of a public threat to the health of the nation [4].

Against this backdrop, interest is growing in approaches capable of resisting destructive trends and supporting the formation of a healthy self-concept. One such approach is visual art, primarily photography. At the same time, despite a body of literature on the therapeutic potential of photography in clinical psychology (phototherapy) [6] and social work [8], a methodological gap persists: studies that simultaneously take into account basic psychological theories of attitude formation, sociological conceptions of the role of photographic practices in the construction of identity, and the analysis of specific non-clinical strategies demonstrating effectiveness outside the framework of formal therapy are rarely encountered.

The aim of the study is to conduct a comprehensive analysis and theoretical synthesis of the mechanisms by which visual art, using photography as an example, contributes to strengthening positive self-perception among women and adolescents, as well as to verify these mechanisms through a practical case study.

The author’s hypothesis is that the practice of therapeutic photography, combining psychological principles for creating a safe environment with artistic techniques for capturing authentic moments, strengthens positive self-perception not only through aesthetic experience but also by activating the cognitive process of re-evaluating one’s own behavior and identity, while simultaneously reinforcing social bonds within the ritualized act of self-representation.

Scientific novelty is defined by the integration of D. Bem’s self-perception theory and P. Bourdieu’s sociological theory of photographic practice to explain the effectiveness of non-clinical photographic practices in correcting the self-concept.

Materials and methods. The methodological foundation of the study is interdisciplinary and rests on a combination of three complementary approaches that ensure the completeness and depth of the analysis of the stated problematics.

First, a systematic literature review was conducted. The procedure included targeted selection, critical appraisal, and interpretation of relevant academic publications from peer-reviewed sources (Scopus, Web of Science, etc.) in recent years. The following were used as key search queries: therapeutic photography, art therapy, psychology of self-perception, body image, sociology of visual culture. This stage made it possible to reconstruct the current state of the scientific discourse and to refine the operative theoretical frameworks.

Second, the method of theoretical synthesis was applied, that is, the integration of concepts from different disciplinary domains to construct a single, more explanatorily capacious model. In the logic of this study, central roles are played by the self-perception theory of Daryl Bem and the sociological theory of photographic practice of Pierre Bourdieu. Their conjunction provides a bifocal analysis of the phenomenon of photography: both through the prism of individual cognitive mechanisms and through the prism of social rituals of representation and the consolidation of identity.

Third, for the empirical verification of the theoretical propositions, a qualitative case study analysis was employed. This method presupposes an in-depth examination of a specific case in its real context. The object was the authorial method of psychological and artistic photography as presented in the primary materials. The analytical procedure included deconstruction of the methodological foundations, principles, and stages of the method, as well as interpretation of the results of its practical implementation (client retention indicators, acquisition channels, qualitative feedback), which ensured the verification of the proposed conceptual model.

Results and discussion. To explain the underlying mechanisms by which photography influences the self-concept, it is necessary to draw on foundational developments in psychology and sociology. Their joint consideration demonstrates how the visual image functions as a trigger for both internal cognitive processes and external social practices aimed at affirming and maintaining identity.

1. Bem’s self-perception theory offers a counterintuitive account of the origins of attitudes. Within this framework, a person infers their own internal states—emotions and beliefs—not primarily through introspection but by observing their own behavior and its consequences in specific situations [14]. In essence, the individual concludes about themself as an outside observer would: I am a caring parent, I am a happy person, if their actions systematically correspond to such characteristics. This pathway is especially engaged under conditions of weak or ambiguous internal cues.

Applied to photography, this mechanism acquires particular force. The shooting process constructed in the analyzed case study deliberately creates a context for the manifestation and recording of desired patterns of behavior. Participants are invited not to pose formally but to interact—to laugh, hug, and show tenderness. The resulting images serve as material evidence of this positive behavior. When viewing the images, a person sees not merely their appearance but themself in action. This activates cognitive attribution: if in the photographs I behave in this way, then this is who I am—loving, confident, connected to loved ones. Thus, photography functions not as a passive mirror but as an external stimulus that initiates internal reprocessing of self-evaluative attitudes.

A sociological perspective—photography as ritual and a marker of identity (P. Bourdieu)—supplements the psychological dimension by situating the act of photographing within the fabric of social relations. Pierre Bourdieu showed that family photographic practice in particular appears not primarily as art but as a key social ritual [15, 18]. Its main function is to solemnly record and perpetuate the culminating moments of family life, thereby strengthening the family’s sense of unity. Shooting becomes a mechanism of social integration and affirmation of group identity. The selection of events (weddings, birthdays, the birth of children) is subject to a social logic: to record what the community deems necessary for its own integrity.

The case study under consideration vividly illustrates this position. Families consistently return to photo sessions at threshold stages of the life course: wedding anniversaries, pregnancy, the birth and growing up of children. This is not mere recording of memory but a sequential enactment of a ritual that at each stage affirms and strengthens their identity as a family. In this context, the photographer acts less as a technical operator and more as a kind of master of ceremonies, providing the ritual with aesthetic form and emotional completeness.

Thus, the existing approaches relate not in parallel but synergistically. The social need for ritual (per P. Bourdieu) sets the motivation and situation for particular behavior—manifestations of familial closeness. The behavior captured by photography then becomes the object of observation and cognitive reappraisal (per D. Bem). The sociological function of photography creates the conditions for the operation of the psychological mechanism, greatly amplifying its influence on self-perception.

Therapeutic photography as a means of constructing a positive self-image. In contemporary support practice, approaches that rely on photography not in a clinical but in a developmental-supportive register are increasingly used. For an adequate understanding of their mechanisms and boundaries of applicability, it is essential to distinguish these approaches.

Therapeutic photography, in contrast to phototherapy conducted by a licensed clinician in the context of a psychotherapeutic process, is understood as the structured use of photo-oriented activities to explore difficulties and achieve specific changes [8; 17]. These activities may be initiated by the participant, implemented in a group, or carried out with the involvement of a facilitator who is not necessarily a psychotherapist. Research indicates that such practices positively affect self-esteem, a sense of self-efficacy, and the experience of an expansion of one’s own capabilities [8]. The key mechanisms include:

– Deepening of self-disclosure: the photographic image, especially in an indirect, metaphorical modality, provides a channel for expressing feelings and thoughts that are difficult to articulate in speech.

– Strengthening of social ties: the joint creation and discussion of images in the family or a group promotes the growth of mutual understanding and empathy.

– Control over one’s own narrative: participants gain the opportunity to determine the form and perspective of representation themselves, creating a visual story that reflects their vision of self, which serves as an act of asserting subjectivity [8, 12].

The authorial method presented in the case study is an instance of therapeutic photography. The photographer, creating a space where people can be themselves, acts as a facilitator of self-disclosure processes. Seeing themselves in images in love, tenderness, and care, participants receive visible confirmation of positive qualities, which supports self-esteem. Families documenting the stages of their lives take control of their own family narrative by actively constructing it.

To further clarify the distinction between approaches, a comparative table is provided below (Table 1).

Table 1

Comparative characteristics of therapeutic approaches using photography

Source: compiled by the author based on [5; 7; 9]

As follows from the table, the authorial technique under consideration occupies its own sector that is difficult to reduce to existing practices: it combines the therapeutic photography orientation toward personal growth and strengthening of self-esteem with the photo art therapy emphasis on artistic expressiveness, yet it is implemented outside the clinical field and conducted by a photographer possessing advanced psychological competences.

A detailed analysis of the presented case study makes it possible to deconstruct the method and to identify functional nodes that determine its effectiveness. The method is based on the coupling of two complementary foundations — psychological and artistic.

Psychological principles include:

– Creating a safe frame: the photographer acts not as a judge but as an attentive witness, which reduces levels of anxiety and defenses, allowing participants to remain authentic.

– Emotional anchoring and bodily memory: the shooting process relies on rich nonverbal exchange — hugs, laughter, gaze. Jointly experienced and visually recorded moments form stable positive associations (anchors) linked to feelings of safety and joy.

– Priority of interaction over posing: the focus shifts from the external result (how do I look?) to the internal experience (what am I feeling now?), which deepens the experience of the moment and increases sincerity [10; 11].

Artistic principles include:

– Documentary manner: the rejection of rigid staged solutions in favor of capturing live emotionally saturated fragments preserves the authenticity of what is happening.

– Light and composition: the use of soft light and natural compositional solutions serves not to idealize the image but to convey an atmosphere of warmth and closeness, enhancing the affective power of the frame.

As a result, the method simultaneously solves two tasks: it creates an aesthetically significant visual product and initiates a therapeutic process in which participants acquire a new, positive way of seeing themselves and their relationships. The logic of this process can be represented as a sequential algorithm (see Fig. 1).

Fig. 1. Algorithm of the author’s method of psychological and artistic photography

Source: author’s data

The effectiveness of the method is supported not only by a set of positive qualitative responses, but also by stable quantitative indicators accumulated since 2021: over the specified period, more than 120 photo sessions have been conducted. The key metrics show the following. Client retention is about 70%, which indicates the systematic return of participants. Within the scope of this study, it is reasonable to interpret this indicator not merely as commercial loyalty, but as a marker of a deeply positive, transformational experience that goes beyond obtaining aesthetically calibrated images; repeated requests to document new life stages point to the successful fulfillment of a ritual function in the Bourdieusian sense (after P. Bourdieu). The share of clients referred by recommendations exceeds 40%, which indicates such a high subjective value of the experienced process that participants actively transmit it within their social environment—a typical dynamic for services with a pronounced therapeutic or transformative effect. Taken together, these indicators provide an indirect yet compelling basis for assuming that the method achieves its stated psychological goals: strengthening interpersonal ties, increasing self-esteem, and fostering positive self-perception. To visually present the problem context and demonstrate the effectiveness of the approach, appropriate charts have been constructed on the basis of data from authoritative reports and case study materials (Fig. 2).

Fig. 2. Key sources of pressure on women’s self-esteem

Source: compiled by the author based on [13; 16; 18]

Figure 2 convincingly demonstrates that external, media sources exert the most destructive impact on women’s self-esteem. This fact underscores the necessity of developing practices that shape an alternative, positive, and authentic visual narrative—precisely the role fulfilled by the method under consideration. Figure 3 will further present its dynamics and performance metrics for the period 2021–2024.

Fig. 3. Dynamics and performance indicators of the author’s method (2021–2024)

The chart in Fig. 3 clearly records the consistently high effectiveness of the method: stable retention and referral-based acquisition rates against the backdrop of a growing number of sessions indicate that the positive effect is not an artifact of random coincidences, but is reproduced as a consequence of systematic, methodologically rigorous practice. To verify and expand the obtained results, further studies are required employing quantitative procedures — in particular, standardized psychometric questionnaires of self-esteem and body image in a pre–post design — and on a larger, demographically and culturally diverse sample. The boundary of competencies, the provision of confidentiality, and clear action protocols in the event that serious psychological difficulties are identified in a client (e.g., depressive disorders or eating disorders) require careful regulation. These factors underscore the importance of interdisciplinary collaboration, the upskilling of photographers in psychological counseling, and, potentially, the development of professional standards for such practices.

Conclusion. The conducted study provided a multifaceted analysis of the contribution of visual art, primarily photography, to the formation of a positive self-attitude in women and adolescents. The obtained results convincingly show that photography, incorporated into a mindful, therapeutically oriented format of interaction, serves as an effective means of strengthening the self-concept and harmonizing interpersonal ties.

This effectiveness is conditioned by the conjunction of two basic mechanisms. At the individual level, the psychological process described by D. Bem in self-perception theory is engaged: visual fixation provides the subject with observable evidence of their own constructive actions, which initiates a reassembly of internal self-evaluative attitudes. At the social level, photography functions as a ritual practice which, in the logic of P. Bourdieu, consolidates and affirms group—particularly family—identity at significant life moments.

The stated aim—a comprehensive test and analytical verification of the specified mechanisms—has been achieved. The author’s hypothesis was confirmed: a qualitative case study analysis of the proposed method showed that a practical approach grounded in the creation of a safe environment and in the recording of authentic behavior in a ritualized context leads to stable positive shifts in clients’ self-perception. This is consistent with quantitative indicators of their engagement: 70% retention and 40% new referrals by recommendation, which testifies to the pronounced transformational potential of the approach.

The practical significance of the work is multidimensional. For psychologists and art therapists, the presented results may serve as a basis for integrating photographic techniques as an accessible and effective tool. For professional photographers, the study provides a theoretical framework for a transition from a predominantly technical optic to a more mindful, empathic, and therapeutically oriented shooting practice. For social workers and educators, the described method can become an example of a non-directive and effective methodology in working with adolescent and family groups in need of strengthening self-esteem, developing communication skills, and reinforcing social ties. In a broader cultural horizon, it is shown that the production of authentic visual images can act as a form of resistance to the pressure of unrealistic digital standards, helping people to rediscover and accept their own genuine appearance.

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