It was with her series Rear Screen Projections, 1980, that Sherman switched from black-and-white to color and to clearly larger formats.Centerfolds/Horizontals, 1981, are inspired by the center spreads in fashion and pornographic magazines.Sometimes I disappear." She describes her process as intuitive, and that she responds to elements of a setting such as light, mood, location, and costume, and will continue to change external elements until she finds what she wants.She has said of her process, "I think of becoming a different person.
Sherman used costumes and make-up, including blackface, to transform her identity for each image, and the cutout characters were lined up along the bus's advertising strip.
But the blacks are all exactly the same color, the color of traditional blackface makeup.
They all have nearly the same features, too, while Ms.
Sherman is able to give the white characters she impersonates a real range of skin tones and facial features. It looked like a stale visual myth that was still in good working order." Other early works involved cutout figures, such as the Murder Mystery and Play of Selves.
In her landmark photograph series, the Untitled Film Stills, (1977–80), Sherman appeared as B-movie and film noir actresses.