Sherman, who photographs alone in her studio, has used a variety of techniques to suggest different locations and imaginary (sometimes impossible) spaces, extending the narrative possibilities of her images. In her first foray into color, in 1980, the artist photographed herself in front of rear-screen projections of various cityscapes and landscapes, evoking films from the 1950s and 1960s that used similar techniques to create the illusion of a change in location. In later series, such as the head shots (2000–2002), clowns (2003–04), and society portraits (2008), the artist used digital tools to create a variety of environments. The garish fluorescent colors in a clown picture contribute to the disturbing quality of the portrait, while a fairy tale forest provides a dreamy backdrop for a well-to-do lady.