Vanity Fair

Douglas Fairbanks Jr. and Joan Crawford by Nicholas Murray
This portrait is a what appears to be more of a private moment between the sitters as opposed to a set up studio shot, it is a more candid portrait. Their personalities are not easily read in this portrait as they are not looking at the camera, however you can see that they know and love each other.
The use of natural light is appropriate to the setting and the time which was in the 1920's. The use of negative space in the upper right is useful as this image was presented in a magazine.
The photographer is contributing to the construction of identity by putting two people who are in a relationship with one another in a setting and letting them be themselves, it appears that they are not entirely aware of the cameras presence.

Portraiture of any body is not entirely thruthful, not just in celebrities, as it shows a tiny glimps of a person. You can not encapsulate an entire person in a fraction of a second as people are so incredibly complex.

George Clooney by Annie Leibovitz

In this portrait George Clooney is percieved as a powerful man up there on his podium directing all the beautiful women below him. He is playing a role in this image, and therefor it is not a true portrait of him, as he is being staged and playing a character. The fact that George Clooney has been put on a pedestal suggests that he is an important figure.

The lighting in this image comparedto the 1920's image is drastically different, it is all studio lit, no natural light. The use of colour gives the image a different element, and the fact that it is a posed image makes it more of a still film than a portrait of the man himself. The technological advances are evident in comparison of the two images.

Annie Leibovitz has constructed George Clooney's identity as she would like to see it in this image. This shows that the photographer has a lot of emphasis in allowing the sitter to be who they are percieved as.