From the beginning of its appearance photography had a long way ahead of itself until it was fully accepted in the art world and considered to be a separate art form. There were several—initially amateur and later professional—photographers who, however, experimented with other art forms in their photographic oeuvre in order to make the art of photography a more distinct form of expression. In my thesis, I would like to investigate the interartistic aspect in the works of two women photographers (Julia Margaret Cameron and Cindy Sherman) who, although were very distant from each other in time and location, both fused their photographic works with other art forms. Furthermore, along with their interartistic approach, I shall highlight the performative nature of their photographs which comes to realisation through the pose. Moreover, in the case of Cameron other than her innovation in technique she also expressed the importance of emotions opposing Victorian standards of manners. Furthermore, in case of Cindy Sherman performativity is extended to gender and identity formation. In connection with and as a completion of Cindy Sherman’s performative photographs I would also like to touch upon Heather Agyepong, a female photographer’s work from the 21st century by focusing exclusively on the performative quality of her photography. Thus, demonstrating the art of these three women photographers I would like to give an overarching evaluation of how and by what means women approached and used photography as art for the sake of reflecting on female subjectivity, socio-political and cultural norms delimiting women.