FINAL

Last minute shoot

(Authors Own, Contact Sheet)

 Here you can see the product of a very last minute shoot. I used my mum, who was willing to show off more than just her face and superimposed my original models head onto her body.I continued to portray the older woman's insecure nature by photographing just the back. When all the images were put together in the final layout I noticed that orange was the dominant colour, I intended for the shoot to be a variety of colours but as two of my images work well in black-and-white I had to find an alternative. with the lack of accessible garments I decided to revert back to the original idea of colour correction in photo shop. Taking inspiration from ID magazine I produced a realistic layout using appropriate text, design, style and dimensions. On the next page, displayed, are my final selection of images incorporated into my final layout design, appropriate for ID magazine.  During one of the shoots my model unintentionally posed covering her left eye, I later realised that this was relevant for my magazine choice. To conclude my photo shoot I decided to design a mockup of the issue my editorial could be exhibited in.

(Authors Own, Editing Process)

(Authors Own, Layout Design)

Final Shoot

Above shows some images on set. The first image shows make up and hair artist in action, the others show me taking the photos. The lighting used was a soft box and flash to create images with minimal shadows and a natural glow, the natural daylight from the windows helps to achieve this effect. To create one of my images using the pink garment, I created a small set (inspired by rhea Theirstein) using to polystyrene boards. I pinned each individual tassle to the board in order to give the garment a second appearance, in the same way the other garments have.

(Authors Own, Contact Sheets)

(Authors Own, Photography)

(Authors Own, Photography)

London Fashion Week - Sophia Webster

During London fashion week I had the pleasure of working for shoe designer Sophia Webster, I interned for a short while helping with the production of her show. When we arrived at the location for the show it was a very minimal stripped back church like building, and I was unsure of how they could transform it into something more "sophia-esque". When i arrived on the day of the show I was amazed at how quickly and efficiently the space was created. The workshop run by Rhea Thierstein introduced me to work of set designer Shona Heath. Shona was working on the Sophia Webster show, and I had the pleasure of watching her create amazing props, sets and costumes out of ordinary objects. She utilises her imagination and a huge range of recourses to create these designs. Although the concept for my shoot is very stripped back and minimal, this has inspired me to experiment in future with props and set design

Cut & Paste

(Photography Damien Blottiere, Styling Robbie Spencer, Models Christian Ochsenfahrt at Major, Victoire Macon Dauxerre at Elite)

Cut and Paste -Dazed & Confused.This is a shoot that Robbie Spencer worked on for Dazed and Confused - Calvin Klein - with photographer Damien Blottiere. Each image is merged by two separate shots in a collage manner, creating shapes and gaps that unveil a little of the other. These days images appear flawless and almost perfect with little need for physical alteration, but I think that the beauty of these images lie in the simple, old fashioned medium of cut and past. They're abstracted by this practice, creating another dimension to each image. Although these images are highly modified and very abstract, I do not intend to replicate this visualisation entirely through my own work. I do however aim to experiment with this idea of manipulating two images together to create one. I explained previously that I lacked whole outfits with the samples I wanted to photograph, so the idea of manipulating the two together could ensure than my idea goes further.

(Photography, Bela Borsodi in Cut & Paste" by Richard Brereton)

Bela Borsodi.I came across an amazing book called "Cut & Paste" by Richard Brereton which brings together over 250 images from more than 40 contemporary collage artists. In the digital age that we are living, most images are created using computer based programs, that tend to look very "computerised" and sometimes obvious. When exploring the idea of cut and paste in Fashion photography it became apparent that traditional methods of visual art are fading I aim to try and use the medium of cut and paste in my final imagery to create new ideas based on the smaller samples I have collected from my designer. I came across graphic designer and photographer Bela Borsodi, through combining aspects of fine art, graphic design, craft, and psychology, his work offers a surreal imagery that makes clothing and accessories 3-dimensional. Borsodi says of his work “I love making things and putting things in an unusual context incorporating various visual languages coming from art and graphic design–eroticism is also a fascination of me that I love exploring". Borsodi does in fact use a meticulous method on a computer based programme like photoshop to create these amazing cut and paste images, but they still have a traditional feel about them. I would like to experiment with the idea of cut and paste and play around with scale and proportion in the same way.

(Authors own, experiments with samples)

In the images above I have tried to capture the diverse nature of the garments that I intend to use, and how would like them to be portrayed. The green garment is curvaceous and and quirky and works well with the female body, whereas The pink garment is fun and bouncy and has a lot of volume and character to it. With this in mind I think I have already achieved depicting the green garment in this way, and the plans I have for the pink garment coincide with its characteristics. I recently discovered the concept of using one garment and displaying in two very unique with ways, and as I now intend to use the idea of cut-and-paste in my work, I have come up with an idea that can transform a small orange sample into a finished garment. A problem I initially faced was not having enough samples to create garments suitable to cover the body, I was also in doubt as to how I could use one of my models for a second time throughout the editorial. But with my recent experimentation with the idea of cut-and-paste I aim to use the same sample that appears as a collar in one photo and transform it into a dress for another. I have suggested way I could display the collar as a dress on a miniature figure, but a problem I have faced is finding out ways in which I can display it on the body without making it look too sexy. I aim to re-photograph the orange sample and style it in ways in which I think is suited to my model.

After researching various artists that use the technique of cut and paste I decided to roughly try it out myself. As I have only photographed head shots of my model (that I would like to be seen in the longer garment sample), I had to improvise with images on Google to create the rest of the body, which I would like to avoid in the final outcome. For my final outcome I will have to re-photograph the models body in tightly fitting clothes e.g. a leotard or underwear, so that everything is in proportion and looks realistic. As you can see above I have experimented with with scale, I photographed some of the pieces in a studio so that the quality was of a professional, usable standard. I think the idea is progressing but it needs a lot more attention to detail so that the final outcome will appear more professional.  I aim to re-photograph the models body in in a studio So that I have a realistic backdrop with realistic shadows etc... Below shows how I have experimented with repetition using cut and paste with a sample or garment. I think the continuous flow of the curvy samples is effective, and in some cases works really well e.g. the shoulder piece that is presented in image one.  This idea could also help me to create a final image, depicting  larger garments that can cover the entire body, to work alongside a full body shot but I aim to capture. 

Initial Photo Shoots

Below shows a selective sample of contact sheets from three photo shoot I produced over the last week. As you can see my models vary in height age and ethnicity. I did not choose my models as a way of tokenising them just to suit the theme of diversity, but I chose them to compliment each individual piece in a unique way based on their unique appearance. The green sample is complemented by a young female model with short hair and quirky tattoos, her pale skin and short hair compliment the form and colour of the piece. In this particular session I decided to experiment with some reflective material in order to emphasise and celebrate the colour of the garment. I feel that the idea could have worked well but as it was a last-minute decision, the space I photographed in was not complimentary of the reflective material. Following this shoot, I decided to cast a very tall and elegant female model, to complement a long slender dress. Using the failed method of reflective material from the previous shoot I decided to experiment with it one more time. This time I decided to place it on the floor so that the oranges and yellows of the dress could be reflected, I think it worked really well reflecting colours onto the floor rather than the backdrop. As this is the only finalised garment in my shoot, I decided that I could show its diversity by adorning the body with the dress in an unconventional way.  I challenge my own preconception of a "dress" and experimented with styling the model in different ways using it. The idea that seem to work the best, which we discovered quite quickly, was to let the dress hang around the neck as if it had not been put on properly or only halfway. Learning that single garment can be placed on the body in multiple ways has led to visualise my final outcome.  I would like my four models to display one garment or sample in two very different ways, this way I will be demonstrating the theme of diversity through the garments. At this point I have also decided that I would prefer to shoot just female models for my final outcome, have experimented with using male models and it seemed that the male physique does not complements the samples as much as the female figure does. I have plans for two full body compositions that I would like to photograph in my final shoot. I think this composition will complement the specific garment perfectly, and with this in mind I decided that it would be mandatory to shoot head shots for my third shoot. Unintentionally, but undoubtably aesthetically pleasing, my third model also had short hair, which compliments all of the garments and samples. I used an orange collar to accentuate and compliment the texture and colour of my models hair and skin tone. I am yet to discover what shot i would like to use this model for again, but for now I have a great head shot that works with the other final images flawlessly.

(Photography, Authors Own - Knitwear, Karen Moore - Model, Nelly Smith)

(Photography, Authors Own - Knitwear, Karen Moore)

(Photography, Authors Own - Knitwear, Karen Moore - Model, Cynthia Granfield)

At first I decided that I would use simple white paint across the eyes to show purity and freshness.  I didn't want my imagery to be too contrived or to be seen as tokenising the idea of African tribal body art,  so this simple makeup technique seemed appropriate. When I composed the first shoot with the green garment and tattooed female model I forgot to apply the white paint around the eyes, at first I was disappointed and wanted to shoot again with makeup,  but as I began to upload images on my computer to edit them in photo shop I actually preferred this natural look. Although the model wearing the orange collar was not one of my first, I didn't intend to apply makeup to her as I wanted to keep her looking natural and celebrate her age and identity.

Set Design & Makeup

This week I decided to test out some make up looks that I could use in my shoot. I tried them out myself to get a rough idea of what I think will work well, but for the real shoot  I have found a make up artist through the university that will assist me on the day. I started off by testing some simple tribal like markings across and around the eyes. I also realised that this style of make up was easy to colour correct in photoshop, so with the simple use of one colour I could edit each style to my preference in postproduction. The initial idea of tribal marks came from a recent issue of ID magazine,  and I thought that with the theme being based upon body adornment this would work well. What I later discovered once I had styled the clothing, was that the use of tribal markings for makeup appeared a bit cliche for the theme of diversity. Following this discovery I decided to simplify the idea of tribal markings, with the use of brightly coloured eyeshadow, I softened the look by suggesting tribal marks. I also experimented with the idea of soft paint, painted across the eye area. The paint accentuated the idea of the marks,  making the appearance of the make up more obvious and bolder which I think relates to my idea more. A worry that I had is, if the make up too colourful and bright it could draw the attention away from the garment, so above on my computer based make up faces I have suggested the use of white paint across the eyes. This idea will also brighten eyes.  The last experiment with make up was the combination of eyeshadow and lines, I would like to test a variety of combinations with this idea before I decide to use it or not to use it.

Following producing some make up ideas we had an amazing workshop with set designer Reah Theirstein. She showed us multiple ways of creating amazing sets on small budgets, and loads of ideas for creating unique backdrops. This workshop helped me greatly because I was planning on only using a white studio background to accentuate the idea of the garments. After the workshop I thought of loads of other ways I can do this by using more interesting sets. During the workshop we were asked to create our own sets, I experimented with the use of projecting imagery onto a subject. For the materials we had at the time I thought this was a great idea and will definitely help me to produce future concepts in set design. But when I came home I decided to create suggestions of set design in photoshop. Bellow, shows my illustrations and suggestions of set design, there are a variety of different ways in which I can create a set on a budget and the ideas I have demonstrated consist of simple materials such as: reflective paper, acetate or plastic, post production and simple use of materials. I will further experiment with these ideas to decide what one works best.

Isamaya Ffrench is a makeup artist who is currently the beauty editor of i-D Magazine. She is well known for her super-saturated palettes which rebel against fashion’s bored, minimalistic habits. “For her, make-up is paint, and skin a canvas.” I got inspiration from her work while I was looking through the "beautiful issue winter 2014" in ID magazine. The images were very linear,  depicting bright bold lines around the face, accentuating features such as cheekbones eyebrow bone and lips. I was interested in her style as it seems quite simple and it relates closely to my idea of tribal marks. As I began to research her work, I discovered that as well as using sharp linear markings, she has a tendency to create soft, chalky markings. Above I have attempted to portray her style using some of my own ideas. I intend to use a real makeup artist for the final images, these where just some experiments.