Tuesday 8 December 2015

Bibliography

Books
  • Child J and Galer M (1999). Essential Skills Photographic Lighting. Oxford: Focal Press. p2 - 135.
  • Ewing W (1996). A Fetish For Beauty Blumenfield. London: Barbican Art Centre. p1 - 256.
  • Smith B (2008). Pro Digital Fashion Photography. East Sussex: Ilex. p6 -192.


Films/TV/ Youtube
  • 7 Photographs that Changed Fashion 2009, television program, British Broadcasting Company (BBC 4), London, 14th January.
  • Making of: Vogue Japan - Special Edition - Obsession by Mario Testino - Japan 2014, video, Vogue Japan, 25th Sept, viewed 11 October  2015, (https://www.youtube.com/watch?v=ztviA4W3C40).

Internet
  • Stampler L. (2013). American Apparels 'Unisex' Ads Portray Men and Women Very Differently. Available: http://www.businessinsider.com/american-apparels-unisex-ads-2013-5?IR=T. Last accessed 4th Nov 2015.
  • Stampler L. (2013). How it Would Look if Men Posed the Same Way Female American Apparel Models Do . Available: http://www.businessinsider.com/if-men-posed-like-female-american-apparel-models-2013-5?IR=T. Last accessed Nov 4th 2015.
  • Wyasaki J. (2015). If an Average Woman Modled for High Fashion Ads. Available: http://www.pleated-jeans.com/2015/08/05/if-average-woman-modeled-for-high-fashion-ads/. Last accessed 4th Nov 2015.
  • Unknown. (Unknown). Rankin: The 7 Photographs That Changed Fashion. Available: http://www.telegraph.co.uk/culture/4161221/Rankin-Seven-Photographs-that-Changed-Fashion.html. Last accessed 8th October 2015.
Magazine
  • I-D  (Spring 2015). The Activist issue No.336.
  • InStyke (November 2013). Drew Barrymore.
  • LOVE (S/S 15). Miuccua on Kim.
  • Vogue. (June 2014).

Sunday 6 December 2015

Evaluation

I think that from this project I now have a basic understanding of beauty photography and how to set up and shoot high key and low key images, however I am not as comfortable with doing this as I think I should be, I really struggled with getting to grips with the technical side of photography. The way I solved the problem with this was by practicing and speaking to other people on the course to help my understanding, it also helped me writing down step by steps on how to shoot an image. The way I developed my research was first by getting an insight and knowledge on beauty photographers, by watching the 7 photographs that changed fashion and getting myself familiar with iconic images. The other way I gained research for my final photoshoot was by looking in magazines like I-D and LOVE, my main inspiration was the Frayed Beauty shoot by David Sims (Seen on my 6 poses I find inspiring post on blog) and this is what I based my form of natural beauty on, I wanted to make the subject more abstract and challenge the conventional image of feminine beauty. The images I produced I am really pleased with, however if I was to do this again I would like to be a lot more familiar with photoshop as this would make my images a lot more professional. Overall, I think I have took small but very essential steps towards having knowledge about photographers (past and present) in the industry and I am also starting to take photos that I would be happy to have in my portfolio.

Photoshoot Call Sheet


16th November 2015

Creative Director : Bronya Leavesley

Email:bronyaleavesley@hotmail.co.uk

Phone : 07712237017

Bronya Leavesley

Photo Shoot Call Sheet

Assignment

The Perfect Base

Location

Photography Studio: JM405, Southampton Solent University

Concept

The concept of this photo shoot is the perfect base with the key colour orange, to emphasise natural beauty.

Technical Requirements

6x images, 3x colour, 3x black and white, of which some will be high key and some low key, including a profile shot, side shot and a hair shot. Shot on a white background.

Moodboard


Timeline

Team meet at 4.45pm (15 min brief)

Makeup 5.00pm – 6.00pm  (1hr)

Shooting 6.00 – 6.45pm (45mins)

Clearing up 6.45 – 7.00pm (15 mins)

Team

Makeup and Hair Artist - Bronya Leavesley
Photographer - Bronya Leavesley
Assistant - Beth Haile
Model - Charli Roth

Saturday 5 December 2015

Final Edited Images


HIGH KEY





 LOW KEY




 
To chose these images  I followed the steps from Bruce Smith's book  Pro Digital Fashion Photography, these steps are;
  • To get rid of the obviously failed shots for example out of focus or if the model has been caught off guard.
  • Pick out images with good overall look and shape.
  • For each shot you have been asked to take you should have about 5-10 images.
  • When editing images save as a copy so you can always access the raw image.
Smith B. (2008). Post- Production. In: Juniper A Pro Digital Fashion Photography. East Sussex: Ilex. p143.

Post Production

For our final images we had to do some amount of post production whilst still making the photos look as if they have had nothing done to them. I wanted to use a bit of smoothing and i also wanted to find out how to remove under eye bags on photoshop however we were not taught how do do this in our post production lessons, so I had to use my own skills on photoshop to try and edit my pictures. 

I pretty much applied the same concept of editing to all of my pictures which I will detail below.


  • This is my image that I have chosen to retouch
  • I started by creating a new adjustment layer and made a layer to change the brightness and contrast of the image.
  • I turned the brightness up to 25 for my high key photos and about 15 for my low key photos, but this sometimes varied, but never went over 25.
  • I then changed the contrast to 11, this was the same for all of my photos as it was subtle.
  • if my image was in black and white I would have created a new adjustment layer and selected black and white and then merged the layers down, I did try changing up the levels of colour within the black and white but I found that it looked better just adjusting the brightness and contrast.







  • This is what my image looks like after doing these two steps, as you can see the photo looks more vibrant but isn't too different from the original image, I like the warm glow that this effect gives to the skin.
  • The final thing I wanted to do was just to bring out the highlights and shadows a bit more so I used the dodge and burn tool.
  • Lightly I used the burn tool through the eyebrows to fill in sparse hairs and along the lash line and eyelashes to emphasise them.
  • I also used the dodge tool to emphasise the highlights.
  • When doing this I always use a brush that has a 0% hardness so it blends nicely.





The Pictures below show my step by step for post production, as you can see the burning and dodging is very subtle, but it just brings out the highlight and brows and eyelashes a little bit and brings the photo together. 
To make these pictures better i would have liked to know how to use the clone stamp tool to cover some of the imperfections like cuts and bruises on the skin and also on closer inspection you can see slight fallout under the eyes from the mascara which I could not correct and I would have liked to smooth the skin just a little bit but unfortunately we were not taught these skills. 











Post Production

Photoshoot Set up

For my photoshoot my brief was to use two different lighting set ups for my high key and low key photographs, and to think about which ones would look better in either colour or in black and white.

For my high key set up I kept it simple, I want these photos to be in colour to display the pop of colour, so to do this I will be positioning my camera on a tripod, with a light with a beauty dish on directly above my model, then I will be getting my assistants to use a reflector around the models face to get rid of as much shadows as possible. I have chosen to do my high key photos in colour as I believe this will show it off better and will look more vibrant.




For my low key photos I will be using 2 different lighting set ups, for both of them I will have a white  backdrop, a light for flash, and also a light with a soft box on it, for the first lighting set up I will position my model in front of the soft box and for the second i will have the model against the background still with the soft box on. I have chosen for these photos to be in black and white as this will really emphasise the shadows of the face.


Tuesday 17 November 2015

Posing Inspiration

Posing Inspiration

This is a quick mood board I made to bring to my photoshoot for inspiration and direction for my model on how to pose. I want to convey emotion through my photographs, I want it to be quite dark, so I have chosen serious poses and have also kept to a dark colour scheme. I will use different lighting techniques to make it mysterious.

I will be using low key lighting for my black and white photos as this will give me the best shadows that will really emphasise the emotion in the photographs like the ones seen above and the high key lighting will be used for the colour photographs, and this is where I will show my pop of colour.

I will be using an analogous colour scheme as I will be using a dark red, this will be very close to her hair colour which is also a dark browny red. The makeup will also be very bronzed which will compliment the whole look.

Monday 16 November 2015

Low Key Photos

For our low key experimentation we tried shooting in front of a soft box and also shooting with the light from different sides.

These two images are our first shots from in front of the soft box, I really like the angelic highlights that are created around the hair like a halo effect. I have included both of these photos because the first one is a little bit too overexposed however i like how light it is, if I was going to edit these photos I would use the second photo and edit it lighter.




After fiddling about with appatures we finally shot these images, I believe this is the perfect amount of light coming into the camera and I personally love these images, the skin looks airbrushed and flawless.
This image was shot in front of the soft box but with the light from the side, as you can see there is increased skin texture which is something you need to be careful of when shooting with side lights.

For these images we shot with light form the side, I do not think these images are very effective for low key as there isn't much shadows apart from on the background.




For these images we shot them by using a direct light from the side on the model, this created really deep shadows on the face under the cheekbones and is definitely something I would like to use in my black and white beauty shoot.

Facetune Retouching

Today we had to team up in a group of 3 and retouch and image on face tune of someone in the group and write down all the steps that we took. This is the image before and after...



  1. Smooth
  2. Whiten
  3. Details
  4. Smoother
  5. Patch
  6. Smooth
  7. Smoother
  8. Reshape
  9. Tones
  10. Whiten
  11. Reshape
  12. Lighter Filter
  13. Reshape
To retouch this images it took 14 steps and the photos are dramatically different, i focused on trying to make the skin perfect, and removing under eye circles. I also re shaped the face to make it slimmer, with bigger eyes and lips, and changed the tone of the skin.

I really enjoyed making the changes to this image, I think it is crazy that you can change someones appearance that much on a phone, but i do think that this level of retouching is too much especially for photos. The model was really surprised at how much we changed the photograph, and at the time it did feel a little bit awkward changing a persons face because it was like you are pointing out their flaws. I do not think the model looks better, if anything I think the image looks a little bit creepy, as the skin is too smooth it has the uncanny valley effect. After doing this i would like to experiment with retouching images on photoshop, so if i did this again i would like to retouch a proper image that was shot by me with correct lighting and makeup, as i think this would look more realistic, as you can tell the image above is clearly edited. I will do this for my beauty images for this project, however i will not be doing heavy retouching as this will not fit my brief.

Sunday 15 November 2015

Make-up & Hair Inspiraton

Makeup & Hair Inspiration

For our digital image beauty photoshoot the theme is 'the perfect base' and should include one key colour, this could either be a complimentary colour or an analogous one. The hair also needs to be thought about as this is something that is often overlooked in a photograph.

Makeup Design 1


My first make-up look is based around a really fresh, beachy, bronzed summer look. I am planning to do everything warm toned, to make the skin look healthy. This will be paired with lots of highlighter, I want to team this look with the low key lighting, as I believe it will be such a beautiful way to emphasise the shadows and highlights on the face, and will look gorgeous in black and white.

Makeup Design 2


For my second design I will be introducing my one key colour, I have chosen for this to be burgundy, as I want my photoshoot to have quite a dark feel. I will be applying this on top of the first makeup design, as I want the skin to be the same as the one before. I will use this makeup for the high key lighting, as this will emphasise the colour, if this was to be shot in black and white then the lips would just look black.

Hair Design


For my hair design I simply just want straight hair, which I will use a lot of mousse through to give it a wet look, I will play about with slicking it back and putting it in different partings. I will be using the same hair for both of the makeup designs.




Camera Set Ups (Low Key/ Mood Lighting)

Low Key images are ones where the dark tones dominate the photograph. Small bright highlights punctuate the darkness creating the characteristics of mood/ low key images. The position of light for a low key image is behind the subject or off to one side, so a deep shadow is created." (Child J & Galer M, 1999, p96)


Backlighting is where a subject is back lighted from a dominant source of light from behind the subject. To take a reflected reading of the subject the camera would give an incorrect exposure. A reflected reading of the subject only or an incident reading from the subject to the camera would give correct exposure. The dominance of the backlight can therefore be controlled by exposure compensation. (Child J & Galer M, 1999, p95)

To set up low key you...
  • Set camera to manual mode
  • Shutter speed of 1/160
  • ISO 100
  • Set aperture to low
  • Soft box on light
  • Use light from the side, back or underneath the model.
Child J and Galer M (1999). Essential Skills Photographic Lighting. Oxford: Focal Press. p2 - 135.

6 Poses I Find Inspiring

As a response to how women are seen in fashion imagery I have chosen 6 images/ poses that I find inspiring from I-D magazine, Vogue, Love and InStyle.



Photography by Willy Vanderperre, I-D
 For my first pose that I find inspiring I have picked the I-D wink, I find this inspiring because it is fun and cheeky and is shown on every cover of I-D magazine. This is the Generation Z  the activist edition, and this makes this image more inspiring as it is about young activists trying to make a difference to the world.


"If you wont let us dream, We wont let you sleep."

This image was taken by Willy Vanderperre.








Image by Naomi Yang, InStyle, Nov 2013
 I found this image in an editorial spread in InStyle November 2013. The image has been shot by Naomi Yang, I think this image is so inspirational because it has been shot by a female photographer, this means that the model will not be shot in the ways that American apparel models are.
This pose makes me think of the 1970's trend of power dressing, during the 70's there was a huge feminist movement which makes the pose all the more inspirational










Image by David Sims, Love, s/s 15
This pose I found in I-D magazine the image is by David Sims and the spread shows a portfolio of images that twists the traditional ideas of female beauty photography and bends the convention towards something less familiar and more abstract.
I found this pose inspiring because of how raw the images are and how it isn't conventional natural beauty.










Image by Mario Testino
 This is a pose I found in Vogue June 2014, it is part of an editorial spread about Kate Upton. The spread was shot by Mario Testino. The reason I found this pose (and the whole spread) so inspiring is because it focuses on feminine beauty, female sexuality and is also quite empowering. I like how she is average sized and curvy, so this is very inspirational as it promotes positive body image.












Image by Steven Klein, LOVE s/s 15
 Prada did an exclusive project for LOVE magazine (s/s 15) , where Kim Kardashian wears the new spring collection with the intention being 'I like to see my clothes worn in a different way on someone unexpected." - Miuccia Prada.
The images were took by Steven Klein, I find these images so inspiring because it just shows female sexual empowerment.













Image by Richard Burbridge I-D Spring 15
I found this image in I-D magazine the photograph was taken by Richard Burbridge, the images are about wearing your beliefs where you can see them. I find these images inspiring because it is a light-hearted way to address serious issues.















I-D  (Spring 2015). The Activist issue No.336.
LOVE (S/S 15). Miuccua on Kim.
InStyke (November 2013). Drew Barrymore.
Vogue. (June 2014)..

Saturday 14 November 2015

Post Production - How far is too Far?


For this digital image brief we have been given the theme of natural beauty, so our images will have minimal retouching, but this is not the case with the beauty industry at the moment where images are heavily retouched. 

"The best retouching is to trick someone into thinking that nothing has been done at all."

Retouching started as early as the 1860's, Abraham Lincon used to get edited into pictures to make it look like he had posed for the image, George Hurell retouched his pictures very subtly to make the stars look glowing and elegant. 

Retouching has become such an issue that some adverts have been banned this included images of twiggy for Olay even a Dior and Lancome ad, these images are heavily retouched to the point that they do not look like the celebrity or model anymore, this has become a problem because young girls look up to these images that they see in magazines and they aren't real. it becomes a question to think if this is a product of what the consumer wants or what the celebrity wants for example un retouched images of Beyonce were released where you can see a noticeable difference in her skin in the two pictures, you have to think if the images were that heavily retouched because Beyonce wanted them like that, or if it is due to consumer need.

Personally i think retouching is a good thing although it can be very deceptive, I am very fond of looking at perfect images in magazines because it gives you something to look up to and at the end of the day it does sell products, however people especially young girls need to be educated that the things that they see in magazines are not real. I do not personally believe in heavy retouching though, it can look fake it has the uncanny valley effect, this was a concept identified by Masahiro Mori, Moris original hypothesis states that as the appearance of a robot is made more human, some observers emotional response to the robot will become increasingly positive and empathetic until a point is reached which is beyond the response and will quickly become a response of strong revulsion. However, as the robots appearance continues to become less distinguishable from that of a being, the emotional response becomes positive again and approaches empathy levels. 


*Mori, M. (1970/2012).
The uncanny valley (K. F. MacDorman & N. Kageki, Trans.). IEEE Robo'cs & Automa'on Magazine, 19(2), 98–100. 

Wednesday 4 November 2015

How we View Women in Fashion Imagery

How We View Women in Fashion Imagery
In our lecture today we were looking at how women are viewed in fashion imagery, are they made to look powerful or are they being objectified?
 We started by looking at Nathalie Croquet who is a French fashion stylist who re created 11 iconic fashion advertisements using real women the images were shot by Daniel Schweizer, she highlights the fact that in the advertising industry every flaw is hidden, so in her work she used little photoshop, she recreated people like Kate Moss and Edie Campbell and found that the positions and situations that the models were placed into were both iconic and amusing. The images are uncannily like the original image but instead of seeing 'perfection' you see flaws like crows feet and smile lines. These images are made to inspire us to think about things like why we view things like smile lines and wrinkles as flaws, rather than just a natural part of ageing.
We also looked at the differences in posing between males and females, some of the poses that are deemed normal, or even charming and characteristic when pulled by women, can seem funny or strange if they are pulled by a man. There has been a huge debate in Sweden about American Apparel over sexualising their models when advertising their clothes a Swedish blogger Emelie Erikkson made headlines by juxtaposing poses in unisex AA clothing with the R-rated images of women, when they are often wearing the same item of clothing. Men are often shown in innocuous poses, often looking directly into the camera or smoking a cigarette where as women are posed in sexually explicit poses.
Another Swedish clothing company decided to do a photoshoot where men would pose in the same way that the female models did.
The first image shows how American Apparel portrays men wearing their shirt, it is a casual nonchalant image, where he smokes a cigarette on the balcony, when comparing this to the image below, this is the image of how American Apparel depicts women in their advertising, she is shown wearing the same shirt as the man in the pervious picture, but she is depicted to be seen crawling along the floor naked apart from the shirt that is covering her. It is confusing to see how different the two images are, the woman in the photo looks submissive compared to the man in the first photo, and she is shown on the floor which is often seen as unclean, and associated with lesser beings for example animals.

This is one of the images that the Swedish clothing company made, where a man is wearing the same shirt and posing in the same way as the woman in the image before, but this is seen as silly or almost humourous.
The thing to keep in mind when looking at images like this is that the problem is not that it is wrong for a woman attractive or sexy or that admiring beauty is shallow or immoral, its that males have power over women  and thinking about power and sexual relations in the long run that will cause us all trouble.
In my opinion, I do not believe that sexualised images of women in the media are a problem, I think it is a great thing for women to be sexual beings and express their sexuality through fashion, I believe that we live in a male orientated society, and until this changes we are going to see these images of women as submissive or wrong. Most of the images in fashion are based on a stereotype, that men are strong and independent and that women are more approachable and playful, fashion plays up on these stereotypes, I believe it is wrong to show a woman looking masculine to make her look powerful, women are equally powerful being playful or loving, they do not need to conform to a masculine stereotype to qualify to be powerful. I think that our society is so exposed to everything that these images are no longer shocking or spark debate, they are now just deemed as normal.

Posing Exercise

 After looking at how women were viewed in fashion imagery we re created fashion photographs in class. We did it to highlight how surreal it is to pose in such an unusual way. We had to work in turns being the photographer, director and model.
When I was posing as the model this made me feel incredibly uncomfortable, anxious and almost sick, it was literally my worst nightmare to do this. It was so unusual the amount of positions you needed to get into in order to achieve the shot, to make myself feel a bit more comfortable I posed in the photo with someone else, to get as close as the shot required you practically had to sit on the persons lap.
I much preferred directing the model however I felt very picky as I was constantly moving how they were and it made me feel bossy. My partners really enjoyed this task and especially liked posing for the photographs, if I was to do this again I would strictly want to be photographer/ stylist only, I would want to do the makeup and hair to match the photo and see how close I could get to the original image.
After this task I genuinely felt pushed so far out of my comfort zone and felt sick, I would definitely not like to do this task again, however I would like to because it would help me get over how self conscious I am and to stop being so stubborn.
Stampler L. (2013). How it Would Look if Men Posed the Same Way Female American Apparel Models Do . Available: http://www.businessinsider.com/if-men-posed-like-female-american-apparel-models-2013-5?IR=T. Last accessed Nov 4th 2015.
 
Stampler L. (2013). American Apparels 'Unisex' Ads Portray Men and Women Very Differently. Available: http://www.businessinsider.com/american-apparels-unisex-ads-2013-5?IR=T. Last accessed 4th Nov 2015.
 
Wyasaki J. (2015). If an Average Woman Modled for High Fashion Ads. Available: http://www.pleated-jeans.com/2015/08/05/if-average-woman-modeled-for-high-fashion-ads/. Last accessed 4th Nov 2015.
 
 
 
 

Importance of Casting a Model

The Importance of Casting a Model
It is important to source and cast the appropriate model for your job, you need to always do a casting even if it is a professional model, don't be afraid to ask for un retouched pictures. When looking at a models portfolio you need to look for a variety of poses, if there seems to only be one pose they may be inexperienced. If you are working with an inexperienced model they may need direction, don't be afraid to give them information on how to move their head and give constructive feedback.

"If you are starting out, shoot as many different types of models as you can. Over time, you will gain a great idea of the kind of models you want to shoot. - Models come in all different shapes and sizes and specialise in particular fields. You wouldn't use a glamour model for shooting high fashion; nor would you use a catalogue model for shooting an editorial shoot. They would have the wrong sort of look and would give you the wrong poses for the shoot. Your model will make or break your pictures so be selective." (Smith S, 2008, p28)
To keep the model happy make sure they are cool and well hydrated, make sure you do their make-up then let them go away for a drink whilst you set up the studio, if you get stressed out setting up the studio in front of the model this will stress them out, and tension will show in the face.
Some tips on how to get the best out of your photoshoot are;
  • Take sheets for inspiration on how to pose
  • Always keep your model moving as getting cold will cause goosebumps to show
  • Relax
  • Listen - talk to your model
  • Be honest, but don't be rude
  • Keep positive body language, keep your stance open rather than closed (e.g crossed arms)
  • If you are in a bad mood don't let it show, this can ruin everyone else's mood.
  • Don't rely on post production, if there is something wrong in your shot change it! If there is a slight error in the make-up correct it, it can take a lot more time and effort to change it in photoshop.
  • Encourage your model, if the shot is good - say.
  • Be realistic, choose poses that suit your model.
  • and ALWAYS plan contingency, have back up models for if yours doesn't show.
  • Drink plenty of water before a beauty shoot.
  • Catch quiet moments, these can sometimes turn out to be the best.



High Key Photos

High Key Practice

I have included some pictures here from my high key practice shoot, high key lighting is a harsh form of lighting and usually blows most of the harsh shadows in an image. High key lighting usually gives a light hearted tone and is used a lot in beauty photography. High key lighting can be done with artificial or natural light.

We experimented with using different heights on the lights, and also by using reflectors in different places to try and get different looks. Our first few images were slightly over exposed. We has places the light pretty low and the camera was also too low, this made it so there was too much direct light going directly onto the face, and also having the camera too low was slightly unflattering, the face looked larger as you can see below. All of these photos are very overexposed too.

In this photo the sync lead was not attached to the light, so the photo came out very dark, this is something you need to make sure works as we had no natural lights in our studio.


I have included this picture to show bad positioning, the camera is far too low for the model, when shooting the camera needs to be at eye level with the model to get the best shot, this image is also a little bit over exposed as the face looks too washed out.
These images are the best ones that we took on the day, I think we have got the right lighting, positioning and all the photographs are in focus. The light from the top is really flattering and seems to wash away all the imperfections on the skin and makes it look flawless, the colours in these pictures also look very rich so this is what I will be using for my colour beauty shots.

Camera Set Ups (High Key)

High key images are ones where the light tones dominate. Dark tones are eliminated or reduced by careful choice of the tonal range of the subject matter. Soft diffused lighting from a broad expansive light source is used to reduce shadows. Backgrounds may be flooded with light so that little detail is seen. Increased exposure ensures that all the tones are predominantly light. Hard edges might be reduced by the use of a soft focus filter." (Child J & Galer M, 1999, p96)


As a rule of thumb you are not allowed to eat or drink in the studio, this is because you are working with equipment that is very expensive and is easily damaged, and also coloured back drops can be easily ruined by having food or drink spilt on them.

When setting up in the studio you will need
  • A camera
  • Universal hot shoe adaptor
  • Tripod
  • SYNC lead
  • Beauty Dish
  • Lights
When setting up your camera you will need to first put it in manual mode, the shutter speed will need to be 1/160 and the ISO should be about 100, the higher the ISO the brighter the picture will be, however doing this too much diminishes the quality of the picture. When shooting a portrait make sure that the middle of the lens is positioned in the middle of the face.

When shooting you can use a tethering cable so all the images shot off the camera will come up on the MAC, this is good but is not necessary at the moment.

To get the best high key beauty shot position the beauty dish directly above the camera and have the model sat straight in front of the camera, if there is shadows underneath the neck or nose you can use a reflector to reflect the light at brighten up these dark areas.


Child J and Galer M (1999). Essential Skills Photographic Lighting. Oxford: Focal Press. p2 - 135.

Sunday 11 October 2015

Studio Health and Safety


  • Make sure you turn the bulbs off on the lights and let them cool off before packing away.
  • Make sure the cover is took off the bulbs before turning them on.
  • Secure loose cables to the ground or place them round the room so they aren't a hazard.
  • Make sure tripod is secure to prevent tipping.
  • Never leave the studio unattended.
  • Cover shoes.
  • Always wear shoes.

Introduction to Beauty Photographers

Introduction to Beauty Photographers

Rankin

 
"Synonymous with compelling portraiture, Rankin's lens captures, creates and unveils icons."

Rankin started his career in 1992 working for Dazed and Confused. he has created landmark editorial and advertising campaigns for some of the best publications, brands and charities. He has made his work to question social norms of beauty in his magazine Rank which was experimental anti- fashion and challenged the conventional. He has shot covers and editorials for Elle, German Vogue and Harpers Bazzaar.

George Hurell

 
 
George Hurell is dubbed the Grand Seigneur of the Hollywood portrait. He was born in Covington KY and developed his passion for photography when he learnt how to use a camera to photograph his paintings and drawings. One of his first subjects was Poncho Barnes who was a pioneer aviator and founder of the first movie stunts pilot union. People such as Norma Shearer hired Hurell to take pictures of her to land herself in the roll of the lead in The Divorcee. Hurell was then hired as lead of MGM portrait gallery in 1930 during this time he set a new standard for Hollywood portraits and it was branded 'glamour photography.' Hurell photographed all the stars of the time including Jean Crawford, Clark Gable and Greta Garbo.

Patrick Dermarchellier


 
Patrick Dermarchellier is a French fashion photographer he has created iconic portraits and covers, he is self taught and built his career on trial and error.

Mario Testino

Mario Testino is one of the most popular fashion and portrait photographer, he has took pictures of people from the royal family to Kate Moss and has also shot for Burberry, Gucci, Dolce & Gabbana and Versache. Testino's images can make you look better than you could ever imagine "not in your wildest dreams, but at the remotest end of possibility." One of the best things about Mario Testino is the sheer amount of research that goes into his images, for example his work in Japanese Vogue.
 

Steven Meisel


 
Steven Meisel is an American fashion photographer who is known for his work in US and Italian Vogue and also of his work with Madonna on her book Sex in 1992. His work creates stories and also reflects cultures. Meisel is known for getting his inspiration from art, architecture, design, cinema and literature and has also made memorable campaigns for Prada, Dolce & Gabbana and Mulberry.

Simon Emmett

Simon Emmett is a British portrait photographer based in London who is known for celebrity portraits and beauty photography. He works with everything from celebrities to luxury brands and also changes from working on a wide range of things including personal, editorial and film projects. His work has appeared in the Rolling Stone, Vogue, Vanity Fair and numerous other publications.

Paolo Roversi

 
 Paolo Reversi is an Italian born fashion photographer who lives and works in Paris. "Your tripod and your camera should be well fixed but your eye should be free."

Craig McDean

 
Craig McDean is an English fashion photographer who now works in America, he is well known for his striking fashion imagery and portraiture. He discovered photography by taking pictures of his Rocker friends in the North of England. After this he moved to London where he assisted other photographers and also created assignments for I-D magazine and The Face.

Mario Sorrenti

 
 
Mario Sorrenti is a photographer who is best known for his photographs for nude models in the pages of Vogue and Harper's Bazaar. His work has been featured in advertising campaigns for YSL and also Prada.

Making of: Vogue Japan - Special Edition - Obsession by Mario Testino - Japan 2014, video, Vogue Japan, 25th Sept, viewed 11 October  2015, (https://www.youtube.com/watch?v=ztviA4W3C40).