Evaluation.

The perfect base brief for me has been a very interesting and new experience. I feel that although I successfully completed my final works in time, some situations along the way have been challenging. Starting this brief, I was initially very interested and excited to start the project as I found the concept fun. The seminars and practical studio sessions with Chris at the beginning were very beneficial and useful but I feel they ended very soon and then the project started automatically, this was intimidating.

Although I eventually understood the process of different lighting set ups, I felt that this something I struggled with in studio sessions and I had to reflect a lot on my notes to understand the process correctly.  Something that also worried me throughout the assignment was finding models for my photo-shoot. At the start of my project I had two models available for my shoot but unfortunately my models did cancel on me but. In response to this I became very worried but actively looked and found two new models. When I finally captured my perfect base images I felt very happy and relieved. I enjoyed planning the hair and make-up of the two shoots for the Perfect base as the models I had chosen had completely different skin tones and features allowing me to be very experimental with lighting. I feel I managed time well throughout this assignment and also set up my camera and studio lighting fairly easy. In conclusion I found this assignment really fun and beneficial, although it was intimidating at first to think I had to set up, plan and guide a photo shoot by myself, it was a good and valuable experience. I have learnt that planning, being organised and making quick decisions is very important.

FMS403DbBeautySalmonM Final Evaluation.

The perfect base assignment for me has been a very interesting yet intense experience I feel that although I successfully completed the assignment in time, there were many factors along the way that made the development of my final work difficult. Starting this assignment I was initially very interested and eager to start the project as I found the concept interesting and quite simple, the seminars with Chris at the beginning were very beneficial and useful but I feel they ended very soon and then the project started automatically, this was intimidating. Something that constantly worried me throughout the assignment was finding available models so that I could actually begin booking studios and doing the practical, unfortunately my models did cancel on me but, I managed to find two near the deadline. I feel that because of factors such as cancellation the assignment felt more intimidating then it actually was, and when I finally captured my perfect base images I felt very happy and relieved. I enjoyed planning the hair and make-up of the two shoots for the Perfect base as the models I had chosen had completely different skin tones and features allowing me to be very experimental with lighting. I feel I managed time well throughout this assignment and also set up my camera and studio lighting fairly easy. In conclusion I found this assignment really fun and beneficial, although it was intimidating at first to think I had to set up, plan and guide a photo shoot by myself, it was a good and valuable experience. I have learnt that planning, being organised and making quick decisions is very important.

Beaton Portraits Terence Pepper Roy Strong Peter Conrad National Portrait Gallery, London.

I used the book "Beaton Portraits" as a source when looking at inspiring poses and imagery for the perfect base project. I initially took this book from the library as In a practical session Chris had mentioned the practitioner and I had studied this photographers work before. In response to some online research I had done on the photographer, I decided to look in the library and see if there were any books that discussed Beaton's works and showed images of his late works they you couldn't find online.


Using this book was very helpful and I felt inspired by the portraits he captured of stars such as 'Zita and Theresa Jungman, 1927'. and also 'Sylvia Sidney, Hollywood, 1932'. I also find this book inspiring as many of the images in this book consist of black and white imagery similar to the perfect base projects. Alongside seeing this black and white images and also learning fro Chris in lessons I feel that I have a better understanding of how contrast, lighting and white balance is very important in all images, especially black and white ones. 

Plate 25 Slyvia Sidney, Hollywood, 1932.
Plate 7 Zita and Theresa Jungman,1927.
Plate 3 Nancy Beaton as a Shooting Star,1929.

Capturing my final Perfect Base photographs.

Today was my photoshoot for the 'Perfect Base' project which I feel was very successful. Prior to my booked photoshoot one of my models cancelled on me the day before which was a little disheartening, but I made my efforts to ask for help the Solent network page and also messaging friends and classmates which was helpful as I managed to find someone else to help me out and model last minute. My contemporary Elizabethan makeup partner Rebecca happily helped me out with my shoot as an assistant as I had helped her with her shoots too. Before my shoot I had the chance to do my models make-up looks which were very simple and took me about 15 minutes each to complete which was more then enough time to create my looks. Straight after doing my models hair and make-up I set up my stupid equipment and began taking photographs. During my shoot I only ended up using a soft box and a reflector to create my photographs also using the reflector as a fan to play with movement in the images. I started off with my neutral make-up look first, at first the directing was a little awkward as even though I had brought a book with inspiring images and had my plan all set up, when I began shooting my mind went blank. Although, after  taking some random shots and making my model feel more comfortable the shoot fell into place. 
It felt good to touch up and direct my models so that they could see the vision I was trying to create, but I have defiantly learnt that it is important to properly communicate with your model so that they understand what you need. Although the photo shoot and brief were quite straight forward, I did find it it tricky to not make my images look like passport images and create a mood at the same time, because of this I just encouraged my models to pose and move how they wanted as a lot of the images I captured are natural caught off guard ones. Overall I found the photo shoot really fun and successful and think that the images I have taken will be good for the final submission.

The perfect base final plan and chosen moods.

My plan for my perfect base photoshoots are to create two looks on my models; one will feature nude, neutral minimal make-up and the other will be simple gold eyes, minimal base and red lips. I have chosen the colour red for my models lips in the colour photograph as I have always felt it is a colour that turns a look from simple to bold even when combined with the most minimal make-up and the gold eyes I have chosen will compliment the red lips as they are both very rich colours. 
For my neutral make-up I plan to use a clean base, no shadow, minimal mascara and some product in the brows only.
I have asked both my models to wear black tops for my shoot as it is a plain colour and won't compete with the makeup and hair. I have booked a studio in the upstair photography studios, where I plan to use a soft box and silver reflector to create my photographs. 

Multimedia Mac Session. Importing images using bridge

Finder > Utilities> Type in 'Disk'
Choose disk select 'erase' option - this changes the format
Adobe Bridge 'BR'
SD Card
File>get photos from camera/ save by shoot date > create a folder for downloading images 
ALT+G = Copyright symbol
My course> Adobe = photoshop
Can identify colour cast by RGB numbers, shows colours and there amounts/ presence in an image
Meta Data - data of data
Colour sampler tool
RGB image a complete neutral, equal value of pixel colours will give you a light grey/white effect you can use this for the white balance of an image
Raw Images - non destructive editing
open images in> camera Raw to edit colour balance RGB levels

Digital Image Production - Mood Photography

Recently in our weekly practical lesson in the photography studio with Chris, we discussed and practiced how to create 'Mood photography'. In the studio I got the chance to observe window lighting and also a similar artificial lighting created by white light reflecting boards and and flash lighting.

We began by shooting with a high key bright background. and  placed light boards in front of this background so that the lighting could bounce against each other making the bright lighting travel and then hit the model we were shooting. This lighting set up creates a really soft effect to the image that your capturing. 

Methods;
-Create normal set up with camera, station and flash cables
-Turn lights up to full power and face onto the wall(background)
- Need two flash heads (flash heads have sensitive sensors so when two are plugged in they will work in conjunction working alongside each other)
-Normal 1/160 Camera Settings

You want to direct your model to stand in front of light reflecting boards where the light is being collected, whilst you are photographing your models behind the light boards.

Here is a basic example of the set up and positioning of the model;

If you take a photograph and it is overexposed making your model look washed out, you can adjust the flash heads for less extreme bright light. The 85ml Lense is the best lense to use for portraiture/close face shots, so this is the lense we used when experimenting. White balance is changing the colour of white on camera/photograph, this prevents you getting a colour cast. the best white balance to use on camera is the daylight icon on the camera which looks like a sun symbol.

When shooting our model with daylighting we created the same set up minus the lights and flash heads. We moved our camera model and computer into the daylight studio creating the same set up with light boards, but this time placing our model with their back to the window and lights boards in front of them this time so that you are capturing them through the gap of the boards. We slowed down the shutter speed and ISO which ended created a brighter light on the image. The effect made with this method of lighting creates a softer mood to the image. After we went through the different types of lighting and observing the moods that each image held from the methods, I enjoyed the effect that window lighting made more, it created such a soft and flattering lighting that made the model look relaxed, glowy and more moody.



Here are some images taken by Chris which best describe the two types of lighting we played with;

Left image created with flash heads
Right Image created with window lighting 

Lighting created with flash heads.

Window lighting brightness

Flash head set up

FMS403DBBEAUTYSALMONM Photography Research x David Bailey

David Baileys 'Models Close-Up is a very inspiring book that gives you a inside look of models experiences in front of the camera and Bailey's reasons and passion for beauty and fashion photography.  Right at the beginning of Baileys book he says how 'History has not been kind to the model.'(Bailey, David P.6. Models Close-Up) and that models are almost just used as an accessory in the fashion world. From quotes like this in his book, you can see that David Bailey disagrees with the dismissive treatment that models face but also  his appreciation for beauty in general. This book has inspired me because of the featured photographs in the book, taken by David Bailey. Model's close up, features some really gorgeous images of iconic successful models in close up and full body shots.

A certain photograph in the book by David Bailey, really inspired me and gave me some ideas of what I would want my photographic lighting to focus on. This photograph captures the former British fashion model Penelope Tree. I found this photograph inspiring because of the way the lighting in this image brightens up her eyes, making them look sparkly and almost glass like, also her skin in the image looks flawless and reminds me of the soft focus effect. Although in this image the main focus I think is the hairstyle as it stands out the most, the positioning shot of the face is something I would like to recreate and experiment with.

http://cdn.shopify.com/s/files/1/0924/2058/files/Penelope_tree_by_David_Bailey_large.jpg?9871758085013203755 
David Bailey's determination to become a photographer started in 1958. Bailey then became a photographic assistant to John French; a former photographic director known for working with The Daily Express. David Bailey then moved on to work for the British Vogue Magazine as a fashion photographer in the late 1960's. After David Bailey began to work for British vogue his career lifted off automatically, making him become one the most respected and admirable fashion photographers up to this day. It has said that Bailey is one of the few heterosexual photographers that injected sex into the fashion photography world encouraging and injecting movement character and life into his images.

7 images that changed fashion photography - David Bailey-
https://www.youtube.com/watch?v=kuoTMHBnrxw

References;
(Bailey, David P.6. Models Close-Up)
http://www.npg.org.uk/collections/search/person/mp05044/david-bailey

David Bailey 1963.
http://thecaledonianminingexpeditioncompany.blogspot.co.uk/2011_06_01_archive.html

What I like about this image

- The bright lighting in this photograph, it makes the models face look as if she is slightly disappearing

-The bright light in this photograph makes her eyes look big and beautiful lighting up the whole iris

- The models skin looks soft, flawless and natural, the makeup in this picture looks so subtle, only the eyelashes stand out she almost looks angelic

- The subtle dark contrast on the edge of the photograph works really well concentrating on just one side of her face and defines the side profile of her face really nicely



Jean Shrimpton 1961 David Bailey.
 

 What I like about this image

- David Bailey is known for introducing sex and movement into his photography in the 60's and you can really tell in this photograph, Jean Shrimpton looks effortless sexy

- I love the movement of her hair in this photograph, only her hair is moving and her face stays in a neutral sexy expression making her look powerful, really catching your eye

- The lighting creates a soft focus effect making her skin look radiant and glowy, the makeup in this image is also really perfect for inspiration for
 'the perfect base' brief as her brows are defined,
skin is clean and everything is blended well together
creating a natural no makeup makeup look

-Simple, bright lighting focusing directly onto models
face




Kate Moss  By David Bailey
2013.
http://www.theguardian.com/artanddesign/gallery/2014/feb/05/national-portrait-gallery-david-bailey

What I like about this photo

- The movement of the hair, it looks windswept. I also like
the style of the hair its not perfect, but theres a nice messy style and texture to the hair

- The highlights in Kate Moss' hair really stand out in the
contrast of this photograph

- The cheekbones and eyes stand out beautifully

- The lighting makes her skin glow and look vibrant

FMS403DBBEAUTYSALMONM Photography Research/ George Hurrell.

George Hurrell is considered to be by many sources, the 'Master of Hollywood Glamour photography'. Hurrell captured men and women in gorgeous soft focus lighting in his images making every photograph appear to drip in glamour and an expensive glow. Hurrell was introduced to a camera in an art school he attended although his skill at the time was the art of painting. Because of his painting skills he was mentored by Edward Alwyn Pane a famous landscape painter that took Hurrell under his wing in order for him to become a serious artist.

George Hurrell got his big break thanks to his good friend 'Pancho' formally known as Florence Leonine Barnes as she had referred him to Ramon Navarro a movie star at MGM who needed some publicity photographs taken of him for his portfolio. From that moment Hurrell's career expanded and eventually ended up in him getting a job as an portfolio photographer.

I find his photography style beautiful and flattering on men and females. I plan on using George Hurrells photography work as a reference for creating my own photoshoot for 'the perfect base' brief.
What i find particularly inspiring about his style of photography is that, his use of capturing peoples faces makes them look attractive, beautiful and soft no matter what face shape, size or harsh features they may have Hurrell effortlessly makes people look beautiful.

George Hurrell worked with iconic stars such as Grace Jones, Norma Shearer, Jean Harlow, Julie andrews and many more movie stars, making each and everyone one look completely flawless and beautiful.

http://www.waltdisney.org/hurrell
http://www.hurrelleditions.com/legends.html

Joan Crawford by George Hurrell
1930.
http://missavagardner.tumblr.com/post/9685300003/unretouched-publicity-portrait-of-joan-Crawford

Joan Crawford in 'Dancing Lady' by George Hurrell
1933.
http://www.nydailynews.com/entertainment/george-hurrell-hollywood-glamour-portraits-1925-1992-gallery-1.1511320?pmSlide=1.1511311











































 

FMS403DBBEAUTYSALMONM/ Photographer Research x Richard Avedon.

The talented Richard Avedon, first worked as a photographer for Merchant Marines taking identification photographs then moved onto becoming a fashion photographer. Avedon, began shooting for Harpers Bazaar, and then Vogue, as a fashion photographer Avedon demanded that his models conveyed movement and emotion in his images. Richard Avedon, pushed boundaries in fashion photography world and created imagery that was surreal, provocative and controversial that explored nudity, violence and death. After working for Vogue and Harpers Bazaar Avedon then moved onto to becoming the first staff photographer in the history of  'The New Yorker' then later passed away at the age of 81 years old in October 2004.

These four images below are some of Richard Avedons works that I found whilst searching for his early fashion photographs and portraits. I chose these 4 particular images to use as inspiration when creating my own digital production project.

I like these images because -

- They are bold and eye catching

- Are all equally unique and beautiful to look at

- The mix of simple lighting and a dark contrast makes these images look flawless

- The composition and angles of the models and objects in these images make the photograph stand out even more

How do these images influence me and how can I develop this-

For me these images all symbolise power. These images are all bold, beautiful and have character, this is why I feel so inspired by these photographs as they are perfect examples to look at whilst developing ideas for the perfect base project. Even though the project focuses on natural beauty, I love the idea of making my model look vulnerable in a powerful way where their vulnerability makes the person look even more beautiful and even confident. Because of my aims for this project, Richard Avedon has definitely been one of my favourite practitioners to research about as his portraiture work not only consists of him creating and taking beautiful images of his subjects, but telling a story also.



Dovima With Elephants by Richard Avedon Paris August 1995.
http://www.portrait.gov.au/exhibitions/richard-avedon-people-2013

John Galliano 2000 By Richard Avedon.
http://viola.bz/innovative-photographer-richard-avedon/

Elizabeth Taylor By Richard Avedon 1964.
http://viola.bz/innovative-photographer-richard-avedon/

Veruschka 1972 By Richard Avedon.
http://viola.bz/innovative-photographer-richard-avedon/

Richard Avedons Lighting Techniques and photography style-

- Minimalist style 

- Model looks directly into camera lense

- Sheer white background 

- Large format 8x10 view camera 

- Vunerable setting focusing on subject's reactions and emotions 

 

 

FMS403DBBEAUTYSALMONM Photographer Research x Cecille Beaton

 

“Be daring, be different, be impractical, be anything that will assert integrity of purpose and imaginative vision against the play-it-safers, the creatures of the commonplace, the slaves of the ordinary.”

—Cecil Beaton 

 http://www.vogue.com/tag/photographer/cecil-beaton/

http://www.npg.org.uk/collections/search/person/mp05064/cecil-beaton

 http://www.vogue.co.uk/person/cecil-beaton

Cecil Beaton's Career

Sir Cecil Beaton was hired as a staff photographer for the huge fashion magazines Vogue and Vanity Fair in the 1920's.Beaton became well known for his unique style of placing and photographing his subjects in front of unusual backgrounds. As well as photographing for Vogue and Vanity Fair Sir Cecile Beaton also went on to photograph the wedding of the Duke and Duchess of Windsor in 1937 and also Queen Elizabeth in 1939.

During world war II Beaton recorded the fighting in England, Africa and the Middle East. After recording the war Sir Cecil Beaton went back to photographing portraiture of the rich and famous and also began creating costumes for well known productions such as 'My Fair Lady'.
Sir Cecil Beaton has been a hugely influential and inspiring photographer to other photographers and artist throughout the years.

'Beaton's photography has been hugely influential upon several successive generations of photographers. Irving Penn cited Beaton's pared-down portrait of Quintin Hogg (Plate 57) as s starting point for his own remarkable series of portraits taken in the 1950's. More recently, the photographers Mario Testing and Johnnie Shand Kydd serve as particularly good examples of Beaton's disciples. Testino has immense flair, as did Beaton, and is acknowledged as the world's leading glamour portraitist of choice for international magazines such as Vanity Fair and the international editions of Vogue. More recently his work has crossed over to the contemporary art world among with other photographers based in Britain, such as Wolfgang Tillmans, Juergen Teller, Tom Hunter and Martin Parr. Shane Kydd came to notice in the 1990's for his intimate and up-close reportage style, reminiscent of Beaton's portraits of the Young British Artists of the 1920's.'
National Portrait Gallery. 2004  (Beaton Portraits 1928 - 1968.) Oman Productions LTD.

Audrey Hepburn By Cecil Beaton 1964.
Google Images Source.

Maria Callas by Cecil Beaton 1956.
Google Images Source.

 Cecil Beaton's War Child; Eileen Dunne
by Cecil Beaton
 1940.
http://time.com/3878665/cecil-beaton-portrait-of-eileen-dunne-1940-london-blitz/

I love Beaton's use of simple lighting and the his portraiture focuses directly on his subjects face and emotion making them look vulnerable. His photographs have a very timeless theme to them and I would look to try and create one of his looks whilst experimenting in the studio for the 'perfect base' project.

 
 

FMS403DBBEAUTYSALMONM x Lighting and Directing a Model.

Lecture notes and Overview.

Importance of casting a model/ What to look for;

- Do a casting session

-Ask for polaroids if possible

- Ask for a un-retouched photo 

- Does my model have a wide variety of poses ( Direct model on set to give them a idea of what you want)

-Communicate clearly and direct your model 

- Choose the right model for your look by considering the genre of your shoot, structure and features of chosen model

-Lighting is important in Beauty shoots, a clear bright focus on the eye area can enhance eye colour 

-Never give your model any unfinished images, if see by the wrong person it can be damaging for your work 

-Consider naturally beautiful features of your model and their skin e.g. freckles, and how you can enhance them

- Having a calm working environment is essential for yourself, your model and the rest of them team helping and assisting you, plan everything in terms of time and practically and come to your shoot in a positive mood 

-Do not put too much pressure on yourself

-Look after your model, make them feel comfortable, pampered and be extra attentive and have good communication with them as you need to been of the same wavelength in order to direct successfully

- Bring tear sheets (Inspiring images) that you may want to use or practice at the sheet and also so you can show your model and give them an idea of what you want 

-Choose a mood for your shoot

-Have a back up plan for any cancellations or last minute drop outs

-Catch quite moments were model is natural and caught off guard

-Consider styling of hands and nails in your image