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

 

FMS403DBBEAUTYSALMONM/ Photographer Research x Helmut Newton.

Helmut Newton.

Helmut Newton is best known for his works as a photographer for Vogue. After working for many years as a photographer and creating commissioned work for Vogue and Harpers Bazaar, Newton developed a particular photographic style that was erotic and masochistic, some have claimed that he created the 'New Nude'. One of his most famous works is that incredible 'le smoking'.

http://www.newyorker.com/magazine/2003/09/22/exposures

Elsa Peretti in Halston Bunny Costume
Helmut Newton
1975.
http://partnouveau.com/?p=1385


 

Le smoking for Yves Saint Laurent,
Helmut Newton
1975.
http://www.icon-icon.com/en/helmut-newtons-photograph-le-smoking-yves-saint-laurent.html



Helmut Newton Vogue 1977

I love the style of Helmut Newton's photographs, they scream glamour, sex and class all in one. They all seem to have a classic, timeless feel to them which makes you want to be part of the moment and look beautiful like the models in his images. He seems to use a really simple lighting and a very dark contrast in his images which really makes the image pop. 

 

FMS403DBBEAUTYSALMONM x Photographic Lighting.

What are the different types of Lighting for Photo shoots?

Natural Lighting;

Most flattering form of light lighting. Can be created by taking photographs of subject outside, indoors, near a window or using a reflector to bounce the natural light on subject.

Window Lighting;

Diffused window lighting creates a calm and relaxed feel to an image and the light can be enhanced and focused on your subject through the use of reflectors.

Outdoor Lighting;

Worst type of lighting for portraiture photography. Can cause heavy lines and shadowing on your subject if in focus of direct sunlight. 

Ambient Lighting;

This is man made background lighting, created by lamps, ceiling lights, wall scones and floor lamps.

Lighting Studio and soft box lighting;

Lights created to enhance light and brightness in a shoot. Great for close ups and portraiture.

High Key Lighting VS Low Key Lighting 

High key;

- Bright 

-Vivid

-Contrast

-Pop of colours

Low Key;

Window light

Natural

One light 

FMS403DBBeautySalmonM Digital Production.

In todays Digital Production lesson I learnt a lot about how brands in the makeup industry and cosmetic world, rely a lot on computer retouching to perfect beauty portraiture for their campaigns.

A lot of retouching used on iconic models we see promoting and wearing lipstick for premium cosmetic and fashion brands such as 'Dior', are very unrealistic. Because of false advertisement of these models that are retouched so much that they appear to look like a completely different person, many women and young girls in particular focus and obsess on their imperfections and appearance based on these unrealistic and 'perfectly symmetrical' looks that are seen 'acceptable' and 'beautiful'.

At the beginning of the lesson, in groups we all took images of our partners and our self, one being a normal selfie or portrait picture and then another image experimenting with how we can retouch the face. We continuously retouched the face until it gradually looked very different to the original photo, whilst at the same time recording the number of changes we made and what types of changes e.g. skin, eyes, facial shape. I realised that I made more changes on my self portrait then my partners, focusing on smoothing my skin and slimming my face slightly, after experimenting I felt that I looked worse after retouching and even a little scary as I looked nothing like me. This experiment can be used to argue that beauty is definitely is in the eye of the beholder, as many of my peers in my class agreed that a lot of people looked much better natural and without retouching. Ever since we have started to discuss retouching in our digital production lessons, I have realised that whenever I now see beauty or fashion campaigns that feature a models face close up some of these images look borderline creepy and doll like.

Although, I agree that a certain 'look' fits a theme of a shoot and that means you must consider all factors for your shoot such as hair, make-up and race in terms of your model, I am very against extreme false advertising and retouching to the limit were it looks like any person could have been in the campaign model or not, because the model is so retouched. For me that is where retouching is completely ridiculous. Also when I'm in a cosmetic store and I happen to see advertisements or examples of makeup products on models, I know for a fact that a make-up look or product will look different on everyone, but that does not mean that they should enhance this product in their advertisements to make it look more appealing. 

We also touched on 'westernised beauty' and how these days premium cosmetic brands creating beauty campaigns have started to use a computer generated program to make women faces appear ideally beautiful and acceptable for westernised society. One thing that I wasn't aware of and learnt was that this is only for caucasian ethnicity, which automatically discriminates against any other ethnicity and wipes away any characteristics and unique facial features that makes a person 'them' and human and leaves them looking like a westernised 'clone'. This is a big issue that not only affects

 women and young girls in society today but also models of ethnicity. Still to this day ethnic models are faced with ignorant and discriminative backlash even if they are working for one of best brands in the industry. 

For example recently the worldwide famous Rihanna became the 'First Black Spokesperson for Dior', for this bothered me simply because why must there be such a focus on her race why not just her beauty? Although this is great that Dior have opened there doors to more diverse ethnicities, but why must the focus be on race as if it is such a big achievement to be acknowledged even though your black? The model Jordan Dunn has also had many experiences in her career where she has had to bring and apply her own foundation to a shoot or fashion show, because her makeup artist had foundations to cater for all the caucasian and olive skin models, but only one 'brown' shade for her. I feel strongly about this because it effects young girls more then we think, my niece for example, on numerous occasions has compared herself to famous singers such as Beyonce and Rihanna, claiming that she doesn't really like her skin colour that much or her hair because it isn't 'light enough' or 'straight' like theirs, but she has no idea how much work they've had to look like that.

This also supports beauty is really in the eye of the beholder as women such a Jordan Dunn that I find extremely beautiful wouldn't even be featured in this computer generated program that make woman the ideal western beauty. Although extreme retouching is misleading and bad, we as make-up artists have a huge role to play when enhancing or changing something about our model for a photoshoot. If we apply too much contour or highlight that slims the face so much they look different already, and then this enhanced even more by photoshop retouching, it can be argued that make is just as bad.

For example in a recent lesson I learnt that Italian women in the Tudor times where said to be 'painted ladies' as they wore so much make-up. This became such a problem that men began to argue they were being mislead as their wives looked completely different once married and seen in their natural skin.

FMS403DBBeautySalmonM Digital Production x Studio Lighting.

Recent practical lesson notes.

Photography studio and lighting essentials -

- Heavy boom; this is the stable weighted crane that holds and directs your lighting, it can extend and be turned in any direction
-Beauty Dish; this is a 'hard' source of light but to create a softer light you can use a diffuser with the dish e.g. a softer light for a portrait shot of a face, also creates more contrast
-Sink lead; this is what makes 'flash lighting'
-Tethering cable; this can be used in conduction with capture 1 stations
- Jpeg files always create two different copies of your original image
- An 85 lens is good for portraiture/ face shots where as a 50 lens is better for wider shots
-Chris recommends to shoot Raw Files

Cannon Camera Settings-

Menu>Quality> (Look for triangle symbol with small L next to it)(Uncompressed jpeg)>shoot raw or large jpeg.

Camera settings and accessories -

In my most recent practical lesson Chris showed us to lenses that he was going to use as examples with his camera; a 50ml and 85ml these lenses are glass and prime and cannot be used to zoom in and out of shots meaning you must move the camera or model closer or further. Before starting your photo-shoot it is important to check that your camera is at a correct height in consideration of your model and the angle you want to capture. When taking portraiture photographs it is essential to set your camera to the manual setting and also make sure it is on the portrait angle. The camera Iso needs to be set to the number 100 and the shutter speed; 1/160.

I got the chance to see the effects of things like 'silver reflectors', I found the silver reflector created a really beautiful affect to a portraiture shot as it produced a extra glow alongside lighting and really brought out a shine in a models eyes. You use the silver reflector on the sides on the face and under the face from the chin upwards, it is normally handheld in shots. Although sometimes this can be to harsh and create non existent shadowing. You can also use the adjacent side of the silver reflector which is a more dull white opaque material that produces a nice glow but not as intense. The 'spill kill' can be used in shoots to hold and focus light in one place, I think this is nice to use when possibly focusing on something in particular in your shot e.g. make-up, lips, eyes.

A 'shoot through brolly' allows you to create a soft light that focuses on your subject. You would use the shoot through brolly by attaching the end of it to the heavy boom and then adjusting the direction of the heavy boom, when using this brolly you may have to move the heavy boom closer to your model as it creates such soft lighting. If the shoot through brolly creates an underexposed picture, you can edit the lighting on light to a higher setting. You want to make sure your lighting is always higher then your camera.

FMS403SalmonM Digital Production x The Uncanny Valley.

What is the Uncanny Valley?
The Uncanny Valley is a hypothesis created by the Japanese professor Masahiro Mori (1970), discussing that when someones "features look and move almost, but not exactly, like human beings it causes a respond of revulsion among some observers." This basically implies that when something looks too perfect it looks extremely creepy. When I recently learnt this in a seminar I was really shocked that this hypothesis actually existed, as I had always thought to myself of how certain magazine models look so symmetrically perfect that it resembled a mannequin and appeared strange. This hypothesis is something to consider when retouching my imagery and final photographs as I want my model to appear human and themselves. I find this hypothesis important when considering post production and also fashion and beauty advertisement as it explains why models and women we see in campaigns appear to be overly perfect and dominantly all have westernised features, no character or uniqueness, just a clone. 

I find the Uncanny Valley interesting but also scary, I feel that it is an important hypothesis that can prove that perfect symmetry appears more creepy then attractive in facial features and very unrealistic as it is only mainly found it robots. 



This website gave me some amazing and appalling images that showed just how extreme post production can get, completely removing a person characters making them appear a different person.

http://www.buzzfeed.com/jenniferschaffer/can-brain-scans-reveal-what-you-wish-you-looked-like#.hy1oBKmPl

Uncanny Valley Robot Videos - These two links show video sources of different examples of Masahiro Mori's hypothesis of the Uncanny Valley, I also found it interesting that this is seen is animations as well as robots and post production (photoshop retouching).
 http://www.strangerdimensions.com/2013/11/25/10-creepy-examples-uncanny-valley/
http://www.wired.co.uk/news/archive/2015-08/14/uncanny-valley-robot-videos

References.
http://spectrum.ieee.org/automaton/robotics/humanoids/an-uncanny-mind-masahiro-mori-on-the-uncanny-valley
http://www.strangerdimensions.com/2013/11/25/10-creepy-examples-uncanny-valley/
http://www.psy.gla.ac.uk/~frank/Documents/InSearchUncannyValley.pdf
http://www.bbc.com/future/story/20130901-is-the-uncanny-valley-real

FMS403DBBeautySalmonM Digital Production x Old Methods of retouching.

Retouching has been existent since the 1860's and before photoshop, the processing and editing of photographs were much more fun and creative. On my previous course I was able to use different sources other then a digital camera such as a dark room which I loved, and I think although slower then a digital camera, made the process of picture production more worth while and exciting. Before computer programming like Photoshop, photo retouching was made with the use of things like ink, paint, using darkrooms to form together negatives with photos and also the method of double exposure.

Raymond Wardell was a talented artist, well known for his skills in photographic retouching. Wardell published his own book ( Wardell, Raymond Shortcuts to Photo Retouching For Commercial Use, 1946).Which demonstrated step by step the process and tools used to traditionally retouch photographs. At the beginning of photographic retouching, the primary majority of photographic imagery was processed into black and white, so the techniques used to retouch were mostly for that kind of colour image. Wardell's techniques and examples he shows in his book are fascinating and its so interesting to see how something that can be digital corrected in under ten minutes today, took as long as creating a intricate oil painting back then.

Here are a list of interesting ingredients and tools used to create traditional retouching, compared to simply downloading photoshop -
- 'Library paste'
-'Gelatine sheets or capsules'
-'Drawing table'
-'Retouch grey paint'
-'Rubber cement'
-Rubber Roller'
-'White water colour paint'
-'Paint brushes'
-'Photo glossy colour'
-'Absorbent colour'
(Wardell, Raymond Shortcuts to Photo Retouching For Commercial Use, 1946).

Website References discussing different retouching for certain era's -
http://www.thesun.co.uk/sol/homepage/news/4723172/victorian-images-trick-photography.html
http://io9.com/the-amazing-world-of-photo-editing-before-photoshop-461170976
http://creativepro.com/scanning-around-with-gene-the-old-way-of-photo-retouching/
http://petapixel.com/2014/10/17/beauty-retouching-early-1900s-portrait-actress-joan-crawford-thats-photoshopped/

Digital Image Production x Taking beauty portraits.

Took beauty portraits in the studio 


- Toby, movement
- hands near the face
- Soft box lighting
-Umbrella
- naked lighting
- poses (more beauty acceptable less passport)

Digital Image Production x booking out a studio.

After being inspired from a recent studio lesson with Chris, me and two other girls in my class decided to book out a studio and experiment. When experimenting our focus was mainly on recreating our own beauty portraits inspired by sources from Google images, Vogue and other beauty advertisements, we had found on our phones. We began with naked lighting and no filter or effect over the light e.g. Umbrellas or reflectors. The lighting we chose at the beginning created a really nice contrast affect to the first girl who volunteered to model. The lighting enhanced her cheekbones and the rest of her facial structure but, we decided something was missing and wanted to add something more interesting to the portrait, this is were we began playing with reflectors.

The beginning poses we began to shoot, mainly consisted of featuring the hands in the shot so, we played around with the silver side of the reflector so that the fingers and shape of the models hands became enhanced and more of a focus point, alongside her face. We then began to play with the inclusion of movement in the shots, this consisted of getting the model to move the opposite way of the camera or towards the camera so that the photographer could get a good shot of the mid moment of movement. We instructed our model to let her hair loose from the bun she was wearing and use her hair to create more movement in the images. Our model faced directly at the camera, her face down to her chest completely in the shot and then instructed her to begin moving spontaneously alongside moving and flicking her hair with the poses.

At first It was quite difficult  to capture her face completely in the shot, and the first few images we had managed to take were mostly shots of her half in the image or just her hair in mid air. Because of this, I asked the model to move backwards more playing with the position she was in of the camera, and then instructed her to create the same movements as before. This worked slightly better but I felt that these types of photographs were not my favourite, I think that It would take a lot of practice in general and better communication with the model to capture the movement perfectly. After experimenting with the movement shots we began taking interesting beauty portraits which consisted of the model sitting down under umbrella lighting and in between some light bouncing boards. These created really beautiful lighting on the face, I was the model for these shots and after observing some of the pictures captured I saw that the lighting we chose rally enhanced and brightened the skin on show of the model. I would use this type of lighting again to experiment with creating my final images.