Access to Higher Education Diploma: (Fashion Media & Communication)
Introduction To Photography Evidence for Assessment
Name: Enrica Carnazzo Student no: CAR13407861
Date: 19.11.2013
Part 1: The Photography Notebook
To take my pictures I’ve spend a day at the park and based the photo shoot outdoor in a
very cold day. I’ve used my DLSR camera, a Nikon D5100 and for my final work I’ve
slightly edited my work because I find more inspiring images with high contrast and bright
colours.
COMPOSITION: RULE OF THIRDS
To help myself to divide the picture in thirds
I’ve found this nice wooden playground. I
used the two vertical woods as guide lines.
To give this effect (light and brightness) I
put the ISO – 200 with an aperture of 1/160
sec and f/stops f/6.3.
When I can, I take pictures of what
surrounds me and I find inspiration
especially in open spaces.
This is another style used for
composition in photography.
I kept the main subject of the picture
(the children) on the extreme right of
the image. I have edited the picture to
give a more nostalgic atmosphere.
I’ve set my camera with: ISO – 200,
f/7.1 and finally exposure 1/200 sec.
SELECTIVE FOCUS
For this picture I portrayed the model
behind the tree leafs and I’ve focused the
camera at the end of the yellow leaf. The
result is a very blurred background with a
very sharp object at the front. I’ve edited
brightness, contrast and colour balance to
give this contrasting tones effect. To have
this result my camera settings were: ISO –
100, f/5.6 and aperture 1/200 sec.
DEPTH OF FIELD
In this picture I tried to experiment with
the depth of field. I focused on the thin
branches in front of the subject. This is
a photo with a short depth of field; the
focus is set to the branches in the
middle of the picture. To achieve this
result I set my camera with ISO – 6400,
an aperture of 1/4000 sec, use of
natural light so no flash and finally
f/5.6. I edited the picture slightly
changing the contrast, the brightness
and colour balance to confer a darker
atmosphere.
In this picture I tried to achieve a short
depth of field (but longer that the
previous one). The focus is again, in
the centre on the image. To achieve
that, I set the camera with ISO – 100,
an aperture of 1/200 sec, and finally
f/5.6, always using natural light.
MOVEMENT
In this picture, instead of let the subject
move, I moved the camera. The result
is a very blurred and light picture (due
to my ISO setting). To achieve this
effect I set my camera with: ISO – 320,
f/5.6 and exposure 1/80 sec.
For this picture I tried to capture
movement with a slow stutter speed to
give a “ghost” effect. The room was
completely dark; the only light source
was a candle that I put on the floor
whilst the subject was sitting. For this
picture the settings were: ISO – 3200
(the room was completely in the dark),
aperture 1 sec, f/4.2.
I’ve slightly edited this image (the
original colour was with a red light) but
for a darker mood I changed the colour
into a shade of green.
In this picture I tried to capture the
movement of two candles that the
model was moving in front of him. The
result is a warm and intense picture. To
achieve this I set the camera with ISO
– 3200, aperture 2.5 sec, and f/4.2.
I’ve just edited brightness and contrast
for this image to give a warmer feeling.
In this picture I’ve tried to capture a frozen
movement weaving my hand in front of the
camera. The only light source was behind my
hand. It was quite difficult to portray this type
of movement due to the fact there wasn’t
enough light in the environment.
I set my camera to: f/22 and shutter speed
1/4000 sec.
Like the previous one, in this picture the
only light source was this light. This time
instead of using a moving subject I was
moving the camera from right to left. This is
the final result. Even if the camera is
moving, the light is in focus.
I set my camera to: f/22 and shutter speed
1/4000 sec.
Part 2: Photography Research Notebook
After my personal studies in photographic techniques and fashion photographers, I've
selected 10 images of 10 fashion photographers to better represent the photographic
techniques I've learned.
PORTRAIT
Portrait photography is a way to take pictures of a person or more people that displays the
personality, and mood of the subject.
This is a portrait of Elizabeth Tailor taken by
Richard Avedon. The photographer was
specialized in minimalist portraits. He was a
predominant cultural force in that era.
In this portrait the beauty of the actress has
been captured in an indoor environment. I
like the way she keeps her arms behind her
body and the way she bands slightly
forward closer to the camera. It look like her
beauty is endless, frozen in that specific
moment. Yet coloured pictures did not exist
at that time yet the black and white tone
gives to the picture a deeper atmosphere
and texture.
COMPOSITION: RULE OF THIRDS
The rule of thirds is a technique used in composition to make photos more interesting and
dynamic and it is also the most used.
The rule of thirds gives a picture a more pleasant feeling because the subject is not
centered in the middle of the image but located along imaginary lines which divide the
image into thirds.
To better explain the rule of thirds I used a black and white photography by Andrea Klarin
in which the model stands in the right side of the picture.
Andrea Klarin was born in Belgrade in 1972. He describes his work as the need to move
and evolve. He worked for major fashion houses such as Valentino, Lanvin, and Guerlain.
His work has appeared in Vogue and Harper’s Bazaar.
I find this image very eye catching. I love
the way black and white are almost
blending together on the left side of the
image and almost clashing at the same
time in the right side. The Lines are almost
hypnotic moving your focus towards the
model's face. It is possible to see how the
photographer used the rule of third to
compose this picture, using the model's
hood.
SELECTIVE FOCUS
The selective focus is a technique that can be used to make an object or model stand out
in a photograph. There are different ways to achieve the selective focus. Find an object to
put on focus in the picture and a wide aperture size (f stop) can help achieve this
technique. A large aperture and fast shutter speed will ensure a lot of light going into the
camera. So the selective focus is how the depth of field and brightness is used.
To give an example of selective focus I used a photograph by Ruven Afanador.
Ruven Afanador is a Columbian fashion photographer full of imagination. In his work there
is a perfect mix between endless elegance and erotic undertone. He created a completely
personal language in his work characterized by the balance of bold emotions and delicate
nuance
In this picture the tones are almost
molding together. The model (Ashley
Olsen) is looking at the camera and
she's completely in focus while the
background is not. With this technique
the eyes of the viewer are concentrated
just on the object that the photographer
wants to show.
When, instead of having just an object or model on focus all the parts in the picture are in
focus the aperture should be around f22 and being far away from the subject helps too
because the depth of field increases.
In this picture it is clear that every part of
the picture is sharp in focus. What I like
about this shot is the contrast of pastel
and light colours at the back (like the
building, the sky and the light green
grass) with the dark colour of the model’s
outfit and the bird of prey.
There is a contrast of direction between
the vertical windows of the building and
the short green poles with the horizontal
posture of the model.
DEPTH OF FIELD
The depth of field refers to the range of distance that appears sharp in a picture. This
technique deeply influences the mood and the atmosphere in an image.
This is a portrait taken by Alexi Lubomirski
an English photographer which work as
been published in fashion magazines such
as Harpers Bazaar US, Harpers Bazaar
UK, Vogue, GQ USA, Vogue Nippon and
Wonderland.
I love the colour tones in this picture. It is
clear that just the left side of her face is
sharply in focus, the rest of the image is
blurred. This is to let the viewer focus just
on a specific part of the picture. The depth
of field goes from her nose to half of her
cheek (on focus).
The model’s gaze might symbolize that she
looks sure of her elegance and her beauty.
Another fashion photographer that
I find very interesting and
influential is Steven Klein. His
photography work is very
controversial, with a very strong
sexual undertone. I find his art
very catching, maybe because his
art is very dark and with very
strong messages.
In this image, which he shot for
D&G, he uses a short depth of
field. It is possible to notice that
for the short distance from the first
object in focus (the edge of the
table) to the last subject in focus
(model in the centre of the image).
It is clear that the image has been
retouched but still, it’s a good
example of how to use the depth
of field.
MOVEMENT
There are different ways to capture movement in photography. The resulting image will
depend from the shutter speed and the aperture. The aperture is the opening that allows
more or less light going into the camera and are called f/stops. The shutter speed
determines the speed the aperture will open and close.
In this picture James Nader portrayed
movement using a slow shutter speed
(that’s why the moving objects have this
“blurred” look) whilst the model is steady
(in focus).
This technique gives the picture a
different feeling. It looks like all around
the model is chaos and noise and the
viewer can focus just on her.
Tim Walker is another photographer
that caught my attention. His style is
famous for its extravagance, romantic
atmosphere and humor. In this picture
he uses a slow shutter speed to give
the picture the effect of movement. The
colours are very dark and the model
looks like puppet.
On the contrary, a fast shutter speed will “freeze” the movements, giving them a “super
real” feeling because it’s not something we see with “human eyes”.
This is one of the beautiful
photographic works by Iain
Crawford. He was born in Africa
and then moved to London to
pursue his photographic career.
He loves to create images with a
strong graphic quality. In his
work symmetry and chaos are
on the same level.
Regarding the paint shoot, the
photographer says: “I love the
fusion between paint and model.
The resulting shapes are as
opulent as any piece of bespoke
couture.”
His pictures have a very
powerful feeling. In this one the
contrast between the pastel
colour of the dust, the model’s
make up and hair with the black
background gives a sense of
distance between what is going
on in the picture and the
surrounding. The moment he
took the picture the dust is
almost going around her face,
contouring it.
Another photographer that likes to use
movement in his pictures is Paul Weaver.
For this picture he uses a fast shutter
speed to freeze the movement of the
floating red dress and give a “super real”
feeling. I find this picture very eye
catching, maybe because the way the
red fabric covers the model just showing
the shape of her figure. And the way her
shadow reflects on the floor completely
break the symmetry of the picture.
Another interesting photographer is Kristian
Schuller, born in Romania, he studied
fashion with Vivienne Westwood. I love the
warm colours in this picture. It makes me
feel in another place, like a warm desert. I
like the elegance and the femininity in his
art. Another thing that completely
hypnotizes me is the scale he uses in his
picture; everything looks very big and
unreal.
Part 3: 400 word illustrated evaluation of two photographers
In this essay I will be focusing on two fashion photographers whose work I find inspiring
and how they influenced fashion photography.
Richard Avedon, an American based photographer,
which portraits defined the 20th Century. The Second
World War was a hard period for the fashion industry.
But after the war, a new generation of photographers
led by Richard Avedon, helped to restore the fashion
houses and popularize the ready to wear in the US.
1.
One of the most famous Avedon’s
pictures is Dovima with elephants,
1955.
This was a unique picture because of
the posture of the model. Instead of
adopting a hunched posture, she pulls
her shoulder back and keeps her chin
upwards. Like in all his picture, the
subject of ageing is present and this is
clearly visible in the contrast of skin
between the model’s hand and the
elephant’s rough and furrowed skin.
2.
Avedon’s most important project called In the American West was in 1979, when he
decided to spend six years photographing member of the working class.
3.
4.
5.
For this project the photographer chose to portray men and women who work hard and are
ignored from the society. This series of portrait are the greater work in the period of postwar photography.
In 1970 the photographer wrote: “My photographs don’t go below the surface. They don’t
go below anything. They’re readings of what’s on the surface. I have great faith in
surfaces. A good one is full of clues.” (Avedon 1970).
In contrast to the “classic” black and white Avedon’s photography I will illustrate Miles
Aldridge’s style which its characterized by acid and vivid colours.
Miles Aldridge is well known for his characteristic
recreation of dream-like worlds in his pictures moulding
elegant, glamorous women with the darkest side of the
society. The subjects on all his work are women portrayed
like plastic dolls with blank facial expressions. His work is
strongly influenced by film noir and film directors like
Alfred Hitchcock.
“Miles Aldridge is a director at heart. Each photograph has
a very sacred pathology to every angle and obsession to
detail. There is genius in the very deliberate blankness on
the face of the models that enables transference of
identity. He always draws you into an arrested fetish that
seems as forbidden as a little girl’s diary.” (Marilyn
Manson)
In his photography he illustrates daily activities and he
criticizes the women’s place in the society. He moulds
unreal and real together creating his highly artistic work.
At first his pictures look static and silent but they ooze
chaos and tragedy.
2.
4.
1.
3.
Sources:
Part 2:
Alexi Lubomirski: http://www.alexilubomirski.com/
Andrea Klarin: http://www.andreaklarin.com/
Iain Crawford: http://iaincrawford.com/
http://iaincrawford.com/ABOUT/1/
James Nader:
http://www.jamesnaderphoto.com/#!/portfolio/C0000jUUp5iBaN8w/G000047rosylAVuQ/31
Kristian Schuller: http://www.kristianschuller.com/portfolio.php?pid=45
Paul Weaver: http://www.paulweaverphoto.com/
Richard Avedon: http://awhitecarousel.com/2011/elizabeth-taylor-by-richard-avedon-1964/
Ruven Afanador: http://www.ruvenafanador.com/
Steven Klain: http://www.shockblast.net/steven-klein-photography/
http://www.vogue.com/voguepedia/Steven_Klein
http://nymag.com/nymetro/shopping/fashion/features/n_10371/
Tim Walker: http://timwalkerphotography.com/recent_work.php
Part 3:
Bibliography:
Juliet Hacking, Photography the whole story, 2012. Thames & Hudson. pp. 342-347
Images:
1. Richard Avedon: http://sunnystyles.wordpress.com/2012/07/24/richard-avedon/richardavedon-self-portrait/
2. Dovima with elephants:
https://www.google.co.uk/search?hl=en&site=imghp&tbm=isch&source=hp&biw=1365&bih
=620&q=Dovima+with+elephants&oq=Dovima+with+elephants&gs_l=img.3..0l5j0i24.646.6
043.0.6355.21.7.0.10.10.0.201.821.3j3j1.7.0....0...1ac.1.31.img..7.14.634._vaC6bHgOjo#h
l=en&q=Dovima+with+elephants&tbm=isch&tbs=isz:m&facrc=_&imgdii=_&imgrc=Ih0Gf4m
dD1mjpM%3A%3Bdw5xQB6SCawQcM%3Bhttp%253A%252F%252Fwww.amateurphotog
rapher.co.uk%252FimageBank%252Fd%252FDovima%252520with%252520elephants.jp
g%3Bhttp%253A%252F%252Fwww.amateurphotographer.co.uk%252Fhowto%252Ficons-of-photography%252F535317%252Fdovima-with-elephants-richardavedon-iconic-photograph%3B450%3B582
3. In the American West:
https://www.google.co.uk/search?hl=en&site=imghp&tbm=isch&source=hp&biw=1365&bih
=620&q=Dovima+with+elephants&oq=Dovima+with+elephants&gs_l=img.3..0l5j0i24.646.6
043.0.6355.21.7.0.10.10.0.201.821.3j3j1.7.0....0...1ac.1.31.img..7.14.634._vaC6bHgOjo#h
l=en&q=avedon+american+west&tbm=isch&tbs=isz:m&facrc=_&imgdii=_&imgrc=UrhiVjZp
hKDKM%3A%3BbnOAKAfS4VkJ0M%3Bhttp%253A%252F%252Fthephotoexchange.files.wo
rdpress.com%252F2010%252F05%252Favedon_johnford.jpg%3Bhttp%253A%252F%252Fthephotoexchange.wordpress.com%252F2010%252
F05%252F%3B700%3B705
Miles Aldridge images:
1: http://content.animalnewyork.com/wp-content/uploads/2009/05/miles-aldridge-1.jpg
2: http://cdn.trendhunterstatic.com/thumbs/minuit-miles-aldridge.jpeg
3: http://livingproofmag.com/mag/wp-content/uploads/Miles-Aldridge10.jpg
4: http://www.paranaiv.no/files/images/miles_aldridge_bang_04.jpg
Sources:
Avedon’s quote: http://www.portrait.gov.au/site/exhibition_subsite_avedon_essay1.php
Marilyn Manson quote: http://www.stevenkasher.com/artist/Miles_Aldridge/biography/
Miles Aldridge:
http://www.stevenkasher.com/artist/Miles_Aldridge/biography/
http://iconiclook.com/fashion/carmen-kass-by-miles-aldridge-for-vogue-italia
http://www.growpin.com/en/miles-aldridge-color-plastic-fashion/
http://www.interviewmagazine.com/art/miles-aldridge-i-only-want-you-to-love-me/
https://www.artexperiencenyc.com/miles-aldridge-at-stephen-kasher/
http://disegnodaily.com/interview/miles-aldridge-on-fashion-photography