RESEARCH B
K 2
1
THE PRESENCE OF A HORSE IS SIMILAIR
2
TO THAT OF A GARDEN
B R I E F – Bare Back is the name of my final portfolio exploring the relationship between human and horses, originally inspired by the presence of horses in my own life. Riding a horse bareback is when I feel most in tune with nature and the horse I am riding. The name Bare Back represents these memories; the feeling of a horse’s coat on my bare skin and the movement of strong muscles beneath me.
Created alongside my publication Stubborn Weeds, this book will explore the importance of horses society today. In particular, their powerful influence in restoring the relationship between humankind and Mother Nature.
Now more than ever, we must realise the integral role that horses play in our lives; from their ability to heal, their cultural significance and their acclaimed role within communities across the world. Most importantly however, they give us the chance to reconnect with the earth in a way that we couldn’t alone.
Being an entanglement of wild and domesticated, horses offer us the chance to engage with non-human beings that are infinitely tuned with the land. Our primal instincts draw us to the horse and our consciousness is restored in their healing presence. From galloping bareback across open land to pulling ragwort out of a paddock, they are the powerful force we need to help us return to our natural state.
I believe that images like the ones in this book can create awareness surrounding the importance of the horse, by introducing the animal to new audiences in a way that speaks to them. Although the fashion industry has been inspired by horses throughout history, a contemporary vision of the horse is still to be defined.
CONTENTS
4
Graphic Design
6 - 13
D ow n Fe r r y G l e n
14 - 47
Soft Coats
48 - 81
My Eden
82 - 109
Fe e d i ng R i t u a l s
110 - 141
Shared Ground
142 - 173
T h e Ta c k R o o m
1 74 - 2 0 7
GRAPHIC
T Y P O G R A P H Y A N D D E S I G N L AY O U T
DESIGN 6
My portfolio will adopt the clean and minimalist look of a classic photography portfolio. My layouts will be sharp and cohesive, taking inspiration from Kinfolk Magazine. Full bleed will be used often to boldly showcase the work I have produced. The cover of my portfolio is an image that I have taken myself which also features in one of the editorials. I have cropped and focussed in on this image of a horse’s coat, playing with the bold colouring and pattern. I chose this image as it really underpins the nature of my overarching theme and the aim to explore a contemporary vision of the horse within fashion photography. It also represents the title of my portfolio ‘Bare Back’.
The typography within my book is the same as my publication, using variations of the font family ‘Argesta.’ I have adapted this minimal font to be my own however, by editing singular letters within titles or headings (e.g. next page). By manipulating one letter to be slightly different and random from the rest reflects my own personal design handwriting and DIY aesthetic. It also takes inspiration from the rough look of animal tracks and the imperfections found within the pattern of a horse's coat.
Within this research book I have explored this design aesthetic, with the addition of the colour green due to its connotations with the earth, relevant to both my portfolio and publication.
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B A R E
B A
K
B A R E B A
K
Final cover options, the right image was chosen as the final cover.
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B A R E B A 11
K
magazine. It focuses on global culture and delves into
art,
literature and fashion. I created ‘Down Ferry Glen’ with this publication in mind as they often feature visual reportage and artist portfolios. A documentary style story that still has a fashion element to it will therefore suit this publication well. In terms of the narrative, a wide range of subjects are explored within this publication; nature and lifestyle often being one of them.
2
Kinfolk is an independent slow lifestyle magazine, that features only clean and minimalist photography. Delving into home, work, style and culture, this magazine could be home to a broad range of narratives. ‘The Tack Room’ was chosen to feature in Kinfolk due to the minimalist style of photography, whilst the narrative comments on both lifestyle and culture. ’Soft Coats’ was also created for Kinfolk due its clean photography, and unique concept exploring a narrative without the use of garments (Kinfolk have often done this).
3
i-D is a British bimonthly magazine focused on fashion, music, art and youth culture. ‘My Eden’ was created with this publication in mind due to the fashion focussed nature of this editorial, as well as its unconventional narrative combining both religion, contemporary culture and art.
4
Novembre is an online and biannually printed magazine devoted to the work that makes contemporary urban life exciting. It focuses on the emerging and radical, producing content that remains stand-alone and fierce. Due to the unusual narratives and aesthetics explored, I chose to create ‘Feeding Rituals’ with this publication in mind. The mix of model and still life photography exploring subjects that juxtapose one another would work in their print edition, especially as it features graphic mark making as done in my final portfolio. 13
TA RG E T P U B L I C AT I O N S
1
Document Journal is an independent culture, arts and fashion
DOWN NARRAT I V E
FERRY DEVELOPMENT 1/6
GLEN 14
This narrative, previously named ‘Forming Families’ was originally inspired by my own childhood memories of the farm next door and their family life involving horses. It explored the lifestyle they lead and its down-to-earth nature, which appears to be more joyful than ordinary aspects of modern life. However, due to COVID-19 I had to change original plans as the family could not model.
This forced me to look into my previous research and the root of this concept, where I was originally inspired by Linda McCartney’s photography of her own children and family life on their farm in Scotland where they kept a lot of horses. I was also inspired by the playful nature of Tom Johnson’s photography, specifically his series featuring young sisters living in the rural countryside. Still very influenced by both these photographers, I am especially drawn to the way they combine fashion and documentary photography. This made me reconsider the style of the shoot, deciding that I would take a more documentary approach, yet still sticking to the roots and overarching narrative of my original concept.
I plan to visit a small farm near my house where I used to keep my horse and photograph Erin -a four-year-old girl, who is the daughter of the farm owner- and her horse Jack. This narrative will capture the nature of her childhood and the important role that horses play in this type of rural lifestyle.
The name of this narrative has changed to ‘Down Ferry Glen’, the name of a small path through the woods that I would walk through to get to the farm years ago. Although I am documenting Erin and her life, my own memories of this farm will help me approach the images in a more intimate and personal manner.
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Developed mood boards for original concept 'Forming Families'.
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Final mash up for updated narrative 'Down Ferry Glen'.
Model selection board. 20
MODEL SELECTION U s i n g a y o u n g e r m o d e l , i n s p i r e d b y To m J o h n s o n ' s w o r k .
I decided to use Erin, a four-year-old girl as my model for this shoot as she lives on the specific farm that I talk about in my concept. I met her briefly before developing this shoot, and her confidence and devotion to horses inspired me to photograph her. As this shoot takes a documentary approach, she was the only model I considered once I developed my concept. However, the other images on this board show the types of faces and individuals that I was looking at in both fashion and documentary photography beforehand. As mentioned previously, Tom Johnson’s imagery was a big inspiration as his use of younger children and families within his work encouraged me to find an alternative subject matter to the standard ‘fashion model’. 21
Photography by Linda McCartney.
RE-VISITING INFLUENCES I n s p i r e d b y t h e w o r k o f L i n d a M c C a r t n e y a n d To m J o h n s o n .
I refocused my attention onto the work of Linda
times and expressing gratitude for more nature
McCartney and Tom Johnson. Both creatives stay
centric lifestyles. Not to mention the nostalgia
true to their subject and portray emotions first
that accompanies this shoot, in its creative
and foremost. Fashion is everything around us
approach and subject matters.
and I believe that although the focus is not on the
I re-visit these images to illustrate the root
clothes within this shoot, that the concept I am
of this concept– the interconnection between
exploring is very relevant today. Especially now
family, nature and horses.
we are gravitating towards more humble past
Photography by Tom Johnson.
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Photography by Bruce Ponder.
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ARC H I V E PHOTO G RAPH Y Portraying emotion and taking a subtle approach to styling.
The style of photography I will be creating was also inspired by my grandfather’s imagery of my mum and her family growing up. These images were mentioned in my publication research but also apply to this narrative. I think that he captures something very special within his photographs, capturing the essence of their family home and upbringing. It is this ability to communicate an emotion rather than a tangible message that I want to take forward. Therefore, I want the clothing to be authentic and feel like it belongs in that environment. I have chosen. a matching top and trouser set that looks like pyjamas. I like this as it emphasises the idea that horses are ingrained into even the most mundane or routine parts of her day. I will also use an oversized jumper that my sister knitted, carrying over the idea of dressing up in siblings’ clothes from the original concept idea in Research Book 1. I do not want to use numerous looks or over-style these images, in order to ensure I take more of a documentary approach. Therefore, I will also keep her hair and face natural and allow her to make decisions on how she wears the clothes.
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F I NAL S HO OT
Selected imagery and outtakes.
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SOFT
NARRAT I V E DE V E LOPM E N T 2 / 6
COATS 48
This narrative explores the sensibility of a horse. Many of the benefits of equine therapy derive from the nature of the horses themselves. Horses are naturally gentle and calm creatures and are able to mirror and respond to human behaviour, meaning that they are highly effective at interacting and working with others in a patient and non-judgemental manner. Horses are able to read human facial expressions and remember our moods. They are also able to mimic or create similar expressions to the human face.
Similar to gardening therapy programmes, horses are used to help victims of addiction or disabled groups in society as they offer communication on a subconscious level. I want to focus on the healing element of the horse within this narrative, inspired by how these animals can teach us about our own psyches and behaviour through their body language.
This concept will therefore abstract the body of the human and the horse, drawing similarities between the two; both emotionally and physically.
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Concept board. 50
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Stylingtype Body mash and up; model abstracting mash up. the human form. 52
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MODEL SELECTION Finding a body type I can create fluid silhouettes with.
For this shoot I wanted to use both the horse and the human body. I decided to use self-portraiture to create the human body detail shots, as I was comfortable exploring intimate and unusual angles on myself. I created the final images by using two mirrors and hand holding a camera – this way I still had total control over focus, lighting and angle. I trialled using a tripod or stand beforehand and this was not as effective. It was important for the styling of this shoot to capture the raw qualities of the body, and strong silhouettes. This meant that a clean yellow backdrop was used to clearly separate the form of the body from the background. Natural light was also used. 54
Model selection board. 55
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Abstracting the human form.
TEST SHOOTS
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F I NAL S HO OT 1
Selected imagery and outtakes.
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Mash up development using imagery from the first shoot. 67
F I NAL S HO OT 2
Selected imagery and outtakes.
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PA I R I N G S : B L A C K & W H I T E Reflecting on the colour story.
PA I R I N G S : C O L O U R Reflecting on the colour story.
Original concept board.
Updated concept board.
I originally planned to create this story in black and white, as I believed this would be a good way to ensure that both shoots were cohesive and that it would further abstract the subjects. However, after using the yellow backdrop for the body part shots I was struck by how clean the colour versions of these images turned out. I think they are stronger in colour, especially paired with the horse shots that have been edited to remain in colour but with white backdrops. I also don’t feel as though the black and white versions reflect my personal photography style – I like to work with shapes, forms and shadows that are determined by the colours in an image. Whilst working with the black and white imagery I didn’t feel any exhilarated or inspired, whereas the colour versions felt much more moving to me. I compared the two versions to ensure that this decision was correct and have now changed my initial concept board to reflect the final story (left).
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This image was reworked by adding a rough outline of a semi-circle made on Photoshop. This element was added as it emphasises the fluid shapes of both human and horses’ bodies. I also think it works well just from a visual point of view – creating
a
silhouette
more
interesting
and
viewpoint
altogether. Another mark like this is used in the narrative 'Feeding Rituals', which helps maintain a personal style and handwriting
throughout
this
portfolio. It also works well with my DIY approach to styling and image making.
MY
NARRAT I V E DE V E LOPM E N T 3 / 6
EDEN 82
In the Old Testament Book of Genesis, The Garden of Eden is a biblical earthly paradise inhabited by the first created man and woman, Adam and Eve. It is said that Adam and Eve ate an apple from the ‘tree of knowledge’ against God’s commandment, which led to their expulsion of the garden. The horse and unicorn are some of the most prominent animals within the garden, and it is said that the unicorn was the first animal to have been named by Adam and Eve.
This narrative is heavily inspired by paintings of the Garden of Eden, including the painting ‘The Garden of Earthly Delights’ by master Hieronymus Bosch where vibrant greens, pinks and blues form a mythical paradise home to the entirety of the animal kingdom. Although not religious myself, I am in awe of the abundance of life and joy that can be drawn from these artworks.
This visual story will re-imagine the fictitious land that is the Garden of Eden from a personal point of view. In Research Book 1, I had planned to create collages with imagery styled using a variety of garments in animal print. However, on reflection this does not feel contemporary or reflect my own vision of The Garden of Eden. Instead, I have pulled styling inspiration from the wild places surrounding my home in Scotland, from our peacock’s feathers to a sheep skull found on the moor. These images will illustrate my own imaginary version of the religious garden, portraying feelings of joy and escapism. Although horses do not physically feature in the final images, their ethereal presence in artworks of The Garden of Eden initially inspired the mythical feel to the story.
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Concept and styling mash ups.
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These mash ups illustrate what my imaginary Garden of Eden would look like in the form of fashion looks, pulling inspiration from Scottish landscapes. I have decided to focus solely on the mash up on the left as I do not live near the seaside and there are still restrictions on travel. I also think that a lush green environment will reflect original artworks of the Garden of Eden more fluently. Some styling ideas include using moss, sheepskin, peacock feathers and acorns.
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Model selection board. 86
MODEL SELECTION Finding a model with an ethereal look.
I considered various models for this shoot, but I knew that I wanted a female with an ethereal look. Most of the models on this board have strong bone structures and bright orange hair. I decided to choose Jodie Connor for this reason (circled), as her pale complexion and vibrant hair would help create an otherworldly atmosphere within the images. I have also previously worked with Jodie, and I knew that she could act natural in this environment. 87
L O C AT I O N S H O O T Finding a Scottish Garden of Eden.
The location is an extremely important part of this shoot, as it sets the tone for the entire story. I need a place that represents Scotland, whilst also portraying a paradise or hidden dream-like world. I stumbled across this location whilst on a walk in the forest over the moors near my house in Torrance, exploring areas off the beaten track. The sunlight was pouring into the forest between the trees which led onto a large clearing of vivid green moss. Nobody was to be seen and no footprints left on foot. It felt secluded and radiant, which is what I want my images to feel like. This area was also the same place that I found the sheep bones and pine cones which was used within the styling.
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S T Y L I N G W I T H N AT U R E Pulling from the environment and independent designers.
For this narrative I created 3 - 4 looks. Taking a
feather scarf as a top, and a textured green top
DIY approach, I found inspiration in the natural
loaned from designer Florence of ‘Shop Keziah’.
environment in which I will be shooting in. I
These two green pieces were essential as they
made a skirt using pine-cones that I found in the
merge with the vivid green hues of the location.
location and an old skirt toile. I also made a body
Overall, the use of unconventional styling pieces
warmer piece using off cuts of sheep wool that was
and paradise-like location will create a strong
passed on to me from a friend who studies fashion
contemporary editorial that portrays my personal
design. This body warmer piece will be paired
take on the Garden of Eden.
with earrings which are sheep bones which I also found in the location. Finally, I plan to use a green
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F I NAL S HO OT
Selected imagery and outtakes.
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FEEDING
NARRAT I V E DE V E LOPM E N T 4 / 6
RITUALS 110
This narrative looks at the physical act of taking care of a horse, inspired by my publication which explores our relationship to food and growing our own produce. This made me consider the horse's diet and the type of human behaviour that surrounds it. Just like working the land or gardening, taking care of a horse requires heavy lifting and long hours in unpredictable weather. However, these activities also become soothing in a sense, and help us become more grounded.
For most people who choose to be around horses however, caring for them becomes a ritual and part of a more holistic lifestyle that feels in tune with the land. Just as looking after a plant can teach us about our own growth, the commitment of looking after horses can help you feel more present and connected to your surroundings – it becomes almost spiritual.
This narrative will play with the juxtaposition of ‘feeding rituals’ being both mundane and dirty, as well as something mystical and healing. This will be portrayed through both still life and use of models that will juxtapose one another yet remain cohesive through colour palette and lighting choices.
Due to the idea of feeding horses becoming a ‘ritual’, part of this story will take place on Craigmaddie moor, home to three large sandstones that lie in a natural amphitheatre named the 'Auld Wives Lifts’. They are believed to have been involved in worship of some sort and the area is often thought to be spiritual or soothing to visitors. Any ritual (especially ones that involve nature) can have this effect and is how I think we can view the act of caring for a horse.
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Styling and concept mash up. 112
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MODEL SELECTION Fi n d i ng a m o d e l w h o re j e c t s f a s h i o n' s u s u a l b e a u t y s t a n d a rd s .
Horses are a passion amongst all ages and genders. I believed that it was important to use someone who doesn’t fit fashion’s restricted beauty standards, and instead reflect a different age, face and body shape. Horses are often glamorised within fashion photography and used to project a specific image. I was determined to go against the grain for this shoot and portray a more ‘down-to-earth’ vision. I am using my mother for this shoot and a location near my home in Torrance, on the outskirts of Glasgow. 114
Model selection board. 115
M A K I N G & DY E I N G Making my garments; from creating patterns to vegetable dying.
For this particular narrative I planned to make the garments and to dye them using vegetables and food waste. This is because I want to achieve a rustic look. This process has consisted of a lot of trial and error, as well as re-visiting my knowledge of pattern cutting and sewing. After a lot of sketching and pinning, I decided it was best to stick to a simple dress silhouette that I could then build upon and adapt afterwards. For the final shoot I layered it with a mesh crimped brown top made by designer Eilidh Adilson to add texture. Using cotton fabric I decided to dye this dress with tea bags in order to achieve the rustic brown shade. I added berries during the dying process to create a subtle tie-dye effect using darker shades. In the final shoot, the homemade styling adds to the atmosphere as the dyed dress and transparent top layer mirrors the colour and texture of hay.
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DIY sculptors made from wood, hay and gardening wire.
STILL LIFE TEST SHOOTS
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F I NAL S HO OT 1
Selected imagery and outtakes.
These still life images symbolise the 'grubby' aspect of having a horse. Using objects from my shed and old horse equipment, I was able to tie together various aspects of my narrative within one set up. On reflection, I believe that these images are strong and clearly communicate the down-to-earth nature of caring for a horse, conveying the more raw and rustic side of this narrative.
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F I NAL S HO OT 2
Selected imagery and outtakes.
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I experimented in post-production to further communicate the narrative; using cut outs of tarpaulin material to replace and enhance the shadows within the imagery. This conveys the juxtaposition between wild and domesticated (you are embedded in nature yet using things like plastic sheeting and machinery to assist you). However, on reflection I believe that the images are stronger without these edits and that placing them alongside the still life imagery is a stronger way of conveying the narrative.
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MO C K- U P E DI TORIAL Reconsidering the overarching colour story.
After reflecting on this visual story, I wanted to try breaking up the colour story in order to give it more variety. I decided to create some black and white edits and extract the key green colour from the images, creating a vibrant and bold final image. Before trying this out, I thought it may create a more interesting story. However, the edits look too different and out of place, which doesn't make sense when looking at the all the final images side by side. The harsh black and white editing style also isn't reflective of my own personal photography style. Looking back on the original edits after taking some time away, I believe that they are very strong and that the consistent colour story helps me connect the still life shots with the model shots.
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In my final editorial I have decided
to
add
a
graphic
element to this image. This orange outline mimics a rough bucket mark and brings the vivid colour of orange from a previous image into this particular shot creating a more cohesive story. I also like the idea of reworking images using marks and rough outlines to further drive the narrative forward, juxtaposing both elements of my concept in one image.
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SHARED
NARRAT I V E DE V E LOPM E N T 5 / 6
GROUND 142
Previously called 'Horses and Horticulture', this narrative explores the relationship between horses and plants. Both horses and gardens are origins of utmost sensory experiences. When you are gardening you are physically engaged -touching soil and pulling at weeds- you can smell the earth and notice the vivid colours of greens, yellows and reds as vegetables begin to form. When riding a horse, you can feel the wind against your skin, you become part of open landscapes and learn to notice the most subtle of changes in your natural surroundings. Personally, my knowledge of plants has derived mostly from trekking the countryside on horseback. These rides in the countryside for me were also ways to escape and reset my mental state.
These separate experiences are often used in conjunction as a form of powerful healing, such as therapy centre, Festina Lente, in Ireland, who combine the act of horseback riding with the serene experience of flowers to help children with socially disadvantaged backgrounds. This harmonious relationship has not yet been explored within fashion photography, with the exemption of Tim Walker who took inspiration from Derbyshire Peak District’s ‘Castleton Garland day’ - where ‘The Garland King’, appears on horseback, covered to the waist in a heavy, bell-shaped floral garland.
This visual story will play with the narrative by interlinking the two subjects (horses and horticulture) in a fashion context. Inspired by my research into the healing nature of both flowers and horses, the aesthetic of this shoot has developed to feel softer and restorative through use of calming colours and natural light. My previous planning reflected a more rugged approach to the styling, but this has changed to properly reflect a more focussed narrative.
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Styling mash up. 144
This mash up shows what I
in a less polished way than
of
planned to do in terms of styling
often seen in editorials. The
surrounding healing. It felt too
and
this
model has dark hair and olive
dark, and the edits were too
updated narrative. I decided
skin, which will work well as a
bold. The clothes that were used
to make a flower garland out
contrast against the white horse
could also have been stronger,
of different types of flowers,
that I am using.
as the silhouette was lost in the
model
choice
for
portraying
my
narrative
paired with a plain top in order
The next pages show this
oversized nature of the clothes.
to keep the focus on the horse
look come to life. The images
A new take on the styling was
and the flowers. I chose a messy
using the flower crown were
developed to improve on this
crown of flowers as this allows
successful as images standing
(page 154).
me to intertwine various types
alone, yet this look proved
of plants, whilst using flowers
not to be successful in terms 145
F I NAL S HO OT 1
Original imagery and edits.
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154
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Styling mash up.
DEVELOPED STYLING Creating a calming and restorative atmosphere through styling.
These mash ups convey the new
creates clothing inspired by
worked well. The location will
aesthetic that I have developed.
horticulture. This will be paired
be an arena (to have the horse
As the previous pages show,
with a green satin skirt and
loose) and I will curate my own
the
didn’t
various pastel-coloured gloves
set up by hanging up green and
convey my narrative clearly. I
to elevate the look. Bare feet
orange pieces of fabric.
have decided to re-shoot this
will feature, inspired by the
narrative and use pastel colours
tactile nature of healing outside
happier with how this narrative
instead, to create a healing
and with horses. I also want to
has evolved and feel confident
atmosphere within the images.
experiment
alternative
that these changes will allow me
The afternoon sunlight will
ways of using flowers within
to clearly portray my concept in
create beautiful soft lighting
imagery and pressing them will
a beautiful way.
that will bring these colours to
allow me to apply them to the
life. I have pulled from London
model’s skin.
original
styling
designer, Luke Anthony Rooney (found
on
Instagram)
who
with
The horse I will be using will be white once again, as this
157
Overall,
I
am
much
Model selection board. 158
MODEL SELECTION Finding a model who has a soft and delicate look.
The model choice has also changed. Although the last model’s facial structure and features still would work well, she is not tall enough to fit the clothes I have selected. Instead, I have chosen Lauryn, who is tall and lanky which will suit the clothing. Her paler skin and fair brown hair will also help create softer tones. I did consider a few other options similar to this model as pictured, but Lauryn has the most delicate and round facial structure (as opposed to a sharper, fiercer look). Being comfortable around horses also had to be taken into consideration. 159
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F I NAL S HO OT 2
Selected imagery and outtakes.
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THE NARRAT I V E
TACK DEVELOPMENT 6/6
ROOM 174
This narrative was originally called 'Equine Kinship', exploring the theme of community within riding stables. However, due to the restrictions I was not able to visit any riding schools or meet groups of people. This changed my approach to the narrative, considering new ways of communicating this idea of community in relation to my experience with horses.
This evolved into 'The Tack Room', the updated narrative that delves into my personal memories of community, which are primarily rooted within both music (my family are all musicians) and horses. The tack room is the place where all the saddles, hats and bridles are usually kept in a riding stables and is where my friends and I would gather to eat lunch in winter, or where we would meet new people and catch up between chores. It is also the place I originally planned to shoot. This narrative intertwines my memories of the tack room with memories of playing music with my family in our living room. These two experiences align in my memory as they represent the same things: overwhelming feelings of kinship and togetherness.
I felt it was important to intertwine both music and horses in this way, as the majority of people can identify with some form of music and recognise that it brings people together. Introducing an equine element to familiar objects will therefore enable viewers to understand how I interpret horses and riding. The final shoot is a still life that combines musical instruments with horse equipment you would find in a tack room.
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This mash up was made after the first test shoot (following pages) where I experimented with horse equipment to create styling looks. Reflecting on these shots I found the still life images to be stronger and a more interesting take of the narrative. This mash up shows my plans to paint my own backdrop that will mimic the same look of the tack room walls at my old stables (splattered with brown paint and wood). I also started thinking of ways that I could combine musical instruments with horse equipment in a contemporary way, looking at the similarities and contrasts between the different objects. As illustrated, I want to find a way to connect the objects together, symbolising togetherness.
Concept mash up.
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TEST SHOOTS Using equestrian equipment to create looks. 179
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These test shoots helped me become more familiar with still life and this alternative method of fashion photography. I focused on the equestrian side of my narrative within these test shots, establishing a DIY approach to constructing the looks both on a model and without.
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SET DESIGN Making backdrops and selecting a colour story.
I painted the backdrop pictured (left) for a shoot in my publication. However, I knew that it would also work well for this narrative as it looks like the walls of my old riding school's tack room. Brown and splattered with patchy strokes of paint to cover up exposed sections of wood and rot. The pink velvet curtain was then used as a nod towards the curtains of a theatre where musical performances are often performed. It is also connected to my own memories as the curtains are from my living room where we often used to play music together as a family.
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Final shoot set up. 194
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F I NAL S HO OT
Selected imagery and outtakes.
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P O ST - PRODU C T ION Creating edits inspired by surrealism.
Adopting an abstract and collage-like approach to my image making, I have duplicated elements of the image to create unique silhouettes. Here I have repeated the horseshoe image whilst the following page shows a trumpet and silver horse bit cut out from the background. I find that this surrealist style of photography is especially impactful when creating still life stories, as it adds a playful nature to often motionless subjects. However, reflecting on the original images I feel as though these edits are not as strong and look too unnatural when places next to the other shots. Therefore, although these edits are strong standing alone, they will not be included in my final story. 207
CAMILLE LEMOINE 208