Constructed Photography

Daisy Mae Fry Exclusive interview with

80+ Photographers Inside

Read the full

History of Photography Inside

Learn new lighting plans with

Lighting for

Dummies 1

Contents 2

Photography Guide

Photographer Guide

How to Shoot a Product

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Lighting for Dummies

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Portraits on Location

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Lighting a Large Interior

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Capturing Water

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Product Shot

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Daisy Mae Fry Interview

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Landscape Portrait Photography

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Studio Photography

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Still Life Photography

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Fashion Photography

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Interior Photography

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Location Portrait Photography

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Architecture Photography 74

Picture Breakdown Peter Hapak

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Petra Bindel

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Curating an Exhibition

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Front Cover Breakdown

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Shooting from home

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Photography Guide

Every photographer should be able to follow a lighting plan.

For this shoot, we were given a lighting plan and had to set up the product according to it, to test whether we could follow one ourselves. We set up the lights accordingly but had to decide the height ourselves.

This gave us the chance to experiment with the lights and make sure each one was hitting the product perfectly. You can see from the images below how long it took us to correctly place all the lights. The brightness on the TV in the first attempt

shows that the lights were too high, and we had to lower it, so it reflects across the screen.

For the rest of the image we had to light various parts of the product one at a time, so each part was correct. The lighting on the blue background was next, then the back of the TV to create the light white line down the side. When lighting a product it is important to test one light at a time, to build up the shot, so you know which light to turn up/down, or move into the right place.

How to shoot a product How we shot a TV stand and used capture one to make sure our image looked good.

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Photography Guide

Lighting for Dummies

Need to test your lighting skills but don’t have time to find a model?

We have the solution!

Finding willing models can be difficult for budding photographers who want to test out their lighting skills but using a dummy head will provide you with everything you need to practise. For only a few pounds we purchased a dummy head and placed it upon a lighting stand. Although you don’t need a wig, it does help to make the dummy look more like a real model. We then tried out multiple lighting plans as you can see below.

Deciding where your lights are going to go when shooting portraits is vital, as the position of a light can change a subject’s entire face. Placing a light directly to the side of your subject’s face will

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create a shadow of their nose across their face.

This can be evened out however when you use a reflector to reflect a softer light onto the other side of their face. A lot of photographers use a light above their subject’s face, which is easy to spot due to the shadow created below their subject’s nose and chin. You can create a halo effect behind your subject’s head by placing a light with a dish on it facing your background.

To make your image more interesting you can even add a coloured gel, to show a coloured halo effect behind your subject. Check out more of our lighting for dummy shots on our website.

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Photography Guide

Portraits on Location

It can be tricky to achieve well-lit portraits when you’re travelling around, but here are some tips on how to combat this, and a breakdown of the images we’ve taken.

By using portable lighting equipment, it meant we could travel around without the need for a connection to mains. However, portable equipment can have some draws back, as it is not as powerful as normal lighting kits, plus there is the chance of it running out of battery while you are shooting. We also had to physically hold the lights instead of using

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Lighting plan from the above shot

stands, although some portable lighting kits do include them, this came as a positive as we could move the lights around easily.

Allowing our subject to hold a flash meant that we could light his face and make it look as if the light from outside had done it, despite it being very dull outside.

For our first image, we set up our camera and made sure the lights in the background were dulled.

We then used two lights on our subject, one with a dish to the left of our model, and one with a softbox to the far right of our model. The flash with a dish created a circle lighting effect on the pillar behind our subject, while also lighting his face.

The soft-box then lit our models face, but due to the distance between the two, it was not as harsh as the other light.

Our next image was taken in a hallway, next to a window on a cast over day. With our handheld lights we placed one behind our model’s head to light the back of his head, and one on the windowsill to light our model’s face. We also had to consider the hallway lights in the background, as we wanted our model to be the main focus of the image.

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Photography Guide

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Lighting a Large Interior

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Lighting a large room may seem difficult, but with hand held flashes, a long exposure time and Photoshop, you can create an image where it is all lit up.

The image above shows how many layers I used to create the final image, and which parts of each image I used.

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The Process To light a large interior, we had to take many photos lighting various areas of the room with a handheld flash that we set off manually. We each walked around the room and set off the flash multiple times while using a long exposure. Due to the long exposure, whenever our flash went off it froze the part of the room we were shinning it on, meaning it only captured the object being lit, and not ourselves. However, we also needed to make sure that we weren’t stood in front of the flash, or our figures would be captured in the image.

To get the finalised image, we had to layer seven different images together in Photoshop.

We layered the images together and erased parts of the images that weren’t lit up. This meant we could create a final image that had all the desks and walls lit up.

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Photography Guide

When shooting outside in bright light, your images can become over exposed and sky may come out looking a bright white.

However, by using a neutral density filter less light is allowed through the lens which forces a longer exposure. This means you can achieve a long exposure while using a short depth of field.

We decided to shoot at Leeds Docks, so we could capture movement in the water.

It was crucial to use a neutral density filter as the long exposure would’ve normally allowed too much light into the lens and over exposed the whole image. We kept the

Capturing Water 14

camera on a long exposure time and wide aperture to get as much of the image we could in focus.

Due to the long exposure time, keeping the camera on a tripod is vital to keeping the image in focus and not shaky. The camera will then capture the movement of the clouds and water, with it looking more like the smoke the longer you expose for.

In post-production, you can see where we have made the sky a deeper blue to make it stand out more against the before almost blown out clouds. It’s important to put time into your images in Photoshop or another editing software, to make your image pop. Turning images black and white can make a beautiful image even more interesting, especially one that contains movement, so it’s good to play around when editing to see what looks best.

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Photography Guide

It’s easier than you may think to capture still life images of camera equipment, just like the ones companies use to advertise their products.

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Product shot

We started with a dark background, to make the focus directly on our camera, as well as make the coloured gel bright. Next, we put a coloured gel over a flash with a dish, to achieve the circle light behind the product.

You can use any colour you want, but just make sure the light stand behind the subject

isn’t viable. Next, we pointed a flash onto the front of the subject to light the front of it. By using a reflective surface underneath the subject, it’s reflection is clear when the flash goes off. All that is left to do is play around with the placement of the main flash, to try and capture the best reflection.

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Interview

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Daisy Mae Fry Who is your inspiration?

My biggest inspiration in fashion would be Vivienne Westwood. From the first moment I bought my first pair of bondage shorts at the age of 13 (not that it’s appropriate for a 13-year-old to wear shorts that are inspired by sex wear) but, I knew from then I only wanted to wear this brand that were so creative and unique.

What do you think is the hottest fashion trends in the uk this year?

I would say this year’s hottest trends are animal print and neon’s. From what i have witness on the high street and in some of our most loved luxury brands these trends are what is most loved and i will say myself i’m quite happy about it.

How would you describe your own style?

Which country do you think has the hottest I would say i have a distinctive style that reflects fashion trends? my personality. I love anything bright and furry, I think Britain is great for fashion and has a lot of and always have a platform on my shoe. As variety. With the North and South divide it shows Vivienne Westwood quotes “shoes must have a lot of culture in different areas. However, I feel a very high heel and platform to put a woman Japan is hot for fashion right now. From what I beauty on a pedestal”. have witnessed in fashion week this year.

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How did you get into fashion?

I have studied fashion since high school. I have always loved fashion and got involved in anything I could to do with fashion. It was when i got my first job at Vivienne Westwood in Leeds and creating my own fashion line for my final degree when opportunities in the fashion industry came up.

What do you think are the benefits of posting on social media?

I feel social media has a huge influence on Fashion at the moment, All the creatives have it! I think it a good way to promote, market, launch and discover new artist. It’s also a place where you can gain acknowledgement all over the world as a creative. I believe Social media is a positive thing for the creative industry.

What advice would you give to someone who wants to get into fashion?

Always be passionate and always be confident in yourself. Never doubt.

why?

Students, creatives and fashion bloggers is who I’d aim my magazine at.

Why did you choose the clothing we shot today?

I chose those outfits as I feel they are most representative to me and my personality.

And show the type of things I would wear on a normal day and feel confident in Who is your magazine aimed at and wearing something you want to wear and

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not caring about other people’s judgment.

How did you and your model meet?

The model is my cousin/ best friend Maisy. We’ve been working creatively since we were about 1516 and Called ourselves “THE AISY’S”.

If you were a piece of clothing what would you be and why?

If I were a piece of clothing I would be anything big, bright and furry!

Crazy Faux fur coats are the most fun to look at in my opinion! the crazier the better.

Where do you get your clothing from?

Because I work in Westwood and absolutely LOVE the brand I do tend to buy of lot of her stuff.

But I love a good bargain and anything vintage!

The beauty of buying vintage is that not many people would have them. I always take time to find pieces that I think not that many people will have or change the garments to fit my personality.

What are some of your favourite fashion stores?

Selfridges is probably my favourite place to shop. Specifically, on Oxford street!

It’s just Magic.

What is your favourite food?

CEREAL. I love to experiment when having a bowl of cereal, sometimes I can have 3 different cereals in my bowl! If I could I would definitely have it for breakfast, lunch and dinner!

Are you originally from Leeds?

I’m from Halifax, still live in Halifax. Leeds is a place I travel to for work and mostly to socialise.

I love the city and would definitely consider living there.

What is one piece of clothing you buy a lot of at the moment?

me! The uglier the better.

ATM its long bright, mostly fluffy Coats. They just make winter feel a little less dull. Also, Shoes are essential to

In terms of sustainability, what exactly do you do to help?

I believe strongly in doing better in all areas

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off the fashion industry and would do anything I could to help. I feel a lot of big brands are getting one board to make their collections a more sustainable collection. I read an article that quotes “36 brands pledge to achieve sustainable cotton by 2025” which would be amazing.

The clothing you’ve brought is quite vintage and unusual, is this something you’re passionate about?

I do like vintage clothes. I feel like it’s becoming more high- street fashion. If I was to buy vintage I would prefer to be designer, that to me is exciting because you know you’ve got a margin and a

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one of piece that no one else may have.

What are your favourite pair of shoes?

My favourite pair of shoes would be my Westwood pink velvet platform boots! I mean, they’re just ICONIC! What inspires you?

Fashion magazines are something I absolutely love reading. Rankin magazines specifically are always a joy, DAZED, HUNGER and Another.

I prefer the high end stuff as they feature more creative editorials and they have slight controversy.

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Evolution of:

Landscape Photography Ansel Adams1927

Josef S

Thought to have popularised landscape photography, Adams paved the way for future photographers.

His images of the western showed a side of nature some people had never seen before. His love for nature shown through in all his images.

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1900 90s

Another photo capturing differ known for his most notably la various land Bohemian fore shown in variou

Edward Weston 1938

Although Weston shot multiple different subjects, his landscape images stand out among the rest.

He was part of photography group f/64 along with famed landscape photographer Ansel Adams. His son, Brett also went on to be a landscape photographer.

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Carleton Watkins 1883

Michael Ke

Considered a pioneer of landscape photography, Watkins used a mammoth-plate camera to capture stunning landscapes in exquisite detail.

He pictured some of the first images of Yosemite Valley to ever be seen and helped stress how it should be classed as a National Park.

Brett Weston 1934 Referred to as a child genius of American photography, Weston studied under his father, Edward Weston to become a talented photographer himself. He captures vast landscapes with both wide and long lenses.

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50s

Famously known white images, Ken on unusual back images sometim 10 hours to deve images is differe in the industry. K awarded vastly d and originalit

y

Sebastião Salgado 2005

Sudek 1955

ographer who enjoys rent subjects, Sudek is still lifes, interiors and andscapes. He captures dscapes such as the ests. His work has been us exhibitions around the world.

Franco Fontana 1987 Famously known for his black and white images, Kenna’s work focuses on unusual backgrounds. With his images sometimes taking up to 10 hours to develop, the quality of images is different to anyone else in the industry.

Kenna has been awarded vastly due to the quality and originality of his work.

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Carr Clifton 2008

enna 1977

n for his black and nna’s work focuses kgrounds. With his mes taking up to elop, the quality of ent to anyone else Kenna has been due to the quality ty of his work.

After beginning photography as a hobby while traveling on missions to Africa for the World Bank, Salgado became a fulltime photographer in 1973.

After dabbling in documentary photography, he went on to focus on nature and wildlife before creating his photo book Genesis.

Despite starting in 1977, Clifton gives us the perfect example of modern landscape photography with his images being full of bright colours and movement. While he began shooting with film, he has since moved on to digital cameras to capture landscapes.

Takeshi Mizukoshi 1999 Mizukoshi worked as a naturalist before going onto being a mountain photographer having studied with the late Yukio Tacbuchi. His work usually consists of black and white interesting landscapes, which are available to view in a number of museums around the world.

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Michael Kenna

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Born in 1953, English photography Michael Kenna is well known for his landscape photography which most commonly includes black and white landscapes, with lots of empty space. To achieve these images, Kenna would photography at dawn or night time, sometimes exposing up to 10 hours. From an early age, Kenna studied art and photography at Banbury School of Art before going onto the London College of Printing.

Finding a love for Japans terrain during his first visit in 1987, Kenna went back and photographed nearly every part of the country. He even went on to release a book titled ‘Japan’ which included 95 images that he had shot. Kenna’s work has had exhibitions in the National Gallery of Art in Washington D.C., the Museum of Decorative Arts in Prague, and the Biblioteque in Paris.

Italian born, Franco Fontana is best known for his bright and vibrant landscape photographers that play with colour. Fontana’s work often depicts blocks of colour formed by the landscapes which greatly contrast each other and makes his images stand out.

He has worked with publications such as Vogue France, Frankfurter Allgemeine and Time-Life and had his work published in over 40 books. His work has been shown in over 400 exhibitions and roughly 60 museums. Fontana has also won multiple awards including “Golden Cherry” Award, Venice City Photographic Award and the FIAF Award.

Franco Fontana

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Shooting like:

Michael Kenna

While Kenna is known for his long exposure time, sometimes lasting up to 10 hours, we attempted to create the same effect in post-production. We started with a simple image of a tree line and turned up the contrast to give them a silhouette effect. Also, we turned up the grain to make the image look older than it is. We also dehazed the image to make the sky look dark and blurred, just like Kenna had in his, even though his images have this effect due to the long exposure.

Michael Kenna

Our attempt

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Capturing a picture like Fontana was difficult, due to the time of year not offering much in the form of colour. Fontana’s images are always full of bright and vibrant landscapes, but during winter in the UK, it is hard to find similar landscapes, as even a large majority of grass is dead and not

offering a vibrant green. To combat this, we took an image of a tree line against the solid white sky and make the trees look greener in postproduction. Although this didn’t create an image exactly in his style, we felt it came close given the circumstances.

Shooting like:

Franco Fontana

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Our Style 32

For our landscape image, we tried something different than the other landscape styles. We decided to focus on one part of the landscape, a weeping willow tree. We captured this image by standing underneath the tree and pointing the camera upwards. This caught every hanging branch on the tree but made it look as if they were stand out on their own. In post-production, making the image black and white added a darker mood and made it look more interesting. The viewer can tell that the grey of the image is the sky, but the curving of the branches may come across as confusing.

We feel that it looks as if a great bolt of lightning is hitting the sky and branching out across it.

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Evolution of:

Studio portrait

Cecil Beaton 1949

Edward S. Curtis 1899 Considered one of the earliest portrait photographer, Curtis captured the American West. His images helped to tell Native American’s stories and history. His legacy lives on with his work selling for up to $60,500, due to the impact and attention it brought to Native American issues when it was first shot.

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Shooting subjects such as Queen Elizabeth II, Beaton was lucky enough to capture the high society in his elegant portraits. As a self-taught photographer, he was hired by multiple top end publications such as Vouge and Vanity Fair.

His images are now available to view in The Museum of Modern Art, The New York Public Library and The Whitney Museum to name a few.

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Franc

Know Scavu shoot topless starte began high s create St

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Philippe Halsman 30s After moving to France in his early twenties, Halsman went on to work for Vouge and became known as the best portrait photographer in France. He went on to photograph dozens of celebrities and icons such as Marilyn Monroe, Eartha Kitt and Elizabeth Taylor.

Richard Avedon Nadar 1855

Using art as an inspiration, GaspardFĂŠlix Tournachon, better known under his pseudonym Nadar, captured the people of his time. He used natural daylight often as he hated using accessories to help his images. His work is still shown around the world today.

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While most known for h photography, Avedon been a huge part of the of portraiture. Photog some of the most famou of all time, his work ha printed in magazines Vouge and Life

Yousuf Karsh 1990

Another portrait photographer who got to capture the most influential people of his time, Karsh worked with subjects such as Winston Churchill, Grace Kelly and Pablo Picasso. His images are known for his use of dramatic lighting which became his signature style.

cesco Scavullo 1967

wn for his celebrity portraits, ullo created controversy when ting a young Brooke Shields s. His interest in photography ed from a young age and he n his career after graduating school. During his career he ed images for Vouge, Rolling tones and Cosmopolitan.

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n 1957

his fashion has also e evolution graphing us people as been such as e.

Platon 2007

After attending St. Martin’s School of Art in London, Platon went on to get a MA in photography at the Royal College of Art. He has shot for many publications such as Esquire, Vanity Fair and Rolling Stones. His work often shows his subject very close up, with their head filling the frame.

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Timothy Greenfield Sanders 2013

Having begun photographing for Documentary film makes and portrait Vogue magazine in 1960, Bailey photographer, Sanders has shot many cultural captured celebrity portraits with his icons including Caitlyn Jenner, Bill Murray signature dramatic lighting effect. and Beyonce Knowles. He has collections He uses a large contrast in his black in several museums such as The Brooklyn and white images that help transform Museum, portraiture photography.

The Annenberg Space for Photography and the Museum of Modern Art. His work usually features its subject in colour and from waist up on a grey background.

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Peter Hapak With a portfolio that stars celebrities such as Nicole Kidman, Tilda Swinton and Bono, Peter Hapak is wellknown for shooting high ended studio portraits. Working with brands such as The Times, Variety and Time Magazine, his images have been shown around the world.

Hapak shoots with colour and black and white depending on the subject and mood he wishes to create. He also various between shooting on white backgrounds and bright coloured ones. His portraits are usually shot close up to show the subjects full face in high quality. He often used a light above the subjects face which creates a shadow under his subjects nose and chin.

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Rankin John Rankin Waddell, most well known as ‘Rankin’ is a British portrait photographer who has shot celebrities such as David Bowie, Kate Moss and Justin Timberlake.

He shoots in various styles but most commonly uses colour and his subjects have more character-filled poses to show their personalities.

He also seems to shoot men more in black and white whereas women have bright and vibrant colours. Rankin has had exhibitions in Amsterdam, Germany and London, just to name a few places.

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When shooting like Hapak, we used two lights with softboxes on to create a soft light onto our subject. We faced one flash towards the front of our model, to light her face. The second flash, we positioned high up above our model facing downwards, in hopes of creating a shadow under her chin and nose, similar to Hapak’s image.

Although we attempted to create the shadow under the nose, with the equipment used it was difficult to get a light high enough over the model, without obstructing the shot.

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Our attempt

Shooting like

Peter Hapak

Our attempt

To create an image in Rankin’s style, we used two flashes, one above our model lighting downwards, and one pointed directly at her face. We had our model pull multiple faces just like Rankin’s image, although ours has no where near the amount of vibrancy.

Similar to Hapak’s image, we struggled to get the shadow under the nose and prominently due to not being able to get the light high enough. If we shot it again, we’d attempt to use a model with bright hair in order to get the same mood Rankin’s image has.

Shooting like

Rankin 39

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Our Style For our studio portrait style, we decided to experiment with post-production techniques to create an abstract final image. This was achieved by having our model turn 180 degrees while we shot each movement, to get her facing in a variety of positions. We also used a lens with a shallow depth of field to capture parts of her face more closely. In

post-production, we took nine images from the shoot and cut out different body parts from each. Starting with a backing image, we placed each cutout point onto the background image, making sure each image was put slightly out of place to create an abstract effect. Then we added a shadow effect to each layer to make the cut of layers look bolder against each other.

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Evolution of:

Still Life Photography Paul Strand 1917

Having helped established photography as an art form alongside Edward Weston and Alfred Stieglitz in the 20th century.

Working for 6 decades, Strand tried various types of photography including still life. His still life work is shot in black and white and often sees it’s upsets just close with plenty of interesting shadows.

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Irving Penn 1947

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Known for his fashion and still life photography, Penn worked with clients such as Jan Clinique and B Issey Miyake.

Penn attended l the Philadelphia c Museum School pic of Industrial si Art before s working under photography to great Alexey i Brodovitch.

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André Kertész 1939 Under appreciated in his time due to his then-unorthodox camera angles, Kertész went on to make revolutionary contributions to the photo essay and photographic composition. His still life images played with shadows and lighting to create interesting shapes.

Paul Outerbridge 1922 Considered to be an early pioneer of colour photography, helped build the largest advertising photography studio of the time. He often shot images of mundane objects such as dice or glasses of milk, but still managed to make his photographs interesting and beautiful.

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Josef Sudek 1

While more known for his ph Sudek also shot early still life often showed glasses of liqu still life imagery is always eas his signature piece of having frame in a large majority

Sharon Core 1997 Taking inspiration from historical art conventions of still life, Core captures flowers and food up close. Her images most often show table spreads taken straight from the 19th and 20th century. She has also looked at repetition and shapes in some projects, photographing multiple pieces of cake to fill the frame.

n Groover 1979

By using a platinum prints for her still life images, Grooer created an ethereal cture of something as imple as her kitchen sink. She also used a banquet camera o capture elongated images of everyday items.

Katya Havok 2018 Mainly selling images on sites such as Shutterstock, Havok is an up and coming still life photographer, with her still life imagery including lots of bright and vibrant colours. Her creativity and editing skills show in her images, with her using lots of unconventional and unique materials.

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Robert Mapplethorpe 1985 While Mapplethorpe is more known for his controversial portraits, he also shot a famous series of still life images titled ‘flowers’. In this collection, he shoots close ups of flowers, usually on dark backgrounds and in black and white which really makes the subject stand out.

1955

hotos of Prague, e images, which uid or eggs. His sy to spot due to g a single egg in of his work.

Robyn Stacey 2010 Starting photography in the mid-1980s, Stacey has managed to create still life images that look like a 19th century painting. By turning entire rooms into camera obscuras, she can shut out all light and capture objects like never before.

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Katya Mostly focusing on still life photography, Katya Havok has over 10,000 followers on Instagram and nearly 3000 images available for purchase on Shutterstock. Her work is very vibrant, often using shapes of different colours as background to her images. She takes inanimate objects, such as birthday candles and pineapples, and makes them fun and colourful. She also clearly uses postproduction to add different drawings and pictures to her final images.

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Havok

Born in 1946, Robert Mapplethorpe was known for his controversial photography which was mostly shot in black and white. Although Mapplethorpe shot various subjects such as nude portraits, celebrity portraits and selfportraits, he also went onto shoot various still life images such as flowers and skulls. His work was highly controversial due to the subject matter such as BDSM subcultures and sparked a debate regarding

public funding of controversial artwork. After losing his battle with AIDs in 1989 aged 42, his foundation went on to raise millions of dollars in his name to help fund medical research into HIV/AIDs. His foundation has allowed to carry on his memory and show his work in hundreds of exhibitions over the past 30 years in places such as Los Angeles County Museum of Art, The Munch Museum in Oslo and the Madre museum in Naples Italy.

Robert Mapplethorpe

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Our attempt

By using two lights, situated either side of our subject, we managed to create a shot like Mapplethorpe’s.

With the light composition and the black background, the petals of the rose became the focus of the image and came out in high detail. In post-production, the contrast of the image was turned up to make the subject stand out and the background seems darker than originally shot.

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Shooting like

Robert Mapplethorpe

Shooting like

Katya Havok

To capture an image like Havok, it was key to try and recreate her signature bright and wacky style. We attempted the do this by using a yellow background and laying pens on it. We used two lights with one above the subject and one slightly to the left. In post-production, we turned up the vibrancy to make the colours of the pens pop. If we were to recreate this image again, it would be key to use a brighter background, as the one we used came out slightly dull.

Our attempt

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Our Style

Equiptment used: - Canon Eos 760D DSLR - Canon EF 50mm f/1.8 STM lens - Two flash heads with soft boxes

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For our still life image, we used a lens with a low aperture, so we could use a very narrow depth of field. This meant we could capture part of the subject in focus with the rest of the image slightly blurred. We used two lights with softboxes on the lowest setting, as due to the low aperture used too much light was allowed into the camera, making the image overexposed. We didn’t use a light on the background, only the subjects, in order to make the background grey.

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Evolution of:

Fashion Photography Baron Adolph De Meyer 1913

Starting his photography career in 1944, Avedon was a student at Brodovitch’s Design Laboratory. In 1946 Brodovitch sent Avedon to photograph a premier fashion house in Paris due to his passion and energy. He captured movement The first full time fashion photographer hired by Vouge, Meyer in his images which created a new helped to shape the ain magazines and worked for Vanity Fair. In 1922 direction for fashion photography. he went on to be chief photographer at Harper’s Bazaar in Paris.

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Edward Steichen 1911

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Irving Penn 1

Another student from B Design Laboratory, P a traditional studio sty of contrasting black a He opened his own st York and worked with throughout his c

Attempting to use photography as a way to show fashion as a fine art, Edward Steichen photographed gowns made by renowned fashion designer Paul Poiret.

He is thought to be the founding father of modern fashion photography.

Alexey Brodovitch 1934 Becoming the role of artistic design at Harper’s Bazaar, Brodovitch is thought to have revitalised the magazine and taken it down a new path. He applied radical layout changes such as the picture attached, which were uncommon at the time.

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Usin Ave cap 60s. H taking updati

Richard Avedon1944

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Victor Demarchelier 00s

David Bailey 1960

Following in his father’s footsteps, Victor Demarchlier captures fashion in a contemporary style, often using black and white to show contrast and mood.

ng movement, introduced by edon, in his images, Bailey ptured life of London in the He worked for British Vouge, g inspiration from Avedon but ing them to give his images a fresh and young feel.

Steven Meisel 1983 Creating images for Vouge Italia, Meisel helped shape the world of fashion photography. His images often focus on social and political topics such as racism, domestic violence and terrorism.

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Mert & Marcus 2017

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Two photographers working together to create beautiful photographs of high fashion, with the use of bright vibrant coloured lights. The pair have worked with magazines such as Vouge and W magazine.

Brodovitch’s Penn shot in yle, with a lot and whites. tudio in New Vouge often career.

Guy Bourdin 70s Using the female form and sexual imagery to tell his stories, Bourdin faced a lot of controversy, with people saying his images promoted misogynistic views. However, his bright colours and captivating imagery went on to inspire modern fashion photographers.

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Victor Demarchelier Well known for his fashion photography, Victor Demarchelier most often shoots black and white full-length images on a granitelike backing material. Born in New York to a highly famous fashion photographer Patrick Demarchelier, Victor grew up surrounded by the fashion industry and wants to live up to his father’s name. After studying fine art and economics with an interest in printmaking at Vassar College, he went on to work in fashion photography with his legendary father.

Demarchelier’s work has been shown in magazines such as Vogue, Vogue Paris, Vogue China, Vogue Japan, Vogue Spain, Vogue Germany, Vogue Russia, and Teen Vogue.

He also regularly posts his photography to his Instagram page which has over 32,000 follows.

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Mert & Marcus Although Mert Alaş and Marcus Piggott are well known enough on their own in the photography world, they often work together on collaborative fashion photography projects.

In 1994, Mert and Marcus met in England, despite being one being born Turkey and the other in Wales. After working together in photography, the two decided to team up to create images. They first showed their images to London fashion magazine ‘Dazed and Confused’ and made the front cover. They are well known for images that show powerful strong women with lots of bright and vibrant colours. The pair often uses coloured lights onto their subject’s face to create various moods in their work. They have worked for magazines such as Vogue USA, Vogue Paris, Vogue Italia, Interview Magazine, The Love Magazine, W Magazine and Pop Magazine.

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Shooting as Demarchelier gave us the opportunity to attempt to capture a strong woman in black and white. While we tried to recreate the movement with our model’s hair, it wasn’t working so we decided to leave it out and focus on the composition of the shot. Although we didn’t have the exact background for the shot, we keep the same lighting, making sure to get the diamond light on our model’s face. Although there were setbacks with our model’s hair, we still managed to get the correct lighting on the face and the correct shadow on the background.

Our attempt

Shooting like

Victor Demarchelier Victor Demarchelier

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Shooting like

Mert & Marcus Mert & Marcus

Capturing a subject in the style of Mert & Marcus was bound to be challenging, due to the way they perfectly work together to create pieces of artwork. However, we did try to recreate one of their images, using an orange and blue flash to get the desired effect.

By having one orange light on the background, one pointing on the front of the model and a blue light pointing on the model’s face, we managed to mostly recreate the image, within our tight time frame.

Our attempt

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Our Style

For our fashion style, we attempted to create abstract images that were different from any other photographs we’ve mentioned.

We used movement with a long exposure time to create a ghost-like effect. We situated one flashlight to freeze our model, then let the long exposure and softer lights capture our model’s movement. This was a very challenging photoshoot due to the difficulty of getting the

camera focused on our model’s face while it was dark. However, we overcame this by not relying on the focus and just trying to fill the frame with as much movement as possible. If we could do this again, it would be wise to instruct the model more as some of her movements were stiff and didn’t flow as well as we envisioned. Still, we take the blame for not being able to instruct as well as we should have.

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Evolution of:

Interior Photography Julius Shulman 1958

Shulman was most known for his architectural photography, which also included interiors. His work has been showcased as exhibitions in the Getty Research Institute, the Design and Architecture Museum in Frankfurt and the Craig Krull Gallery.

Candida Hö

Bedford Lemere 1911

Former student of Be Becher, Höfer’s ph always full out ligh taking interiors. She exhibitions throughout United States, in cities Toronto and Paris, t

Lemere established his company Bedford Lemere & Co which became one of the leading firms of architectural photography between 1870 and 1930. His surviving work is looked after by Historic England in their public archive, which has an estimated 100,000 images made by the firm.

1900

20s 10s

40s 30s Jack Boucher 1965 A photographer for the National Park service and the Historic American Buildings Survey, Boucher was known for his architectural photography. He created tens of thousands of images for the public domain and has had major exhibits shown at the Library of Congress and the athenaeum of Philadelphia.

Frederick H. Evans 1903 Best known for his images of cathedrals, Evan mainly shot architecture throughout his career.

He believed in not editing images in anyway, for the image remained as it was originally taken. Evans eventually quit photography, as the cost grew too much, and he was reluctant to change method.

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50s

Ezra Sto

After study at New Y Stoller wen a photog graduated. modern arch Frank L Fallingwater Bell Labs Holmdel Complex and Ludwig Mies van der Rohe’s Seagram Building, to name a few.

Georges Rousse 2013 Unlike any other photographer on this list, Rousse paints his interiors, to get the perfect shapes in his images. This style takes a large amount of time to get the shapes precise. He looks through his camera while mocking up the shapes, in order to make the shape correct in the image, although it’ll not look like the chosen shape in real life.

Stephani Buchman 2017 Buchman mixes interior photography with movement, often capturing people walking around the room she is photographing. This keeps the room looking sharp while the movement shown makes the images exciting and original.

öfer 1998

ernd and Holla hotography is ht and breathhas had major t Europe and the s such as Venice, to name a few.

60s

80s 70s

oller 1975

ying architecture York University, nt on to become grapher after he He photographed hitecture including Lloyd Wright’s r, Eero Saarinen’s

.

2000s 90s

10s

2018

Ed Burtynsky 2005 Well known for his large format photography in an industrial landscape, Burtynsky has had his work shown in over 50 museums such as the National Gallery of Canada. His work showcases the industrial lifestyle in countries such as China, with his images showing working conditions and the environmental impact.

Will Ellis 2010s Ellis uses natural lights and flashes to create his bright interior images. He captures modern wide open spaces that usually have lots of windows.

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Stephani Buchman Specialising in interior design photography, Stephani Buchman has worked for clients such as Ford, American Express and Nike. She has also worked closely with the creative director of Tommy Bahamas Restaurants to help rebrand their campaign.

Her work often shows modern interiors with lots of white space and interesting furniture. She has created photo stories for Natural Home and Garden, Toronto Home and Canadian Home Trends Magazines.

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Will Ellis Based in Brooklyn, Will Ellis focuses his work on interior design and can photograph the beauty of a room.

He has worked with various clients around the New York area, such as brands, developers and architects.

His photographs are filled with light and his attention to detail is clear due to the impeccable layout on the rooms he captures.

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Shooting like

Stephani Buchman

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When attempting to shoot like Buchman, we chose a large room with windows in order to capture the natural light similar to how she does. We also chose a mainly white room in hopes of the image being light. However, due to the overcast day and lack of external lighting, the image came off a little dull in comparison. If we attempted this image again, we’d use portable flashlights in order to light the room. This would also help as the lack of light in the room meant the IOS had to be turned up, causing the image to be grainy.

For Ellis’ style, we shot a bedroom while using a flash with softbox and tripod. We needed to use a tripod as we shot with a long exposure in order to capture the fairy lights. Without the long exposure, the flash cancelled out the light from the fairy lights, but due to them not moving, they showed up in the picture after the flash went off. This also caused the image to look soft. If we were to shoot this again, it would be helpful to have more natural lighting, to make our shot more similar to Ellis’.

Shooting like

Will Ellis 63

For our style of interior, we used a side angle lens to capture as much of the room as possible. With only natural light coming from the windows and light on the ceiling, it meant the room was a little dark. However, the natural light came as an advantage as it reflected off the tables in the middle of the room, making them light but not overpowering. Also, this lit the mural on the back wall, which makes it a pain feature point of the image.

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Our Style

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Evolution of:

Portrait Location Photog

Diane Arb

Dorothea Lange 1939

Capturing the While working as a documentary society, Abru photographer, Lange captured impactful known for tak portraits of people impacted by rural nudists dwarve poverty other margina and the Sadly, during h mistreatment wouldn’t sell fo of migrant struggled to m workers. from being a p Here photos helped force the Nickolas Muray 1946 government After being commissioned by Harper’s to aid a Bazaar in 1921, Muray’s photography migrant camp where career took off and he went on to shoot people were for Vouge, Vanity Fair and The New York starving. Times. He is most known for his portraits of his lover, Frida Kahlo, even though he took portraits of many other influential people.

40s 60s

1920s

30s

50s

As a fashion and portra Newton’s work was a m

Arnold Newman 1942 Having taken ‘environmental portraits’ of artists and politicians, Newman focused on capturing his subjects in their natural environments such as their home of office. He took portraits of influential individuals such as John F. Kennedy, Marilyn Monroe and Pablo Picasso.

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Helmut New

Angus Mcbean 1951

Known as one of the more significant portrait photographers of the 20th century, McBean captured surreal images, using grand sets and props to capture the desired effect. He worked selectively on projects for French Vouge and L-Offciel in his later life.

graphy

Annie Leibovitz 2003

bus 1963

Best known e outsiders of for his portrait us was most ‘Afgan king images of Girl’, which es, strippers and appeared alized people. on the cover her life her work of National or much, so she Geographic make a living in 1985, photographer.

McCurry is a renowned documentary photographer who takes portraits of people all over the world. He is also a member of famous photography group Magnum Photos.

Becoming the first woman to have an exhibition at Washington’s National Portrait Gallery in 1991, Leibovitz’s imagery is world famous. Her portraits have been used for magazine covers, album covers and showed in hundreds of exhibitions, plus she has worked with clients such as Walt Disney Parks and Resorts, Queen Elizabeth II and Vanity fair, to name a few.

Steve McCurry 1984

80s 70s

wton 1972

ait photographer, mainstay of Vogue magazine.

His black and white images often portrayed strong females, dressed and stood very dominantly.

His work has been displayed worldwide and he is considered one of the most influential photographers of all time.

2000s 90s

10s

2018

Hendrik Kerstens 2017 Only taking photos of his daughter Paula, Kerstens if very different in comparison to others on this list. Even without a famous face or political storyline behind his subjects, Kerstens images perfectly resemble traditional Dutch paintings.

Herb Ritts 1996 Working with celebrities such as Cher, Madonna and Halle Berry, Ritts had the chance to work with some of the best cultural figures of the 80s and 90s. His images were almost always shot in black and white and frequently in the style of classic Greek statues.

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Annie Leibovitz

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Considered one of the most well-known female photographers of all time due to her extensive work with Rolling Stones magazine. Leibovitz has shot celebrities such as Michael Jackson, Lady Gaga and most notably John Lennon and Yoko Ono and the day Lennon was shot and killed. Leibovitz has also shot for magazines such as Vanity Fair and has won the 2018 Honorary Doctorate of Fine Arts from Rhode Island School of Design, the 2015 Paez Medal of Art from VAEA plus many more awards.

Her photographs are most often portraits of celebrities which include lots of bright colours and highquality backgrounds.

Leibovitz also shots a lot of film images such as 2015s Cinderella.

Helmut Newton

Born in 1920, Helmut Newton was well known for his fashion and portrait photography, His work often shows women in streets and back alleys, shot in black and white. From the age of 12, he was interested in photography and went on to work with German photographer Yva. After being briefly interned at a concentration camp, he and his family escaped to Singapore and became a photographer for Straits Times.

Newton went on to live in Austria and marry the actress, June Browne. While he was alive he had published works such as ‘White Women’, ‘Sleepless Nights’ and ‘World Without Men’ and had various exhibitions around the world.

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When shooting in the style of Annie Leibovitz, we had a dilemma, due to the vast number of images she has shot, and different setups each of them have. We decided to choose the image of Jessica Chastain Leibovitz took, due to its composition. To recreate the style of the image, we found a bush to use as a background and had our model stand about a metre and a half away from it. This was so we could use a shallow depth of field to blur the background, just as Leibovitz did. We took multiple shots until we got the correct light on the side of our model’s face. Then in post-production, we made the image black and white and brought down highlights in our models face.

Our attempt

Shooting like

Annie Leibovitz Annie Leibovitz

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Shooting like

Helmut Newton

When shooting like Newton, we found a cobble stone road which often occur in his images. While we attempted to just use natural light, it would have been smarter to use a flash of some kind to get light on our subject’s face, as our model’s face came out rather dark.

In post-production, we turned the image monochrome in order to keep with Newton’s signature style.

If we had to re-do this shoot, it would be preferable to get a female model, as Newton most often worked with women, but we were unable to do this when shooting.

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My Style The goal of our portrait on location shoot was to capture a natural full frame portrait of our model. We used a flash head due to the lack of light in the location we chose.

This made the model’s face light and sharp. In postproduction, we made the image black and white and turned up the contrast to give the image more edge.

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Evolution of:

Architecture Photograp

Frederick H. Evans

1900s

Best known Haro for his images Allen’s ph of French style of ar and English buildings cathedrals, the use o Evans was an architecture early architecture which insp photographer. structure He used the Platinotype technique for his images, Julius Shulman 1941 which had better While Shulman captured many subjects resistance to during his career, architecture is what he corrosion than is best known for, and more specifically other types of his image ‘Case Study House #22’ which photography at shows two women sat include a Los the time.

Angeles house. He went back to the house 1903 in 2009 to take another shot form the same angle in full colour.

20s 10s

40s 30s

60s 50s

Berenice Abbott 1930 Abbott captured architecture and urban design in New York in the 1930s. She used a Century Universal camera that created 9 X 10 inch negatives, meaning she could create large images in a lot of detail.

Ezra Stolle Eugène Atget 1923 Considered a pioneer of documentary photography, Atget photographed the street scenes and architecture of Paris.

Although his work was recognised widely after his death, during his life most of his images weren’t published.

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Becoming interested while studying arc New York University to picture modern a as Frank Llyod Wrig During his career he with many famous capture the

phy

Daniel Hewitt 2011 Based in London, Hewitt captures the geometrics hidden in the architecture in the UK city. Focusing on shapes within buildings, his mostly black and white images often fill the frame and offer symmetry in buildings a passer-by may not have noticed.

old Allen 1969

hotographs captured the rchitecture in American s. He was interested in of Egyptian themes in e in the 1930s and 1940s, pired him to photograph es that included them.

Hélène Binet 1993 Thought to be one of the leading architectural photographers in the world, in her 25 years as a photographer Binet has shot both historical and modern architecture.

She exclusively works with analogue cameras instead of digital to capture unusual buildings in black and white.

s

80s 70s

er 1950

d in photography chitecture at the y, Stoller went on architecture such ght’s Fallingwater. e worked closely architectures to eir work.

2000s 90s

10s

2018

John Divola 1973

As a visual artist, Divola strives to find the ‘edge between the abstract and the specific’ in his photographs and artwork. He captures architecture in an unconventional way, often finding vandalised houses to photography from inside, showing the destruction within.

Cameron R. Neilson 2015 ‘Straight up’, Neilson’s personal photography project shows how buildings look while lying on the ground. This gives the audience a different perspective of architecture that isn’t conventional.

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Daniel Hewitt British born, Daniel Hewitt is known for his architectural photography which often depicts building shot in black and white.

He studied philosophy, law and architecture. He often shoots high rise buildings that fill the frame.

He focuses a lot on capturing interesting geometric shapes within buildings. Hewitt is currently undertaking a mix of commercial and personal projects, with his personal projects often exploring philosophical questions within architecture. His work has been shown on the C.P Companies online magazine, Prada’s Brutalista websites wallpaper and The Sunday Times Magazine.

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Cameron R. Neilson Working in his field for over two decades, Cameron R. Neilson captures New York architecture in a different way compared to other photographers.

Nelson’s images depict what buildings and architecture as if the viewer was looking up at them. He states he can get this view by laying down on the floor and pointing his camera upwards.

From a young boy living in Oregon, he enjoyed photography and often watched his father make prints in their home darkroom. While he does commercial work which has gained global recognition, he still concentrates on his fine art photography project ‘straight up’.

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We attempted to take a straight up shot of a tall building and edited it in post-production to be black and white. The overcast cloudy day meant we couldn’t achieve the same white backdrop that Hewitt had in his shot. However, we turned up the white and highlights in Lightroom to make the sky as white as possible. We used a wide-angle lens to capture a large amount of the building, in efforts to fill the frame with the building, like Hewitt’s image.

Our attempt

Shooting like

Daniel Hewitt Daniel Hewitt

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Our attempt

Shooting like

Cameron R. Neilson Known for his ‘straight up’ photography series, it made sense for us to try and take a shot in his most known style. To achieve this photo, we ventured to The Yorkshire Sculpture Park and found a beautiful dome made of metal and branches. While Neilson usually shoots buildings, we felt the circle of the dome looked stunning when laying down underneath it and honoured Neilson’s signature style. In post-production, we edited the image to be black and white, to keep in line with our chosen photographer’s style.

Cameron R. Neilson

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Our style For our style of architecture, we focused on taking full-frame images of interesting features on buildings. Our goal was to fill the frame with something interesting and eye-catching, that a passer-by may not even notice. We achieved this by capturing the Cathedral of Saint Anne in Leeds city centre.

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Breakdown of a shot

Peter Hapak Peter Hapak is a famous portrait photographer who is recognised for his use of lighting. In this image, lights are reflecting in the subject’s eyes, which explains how his face is so evenly lit, with no other shadows. There may also be another light above the subject, which could explain the shadow under the subject’s chin and nose. The subject may have been close to the white background which is why it is so clear; however, it is hard to determine as the image is in black and white.

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A breakdown of how Hapak captured this shot

P

Petra Bindel

etra Bindel is well known for her interior photographs which usually involve a lot of white and natural lighting. For the image we have chosen, it is clear the natural lighting was used to the right of the image, which was most likely coming in from a window, which creates the shadows coming from the furniture.

While shoot, Bindel must have worked with getting the natural lighting looking well and not overexposed.

The white room would have reflected a lot of the lighting, so the image would’ve looked bright without the help of any other lighting.

However, we feel as if Bindel used a second light pointing which could be the reason the furniture has two shadows each.

In post-production, Bindel might have brought down the exposure if any parts of the image were burnt out. She also may have brought up the shadows, as there are not many dark places in the finished image

A breakdown of how Bindel shot this interior

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Curating an Exhibition

There are many ways to display your images once you’ve chosen your best ones. We decided to show ours in an exhibition style, which required us to print out our images on size A3 paper. Once we’d cut them down to the desired size, we placed them in frames at were attached to the wall. One issue with these frames was that they didn’t allow for much movement of the images, meaning they had to be hung in the exact same place we found them. Another issue was the plastic front of the frames, that reflected any light in the room and made the pictures somewhat hard to see.

The Leeds Art Gallery displayed their artwork in various sized and coloured frames on a white wall. They also included a small notice next to each piece of art with information about the artist, artwork and date. This is a good way to display content as it gives the viewer information if they want to find out more about the piece of art.

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Breakdown of a shot

Front Cover

EXPLAINED Equipment used: - Nikon D800 Camera - Two Flash Heads with Dishes - One Flash with Soft-box - White Backdrop

I

n this month’s issue, we picked our shoot with Daisy Mae Fry for the front cover.

In this shoot, we shot around 5 different outfits at different angles to show off Fry’s fashion design skills. In this particular image, we used two flashes with dishes and blue gels on them to create the circle behind our model. It was important to have the flashes meet at the centre of the paper background so that the circle was equal behind our model. By using a white background, we could manipulate it to be any colour

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we choose by using gels on our flashes. Then, we added a second light with a soft-box on to the left of our camera, which lit the model’s face softly.

We played around with the height and position of the soft box to see which angle lit out model’s face best.

Lighting Plan of the Shoot

Learn how to shoot the above image, from the comfort from your own home.

First, we took the black cloth and laid in on a table, then pushed the table against the wall to get the white background. Then, we took the glass out of the photo frame (be careful when handling glass) and laid it on the table, pushed back up against the wall.

Place the camera, or other object you have chosen to photograph, onto the glass. This will make your object reflect in the glass when the flash goes off. We positioned our flash head to the right of our subject, to get the reflection in the lens of the camera. After playing around with the settings, we ended up with the image above. You can do this with any object you want, so make sure to play around with any items you wish.

Equipment used: - Canon EOS 760D Camera - One Flash Head with Soft-box - White Wall - Black Material - Photo Frame - Camera to Picture

Shooting a Product in

Your Home

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