Lucy Mumford Fashion Photography & Styling Development Journal (Final Year)

LUCY MUMFORD 201005569 FASHION PHOTOGRAPHY & STYLING DESN3582 MICHAEL ANDERSON

CONTENTS

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Abstract

-4

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Preliminary Research: Brand Magazine

-5 - 10

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The Brand:

Overview Why This Brand?

Photography Target Market

- 11 - 13 - 15 - 17

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The Magazine

- 19

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The Photographers

- 27

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Trends:

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Inspiration:

Current & Emerging Trend A/W19 Womenswear Trends Total Trend Concept Brand Trend Offering

- 37 - 39 - 42 - 43

Project Selection Inspiration Mood Boards

- 45 - 46

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Location Selection

- 51

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Model Selection

- 53

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Clothing & Accessories: Look Book Trend Inspiration

- 59 - 63

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Photographic Technique

- 71

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Production:

Time & Weather Conditions Props Equipment Makeup & Styling Narrative Story Board

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Total Concept: ‘Glass Ceiling’

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Test Shots:

Contact Sheet Comparisons Editing Analysis Final Shot Choice Evaluation

- 74 - 75 - 77 - 79 - 81 - 85 - 87 - 95 - 119 - 121 - 123

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Conclusion

- 125

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References

- 129

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Image References

- 130

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ABSTRACT Designed to go alongside the twelve final photographs, this journal will display the research and decision-making process leading up to the final styling and photography choices implemented in the shoot. The aim here is to clearly discuss the major themes of key project components including: the chosen brand, photographer, magazine, production methods and clothing trends which have been used as personal inspiration to influence the shoot’s outcome.

Moreover, the overarching concept of the project and final photographs will be discussed alongside how each individual component is intrinsically linked to it.

This research stage has been vital in ensuring that all proposed ideas would work within the current fashion market as well as establishing a definite congruence between the chosen brand, photographer and magazine.

Furthermore, as someone who does not practice photography at an advanced level, vital research into photographic style and technique used by professional photographers has been heavily implemented in order to improve personal photographic technique.

From the outset, three key personal aims for this project are: -

Improve understanding of photographic technique and be able to implement this in own work.

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Successfully create a strong overarching concept and theme which is displayed in the final photographs.

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Be able to have a clear narrative or story within the pictures that the viewer can pick up on.

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PRELIMINARY RESEARCH: BRAND The first step I saw as important to take upon receiving the project brief was to select a brand to base it on. Brand selection was a vital step as this would dictate nearly everything going forward from the style of photography used, to the model, shoot location and crucially the clothing and accessories. I thought it was important not to use a brand I necessarily liked and shopped at (although this would be a bonus) but to use a brand whose photography I liked and felt I could capably recreate in my own work. With this in mind, I narrowed down a list of fashion brands I thought could work for me: -

Nasty Gal Palace Urban Outfitters ASOS Fila Zara

When researching fashion brand’s photography who I liked, it became apparent what kind of clothing, styling and photography I liked and what shape my project would take.

Some key traits I saw across all my initial brands are: -

Primarily womenswear Photos shot at location, not in studio Busy backdrops & settings with character Models posing and interacting with location Vintage feeling

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NASTY GAL DENIM COLLECTION ‘14

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ZARA SUMMER EDITORAL ‘17

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POPEYE MAGAZINE MAY ‘19

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BITE MAGAZINE ISSUE 4

PRELIMINARY RESEARCH: MAGAZINE Magazine choice was the second priority after brand as this would be where my photos would be published in a real-life scenario. From my list of potential brands, it was apparent to me that going down the route of an ‘indie’ magazine instead of a larger publication such as Marie-Claire or Vogue would be preferable. I decided this because these bigger budget magazines tended to all have a similar style of photography that was fairly studio based or on location with clean backgrounds. The photos in these mags appeared to be more for advertising purposes than editorial, and the simplistic style of many of these images worked in favour of focusing on the clothing and model at hand, rather than storytelling, as was the aim for this project. The indie magazines I looked at told a much better story, in my opinion, and shots of the model and clothing were often accompanied by photographs of the settings chosen for the shoot; something I definitely wanted to include in my own work. A great deal of the storytelling in these pictures was aided by the model’s interaction with their surroundings; again, something not used as much in publications like Marie-Claire; the dynamism this created was a key takeaway for model selection and pre-production photo planning. My initial list of potential magazines is: -

Hunger Wonderland i-D

- Popeye - Justifies - Bite

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THE BRAND OVERVIEW Urban Outfitters was born in 1970 in Philadelphia, USA under the URBN group. It was the first URBN brand to leave the USA, opening a London store in 1998 (URBN.com, 2019). It started as a “unique retail experience” aimed at college age consumers, with a store that was a community hub with restaurants, music and hangout places. Today they offer “experiential retail environments” with a curated selection of men’s, women’s and home wear products that nod towards “creativity and cultural understanding.”

The mission of Urban Outfitters is to be a place for “likeminded creative individuals” and to represent community “by offering inclusion in social media, events, [and] community involvement” (URBN, 2019).

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THE BRAND

WHY URBAN OUTFITTERS? As one of the brands I initially earmarked as being a potential brand for my project, I decided that after looking more into potential magazines and photographers that Urban Outfitters was my strongest option. Something I really like about the style of Urban Outfitters photography is the vivid use of saturated colours, the posing of the models and in particular the locations used. Common themes for locations are vintage or retro rooms and city streets; both of which aid in creating a believable story where the viewer can truly place the models, making them more than just an advert. Another quality I saw across the magazines and photographers I was looking at and Urban Outfitters was the use of film photography, although I don’t think I’ll work in film, the appealing grainy quality of the pictures was definitely something I am considering to recreate when editing my photos.

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THE BRAND

PHOTOGRAPHIC TECHNIQUES • • • • •

Location, not studio.

Common locations: urban street & vintage/retro interiors.

Use of saturated colours/colour filters.

Heavy contrast.

Dynamic model poses.

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• • • • • •

Use of props common.

Film photography style and use of grain: vintage feel.

Models in minimal makeup with natural-looking hair.

Some photos use flat lighting, some with directional harsh light.

Lifestyle shots with fun feel.

Use of lines through settings and props to direct eye.

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URBAN OUTFITTERS: CUSTOMER PROFILE •

AGE: 18 – 28.

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MARKET SEGMENT: Generation Z & Millennial.

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GENDER: Male & female.

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CAREER: Students, graduate schemes, in early stages of career.

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FINANCES: Limited disposable income but still has more money now than they’ve ever had before.

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GEOGRAPHIC: City/suburban liver.

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RELATIONSHIPS: Single & experimenting. Favours friendships over romantic relationships.

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BUYING HABITS: Prefers to buy experiences over material possessions. Finds shopping therapeutic. Is less concerned with saving than previous generations.

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FASHION CHOICES: Enjoys buying second hand. Only follows some trends. Buys greater number of transeasonal, basic pieces littered with trend-led key items.

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MARKETING PREFERENCES: Responds best to digital marketing via social media platforms such as Instagram and YouTube & product placement in their favourite shows/films.

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BELIEFS: Central-left wing political stance, involved in animal rights, LGBTQ+ rights, black rights, environmental concerns.

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INTERESTS: Socialising, career progression, food & cooking, exercise and wellbeing, fashion, music, film & photography, art, travel.

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FAVOURITE BRANDS: Urban Outfitters, H&M, Topshop, Depop, Netflix, Spotify, Apple, Nike, IKEA & independent designers/shops.

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THE MAGAZINE

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WONDERLAND MAGAZINE Wonderland is an independent, international magazine focusing on topics of culture, fashion, beauty, film, music and art. Underneath the Wonderland mother brand are other smaller publications such as Rollacoaster and Man About Town, focusing on slightly different topics for different reader markets, but always aimed at a trendy Millennial and Generation Z audience.

Wonderland aim to “represent the positive and the playful elements of the fashion industry” and want to “inspir[e]” rather than “dictat[e]” to their readers (Wonderland, 2019). Though they hint towards current trends, they expand on them in their own way, bridging the gap between fashion and art, using clothing as a way to express creative freedom. They explore a multitude of styles from various eras, countries and market segments, compiling them into eclectic editorial look books shot in their classic photographic style.

Wonderland likes to collaborate with renowned models, stylists, designers and celebrities to produce incredibly creative and immersive fashion shoots which tell a story. Between the head

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photographic editorials are interviews and anecdotes from the models, stylists and designers which only further play to the story they tell. The photographic style used in Wonderland has a very distinct, recognisable style characterised by exciting backgrounds and a grainy filmstyle finish. They state that they shoot their editorial and fashion photographs using the “most in demand photographers working today� (Wonderland, 2019) as well as a group of regular photographers.

Visually the magazines have a very clean and concise layout, the pages are not overwhelmed by masses of text and regularly multiple pages at a time will contain full page photos from the shoots; the photographs really are the focal point of this publication. I have tried to recreate the visual design of Wonderland magazine within this journal.

I chose Wonderland magazine for my project as out of every magazine I looked at, I found that it was their photographs which appealed to me the most in terms of their shoot technique, editing and styling. Moreover, the similarity of photographic style between Wonderland magazine and the ones Urban Outfitters take meant they would work perfectly for a collaboration.

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‘SOMETHING’S GOTTA GIVE’ 25

2019 – PHOTOGRAPHER: TIMO KERBER

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THE PHOTOGRAPHERS KEY TECHNIQUES Background noise Angles from below/above Vintage setting Relatively flat lighting Use of shadow Framing through lines Strong colours

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DARIA KOBAYASHI RITCH: ABOUT Based in New York and Los Angeles, Daria Kobayashi Ritch is an increasingly popular editorial and advertisement, still and film photographer who has worked with many well-established magazines and brands; including Wonderland magazine and Urban Outfitters (Daria Kobayashi Ritch, 2015). In her professional biography Ritch is described as “driven by her desire to find people that resonate with her, merg[ing] intimacy with the romanticism of fashion” (models., no date). This is clearly seen through her photographs; Ritch chooses subjects she believes she can create a rapport with, recognising the importance of it in a shoot setting, which Ritch describes as a “singular interaction, where you have to be intimate with someone who, more often than not, you have never met” (Ritch, 2017 cited by Hovve, 2017). She says she’s heavily inspired by the indie music world and other creative subcultural youth movements: “I feel like the teens in these scenes not only have a cool outward appearance, but also a sense of depth with a lot to unravel” (Ritch, 2017 cited by Hovve, 2017). Such inspiration links to her creative aims in photography, and desire to story tell in her work, she states: “I like the imperfect. Everything is so manufactured and digital now, so it’s nice to find photos that are so real" further stating that she achieves this by trying to capture her models in off-guard, none-posed moments (Ritch, 2017 cited by Reed, 2017) She references the work of Alasdair McLellan, Cass Bird and her professor Paul Jasmine, as inspiration (Reed, 2017).

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DARIA KOBAYASHI RITCH: INSPIRATION I chose Daria as the main photographer to inspire my project firstly because as someone who has worked closely with Urban Outfitters and Wonderland magazine she fits my proposed creative perfectly, but secondly, and most importantly, I find her photographic style really spoke to me more so than the other photographers I looked at.

Ritch is able to subtly alter her photography in such a way that it fits the brand she is shooting for whilst also remaining characteristic of her personal style. For example, figure 1 shows a very glamourous, vintage feeling image with soft warm lighting suiting the traditional decadence of Gucci branding who it was shot for.

Whereas figure 2, shot for Indie magazine, is much grungier, in keeping with the model Jared Leto’s look, and with flat lighting and a minimalist aesthetic the photo works perfectly for both model and magazine.

Ritch is also good at creating balance within her pictures, utilising her backdrops whilst ensuing the model is still the primary focus. She commonly uses lines to draw the viewers eye around the picture (as seen in figure 2 where the two red crosses frame the upper portion of the model and his face) which is something I would like to try and incorporate into my own work. Another aspect of Ritch’s style I would like to try and use in my shoot is her creative use of poses and angles. I am aiming to have a varied use of angles in my pictures, some taken from a top down or below approach. Again, I want to try and pose my model in a creative way throughout the shoot as Ritch does. Ritch rarely has her model stood or sat ‘still’; although they are posing and are probably motionless at the point of capture, they never look stationary or stagnant. The model usually appears to be mid-motion, and you can almost imagine when looking at the image how they would look and move directly before and after the shot was taken.

This compelling use of poses is one of the features linked to the main reason I’m choosing Ritch as my primary photographer for this project, her storytelling abilities. As mentioned previously, Ritch said one of her focuses is to create “real” photos that have imperfections and do not come across as overly “manufactured” as many advertising photographs can (Ritch, 2017 cited by Reed, 2017). It is this aspect of Ritch’s photography that captivates me the most and the feature I want to take across into my own project primarily. I want my set of pictures to flow and have a narrative, and for the viewer to be able to really envision a whole scene and not just see them as a static image. With this in mind, I know I must carefully consider my image set as a whole and how they will appear together before I shoot, not just how each image will look on a standalone basis.

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FIGURE 2 – INDIE WINTER ’17 COVER: JARED LETO

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FIGURE 1 - WONDERLAND WINTER ‘18/’19 COVER: GUCCI

WONDERLAND: ‘CLAIRO COVER’

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2019 – PHOTOGRAPHER: DARIA KOBAYASHI RITCH

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THE PHOTOGRAPHERS TIMO KERBER After looking through a few photographers it was clear to me that the previously discussed Ritch was definitely my favourite and the one I wanted to base my project upon. However, Timo Kerber is another popular photographer whose photographs frequently feature in the pages of Wonderland magazine, and someone with a style comparable to that of Ritch’s. I decided to look at Kerber as a secondary photographer to supplement my understanding of techniques seen in Daria’s work.

London based and specialising in portrait and fashion photography, Kerber’s photographic style is characterised by a vintage film-esque feel with bright and colourful clothing, props and locations. Like in Ritch’s work, the models never seem overly posed or unnatural, they’re fun, expressive and create a captivating image. Kerber skilfully created balance within his images through the use of contrasting plain and patterned sections. Mostly, the styling in the photos is very dramatic, outfits are comprised of full on prints, painted faces, bold accessories and clashing colours. To counteract this so that we don’t lose the model or the clothes within the image Kerber uses an interesting yet muted backdrop (see pages 36 and 37 for strong examples of this). This is a key takeaway from Kerber’s work; when planning my own images, the surroundings must be considered. As I’m planning to shoot in a location with lots of background noise and colours, attention must be paid to ensure the model is still the primary focus in the photograph.

A key difference between Ritch and Kerber’s work is that Kerber’s imaged seem to have been more edited afterwards. The colours in them give the appearance that they have been manipulated, for example, the picture the left has an underlying green tone at the darker points suggesting the colour balance has been adjusted post-shoot. In other photos from Kerber the colours are incredibly vivid and bright, suggesting that the saturation has been increased. Whilst Ritch’s photos use a more natural light and colour balance, I do like the overall colour quality Kerber creates in his images and playing with the colour and saturation balance whilst enhancing the photos in Kerber’s style is something I am considering.

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TIMO KERBER - L’OFFICIEL SINGAPORE

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TIMO KERBER - L’OFFICIEL

FASHION TRENDS CURRENT & EMERGING TRENDS Studying fashion marketing for my degree I have an awareness of how trends develop, emerge, die and remerge years later. There are many types of trends, micro trends and macro trends are ones commonly seen within fashion. Microtrends appear, last short periods of time and then stop being trendy, whereas macrotrends are trends which last the test of time and can be seen for multiple seasons. External to fashion, are megatrends; huge changes across areas such as politics, society, the environment and law. These megatrends though they rarely occur directly within the fashion industry, have a massive impact of the fashion sector directly and indirectly. For example, a growing awareness of sustainability amongst the ecoconscious consumer has led to many to preferring to buy from independent clothing brands of second hand instead of from fast-fashion retailers. Hence, it is important to look at these megatrends when researching our potential fashion trend.

MEGATREND

MICRO/MACRO FASHION TREND

Environmental Awareness

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Avoiding fast-fashion retailers Resurgence of vintage shopping Growth of independent brands

Increase of Feminism

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Women challenging social norms Growth of androgynous dressing Power-dressing Women’s suits

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Huge increase in men wearing makeup & ‘women’s clothes’ Bold & experimental styles

LGBTQ+ Culture Growth -

Increase in Affordable Travel

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Cultures colliding Silhouettes, fabrics, patterns, production techniques being shared Increase in cultural appropriation

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WORKERS PROTEST IN RESPONSE TO THE RANA PLAZA DISASTER, BANGLADESH, 2013 - MUNIR UZ ZAMAN

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FASHION TRENDS

A/W19 WOMENSWEAR TRENDS As the time I’m preparing and will start shooting this project is Autumn Winter 2019 in the fashion calendar, I decided it would be important to look into current women’s fashion trends to help better inform my project’s styling choices. The number of fashion trends for each season is extensive, so I decided to focus on a few key trends which I thought I could picture in Wonderland magazine or being sold in Urban Outfitters. I used Vogue.UK and TheTrendSpotter to research this season’s trends, reliable sites I have used before who look to high-end and middle-end fashion shows and fashion weeks to see what designers and high-profile guests are creating and wearing. Some key trends are: Androgynous Style: Androgynous style “doesn’t conform to a specific gender and is devoid of stereotypes” (TheTrendSpotter, 2019) and is characterised by loose-fitting clothes such as suits, dark colours and sleek lines (TheTrendSpotter, 2019).

Puffy Headbands: An 80s classic that provides an instant vintage feel to any outfit that has appeared regularly on the A/W 19 Chanel catwalk (TheTrendSpotter, 2019).

Modern Minimalism: Clean lines and toned-down, limited accessories make up these outfits as well as a limited colour palette and pieces void of print or pattern (Vogue UK, 2019).

Snakeskin Footwear: Faux snakeskin print is being used across trainers, heels and knee-high boots in classic shades and brighter colours (TheTrendSpotter, 2019).

Tonal Dressing: Monochromatic dressing across an entire outfit has become popular, one outfit can consist of the same shade or multiple tones of one colour (TheTrendSpotter, 2019).

Beige: There has been a “phenomenal resurgence of the shade in recent seasons” and the muted hue is all over winter catwalks (Vogue UK, 2019).

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FASHION TRENDS

TOTAL TREND CONCEPT From all my trend research, I’ve decided to go for a look that mixes essentials of street fashion and power-dressing. The look is business-chic and takes elements from the androgynous trend, key ones being oversizing and using flowy, draped silhouettes as well as suits and tailoring that could be imagined on a man’s body. The street style elements I’m interested in mixing into this look are items with bold graphic prints and chunky sports trainers; both of which have been seen greatly in recent fashion weeks. See the clothing inspiration mood board on page X to further see the inspiration for this trend.

NUDE COLOUR PALLETE

CLEAN ACCESSORIES

CHUNKY TRAINERS

DARK COLOURS

HAIR BANDS

SQUARE SUNGLASSES

GRAPHIC PRINTS

LOOSE SILLHOUETTE

OVERSIZING

MINIMALISM

LONG LEGLINES

SHIRTS

SUITS

DRAPING

SLEEK HAIR STYLES

SHOULDER PADS

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FASHION TRENDS

BRAND TREND OFFERING The final part of my trend research was to compare my total trend concept to the current product offering from Urban Outfitters. I did this to ensure my trend was definitely suitable for the chosen brand. From the products available on their site as of 25/11/2019 I believe the trend is definitely appropriate for the brand; hundreds of women’s items fitted the androgynous, oversized, tailored streetwear-chic look I am going for.

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INSPIRATION After looking at different brands, photographers, magazines and clothing trends and selecting my final choices for each of these, I found interest in a few key components that I wanted to include in my project; the characteristics that would truly define my photographs.

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Vintage/retro setting and props Lifestyle shoot, not in studio Bold, deep colours in clothing Saturated colour and contrast Mixture of business and streetwear trends

Based upon these factors I have created three mood boards for shoot inspiration. One for location, to use as a touch point before scouting for shoot backgrounds; another for my clothing trend, to work as a kind of look book when buying the clothing and accessories to photograph; and a final one for my brand, to consolidate their brand identity and work as creative stimulus when shooting.

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LOCATION MOOD BOARD:

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BRAND MOOD BOARD:

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CLOTHING MOOD BOARD:

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DARIA KOBAYASHI RITCH – 2018, WONDERLAND: GUCCI COVER

LOCATION SELECTION

After looking at the locations used by my photographers and Urban Outfitters, I set about online looking for some vintage looking locations that I knew I could find in my local area. Mike had mentioned that another student had previously used a laundrette for their shoot, and living near one, I knew there was a location close by that could definitely offer me the retro aesthetic I was after. The laundrette had a shabby appeal with very old washing machines and filled with colour and background noise that I thought could make for an interesting scene setting.

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MODEL SELECTION

The models used by Urban Outfitters all fall under the same kind of look. All of them are young, appearing to be aged roughly between 18-25, to suit the customer demographic of the brand. They’re all a slender, tall build as Urban Outfitters never seems to venture into the realms of plus size models as many other brands do in the current marketplace which tends to demand inclusivity and a range of models. Despite not using any plus size models, Urban Outfitters do choose a range of models from different ethnic backgrounds, meaning that the model I chose could be of any race. In terms of how they style their models, they appear very natural, their makeup is very soft and dewy, it would seem none-existent to an untrained eye.

From this description I knew someone who would fit the bill perfectly. My friend Francesca Picucci was slender, tall and youthful looking with clear skin and a strong bone structure; definitely someone I could picture on the pages of the Urban Outfitter website. Moreover, Francesca has had previous professional modelling experience, which was brilliant in meaning she already knew how a shoot would work and she instinctively knew how to pose and shift her body.

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FRANCESCA WALKING IN KOLCHAGOV BARBA’S LONDON FASHION WEEK AW18 SHOW. 54

FRANCESCA FOR SUBELLA LONDON’S SS18 COLLECTION

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After advice from Kevin I decided to focus on creating two strong outfits for my shoot.

Limiting the shoot to two outfits instead of a multitude of them was beneficial for multiple reasons. Firstly, it meant that I could create really good outfits that worked with the stylistic aim of the shoot and not have any which may have appear halfhearted or off-theme (as I had very limited funds, being able to order lots of new clothes for the shoot was not an option, so a lot of them were my own or had to be borrowed from friends limiting my options slightly). Secondly, as I knew we had a limited time in our location and the shop owner wanted us to be fairly swift with the shoot, only having to do one outfit change would save time. Furthermore, for a limited selection of twelve photos, two outfits seemed appropriate as I knew I wanted a few photos of my location as well and some shots of just specific details of the model or parts of the outfit, so the shoot shouldn’t look like just the same shot of the same outfits repeatedly.

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CLOTHING LOOK BOOK

LOOK 1:

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Dark Green Velvet Blazer – Kaleidoscope Dark Green Velvet Loose Leg Trousers – Kaleidoscope Black Oversized headband - Primark Siouxsie and The Banshees Distressed White T shirt – H&M Fila Disruptor 2 Trainers - Fila

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White Satin Deep V Neckline Shirt – Urban Outfitters Black Reversible Printed Silk Bomber Jacket – Topshop Leopard Print Silky Maxi Skirt – Primark Strappy Black Crocodile Print Kitten Heels – Nasty Gal Gold Skull and Stone Ring – Kat & Bee Gold Shell Ring – Model’s Own

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LOOK 2:

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TREND INSPIRATION This portion will examine how A/W’19 fashion trends have directly impacted my outfit choices and which elements I am using.

Look 1: • • • • • •

Long leg lines Loose silhouettes Dark colours Headbands Chunky trainers Graphic Prints

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TREND INSPIRATION Look 2: • • • • •

Shirts Loose silhouettes Oversizing Graphic prints Nude colour palette

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TIMO KERBER – VOGUE ITALIA

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DARIA KOBAYASHI RITCH – 2016 FADER COVER: BILLIE EILISH

PHOTOGRAPHIC TECHNIQUE Many of the photographic techniques I am aiming to utilise are ones present in Ritch’s work and also common throughout all the images in Wonderland.

Lighting: Due to my location being indoors in an environment that’s heavily lit with artificial light, my lighting options are somewhat limited. The light is going to be extremely flat throughout with the abundance of light all over the premise creating limited shadows and highpoints. Moreover, I know this meant that the photos will likely turn out fairly bright with vivid saturated colours, so if I want to replicate the grungy feel Ritch often does, I will have to look into this in the editing stage. I know that I will not need flash or any additional lighting equipment, and that I should use a higher aperture and, through online research, found that a higher ISO setting is recommended (Dunsford, 2017). I need to be slightly careful with my light settings and may need to experiment with them on the day to ensure my photos don’t become over exposed.

Shutter speed: Again because of the bright light conditions of my location a higher shutter speed would be preferable to allow less light to enter the camera. I may try and experiment with a slight motion blur in some of my images as I have seen other photographers do, so I know for this I will need to slow my shutter speed.

Perspective: Due to my location being fairly small and full of stuff in a fairly enclosed space I may be limited with the perspective range I can achieve. I will always be fairly close to my model and whatever backdrop she is against will nearly always be close to her, meaning that their spatial relationship and the depth perspective will be narrow. I will try and create a range of perspectives to alter the observer’s point of view through use of angles to avoid taking a set of photographs all in the same perspective.

Angles: I want a range of angles within my photos, including some taken from a high-angle and a low-angle perspective. I’ve also seen in my research some photographers shoot from behind the model in an over-the-shoulder fashion which created a visually appealing, interesting shot.

Composition: As I saw in Timo Kerber’s work, the consideration of composition and creating balance within the image is important. If either my background or outfit are particularly busy, colourful or patterned I must think about how the other components of the image look against it. The model and the outfit are always the primary focus of the image, and I must ensure that this is upheld through the way I compose my photo.

Lines: One way to compose my photos to make sure the viewers eye is drawn towards the model and other key aspects of the image is through the use of framing and lines. I will position my model against certain objects which have lines that primarily lead to her face, or if permitted, through the use of larger square objects such as windows I may create a ‘frame within a frame’ technique.

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JEFF VALLEE FOR URBAN OUTFITTERS USE OF A FRAME WITHIN A FRAME

USE OF FRONT LIGHTING 72

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PRODUCTION

TIME & WEATHER CONDITIONS I knew from very early on in the decision process for this project that I was going to shoot inside. Although I could think of a few outdoor locations that I thought would be perfect to use, the time of year meant that weather was unpredictable, daylight hours were decreasing, and shoot conditions could be difficult. Shooting inside in a brightly lit building meant that weather considerations were not a problem; even if it was grey and gloomy outside (which on the day it was) this would not impact the lighting or outcome of my pictures.

In terms of time restraints, this was slightly more restricting than the weather. My location was a popular laundrette, meaning it was often busy, with workers using various parts of the location at all times. I spoke to the owner about when her busiest times and days were so we could avoid being there then. She requested that we didn’t come at the weekend and that after 3pm is when the bulk of her customers arrive. I decided to aim to get there just after they opened at 9am on a Tuesday, avoiding the rush of customers as greatly as I could. On the day, there was a few customers in the shop but not so many that they impacted the shoot or that we got in the way.

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PROPS I started off the shoot with the aim to use a small selection of props to aid the narrative I was trying to create. However, the kind of props that were appropriate for my location of the laundrette were rather limited; the only things I could really think of were detergents or washing powders, newspapers to read whilst waiting for the laundry, and laundry itself. I attempted to use a bottle of laundry detergent as a prop, but after removing the label to make sure there was no visible branding, it was rather unclear what this bottle was meant to be, and in the few shots we used it in it looked rather out of place. The only prop that was used successfully and that didn’t look strange or make the photo either too cheesy was the newspaper. I thought that the newspaper with the model sat with it semi-open on her lap was effective in making the model look bored, adding to the sense that story I was aiming to portray of a busy working woman with places to be.

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EQUIPMENT Although I have a Fujifilm XE-1 DSLR camera which I have used before successfully, I must admit I only ever tend to use it on the manual setting, which I have never had a problem with. However, whether I had accidentally changed something in the settings whilst playing around with it, or whether the harsh light conditions had something to do with it, I was not completely happy with the quality of image my camera was taking. I also had my iPhone XR with me, which despite not having the newest Apple camera offering, still has a very impressive camera and takes very high-quality pictures. When I first went to my location to see if it was suitable and speak to the owner, I quickly took some pictures on my phone to reference when creating my story board for the shoot. I had shown these photos to Kevin when I had a meeting with him, and he remarked on how good they looked.

With this in mind, and personally thinking that the photos looked better on my phone than on camera, I decided to continue the shoot using my iPhone. I didn’t use any other equipment during the shoot; I didn’t feel the need for any lighting equipment given the light quality in the location and also, due to the fact it was someone’s business and had the potential to be busy, I felt that it would be unfair to start setting up big pieces of equipment in the shop which could potentially get in the way.

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MAKEUP & STYLING Based on the way the Urban Outfitter’s models are usually styled, I decided to stick with a very natural hair and makeup look for my model. For the makeup I wanted my model to have a natural, youthful, dewy look and stuck with limited products to achieve this.

Three of the qualities I particularly like about Francesca’s face are her high brow bones and strong jaw line and cheek bones; all of which I would use makeup to highlight. After a visit from the professional makeup artist during October and discussing my desired look with her and showing photos of my model, the products we decided I should use for my look were: -

Light coverage liquid foundation, with no setting powder to ensure a dewy finish.

Brow pencil and brow gel to create a fuller, fluffy brow.

Pale, silver toned highlighter to emphasise the tops of the cheekbones and high points of the brow bone.

Pink toned blush to create a youthful flush.

One coat of black mascara to open the eyes.

Clear or light-coloured lip balm.

A pressed powder and brush would also be taken to the location to combat any unwanted shine when shooting.

For the hair I took inspiration from the fashion trends I had looked at and decided to do a slick low bun for one of the outfits and have the hair loose with a chunky headband in for the other.

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NARRATIVE STORY BOARD Before shooting I decided to create a basic narrative storyboard to help give some direction when we got to the location to avoid wasting time. I crafted my narrative around my developing construct and came up with the following scenes: 1.

2.

3.

4.

5.

6.

7.

8.

Opening washing machine Reading the paper Standing waiting Sitting waiting Over shoulder looking into mirror Stood by ‘staff only’ sign Footwear detailing Hand/jewellery detailing

These are some rough guidelines and I understand that I may not be able to capture all of them or that some ideas may develop and change. Furthermore, I have only created eight ideas as I know that on the day based on what props, backgrounds and angles I can find that I will create some new ideas whilst there to fill these remaining slots. From my eight proposed shots, I used seven in my final selection.

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VISUAL STORY BOARD

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JEFF VALLEE FOR URBAN OUTFITTERS

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TOTAL CONCEPT After cementing certain aspects of the project such as the clothing choices, my brand and their identity and the themes of my chosen magazine, a comprehensive conceptual theme emerged, which I am naming Glass Ceiling. A glass ceiling is an invisible yet real barrier which prevents advancement within a profession, most commonly affecting women and minorities. As a woman and a feminist, the glass ceiling is something I am aware I may come up against in life, and something I believe we should all fight to break. A key visionary theme within my project is to look at some of the challenges women may face that impact their prospects as businesswomen.

My concept centres around my female model, and whilst the viewer does not know the model’s career or backstory, her trendy, yet smart sense of dress was implemented to nod towards a young professional lifestyle. Historically, men are the breadwinners within a family whilst women are the homemakers, and even today in the modern world we still see demographic imbalances within certain careers and at different professional levels. There are still societal constructs and pressures for many women to play a traditional maternal role, and be able to raise children, cook and clean whilst now also balancing a career; many believe it is these pressures, in particular the children factor, which is why many women do not climb as high professionally as men in their field. Placing my model in a laundrette in business wear is a collision of many women’s two worlds and the disdained, bored expression on the model’s face in most shots implies this is not where she wants to be.

There has been a monumental increase in feminist interest in recent years, with the movement reaching its fourth wave, and society are beginning to fight against the glass ceiling; many brands, including Urban Outfitters, utilise this trend within their marketing and product offering. Power-dressing in business wear and clothing like suits, traditionally meant for males, is just one of the ways brands and women alike are aiming to increase the female status and rebalance some of the inequalities faced; following the expression to ‘dress for the job you want.’

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TEST SHOTS CONTACT SHEET The next few pages show around three quarters of the images I took. I ended up taking over 700 pictures, so spent a while deleting any where the model’s eyes were shut, the image was blurry or any true duplicated. I ended up with 194 shots suitable to choose my final images from.

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EDITING COMPARISONS

Image 1: Places To Be

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Editing process: • • • • • • •

Resizing to A3 with 200 pixels per inch Auto tone Auto colour Auto contrast Saturation lowered 5% Image straightened: anticlockwise tilt Slight sharpening

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Image 2: Collection

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Editing process: • • • •

Resizing to A3 with 200 pixels per inch Auto tone Auto colour Auto contrast

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Image 3: Pushing Buttons

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Editing process: • • • • •

Resizing to A3 with 200 pixels per inch Auto tone Auto colour Auto contrast Smooth tool to remove some creases from clothes

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Image 4: The Machine

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Resizing to A3 with 200 pixels per inch Auto tone Auto colour Auto contrast Image straightened: anticlockwise tilt

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Image 5: Consideration

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Resizing to A3 with 200 pixels per inch Auto tone Auto colour Auto contrast Slight smoothing on hair Clone stamp tool to remove skin imperfections

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Image 6: Staff

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Resizing to A3 with 200 pixels per inch Auto tone Auto colour Auto contrast Saturation lowered 6% Image straightened: clockwise tilt Clone stamp tool to remove skin imperfections

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Image 7: Sitting Pretty

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Editing process: • • • • • •

Resizing to A3 with 200 pixels per inch Auto tone Auto colour Auto contrast Image straightened: anticlockwise tilt Clone stamp tool to remove branding on boxes

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Image 8: Today’s News

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Resizing to A3 with 200 pixels per inch Auto tone Auto colour Auto contrast

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Image 9: Round And Around

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Editing process: • • • • •

Resizing to A3 with 200 pixels per inch Auto tone Auto colour Auto contrast Clone stamp tool to remove branding on bag

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Image 10: Money Maker

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Editing process: • • • • • •

Resizing to A3 with 200 pixels per inch Auto tone Auto colour Auto contrast Saturation lowered 5% Image straightened: anticlockwise tilt

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Image 11: Time To Kill

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Editing process: • • • • • •

Resizing to A3 with 200 pixels per inch Auto tone Auto colour Auto contrast Clone stamp tool to remove skin imperfections Clone stamp tool to remove branding on boxes and bag

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Image 12: Reflection

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Editing process: • • • • •

Resizing to A3 with 200 pixels per inch Auto tone Auto colour Auto contrast Clone stamp tool to remove branding on bag

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Before After Editing before and after example: can see the edited image has lost some of its sharpness in the process and model has become a little stretched.

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EDITING ANALYSIS Being brutally honest, I am not 100% happy with my editing outcome and know that if I was more skilled in Photoshop my finished result would have been stronger. My main aim in editing was to remove any visible logos or branding which I think I managed to do fairly successfully. Another was to smooth any bad creases in the clothing and perfect my model’s skin, again something I was able to do without issue. I was also able to straighten some of my pictures where perspective lines may have been at a tilt and resize my images to A3; although this resizing did warp a few of my pictures a little.

My main issues arose when editing the colour and saturation of the pictures. I really wanted to try and create a vintage, faded, almost grainy kind of affect like Urban Outfitters so commonly use, so I had a play around with the automated colour and tonal settings as well as slightly lowering the saturation myself. At the time I thought this did produce a fairly nice muted affect much like what I was going for but looking at the comparisons of my original photos and my edited pictures I do think I’ve lost some of the sharpness and clarity I originally had. Whilst I do still like the muted tones of the photo and think they play well to the colour palette of my outfits and think that it ties well into my concept, going forward I believe that closer attention must be paid between the original picture and the new picture when editing would improve the outcome.

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FINAL SHOT CHOICE (IN ORDER)

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As I had so many photos it was quite difficult to narrow down which ones I would use for my final selection. To help with the process I made a set of requirements: -

A good sense of continuity between the pictures Portrays my concept clearly and ties into my chosen narrative Highlights model and outfit Could picture it inside Wonderland magazine Model’s facial expression ties to theme Clothing/accessories are presentable, and outfit looks nice No image too similar/respective to another.

This made it easier to narrow down my selection, and from this I made a contact sheet with 22 photos on it which I presented to Kevin to help me pick my final 12. After further advice from Kevin and Mike I chose to include 2 images of the location. These images highlighted the retro aesthetic of the laundrette and focused on the activity I hope the viewer imagines my model to be doing in the scene.

I believe my final image set has a fairly even split showing well my two outfits, shows the location well, has good flow between pictures and all images help to tell my story; all important demands I was eager to meet.

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EVALUATION I will be evaluating my final photos in three of the areas I believed to be most important to my images: colour, angles and composition, as well as assessing the limitations of them.

Colour: In my research one of the things that I was most drawn to in my photographer’s

work was the colours. Colour is crucial for setting the mood in a photograph and the colours in my photos pre-editing was particularly bold due to the bright light in the location. My concept called for the model to appear bored and the bright colours created more of an exciting feel than I wanted, so post-production I toned these down to create more of a muted atmosphere.

Angles: I did not have the greatest amount of space available to me in the shoot location

due to how enclosed and full of stuff the laundrette was. I was aware of this from the outset and did have reservations about the number of angles and different perspectives I would be able to achieve. Most my photos were medium shots taken at eye level, which created a sense of congruence throughout my images. Also, shooting from a slight distance allowed some of the background to be visible to the viewer, and as my location was so interesting this was something I was happy to achieve. I did experiment with shooting from a top-down angle and from an over the shoulder approach.

Composition: I used many compositional techniques within my shoot such as the rule of

thirds, golden triangles, perspective lines and the use of frame within a frame. Through these techniques I was able to better create a focus upon my model and create a balanced image. One of my favourite compositional techniques I used was the use of framing using the mirror, this made the model’s face the focal point and almost created a separate image within the whole image.

Limitations: The main limitation I found during the process was the editing. I knew from

the start that I am not that skilled in Photoshop, I seldom use it and find it very complicated. I decided to mainly stick with the automated adjustment settings Photoshop offered and after fiddling around with my first image for a length of time I stuck with the settings I used on that and applied it to the rest of my set of images. Going forward if I undertake another photography project know that I must practice my photoshop skills in order to produce stronger results.

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CONCLUSION To begin with I was nervous going into this project, I knew that a lot goes into a fashion shoot, and I had never done anything like this previously. My biggest fears were not being able to find a location I was happy with, not knowing how to direct my model, not being able to edit my pictures to a good standard and overall, just producing a set of images I wasn’t happy with.

Despite these fears, I found that as the process progressed, I became more comfortable with my work and more confident in my abilities.

I said from the outset that one of my primary aims was to tell a story with my pictures and illustrate the character I was creating’s personality through the images. I believe I have achieved my goal of creating a successful narrative which displayed my concept, Glass Ceiling.

Although exciting, it was also very daunting to create my own concept based upon the clothing, brand and magazine I was using, however, through extensive research I am satisfied that my concept would work across all aspects of my project and was effectively executed.

Considering I have never done a shoot with model’s before and I have only worked with street photography and buildings, I am very pleased with how my shoot came out. One of the issues I usually have with photographs of people is that they have the ability to become slightly cheesy if not well executed. A heavy inspiration I took from my research into the photographer Daria Kobayashi Ritch that I believed would help me avoid the overly staged, cheesy outcome I feared was to try and capture my model in the “off moments” just as she does. I constantly took photos the whole time, even as my model was rearranging herself and changing positions in order to capture these in-between snippets. Some of these shots ended up being some of my favourites.

Not everything goes according to plan and I did face creative difficulties throughout the process such as my camera not working as planned on the day of the shoot. However, I think that every difficulty I faced I was able to adapt to and overcome; this project has taught me the skill of flexibility and the ability not to be too anal in order to progress. Overall, I believe I have gained a lot of knowledge in both styling and photographic technique throughout this project and considering this was completely out my comfort zone and not like anything I had done before, I am very happy with the outcome and my own development and think I have managed to meet all my initial objectives I set out to achieve.

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FIN.

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IMAGE REFERENCES Page 6: • Fashion Gone Rogue (photographer not named). 2014. Anais Pouliot Takes on Nasty Gal’s First Denim Collection. [Online]. [Accessed 22/11/2019]. Available from: https://www.fashiongonerogue.com/nasty-galdenim-collection-anais-pouliot/ Pages 7 & 8: • Sadly, K. 2017. ZARA – Blooming. Summer women editorial 2017. [Online]. [Accessed 22/11/2019]. Available from: http://www.rutamodel.com/news/zara-summer-editorial-2017/ Page 9 (top – bottom): • MagCloud. 2012. Issue 04 – Rinse & Repeat. [Online]. [Accessed 22/11/2019]. Available from: https://www.magcloud.com/browse/issue/399898 •

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Ritch, D, K. 2019. Wonderland: Teresa. [Online]. [Accessed 04/11/2019]. Available from: http://www.dkrphotography.com/wonderland-teresa#9

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Munir Uz Zaman. No Title. No date. [Online]. [Accessed 05/11/2019]. Available from: https://www.instagram.com/p/BuRH8EGh8nC/

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Urban Outfitters. 2019. UO Chuck On Dark Grey Longline Duster Coat. [Online]. [Accessed 25/11/2019].

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Urban Outfitters. 2019. UO Blue Soft Double-Breasted Blouse. [Online]. [Accessed 25/11/2019]. Available from: https://www.urbanoutfitters.com/en-gb/shop/uo-blue-soft-double-breastedblouse?category=blouses-shirts&color=040&type=REGULAR

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Urban Outfitters. 2019. UO Check Bengaline Notch Mini Skirt. [Online]. [Accessed 25/11/2019]. Available from: https://www.urbanoutfitters.com/en-gb/shop/uo-check-bengaline-notch-miniskirt?category=skirts&color=004&type=REGULAR

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Urban Outfitters. 2019. UO Rammi Satin & Lace Slip Maxi Skirt. [Online]. [Accessed 25/11/2019]. Available from: https://www.urbanoutfitters.com/en-gb/shop/uo-rammi-satin-lace-slip-maxiskirt?category=skirts&color=001&type=REGULAR

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Urban Outfitters. 2019. UO Iris Long-Sleeve Skate T-Shirt. [Online]. [Accessed 25/11/2019]. Available from: https://www.urbanoutfitters.com/en-gb/shop/uo-iris-long-sleeve-skate-t-shirt?category=womens-graphictshirts&color=010&type=REGULAR

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Urban Outfitters. 2019. FILA Disruptor Women's Core White Trainers. [Online]. [Accessed 25/11/2019].

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Urban Outfitters. 2019. UO '90s Pinstripe Blazer. [Online]. [Accessed 25/11/2019]. Available from: https://www.urbanoutfitters.com/en-gb/shop/uo-90s-pinstripe-blazer?category=womens-coatsjackets&color=020&type=REGULAR

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Urban Outfitters. 2019. Skechers D'Lites Big Fan Trainers. [Online]. [Accessed 25/11/2019]. Available from: https://www.urbanoutfitters.com/en-gb/shop/skechers-dlites-big-fan-trainers?category=womenstrainers&color=018&type=REGULAR

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Urban Outfitters. 2019. UO '90s Oversized Pinstripe Blazer. [Online]. [Accessed 25/11/2019]. Available from: https://www.urbanoutfitters.com/en-gb/shop/uo-90s-oversized-pinstripe-blazer?category=womens-coatsjackets&color=001&type=REGULAR

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Murphy, S. 2018. Edge Hill Laundrette – Doing your washing is loads of fun. [Online]. [Accessed 26/11/2019].

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Shanesy, B. 2019. Working Girls. [Online]. [Accessed 05/11/2019]. Available from: https://blog.urbanoutfitters.com/blog/artist_editions_working_girls?cm_re=Blog_Content-_-B8-_artist_editions_working_girls

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Larizia. 2019. ASH Addict White Chalk Pink Leather & Mesh Chunky Trainers. [Online]. [Accessed 05/11/2019]. Available from: https://www.larizia.com/shoes-c248/ash-addict-white-chalk-pink-leathermesh-chunky-trainers-p94693

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Pinterest. No date. No title. [Online]. [Accessed 05/11/2019]. Available from:

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Page 55: • Model’s personal photos. 2018. Available from @francescapicucci on Instagram.

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Nasty Gal. No date. Time Heels Croc Strappy Kitten Heels. [Online]. [Accessed 03/12/2019]. Available from: https://www.nastygal.com/gb/time-heels-croc-strappy-kitten-heels/AGG59884.html

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SFL. 2019. Trendy Hair: Headbands at the street style during Fall Winter 2019 London Fashion Week. [Online].

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