Coursework Project Two
Is there a more innovative way to show fashion imagery than just through the straightforward fashion photograph?
For this brief I have opted to look at different ways to produce photographic imagery for in-store ‘Header’ and wall advertising for H&M. My aim is to photograph the same garment in different ways but the audience will only ever see sections of the beautiful dress at once. I intend to look at a number of digital editing tools that will potentially conceal aspects of the clothing (cropping, exposure and airbrushing) whilst at the same time, enhancing the creative aspects of imagery.
Artist research linking to the theme.
Pierre Debusschere ‘Fashion in motion’ This photograph was taken by Pierre Debusschere to obscure the natural elements of the face. He photographed pastel coloured flowers in order to show the transition of something beautiful and gentle, draining the natural elements of life. I particularly love the focus of the flowers surrounding the natural shape of the model head; I feel this captures the viewers’ attention immediately before we even recognise the model.
Unknown artist. ‘Floral temptation’ I instantly loved this photograph, although I was unable to find the artist, I was able to find the name of the photograph. I feel that it has great representation because the fact that as the viewer we are only limited to half of the dress I had the need to see the top half, because I am unable to I started designing it in my head. I was also intrigued by the sense of obscurity, and how we can’t see the model but picture her in cohere to the nature of the fashion sense.
Emili Vesilind Although my own photograph will feature no part of the models identity, I was very intrigued as to why Vesilind decided to incorporate only the textured lips of the model. I came to the idea that lips can tell a thousand secrets and that the eyes can reveal a secret instantly. By looking closely at the photograph the posture of the model shows the sophisticated and powerful nature of the fashion in this particular era. The photograph has many links with my ideas for photographs concentrating on sections of clothing because it focuses of one aspect of a garment being the boldness of the sleeve, and how it is the subject matter in the entire photograph. In coherent the glove adds more dramatic controversy because of its elegance, yet black gloves often resemble weakness.
H&M Feature page The first thing that intrigued me about this feature page was the composition of the model, because I feel that her positioning reflects the valiant word used in coherent to facial expression. I am also influenced by the typical fashion model used that is of perfect beauty, and I feel that this conflicts with darkness. The contrast between the dark backgrounds against the purely exposed model emphasises the idea of identity and how two things very unfamiliar can be so close that they are almost impartibly. What I mean if that fashion and death can work so well but they shouldn’t because fashion is supposed to make us feel amazing and death makes us feel unreachable, but both can be recognised in this photograph.
Elizaveta Porodina I am a huge fan of porodina’s set of fashion photograph’s bursting with colour and flavour. She has created this particular studio shot in a very contempory and individual way indulging the viewer with a burst of colour. I was more intrigued by the way she used overexposed lighting to obscure sections of the metallic quilted dress, which I feel works enormously and instantly makes the viewer concentrate of the models facial expression. This is what I intend to achieve in my own work. However unlike Porodina, I will not show the models identity or the full identity of the garment.
Andrea Huber This photograph taken by Andrea Huber is one of many in which she uses sections of a body to express the structure of the human body. My thoughts behind this image are that the model is desperate to tease the viewer and manipulate the confusion of the viewer. As they are only limited to a section of the dress/body.
Bryon Paul Bryon Paul uses brightness against contrast in this particular photograph to affect the overall idea of a section of clothing and how it can be seen directly as an intriguing garment. The corset which is exquisitely detailed immediately draws the attention of the viewer. However when looking at the skin and how its subtle yet rustic texture captures a contrasting brilliance.
Pierre Even Pierre Even has a series of overexposed fashion portraits. However this particular photograph influence my own work because of the composition of the model and how she is subjected to the centre of the image. Which can portray a sense of confidence, but by using the techniques of overexposing the photograph, has almost obscured her confidence by making her seem drained of colour and style.
Chris Benz Resort 2012 Collection This photograph taken by Chris Benz is one of a resort collection. Benz aims to overexpose every photograph purposely. However I was enthused by this photograph because of the contrasting patterns used on the model to show a ruff yet stylish manner. However I feel that the pattern stimulates the background very immediately. The background almost gives the sense of an abandoned space which can be perceived to encourage the overexposure used to add total honestly in the model facial expression.
Artist Analysis one.
Andrea Huber ‘No name photograph’ When first looking at the photograph as a viewer I was mistaken that the photograph was section of clothing, which it is, but then when focusing closer on the photograph I realised it emphasises the potent theme of identity. When you start to examine the thoughts and composition of the photograph we comprehend that the ‘look’ of the model and consider the title, or lack of title. Then we can see that in fact it is more of an intriguing fashion shot, rather than a section of clothing being portrayed in a commercial technique. The fact that there was no title could emphasize the theme of identity and that we cannot see the model, which therefore gives reason as to why the identity isn’t present. This could also evaluate that fashion is overpowering people. Where the clothing people wear is becoming more important than the person wearing it? However to understand this photograph completely, we need to know why Huber took it.
This particular photograph is one of a series of sections of clothing taken by Andrea Huber. In this series, all Huber’s work is of the same theme but have completely different appearances linked with the techniques Huber uses. Huber works intensively with detailed clothing and tries to establish the best sections of a garment in order to accentuate the whole compositions of the model in contrast with the detailing of a garment. Although this photograph is not as important by itself, I believe that the entire series taken by Huber highlight the importance of the garment, by doing this he immediate overpowers the model which adds a sense of assertion within fashion. This provides the viewer with the opportunity to think about the model in a different way. My response to the photograph is very positive. As a first time viewer of Huber’s work I was very influenced with the theme of identity and how in fact by hiding the models face and main detailing of a typical fashion photograph helped me to explore the different ideas of fashion and how the contours of the dress in this image obscure any sense of life. The clothing in this image is obviously a very important element and in a way, the series of work by Huber could be classes as being in the genre of fashion and identity. I feel that the idea of the photograph being linked with fashion and identity is a broad enough theme to contemplate with this particular image. Although we can know there is life behind the image, we still don’t view the photograph in a way of normal fashion, the fact that the viewer cannot see her face could represent that the beautiful dress is more important than the person wearing it.
What I have found most inspirational in this photograph is the composition of the subject matter being the dress and shoulder of the model. The ideas that I’m exploring in my first fashion shot is focusing of sections of an exquisitely patterned dress bursting with colour and the identity of the model blank with no feeling of life. The concept behind this is that you will only be able to see different sections of the dress without ever seeing it fully. It is for commercial purpose; specifically a brand new, wanted everywhere, dress for H&M but no one has ever had the chance to see it. The model wearing it hasn’t even seen it fully as I will express through the photographs. I’ve taken note of the strong angles created in Huber’s photograph and his use of shadows. I am going to explore this type of lighting in my own photographs in order to hide the sense of life as much as possible. Unlike Huber’s photographs I will not be showing the natural complexities of the model, where he has kept blemishes and prominent veins, I will in fact use the airbrush tool to keep the photographs of a high commercial fashion standard.
The photographs.
Developmental Photographs
Mini Evaluation.
Mr original intention in taking my first set of photographs was to explore the sense fashion by showing only sections of a highly beautiful dress. Once id taken my photographs and edited them to a high standard I felt that they weren’t the type of fashion photographs I wanted, they looked very typical and so I wanted to try something completely different. So by experimenting with these photographs I was able to gain confidence through editing my new photograph in a weird yet wonderful way. We can experience when viewing my photographs the sharpness of each different section of clothing, as I have chosen to edit them in an overexposed manner, in order to bleach some intricate detailing through of the shadows and parts of the dress, that I felt would strike a reaction from the viewer. Although the photographs are very bright and uncontrollable to the eye, I don’t really find the set disorientating or confusing at all because I can see the photograph as a whole, and I can easily distinguish between the commercial values of the dress against the high glossed, overpowering fashion statement I wanted to create for the audience. When choosing to develop these photographs I wanted to overpower the set even more by extracting the theme of flowers from the dress and then re photographing some colourful flowers in particular positions. I then changed the opacity of these flowers in order to make them less powering than the subject matter, being the dress. Once I had placed them in the correct positions I felt would impact the photograph, I then increase the saturation, which made a contrasting neon/optimistic effect. I felt this made the photographs so overpowering that seeing them in a magazine would defiantly attack the typical shopper. Although I feel the dress was of high quality, I wanted to advertise it for H&M in order to conflict with the typical clothing they sell in the high street retailer. Therefore when people open the H&M magazine and see this incredible dress, only being partly revealed they will crave more of its attentions and therefore carry on viewing other sections of the dress, but never seeing the whole silhouette of the dress, causing a dramatic craze for such a dress that had never been seen.
I feel that I have tried to symbolise in this set of initial photographs and developed photographs in fashion photography we often get drawn to the typical themes that the audience/ viewer feel they can relate to, however I feel that by experimenting with some high edited photographs before I was able me to make a firm decision to try something new in great belief it can strike a powerful yet speechless reaction from a range of diverse viewers. As the producer of this set of photograph I feel I was successful in creating something dissimilar to the typical fashion photography, and I also feel the visual impact is possibly enhanced because I have selected to present the photographs in an overexposed manner, thus adding vital intricate detail, for an untypical commercial purpose.
Artist Analysis two.
Editorial shots by Markus Pritzi ‘Electric Kool-Aid Acid’ ‘February 2012’ At first glimpse, we could be mistaken for thinking that this photograph is a commercial fashion shot, illustrating the theme of contrasting patterns in fashion, or portraying a particular garment on a model. However when you start to initiate and examine the ‘aspect’ of the photograph and consider its title, then we can see that it is in fact more of a ‘Editorial fashion shot’ which is emphasizing a particular pattern rather than a commercial shot about a specific garment. By looking closer into the reasons Markus Pritzi took the photograph we should start to understand its purpose on an audience.
‘Electric Kool-Aid Acid’ is a photograph from a sequence of work taken for editorial purposed emphasizing the summer season; it was shot in February 2012. In this sequence of photographs Pritzi works passionately with naturally beautiful models to try and visualize a valiant and striking pattern as this gives a sense of contrast with natural tones against the overpowering pattern. All of the photographs feature an exhilarating pattern which instantly grabs your attentions rather than the typical effects of looking at the model. The location of the photographs have no impact on the audience because they are taken as high quality fashion photographs in a studio, therefore the viewer concentrates on the pattern only. This particular photograph is very important in itself because when looking at it we are directly influenced by the volume of the pattern. However I also believe that the entire sequence of photographs by Pritzi are important in Addison to ‘Electric Kool-Aid Acid’ because they provide the audience with the opportunity to think about the variety of patterns and there effects on the whole composition of the photograph and how the pattern can destroy the viewer’s instant influence of the model rather than the subject of the photographs being the conspicuous patterns. My response to this photograph is, on the whole very positive. I am very influenced by the use of a valiant pattern in order to change the viewer’s perceptions on a typical editorial fashion shot. I am also very fascinated by the sense of ‘Fakeness’ that is portrayed within the image, and the dramatic positioning of the subject matter being the model, because she is situated in the center of the photograph showing her authority, however when focusing on the image closely we relies that the bold pattern has drained the models features and her power is hidden behind the pattern.
What I have found most inspirational about this image is the idea of patterns on garments overpowering the typical aspects of fashion photography and the model being the main subject of the images. In light of the concepts behind this image I feel that the pattern controls the whole photography, I have also noticed that the pattern isn’t part of the garment it is actually being projected onto the plain garments. Taking this into account I began to process the reasons why Pritzi did this and I believe that this shows the power of the pattern because once the pattern is taken away the image has little influence on the fashion or the model. I’ve taken not of the strong angles created in Pritzi’s sequence of photographs, and I feel that I could use a bold pattern in my own work. However I feel that in my fashion photographs I would want the model to have little or no participation, therefore portraying to the viewer only the garment, because I want to achieve a sense if ambiguity and promote the idea that the dress is more important. I will also only photograph sections of a particular high patterned dress because my sequence of photographs unlike Pritzi’s will be used commercially in H&M to promote a dress, but without revealing the whole dress. This will entice the viewer to think deeper into the theory behind the dress emphasizing its pattern and making them want to see more.
Artist Analysis three.
Txema Yeste Txema Yeste is a fashion photographer living in Barcelona, Spain. When first viewing the above set of photographs, I instantly new they would look very aesthetically pleasing in a magazine. I later found out that Yeste was inspired to put them into a magazine. Yeste sees his first set of fashion photography very helpful for communicating with the new generation and how they photographs represent art and sophistication. His editorial fashion shoots have a narrative quality, build up of story-telling images. This is reflected in the titles given to the series as Spy in Nice adds to the temptation that fashion holds over its audience. These particular photographs may not be packed full of colourful clothing, but the composition of the model and the facial expressions she holds over the viewer are part of fashion today.
On first glance , we could mistake the photographs for thinking they are a set of staged photographs depicting or illustrating the theme of pain, or rough treatment toward women, but in a way that is applicable to present a huge fashion statement. However when we start to observe the overall ‘appearance’ of the photographs and consider the title ‘Spy in nice’ we can see that in fact they represent more of a ‘Triplet fashion shot’ rather than a sombre editorial group of photographs. However to understand why Yeste took them fully, we need to discover why he took them in the way he did. ‘Spy in nice’ is a triplet of photographs taken for the same purpose in a series of work that Yeste started in 2011. The names of these photographs have great significance as to why they were taken. Yeste called the set ‘Spy in nice’ due to the composition of the subject matter in each individual photo. We notice that the subject matter is always centre of the image, much like a spy would be, as spy’s are often aware of everything surrounding them. This again adds a sense of violence towards women, especially in the first photograph where the model is pretty much bare with no intentions of a bold fashion statement; this therefore shows how her sense of individuality has been stolen. The theme of pain and violence towards women is also portrayed in the second and third photographs, the use of large metallic's adds to the sense of drama within fashion and how fashion can often be very dangerous in order to portray a statement. My response to the set of photographs is on the whole very constructive. I am intrigued by the sense of ‘Pain’ that is present within the images, and the dramatic positioning of the subject matter in her environment really adds a sense of danger but only through the idea of creativity for the purpose of a fashion statement.
What I have found most inspirational in this set of images is the idea of incorporating them in a fashion magazine. The ideas I’m exploring for my first fashion photo shoot focused of obscuring sections of a dress for a commercial purpose. Therefore for my final photographs I also wanted to have them as a feature inside a magazine to show how the high visual impact they will have on the viewer in order to persuade them to carry on seeing other sections of the garment until they cannot view the whole dress causing a dramatic final statement. However I’m also considering presenting the final photographs on acetate and then putting it on top of a fashion article, therefore revealing the contempory effects of the quirky text and variety icons featured in a fashion article. Unlike Yeste’s photographs, I will not be revealing the identity of the model, because I want to achieve a sense of ambiguity and promote the idea that the dress is more important because there’s only one of its kinds, whereas the woman could be any model.
The final photographs.
End of project Evaluation.
On the whole I am very happy with the initial photographs for the project ‘Is there a more innovative way to show fashion imagery than just through the straightforward fashion photograph?’ because I feel through experimentation I was able to answer this question. The composition in most of my photographs were very well thought out, in order to get the full potential and detailing of the ‘Zara’ dress, which I feel emphasised a strong visual aesthetic. However imp a bit disappoint with the contrasting and brightness in some areas of the photographs because I feel they were a bit too dull, in comparison to some of the overexposed imagery which I was trying to achieve. However through using my skills on Photoshop I was able to bring but some much needed detail, but I did this as naturally as possible, because I didn’t want to change the photographs from their original edits too much. I was much more pleased with the later photographs in the set because I began to understand how to experiment in a way that emphasised the different sections of the dress that would visually impact the viewer. I also began to experiment with different angles of the ‘Zara’ dress that look unordinary to be featured on some kind of advertisement method. I really feel I achieved a highly exposed look which would give my set that initial edge between the normal fashion advertisements. At the begging of the project I didn’t really have a specific direction of how I wanted my final photographs to look as a set, because I began to experiment with them in a fairly obviously manner, which I feel wouldn’t have been visually impacting enough on my viewer. But once I had decided the concept behind the imagery I knew that in order to stand out for an advertisement piece, they would need to look very interesting and different. I began to consider what techniques would best work for my imagery and how I could achieve a high standard of photographs. I think that my idea of overexposing the photographs so that the beautiful pattern of the dress was more defined really added a sense of ‘fakeness’ that you wouldn’t expect in a piece of clothing. Then by adding high contrasting flowers in unusual ways really added a sense of drama. This over indulged the already floral dress, so the images became even more visually aesthetic.
When looking back over my work I feel I could have used different technique to further the development of my initial photographs, for instance, I could have used acetate and then layered the different sections of the ‘Zara’ dress. Then I probably could have produced imagery that would be more unsettling and curious. However given the time and disruptions I faced during the understanding of the photographs. I believe that my use of Photoshop skills enhanced my experimentation further, because I was able to develop my imagery from the initials through to the use the flowers I took to push my photographs forward by re-photographing them in a similar but more visually interesting way. I think that what intrigued me the most about the photographer Andrea Huber was the way she emphasized her imagery of sections of clothing, through keeping the identity of the model a totally secret. I think there is defiantly a risk when doing this, because the photographs can become a bit dull and inexpressive, as the model brings alot of life to a fashion photograph. But I think that her use of silk garment and subtle necklace really gives a the audience something visual to focus on. I love the fact that huber decided to keep her photographs very natural, and keep some natural elements of a woman (eg: moles and blemishes). This really shows a sense of purity which isn't always incorporated in advertisement pieces with the identity of a model being airbrushed, which gives a sharp and high quality look, but not a truthful look to persuade the viewer of real life people. To continue another artist I looked at called Markus Pritzi has also been a very important photographer who has helped me develop an understanding of sections of clothing within my won work. This is because her has provided me with an insight into how to produce high quality imagery by purposely increasing the exposure of a photograph. I really like the way Pritzi used a valiant pattern in order to change the viewer’s perceptions on a typical editorial fashion shot. I think what however influenced my own photography was the use further use of the same pattern from the tshirt. Pritzi used the technique of projections to again transfer the pattern of the t-shirt onto the arms and face of the model, almost obscuring her physically appearance because the pattern is so overpowering. I did this in my developmental photographs, by photographing flowers and filling any negative space around the sections of clothes with it.
I think overall, my final pieces really reflected the level of techniques I used through experimentation, and I was consistently trying new ways of developing further the use of advertising throughout the project. I believe that my final images are very well represented and creatively they impact the concept of sections in clothing. However I think that if I had more time I would have linked the final pieces more towards the advertising side of my project. Possibly by creating a leaflet or billboard and actually putting it up in a public place, whilst photographing a group of people looking at it. In order to show its success on a more visual basis.