Nath Lee Identity and expression through streetwear fashion Streetwear is a style of casual clothing which became global in the 1990s. It grew from New York hip hop fashion and eventually California surf skate culture, to encompass elements of sportswear, punk and Japanese street fashion
ファッションを通じたアイデンティティ
STREETWEAR Streetwear is a style of casual clothing which became global in the 1990s. It grew from California surf skate culture and New York hip hop fashion to encompass elements of sportswear, punk and Japa nese street fashion.
I am particularly interested in street wear fashion as I really enjoy the style and the alternative vibe that it has, for example, sticking out from the crowd but in a cool way. To photograph streetwear, the poses sometimes reflect the abstractness of the clothing, creating some unique and creative poses. I liked the angle, for example in the top right photograph as it has a nice perspective to it,
but it is also slightly different to what you’d normally see. I also like how the perspective emphasises the clothing. For streetwear and fashion photography in general, a good backdrop is always important as it can add so much to a photo. You could create mystery, or energy just with a backdrop, which is why it is important to find good locations to support and or emphasise the subject. A lot of streetwear backdrops are, obviously in a street or city, however due to where I live, I will have to make a bit more of an effort to find and get to locations to photograph a model as I live in a somewhat rural area. Overall, streetwear is a style that I love and I want to photograph.
I NS PI RATIO N
N I N J MAA ニンジャマー 30/01/2020 Contact sheet:
Camera Settings • Nikon D90 • 50mm Lens • 400 Shutter speed • F/ •
I went out to take these photos of my fri end Ni njmaa, who i s a lso very i nterested i n s treetwear. Some of her cl othing s tyl es bring some Asian cultures such as the Japanese wa ves a nd dragon a rt work on her t s hirt. Streetwear pa rti ally ori ginated from japan and so I felt like it would be good to do a photoshoot around that. We went to a l oca tion near to my s chool and found a large shipping conta iner that is being used for selling food, which ma tched the exact same colour on Ninjmaa’s trousers.
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After taking photos at the s hipping container, we went to l oca tion 2, which was a building which had the outside ma de of mirrors. I felt like I could get some i nteresting i ma ges there and I feel as though the ones I took there are a ctually s ome of the strongest ones I took overall as they l eave a bit of mystery.
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Loca ti on 3 wa s a black brick wall which I thought would ma ke the model’s outfit stand out more as it matched wi th the black on the t s hirt. However I felt as though thes e photos at location 3 were good but not my s trongest
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Fi nally, we went to l ocation 4 which was in front of a sort of s hopping mall with big glass panes and a colourful back drop l ooking on into the arcade. These photos turned out rea lly well too and I was proud with the result
青い
波状
For these photos, I tried to create a bit of mystery, which had a cool result. We used a shop near to my school, where the outside walls are mirrors, which created what looked like a clone of Ninjmaa. I liked how these photos came out. The photos were taken early afternoon on a cloudy day, emitting a high white balance light upon the model which gave her skin a nice soft, natural light
Ben ベン 01/02/2020 Contact sheet:
Camera Settings • Nikon D90 • 50mm Lens • 400 Shutter speed • F/
N I N J MAA ニンジャマー 4/02/2020 Contact sheet:
Camera Settings • Nikon D90 • 50mm Lens • 400 Shutter speed • F/
ダニエルブルーノ
DANI EL BRUNO
German Londoner, Daniel Bruno Grandl is born in the 80s, has studied Management Studies in Scotland and works as a street and fashion photographer.
Daniel is especially drawn to portrait & street style photography and has always had a keen interest for fashion due to his influential mother who runs a vintage store in Germany. Daniel also has a website called TheUrbanSpotter in which he uploads all of the photos that he takes, and you can browse through all of them or even search by category, for example all the photos on the right (other than the girl in the pink trousers) were taken in London, but I found them through looking at the London category, where he uploads all the photos he has taken at London. I also did this because it means I can see more of the styles and possibilities of photos I can take as I live near London. Daniel began TheUrbanSpotter with the idea of capturing peoples’ sense of fashion and how fashion is visible in our daily lives. However, it is not all about the clothes as it is the people who wear them and their personality that make clothes stand out. Daniel photographs a mix of people that he knows as well as many strangers that he finds on the street. I like the idea of capturing many different people and doing so with people he sees on the streets. I am also attracted to the repeated styles that people wear, as well as the ‘streetwear’ brands such as off-white or Nike etc. Overall, I really like David’s photos, the style of photos and fashion that he photographs as well as the idea behind taking the pictures and how he takes pictures of both friends as well as strangers
ダニエルブルーノ
N I N J MAA ニンジャマー 4/02/2020 Contact sheet:
Camera Settings • Nikon D90 • 50mm Lens • 640 Shutter speed • F/2.5 •
After the research I did, I went out again to do a photoshoot exploring meaning and posing, in order to learn new ways to pose the model as well as to find an explanation or to leave a deeper meaning behind the photographs that I take.
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This time, I attempted to take more control over exactly how the model is posing and to give instructions on how to pose or where to stand etc.
ドラゴンスリーブ
しゃがむ
PHOTOSHOP
N I N J MAA ニンジャマー 14/07/2020 Contact sheet:
Camera Settings • Nikon D90 • 50mm Lens • 2500 Shutter speed • F/3.2 •
After the research I did, I went out again to do a photoshoot exploring meaning and posing, in order to learn new ways to pose the model as well as to find an explanation or to leave a deeper meaning behind the photographs that I take.
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This time, I attempted to take more control over exactly how the model is posing and to give instructions on how to pose or where to stand etc.
曇 り の ス カ イ ラ イ ン
空
JORDAN ヨルダン 24/07/2020 Contact sheet:
Camera Settings • Nikon D90 • 50mm Lens • 3200 Shutter speed • F/5 •
After the research I did, I went out again to do a photoshoot exploring meaning and posing, in order to learn new ways to pose the model as well as to find an explanation or to leave a deeper meaning behind the photographs that I take.
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This time, I attempted to take more control over exactly how the model is posing and to give instructions on how to pose or where to stand etc.
JOSH ヨルダン 08/08/2020 Contact sheet:
Camera Settings • Nikon D90 • 50mm Lens • 4000 Shutter speed • F/2.8 •
After the research I did, I went out again to do a photoshoot exploring meaning and posing, in order to learn new ways to pose the model as well as to find an explanation or to leave a deeper meaning behind the photographs that I take.
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This time, I attempted to take more control over exactly how the model is posing and to give instructions on how to pose or where to stand etc.
ナイキトラックスーツ
マ ス ク +
J O S IAH ヨルダン 10/08/2020 Contact sheet:
Camera Settings • Nikon D90 • 50mm Lens • 2000 Shutter speed • F/2.8 •
After the research I did, I went out again to do a photoshoot exploring meaning and posing, in order to learn new ways to pose the model as well as to find an explanation or to leave a deeper meaning behind the photographs that I take.
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This time, I attempted to take more control over exactly how the model is posing and to give instructions on how to pose or where to stand etc.
ビーチ
ホ リ ス タ ー
ABI ヨルダン 24/10/2020 Contact sheet:
Camera Settings • Nikon D90 • 50mm Lens • 4000 Shutter speed • F/2.8 •
After the research I did, I went out again to do a photoshoot exploring meaning and posing, in order to learn new ways to pose the model as well as to find an explanation or to leave a deeper meaning behind the photographs that I take.
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This time, I attempted to take more control over exactly how the model is posing and to give instructions on how to pose or where to stand etc.
JOE ヨルダン 27/11/2020 Contact sheet:
Camera Settings • Nikon D90 • 50mm Lens • 2500 Shutter speed • F/6.3 •
After the research I did, I went out again to do a photoshoot exploring meaning and posing, in order to learn new ways to pose the model as well as to find an explanation or to leave a deeper meaning behind the photographs that I take.
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This time, I attempted to take more control over exactly how the model is posing and to give instructions on how to pose or where to stand etc.
NICK FANCHER ニンジャマー 01/03/2021 Nick Fancher is a photographer, author, and educator. Fancher explores portraiture through flowing, living images, creating beautiful dramatic shadows in contrast with vibrant, bold colours. When he was first starting, Fancher drew inspiration from Annie Leibovitz [2]. He was fascinated by people who created stories in their images using dynamic and colourful lighting and how they brought out things in their subjects that you wouldn't have seen before; this inspires me to be more creative in my storytelling through the medium of my photos.
Using only the model’s head and shoulders as the focal point reduces unnecessary information and makes it easier to concentrate on the subject. The model has a relaxed yet wistful facial expression and does not directly face the camera; this lack of eye contact and subtle head tilt create a sense of curiosity and intrigue, further pulling the viewer in. The combination of the subject’s relaxed pose and yearning expression combined with the rich warm tones, creates a sense of warmth, comfort and desire. This “longing expression” is connected and reinforced by the red hues and flames of passion, as they echo her look of desire. Red is commonly associated with these feelings and the use of fire could indicate a reflection of a passion within her [1]. Soft gradients paint a picture behind the scenes, creating surreal and calming atmospheres, blending complimentary colours to bring out the subject of the image. Artificial side lighting casts deep shadows onto the subject, directly contrasting the highlights and colours which instantly captures your attention. These elements of surrealism, passion and desire are attributes of romanticism. Romanticism is a movement originating from Europe towards the end of the 18th century as a reaction to the Industrial Revolution. It’s core aspects were based on emotion, beauty, nature and fantasy, however has since developed into many other mediums such as music, architecture, literature, photography and many more. Fancher explores these ideas and reveals them throughout his work, at the same time adapting it into his own, simplistic style. He uses these surreal and wonderful colours in each image and manages to grasp emotion perfectly by complimenting the poses with beautiful colours and graphical elements. For example, the fire in this image is soft and calm, which is reflected by the way the model has been posed, although there is still a sense of movement, which really brings the image to life. Graphic images, I feel, can tell a narrative story and add to the meaning of an image. Fancher’s imagery is very simplistic and easy to follow, there is a perfect balance between subject and background, nothing competes for attention.
NICK FANCHER ニンジャマー 01/03/2021 In this second image, Fancher exp lores the same techniques as the first image, vibrant co mplimentary colours contrasting with strong, dark shadows. This time however, the model is posed in a much mo re expressive way and adds more character.
The dramat ic arm pose compliments the subtle side lighting, and the use of a softbox, casts deep contours onto the subject which gives the image a sense of depth and brings out the texture in the clothing. I really like how the orange d iamond creates a warm backlight on the subject. Being opposite colours on the colour wheel, teal and orange complement each other really well, the soft calming cyan against the luminescent, energetic orange reflects the model’s exaggerated pose. Fancher keeps his images simple, remov ing anything that is unwanted and distracting, which makes everything else in the image relevant. Fancher says: “I posed Dajia so that her lines either aligned or broke out of the projected shapes”, with “a range of basic shapes” that he “made in Photoshop” [3]. I ad mire how he considers the smallest details, and poses the model in consideration with the shapes and patterns in the background. Using Photoshop is also something I do with my work in order to tweak the images to my liking as well as sometimes adding graphical elements for examp le, the butterfly wings in the image below. I feel as though photoshop is an incredible tool and a necessity in refining my work.
Similarly to Fancher, patterns and shapes draw me in, I enjoy finding patterns and designs, which can be incorporated into a photoshoot, for examp le in the image shown, the grafiti behind the model worked well with the subject matter. I also try to match colours in the background to colours incorporated in my subject’s clothing, however, in response to Fancher, I am going to experiment with adding contrasting complementary colours to make them ‘pop out’ more significantly and add energy and movement.
N I N J MAA ニンジャマー 14/07/2020 Contact sheet:
Camera Settings • Nikon D90 • 50mm Lens • 1250 Shutter speed • F/2.8 •
After the research I did, I went out again to do a photoshoot exploring meaning and posing, in order to learn new ways to pose the model as well as to find an explanation or to leave a deeper meaning behind the photographs that I take.
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This time, I attempted to take more control over exactly how the model is posing and to give instructions on how to pose or where to stand etc.
うさぎシャツ
バ タ フ ラ イ
う さ ぎ シ ャ ツ
バタフライ
N I N J MAA ニンジャマー 18/12/2020 Contact sheet:
Camera Settings • Nikon D90 • 45mm Lens • 100 Shutter speed • F/5.3
ME ニンジャマー 14/07/2020 Contact sheet:
Camera Settings • Nikon D90 • 55 mm Focal Length • 1/1000 Shutter speed • F/ 5.6 •
Another lockdown has meant that I've been left with no models, so I decided that I would go and take pictures of myself.
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I went out and looked for a good place to shoot, and decided my local park would be a good location as it had lots of open space as well as a park with a cool climbing frame which I thought would look great as a background.
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I did take some pictures of myself in the first lockdown we had, however they were not so strong and I wasn’t really prepared for it, this time however I was, so I was able to capture my ideas more realistically. I used my tripod and got it to a place I liked then used a timer, got into position and then the photo was taken. This was difficult and I had many many failed attempts however I managed to get some really good ones.
O U T CO M E I DEAS
https://issuu.com/danhartdavies/docs/whole_book
O U T CO M E I DEAS
https://issuu.com/tessajones24/docs/streetwear_final_for_printer_final
O U T CO M E I DEAS
https://issuu.com/stw2d/docs/stw2dno49
N I N J MAA ニンジャマー 15/03/2020 Contact sheet:
Camera Settings • Nikon D90 • 52mm Lens • 320 Shutter speed • F/5.6
N I N J MAA ニンジャマー 25/03/2020 Contact sheet:
Camera Settings • Nikon D90 • 55mm Lens • 1600 Shutter speed • F/5.6
DAVID BAI LEY ニンジャマー 26/02/2021
David Bailey was born in East London, Leytonstone, in 1938. David struggled at school as he had dyslexia and dyspraxia, rarely attending. “Dyslexia is associated with heightened visual and spatial awareness, problem-solving skills and lateral-thin king ab ilities” (Royal Co llege of Arts) which can create a high strength in creative abilities. As a dyslexic myself, I believe that this can give an advantage in photography; being able to think visually to create ideas and translate those ideas into the camera. This is one of the reasons I believe Bailey can create such unique photographs. After dropping out fro m school, Bailey found himself in many dead-end jobs, until in 1956 he served for the Royal A ir Force. He was demobilized in August 1958, but he bought a Canon camera and set out to pursue a career in photography. Bailey in itially started working in New Yo rk as a photographic assistant at the John French studio, then in 1962 Bailey was officially commissioned by Vogue. Bailey had a very rebellious approach to his photography, he never did what was the usual thing to do but developed his own style. In the 1960s, typically, photographs would be taken in studios, with poised, rigid models and heavy makeup. David Bailey however, d id not conform with this societal norm, rebelliously taking photographs outside on the streets, with little to no makeup and atypical poses with h is models. Bailey’s first photo shoot in New Yo rk City, photographing Jean Shrimpton, captures her informally standing in the road in a long coat. The image captures the movement of her hair in the wind and unplanned facial expression, creat ing a play ful mood. In contrast to the spontaneous and unstructured pose of Shrimpton, the cobbled road and geometric wall are very organised and neatly placed which gives the image a good balance. Bailey builds authenticity in his images through his ‘imperfect’ and relatable style; not caring for ‘the right mo ment’ but by simply taking it when he felt was right. His photos are raw with contrast of light and focus, creating images that draw you to the focal point. "I photographed wo men the way I saw them on the streets. People could identify with Jean because I did not make her look like a stuffed shop mannequin. Suddenly she was someone you could touch, or maybe even take to bed" (Arts & Culture, 2013) Bailey said in an interv iew. Relatability and connection to the audience was one of the many ways he could make such powerfu l imagery. In addition, since he felt traditional fashion photography was too formulaic and commercial, he instead created his own style, choosing informality with a raw clarity, which is one of the many reasons Bailey’s photos are so unique and timeless. Bailey consistently pushed the boundaries, developing his signature “in-your-face portraiture”, becoming well regarded as one of the great post-war photographers (The Independent, 2019).
N I N J MAA ニンジャマー 25/03/2020 Contact sheet:
Camera Settings • Nikon D90 • 55mm • 1250 Shutter speed • F/5.6
N I N J MAA ニンジャマー 25/03/2020 Contact sheet:
Camera Settings • Nikon D90 • 42mm • 640 Shutter speed • F/5