Kara’s Flapz

Kara Flazz’s photograph ‘unity’ explores equality in the most obvious way possible. In the picture a white hand is interlocked with a black hand, this shows that these two people are now together and they each represent one race. This photo is very boring and simple, however it has been shot and edited perfectly: the photo is black and white and has a low contrast, this makes it seemingly hard to tell which one is a white person and which one is black. This is very effective and putting the point across about equality and unity as they both seem the same. The picture is also perfectly composed, it is a square format and each hand is cut off at the wrist, the photographer has done this to not reveal anything more about the subject making them seem as similar as possible, this is also the reason why both the subjects aren’t wearing and jewellery or watches. I like how the photographer has shot it against a black background as it gives the photo a seemingly darker tone, however if I shot this photo I would use a lighter background to give it less of an angry tone. I like Flazz’s photograph and the simplicity of it but within my own work I hope to expand on the photo and make it seem less hateful. ideologies_4b8d75fed90ac_hires

Silvia Gray

Silvia Gray’s photos can defiantly be considered surrealism as each one feels like a dream and makes you feel like you are part of that dream. The three main areas covered in surrealism are sex, religion and death and within all of Gray’s photos she covers these. In one of Gray’s photos there is a woman preying from the neck down she is a x-ray, this image is very surreal it covers two of the main themes, the fact that liquid is oozing from her makes it feel like she’s in water or floating re-enforcing the dream like feel of it. All of Gray’s photos feature a woman and mostly feature them in a venerable position, all of her photos are also in black and white she has done this too make her images seem more unreal. Another one of Gray’s photos feature an empty chair featuring what seems to resemble a form of smoke, this could be a reference to what many believe happens after death: becoming a spirit.

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Technically Gray’s work is outstanding, the lighting used in her work is always very good, with it always creating the effect she wants. Her post production of her work is where she really stands out everything is made perfectly and fits what she is trying to achieve. I really like Gray’s work as a whole as it perfectly fits what she’s trying to achieve in a really unique way, the way she not only takes these images but edits them afterwards is very unique and makes her work almost seem like it’s not a photograph.

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Guy Bourdin

Guy Bourdin was a fashion photographer active in the 1980’s and most famous for his provocative work for vogue. Much of his work was of female models, he would often make these women look they are doing something wrong, much of his work with these women can be related to religion and the seven deadly sins. Bourdin received his first photographic training during his service in the French Air Force, following this in the mid 1950’s he experimented and developed his style producing fashion images, Bourdin was fascinated by surrealism and this developed into his fashion photographs during this period. In 1950 he starting working for famous artist and photographer Man Ray and by 1955 his first images were published in French Vogue Magazine. During his Thirty Two year period of working with French Vogue he worked closely with fellow photographer Helmut Newton and were widely considered the first contemporary photographers.

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Woooo look at that!! Guy Bourdin had a very specific style and the majority of his images reflect this style, especially his fashion images. The models used are always heavy made up with bright punch colours, he always worked with bright hair coloured models with them preferably being red heads, the models would also have very pale skin, the models poses would often be very sexualised making the seem almost like objects but they never had contact with camera making the viewer’s not feel involved with images almost like we are watching the scene unfold. The backgrounds of these images would often be very bright contrasting the pale models, this would also be an intentional contrast to the clothes these models would wear, you would often not be able to see the whole model only parts of them commonly being their legs making them feel like objects. Many of his images seem to have a narrative to them but we only get a section of them, not beginning or end, this images have the feel of an Alfred Hitchcock film to them.

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Personally I am not a fan of Bourdin’s work I think his images are too strange to be considered fashion images, they often rarely feature the products he is supposed to be advertising. The only images that I really like are his movie inspired images that seem to tell a story, I like these as they don’t seem to be adverting anything making it solely about the photograph. I like Bourdin’s techniques his lighting is often very clean and when flairs or reflections appear in the images they are used in very effective ways, I also like the sense of depth in his photos or lack of it. Many of Bourdin’s images appear very flat, he does this by combining the use of colour and positioning of his models to make depth feel obsolete. I like Bourdin’s use of studios in his work and hope to use this in my own work.

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My 1960’s fashion image was heavily inspired by photographers David Bailey, Terrance Donovan and Brian Duffy, I tried to use their signature styles and techniques in my own work as well as adding my own spin to it. In the original image some of the studio was showing so I started by cropping the image I removed the side of image and then continued to crop the top of the head, this was common practice by the photographers from the era as it made the image seem like more of a natural photo or a snapshot. I then proceeded to make the image black and white and turned the contrast up I did these things to make the image seem more like something shot in the era, I like the use of contrast as it greatly helps to add a sense of depth to the images and makes it easier to tell the model from the background. Before adding black and white to this image I brightened the subject’s eyes adding more emphasis to this part of the face and drawing the viewers’ attention to them.

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With the model herself I got her to reproduce a famous image of the era; the image of Christine Keeler sitting in a chair I added to this image though by keeping the models clothes on to portray more of a fashion photo. I like the way that the Keller was looking directly at the camera addressing the viewer and used this in my own photo. I though the lighting in the original photo was too dark and made the model seem venerable I didn’t want this in my image so I had a single soft box light aimed directly at the model to make the lighting seem more clean and crisp. Too make this image better I could have spent more time setting the image up and used better props.

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Brian Duffy

Brian Duffy’s professional career began in 1955 when he became a freelance fashion photographer, during his freelance career he applied for an assistant job with John French and b began work at the Carlton studios, following this in 1957 Duffy was hired by English Vogue he worked there until 1963. Along with Bailey and Donovan he developed new ideas about photographers and he was quoted as saying: ‘Before 1960, a fashion photographer was tall, thin and camp. But we three are different: short, fat and heterosexual!’ Although most famous for his work with Vogue he also worked for many newspapers and magazines including Town Magazine, Queen Magazine and glamour Magazine Esquire. While most of Duffy’s work took place in a studio setting he also took some of his models around cities like London to take photos of the clothes where they would be worn. This is my favourite part of his work as it shows the clothes and models in a setting that they would be worn and makes his photos seem more real.

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David Bailey

David Bailey was considered the most famous of these three, his photographic career started in 1959 when he became an assistant at the John French studio, just a year later he became a full photographer for them. In late 1960 Bailey began work for English vogue magazine where he would spend the majority of his career. His photos (along with Duffy and Donovan’s) are not only fashion photographs but they helped document ‘the swinging sixties’ and the culture of that era. Bailey ascended through vogue very quickly and at the height of his work with Vogue he was producing eight hundred pages per year. Bailey also worked as a freelance photographer in the 1960’s his rise to fame was quickly cemented when he became friends with celebrities from this era including the Beatles and Mick Jagger. This was proven when he released his project box of pinups, this was a collection of studio portraits of the most famous people of this era it included people like the notorious Kray twins. This is my personal favourite of all his works as the way they are shot and the people in them see really natural and real. From these photos you can get a feel of the people in them and what they may be like, the crops and lighting in these photos are perfect making the picture seem complete.

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Horst Faas

Horst Faas was a German photographer born in 1933. He began his photography work in 1951. His most famous work came when he began photographic the Vietnam War for the Associated press. He won two Pulitzer prizes for the photographs he produced and went on to cover multiple conflicts including Bangladesh.  My favourite image of his is of an American soldier in a ditch with two children staring at his grenade launcher. Each one of the characters in this photo has really powerful emotions, which makes you feel apart of the unfolding story. I also like the contrast of the calm motionless water and the situation unfolding in and around it. I also like his ‘war is hell’ photo, this photo shows a seemingly happy American solider staring at the camera with ‘war is hell, written on his helmet. This is a really powerful photo as the words written on the helmet contrast his facial emotions; his eye contact with the camera also makes it more personal to us the audience. It’s clear that in the majority of Faas’s photos he uses people’s emotions and facial expressions I would like to use this in my own 60’s photos but in a different context.

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