While my main interest is in alternative fashion I have been trying not to pigeon hole myself into one specific genre or style so this semester has been about developing a range of technical skills. I have tried to use a range of lighting from high key to dynamic and use hard light and soft and combination in between. The main high point for me was my tuition day with Julian Kilsby and that has had a big effect on how I approach my photography and lighting setups. I have been trying to put my new skills into practice and I feel I have partially achieved that. I still need to make a few tweaks to my backlighting but I am quite confident that I could effectively light any studio shoot that I could be called on to work on.
The steampunk and fashion/beauty shoot with Natalie has produced some of my favourite work from this year as I feel that I was closer to 'getting everything right' on that shoot than any other. This was more of a themed shoot and could work as part of an editorial spread. I was also very happy with my post-production work on these images and feel as though buying the Gry Garness DVD and book has really been a good investment.
The shoot with Cervena Fox was an exciting project and I got the chance to work with an established alternative model. I am really pleased with the images from this shoot but I feel that I could have produced even better images if I was more familiar with the Phase One Camera. In addition, I did have some issues on the run up to the shoot - breaking both cameras and then having to use the MK II tethered with did put me off my game a little. However, the shoot went really well and the model was great to work with as I just said what I was looking for and she did all the hard work for me. Another challenge was using the Capture One software, which although 'industry standard' was seriously slow when compared to Adobe's own Camera Raw in CS4 or Lightroom and I had to factor in extra time to process the RAW files and convert them to Tiffs for further Photoshop work and retouching.
The Demarchellier-inspired shoot was a bot of a challenge as the model let me know what she was looking to achieve and I needed to interpret that and come up with images that would be suitable for her portfolio. The hard/soft light techniques from my workshop worked really well for this shoot and I feel that we produced some very effective images. In addition, our images were not just straight copies of our inspiration images.
The shoot for Stacie ('Nona Nitemare') was quite interesting as it was all high key stuff but most of the images would be cut out from the background and be used and navigation and background images on her website. We produced a good selection of images and the client was happy so that was a success.
Mikey's shoot produced another successful outcome and a happy client.
Overall, it has been a very challenging semester but I feel has though my photography has developed well and I am now happy with my level of technical skills. Next semester will be about developing my ideas and producing more editorial style work and putting together a series of images for my projects. This will be a new challenge as I have not done much editorial style work so I will have to plan carefully in order to get a flowing sequence of images that can stand-alone or be used as a series to tell a story.
Sunday 11 December 2011
Saturday 10 December 2011
Printing and presentation
In the past I have entrusted my printing to Loxley Colour Labs but since 2006 I have been sending my shots to PhotoBox for printing. The quality was equally as good as Loxley and a bit cheaper too. The service is easy to use via an online ordering system and the photos are printed on Fuji Crystal Archive paper using proper equipment.
Following on from the Farnell's lecture I decided to give them a try so I made an appointment with them to get my images printed and to see what paper would make the images really stand out.
After following their guidelines, I saved the images as sRGB and took them to Lancaster to be printed. After looking at my images they advised that I use gloss for my assignment 2 images but also did versions on lustre paper and also some with a border. I really liked the lustre paper but when I compared it with the gloss print the colours .were so much better on glossy however, this was probably due to the subject which was latex fashion as some beauty shots I had done looked far better on lustre. I was surprised to see that the images with a border were the most effective. I usually had my images printed without a border but the border had the effect on adding more impact to the images.
The service at Farnell's was excellent and they turned my prints around in under an hour. It was useful to be able to check the images as they were printed and also to be able to see how different paper and the use of borders could impact on the final print.
Amberly mentioned the importance of good quality A4 portfolios to promote your fashion work. So, in order to give my images a professional presentation I have purchased a Black Prat Pampa Spiralbook Presentation Book from the Portfolio Store. After looking at the folder sleeve options I have chosen the more expensive polyester ones as they as really clear and should make my images stand out. The sleeves are open on both sides but they recommend that you mount the prints to ensure that they are held in securely although it does take ages to get the prints in the sleeves! However they do look great as the polyester sheets are amazingly clear and bright.
Following on from the Farnell's lecture I decided to give them a try so I made an appointment with them to get my images printed and to see what paper would make the images really stand out.
After following their guidelines, I saved the images as sRGB and took them to Lancaster to be printed. After looking at my images they advised that I use gloss for my assignment 2 images but also did versions on lustre paper and also some with a border. I really liked the lustre paper but when I compared it with the gloss print the colours .were so much better on glossy however, this was probably due to the subject which was latex fashion as some beauty shots I had done looked far better on lustre. I was surprised to see that the images with a border were the most effective. I usually had my images printed without a border but the border had the effect on adding more impact to the images.
The service at Farnell's was excellent and they turned my prints around in under an hour. It was useful to be able to check the images as they were printed and also to be able to see how different paper and the use of borders could impact on the final print.
Amberly mentioned the importance of good quality A4 portfolios to promote your fashion work. So, in order to give my images a professional presentation I have purchased a Black Prat Pampa Spiralbook Presentation Book from the Portfolio Store. After looking at the folder sleeve options I have chosen the more expensive polyester ones as they as really clear and should make my images stand out. The sleeves are open on both sides but they recommend that you mount the prints to ensure that they are held in securely although it does take ages to get the prints in the sleeves! However they do look great as the polyester sheets are amazingly clear and bright.
Replies to research emails
As I mentioned in one of my previous Blog entries, I have been contacting Photographers, Magazines and Designers in order to help me advance my photography.
While the number of replies has been very disappointing the numbers do fall within the parameters of the 1-3% that's the recognised questionnaire response rate.
I have noted that many of the people I contacted had contact forms on their website and this may have contributed to the low number of replies I have received back. I am now trying to get together some email contact info so I can see if this will increase my response rate.
I contacted Ectomorph and here's the reply from Krystina Kitsis:
“I look for an excellent image that is technically competent, an interesting image and how well the garment is shown. I have a different approach depending on whether the session/image is for editorial publication or internet/catalogue publication. If it is the former then imagination, creativity and originality would be more important than showing off the garments. In the latter the clear and informative are of paramount importance."
"THE ECTOMORPH STORY
Ectomorph in 1985 set out to merge the boundaries of fetish and high fashion, an objective in which it has been spectacularly successful. The inspiration and design experience of its founder, Krystina Kitsis, ensures that Ectomorph continues to produce quality garments, the execution of which is unmatched by any other company.
All latex garments are sewn and glued to reinforce the seams and ensure durability. The cut is designed to flatter all body sizes. Ectomorph does not discriminate. The standard range is sized from XS to XXL, but the made-to-measure service, for a discretionary extra 20%, means that all shapes and sizes can be catered for. Cross dressers, too, can confidently opt for any of our female garments.
Ectomorph started in 1985 as an experiment, spurred by the excitement generated by a new club in Soho, 'Skin Two' where I felt there was a need for fresh ideas in fetish clothing. I thought it would be interesting to take fetish into fashion. Subcultures, like Punk had already flirted with fetish paraphernalia and I wanted to take it further. I was fresh out of college, having studied cultural history at the Royal College of Art and written a thesis on the connection between sexuality and fashion that took me into the area of fetish and the way it had evolved. I was determined to write myself into the history of fetishism by transforming its image through fashion, though I retained many of fetish's intrinsic elements, those of silhouette and detail, whilst applying a modern approach.
Using the principles of structuring clothes that I had learned at the St Martin's School of Art, I treated rubber essentially I would any other fabric and created structured garments that were sewn and glued, so enabling the parameters of what was hitherto available to be extended. Determined to see my collection in the pages of Vogue, I telephoned the fashion editor who swiftly halted my desired rise to fame by informing me that this was, "Not the kind of thing that young gels should be wearing." It took the foresight of Elle magazine to make history and feature a long rubber sheath dress (Style 130) that was to become an Ectomorph icon that remains a firm favourite with many customers. Vogue then rose to the challenge, showing the same dress and subsequently returning time and again.
Ectomorph has not looked back since. The first collection was made in white rubber, firstly because I felt that white would be more acceptable to the fashion market, not so threatening perhaps, and secondly because it has a wonderful scent and feel to it, completely different from black rubber. However, I soon discovered that it was black that people wanted and so, along with Trevor Watson, an inspirational photographer, Ectomorph produced its first catalogue in black and white. Regrettably, stocks of this collector's item are exhausted.
It was always my intention to produce a rubber collection that could be worn out of a fetish context in a 'normal' setting. I drew my inspiration from fashion trends and just the feeling rubber inspires when placed against the body. My peplum jacket (Style 092) and fishtail skirt (Style 078) became staples of the fetish closet, appearing on many postcards and posters and in the pages of well-know magazines.
Since that date my work has frequently featured in prestige magazines, Vogue, Elle, Marie Claire, Loaded, Playboy, Skin Two, Sky Magazine, 19, to name but a few. Ectomorph garments figure in videos by Siouxie & The Banshees and The Corrs. I have worked on advertisements for David Bailey. Twenty five years on I am still producing new fetish styles for an expanding market that has differentiated into a number of subcultures. Black firmly remains the favourite colour. Men are finally rising to the challenge and demanding more 'outrageous' garments other than a rubber shirt and a pair of jeans. So, our mission continues, we will endeavour to continue producing new and exciting garments for everyone to wear."
While the number of replies has been very disappointing the numbers do fall within the parameters of the 1-3% that's the recognised questionnaire response rate.
I have noted that many of the people I contacted had contact forms on their website and this may have contributed to the low number of replies I have received back. I am now trying to get together some email contact info so I can see if this will increase my response rate.
I contacted Ectomorph and here's the reply from Krystina Kitsis:
“I look for an excellent image that is technically competent, an interesting image and how well the garment is shown. I have a different approach depending on whether the session/image is for editorial publication or internet/catalogue publication. If it is the former then imagination, creativity and originality would be more important than showing off the garments. In the latter the clear and informative are of paramount importance."
Here's some more info about them which I have taken from their website:
"THE ECTOMORPH STORY
Ectomorph in 1985 set out to merge the boundaries of fetish and high fashion, an objective in which it has been spectacularly successful. The inspiration and design experience of its founder, Krystina Kitsis, ensures that Ectomorph continues to produce quality garments, the execution of which is unmatched by any other company.
All latex garments are sewn and glued to reinforce the seams and ensure durability. The cut is designed to flatter all body sizes. Ectomorph does not discriminate. The standard range is sized from XS to XXL, but the made-to-measure service, for a discretionary extra 20%, means that all shapes and sizes can be catered for. Cross dressers, too, can confidently opt for any of our female garments.
Ectomorph started in 1985 as an experiment, spurred by the excitement generated by a new club in Soho, 'Skin Two' where I felt there was a need for fresh ideas in fetish clothing. I thought it would be interesting to take fetish into fashion. Subcultures, like Punk had already flirted with fetish paraphernalia and I wanted to take it further. I was fresh out of college, having studied cultural history at the Royal College of Art and written a thesis on the connection between sexuality and fashion that took me into the area of fetish and the way it had evolved. I was determined to write myself into the history of fetishism by transforming its image through fashion, though I retained many of fetish's intrinsic elements, those of silhouette and detail, whilst applying a modern approach.
Using the principles of structuring clothes that I had learned at the St Martin's School of Art, I treated rubber essentially I would any other fabric and created structured garments that were sewn and glued, so enabling the parameters of what was hitherto available to be extended. Determined to see my collection in the pages of Vogue, I telephoned the fashion editor who swiftly halted my desired rise to fame by informing me that this was, "Not the kind of thing that young gels should be wearing." It took the foresight of Elle magazine to make history and feature a long rubber sheath dress (Style 130) that was to become an Ectomorph icon that remains a firm favourite with many customers. Vogue then rose to the challenge, showing the same dress and subsequently returning time and again.
Ectomorph has not looked back since. The first collection was made in white rubber, firstly because I felt that white would be more acceptable to the fashion market, not so threatening perhaps, and secondly because it has a wonderful scent and feel to it, completely different from black rubber. However, I soon discovered that it was black that people wanted and so, along with Trevor Watson, an inspirational photographer, Ectomorph produced its first catalogue in black and white. Regrettably, stocks of this collector's item are exhausted.
It was always my intention to produce a rubber collection that could be worn out of a fetish context in a 'normal' setting. I drew my inspiration from fashion trends and just the feeling rubber inspires when placed against the body. My peplum jacket (Style 092) and fishtail skirt (Style 078) became staples of the fetish closet, appearing on many postcards and posters and in the pages of well-know magazines.
Since that date my work has frequently featured in prestige magazines, Vogue, Elle, Marie Claire, Loaded, Playboy, Skin Two, Sky Magazine, 19, to name but a few. Ectomorph garments figure in videos by Siouxie & The Banshees and The Corrs. I have worked on advertisements for David Bailey. Twenty five years on I am still producing new fetish styles for an expanding market that has differentiated into a number of subcultures. Black firmly remains the favourite colour. Men are finally rising to the challenge and demanding more 'outrageous' garments other than a rubber shirt and a pair of jeans. So, our mission continues, we will endeavour to continue producing new and exciting garments for everyone to wear."
My next reply was from Dark Beauty Magazine.
Here's their reply:
“Hi Chris,
Cheers for looking to us to participate with your research.
Dark Beauty Magazine runs each issue as themed issue. We encourage our artists, photographers and designers to follow the theme and ask them to submit content that relates to our theme. We look for artists who have content that fits spot on, that has something that is close or drives the feeling around the theme. I personally look for a story, composition and stylization to ensure our readers are getting content that still maintains what we are about. Dark Beauty Magazine is all about the Avant-Garde high fashion and story telling.
Again, cheers and take care! Keep us posted on additions questions you may have, we are always available to help.
Topher AdamDark Beauty Magazine
415-350-5074”Here's some more info taken from their website:
http://www.darkbeautymag.com/
"Dark Beauty Magazine
Dark Beauty is a magazine dedicated to artists, fashion designers, photographers, musicians, and actors who crave dark glamour. We provide a new avenue for promoting new and exciting talents who dares to push the envelope and bring such fantasies to life. Our focus is to highlight and bring awareness to bold talents from the darker side of the arts community.
Audience
Our core audience is artists, music lovers, fashionistas, and art enthusiasts who are ages 18 and above. We also place emphasis on peer-to-peer interactivity through easy references case studies, tutorials, and DIY projects.Forecast
We envision Dark Beauty becoming an industry-influencing magazine, with an emphasis for the unconventional at its core. Our magazine seeks novel methods to bring broader visibility to all, especially emerging talents. Dark Beauty strives to provide full-page imagery, engaging stories, and comprehensive references to the dark arts community.Dark Beauty will publish 12 issues and a limited edition book each year. The two special issues are the frightfully fun and exuberant “Dark Gore” Halloween issue, and the phantasmagoric “Dark ‘Holla’-Daze,” Christmas issue.
Throughout the year, we will be continuously acquiring, cataloging, and selecting fresh and compelling contributions to feature in our annual limited edition, hardcover book. The book will be a celebration of Dark Beauty talents and their exquisite work. We hope the book will award the talents with the recognition they deserve.
Proceeds from magazine sales will be invested into the growth of Dark Beauty. We hope to see a gradual growth of readership and contributors alike in the coming months. We also believe Dark Beauty will prosper and soar with each successive issue."
My next reply from from Photographer Julian M Kilsby:
"Research is the most important. Always target specialist magazine titles within your own field of interest, or those that deal with a subject area that you know something about. And then analyse the photography in those publications, in order to ensure that the submission is appropriate, I'm still surprised at how few photographers do this, and are then upset when their wholly inappropriate work is rejected. And after saying that, get used to rejection! It happens to everyone! Don't submit too many pics, between 5-10 pics is fine. Avoid using the phone for initial contact, photo editors work in hectic environments and would prefer email with attachments or weblinks as the first contact. And don't send the same pics to competing titles, as most will assume that what you’ve sent them is being offered to them exclusively."
Julian Kilsby.
Here's some info from his website:
http://www.jmkphoto.co.uk/
“Julian M Kilsby is a UK based photographer from Birmingham in the West Midlands and specialises in fashion, editorial portraiture and travel photography.
He has a professional, yet informal approach to his photography, with a creative vision and expressive eye for colour, lighting and dynamics.
Julian is not only a freelance photographer, he also teaches photography and is Degree Leader of BA Media Photography and MA Freelance Photography at Birmingham City University.
“I've been passionate about photography for as long as I can remember. To be able to 'see' a moment in time, to observe form & character, to mould and sculpt the light, to interpret and capture the essence of all that drama in a single frame – that’s the draw of photography. The desire to make photographs tempers everything I 'see'!
I have over 12 years professional experience in a number of photographic fields including fashion & beauty, portraiture, travel, wildlife, wedding reportage and interior design photography.
I've recently been working with a number of internationally-renowned latex fashion designers from all across the globe."
He has a professional, yet informal approach to his photography, with a creative vision and expressive eye for colour, lighting and dynamics.
Julian is not only a freelance photographer, he also teaches photography and is Degree Leader of BA Media Photography and MA Freelance Photography at Birmingham City University.
“I've been passionate about photography for as long as I can remember. To be able to 'see' a moment in time, to observe form & character, to mould and sculpt the light, to interpret and capture the essence of all that drama in a single frame – that’s the draw of photography. The desire to make photographs tempers everything I 'see'!
I have over 12 years professional experience in a number of photographic fields including fashion & beauty, portraiture, travel, wildlife, wedding reportage and interior design photography.
I've recently been working with a number of internationally-renowned latex fashion designers from all across the globe."
Sourcing Models and MUAs
Model Mayhem, despite all its faults is still the main source of models and MUAs for the level I am at now. The castings are widely read and there is always a good response. It is a good source for models and MUAs who accept TF*, part-pay and paid work. However, it does have its drawbacks, namely the reliability of the people on there. While the majority of my shoots have gone ahead with no problems there are the last-minute cancellations to deal with and there is nothing worse than trying to find a model at 10pm the night before a shoot the next day.
Mayhem has a detailed search section where you can search for models who fit a specific set of criteria and you can also create castings to enable you to either look for a model or assemble a full creative team.
There are other online sites, such as Net Model but Mayhem seems to be the most widely used.. There have also been new ones set up e.g. anothermodel.co.uk but their membership is very low and they are not really any use when sourcing models, MUAs and stylists.
Agencies are also useful for sourcing models and as my preferred genre is alternative fashion I look at places like Dark Arts to source models -http://www.darkarts.org.uk/home.html
Facebook is also becoming more popular as a way of organising shoots and sourcing Models, MUAs and Stylists. However, the one benefit 'proper' sites have is that they have a search facility and usually some sort of referencing facility so that you can check the credibility of people you intend to work with.
Mayhem has a detailed search section where you can search for models who fit a specific set of criteria and you can also create castings to enable you to either look for a model or assemble a full creative team.
There are other online sites, such as Net Model but Mayhem seems to be the most widely used.. There have also been new ones set up e.g. anothermodel.co.uk but their membership is very low and they are not really any use when sourcing models, MUAs and stylists.
Agencies are also useful for sourcing models and as my preferred genre is alternative fashion I look at places like Dark Arts to source models -http://www.darkarts.org.uk/home.html
Facebook is also becoming more popular as a way of organising shoots and sourcing Models, MUAs and Stylists. However, the one benefit 'proper' sites have is that they have a search facility and usually some sort of referencing facility so that you can check the credibility of people you intend to work with.
Editing, processing and retouching
I sometimes wonder if using film would be easier. After all, I wouldn't be processing colour film myself I would have it all done at a lab. Processing digital images takes time - firstly there's the RAW conversion, whether this is done in ACR, Capture One or Lightroom there's still work to be done. Although once initial corrections have been made the remaining images can be batch processed this is still time consuming.
Once the images has been processed and outputted as Tiffs, work then commences in Photoshop to make more adjustments and carry out retouching work. The amount of time this takes depends on what the shoot it, beauty headshots tend to take the longest as you're looking to make a flawless image and this involves a lot of skin work and make up retouching.
All this needs to be factored in when you're planning a shoot as the post production will take up a lot of resource following a shoot. I find that this is often a drawback to putting a larger shoot together on a mutual benefit basis as quite often models, stylists and MUAs will each choose different images and if they each choose ten from a shoot that will be thirty images to process and retouch.
Once the images has been processed and outputted as Tiffs, work then commences in Photoshop to make more adjustments and carry out retouching work. The amount of time this takes depends on what the shoot it, beauty headshots tend to take the longest as you're looking to make a flawless image and this involves a lot of skin work and make up retouching.
All this needs to be factored in when you're planning a shoot as the post production will take up a lot of resource following a shoot. I find that this is often a drawback to putting a larger shoot together on a mutual benefit basis as quite often models, stylists and MUAs will each choose different images and if they each choose ten from a shoot that will be thirty images to process and retouch.
Friday 9 December 2011
Jobs!
FASHION PHOTOGRAPHER
Vacancy from Jobcentre Plus
Job No: STY/101116
SOC Code: 3434
Wage: £7 PER HOUR
Hours: 37 HOURS PER WEEK MONDAY TO FRIDAY BETWEEN 9AM - 6PM
Location: MANCHESTER, LANCASHIRE M16
Duration: Permanent
Date posted: 25 October 2011
Pension details: No details held
Description
Must have previous fashion photography experience. Any products photography experience would be beneficial. Any Photoshop experience would be a distinct advantage. Duties to include managing photo shoots, working with buyers to achieve great results, and editing of images. All photographic equipment is provided if needed.
How to apply
You can apply for this job by sending a CV/written application to Karama Nasimi at My 1st Wish Ltd, jobs@my1stwish.co.uk.
Employer
My 1st Wish Ltd
PHOTOGRAPHER'S ASSISTANT
Job No: ATN/17509
SOC Code: 3434
Wage
£6.50 PER HOUR TO START
Hours
22.5 PER WEEK, BETWEEN MONDAY-SATURDAY 9AM-5PM
Location
ATHERTON, MANCHESTER, LANCS M46
Duration
Permanent
Date posted
07 November 2011
Pension details
No details held
Description
To help in the portrait studio. Must be confident and like working with babies and children. Initially, you will be assisting, but will lead up to taking the portraits once trained. Must have a good knowledge of PhotoShop and be able to edit photos using this programme. Must be flexible as hours will occasionally involve late nights and Sundays to include general shop duties. There is a bonus scheme once you are fully trained.
How to apply
You can apply for this job by sending a CV/written application to Vicky Fitzmorris at Vicky Leanne Photography, vicky@vickyleanne.co.uk.
Employer
Vicky Leanne Photography
STUDIO PHOTOGRAPHER
Job No:
SHL/33890
Employer Reference:
PHOT
SOC Code:
3434
Wage
£16000.00 PER ANNUM
Hours
40 HOURS OVER 5 DAYS
Location
SHIPLEY, WEST YORKSHIRE BD18
Duration
Permanent
Date posted
07 November 2011
Closing date
20 December 2011
Pension details
No details held
Description
You will already be a qualified photographer who can demonstrate achievement within the photography sector. You will be a naturally self confident person who can demonstrate great communication skills and can build rapport with a variety of people easily.The role will be as a photographer within an established portrait studio in Shipley and will involve photographing customers in the studio environment and thereafter converting the sale. There will be other responsibilities and you will be part of a studio team who are fully cross functional. We are seeking a photographer with good technical skills but who must have the personality and enthusiasm to WOW our customers.
How to apply
You can apply for this job by sending a CV/written application to Mathew Imison at Mathew Imison Photography, Wellcroft, SHIPLEY, West Yorkshire, BD18 3QH or to mi@mathewimisonphotography.co.uk.
Employer
Mathew Imison Photography
Studio practice
This posting should be about another 'client' shoot but due to some last minute problems I have had to hastily arrange a quick 'vanilla' fashion shoot.
My original plan was to work with a MUA and 7-10 models for bridal, fashion and beauty images. The MUA had arranged all the models and all I had to do was to shoot to her spec to produce promotional website images. Unfortunately, most of the models cancelled at the last minute the night before and it was no longer viable to go ahead with two or three models.
So, as I needed to get some studio practice I arranged a real last-minute shoot and produced these images:
My original plan was to work with a MUA and 7-10 models for bridal, fashion and beauty images. The MUA had arranged all the models and all I had to do was to shoot to her spec to produce promotional website images. Unfortunately, most of the models cancelled at the last minute the night before and it was no longer viable to go ahead with two or three models.
So, as I needed to get some studio practice I arranged a real last-minute shoot and produced these images:
PH3000 - Assignment Two
As part of my Independent Practice, I have had a few smaller shoots for 'clients' and although these haven't always been part of my chosen genre, they have been useful as I have needed to provide quality images to other people's specifications. However, this is my main shoot for this assignment.
‘Getting commissions from designers’
Introduction
To build on what I have learnt from Assignment One I now need to be looking to produce images for latex and corsetry designers. However, getting commissioned to produce images for clothing designers is a difficult area to break into without already having high quality images of this style to submit to potential clients. In order to be able to market my services to well-known designers it is first necessary to produce images using their (or similar) products with an industry recognised model as a way of introducing your work to them.
The main aim of this project is to further develop my practice and produce a set of five images which are of sufficient quality to potentially be submitted to latex clothing and corsetry designers with a view to securing future commissions at a later date.
To be suitable for potential use the images will need to feature a published, professional model and high quality make-up and outfits. The images will be taken in the studio using the most suitable lighting style to showcase the model and the product. The images will be created using the Phase One Digital Back and they will be RAW processed using Capture One. The images will then be retouched and finalised in Adobe Photoshop CS4 and supplied as A4 prints in a portfolio.
- To look at specific practitioners within this genre.
Outfits
This was quite a difficult shoot as it was only the second time that I had used the digital back and I also had to use my MK II tethered to my laptop but I was not confident with the Phase One so wanted to make sure that I still got some good images so alternated between using the Phase One and the Canon.
I did encounter a last-minute colour problem when I was getting the images ready to take to Farnell's. I edited the Canon images separately from the Phase One images and it was only when I put them onto the stick I realised that there was a colour problem so I ended up having to reprocess them in Capture One and alter the embedded colour profile before conversion to sRGB.
I think I have produce images that would be acceptable to Designers and Magazine for advertising purposes and I now need to build on that to enable to develop further. The most difficult part was choosing the final five images to add to my portfolio book.
‘Getting commissions from designers’
Introduction
To build on what I have learnt from Assignment One I now need to be looking to produce images for latex and corsetry designers. However, getting commissioned to produce images for clothing designers is a difficult area to break into without already having high quality images of this style to submit to potential clients. In order to be able to market my services to well-known designers it is first necessary to produce images using their (or similar) products with an industry recognised model as a way of introducing your work to them.
Aim
The main aim of this project is to further develop my practice and produce a set of five images which are of sufficient quality to potentially be submitted to latex clothing and corsetry designers with a view to securing future commissions at a later date.
To be suitable for potential use the images will need to feature a published, professional model and high quality make-up and outfits. The images will be taken in the studio using the most suitable lighting style to showcase the model and the product. The images will be created using the Phase One Digital Back and they will be RAW processed using Capture One. The images will then be retouched and finalised in Adobe Photoshop CS4 and supplied as A4 prints in a portfolio.
Methodology
- To look at specific designers within this genre.
- To look at the current standard of images within this particular industry genre and determine how to produce similar quality images.
- To contact photographers, magazine editors, agencies and designers to enquire about their criteria when choosing photographers or images.
- To look at appropriate retouching techniques and tutorials - e.g. Gry Garness, Natalia Taffarel and set aside specific times to learn the techniques.
- To use a workbook or blog to develop ideas.
- To use a Phase One Digital Back to capture the images.
- To use Capture One to convert the RAW files.
The Model
The choice of model is very important and one who is experienced in modelling latex and corsetry is essential. For this assignment, the model will be Cervena Fox (http://www.whosthatfox.com/), a full-time model from London who started her career modelling for L ‘Oreal in 2007. Cervena has been widely published in magazines such as Bizarre, Total Tattoo, Skin & Ink, Skin Art etc. In addition, she has modelled for latex and corset designers such as Burning Violet, Eustratia and Kimberlicious, Kaoris Latex Dreams, Jane Doe Latex, Lady Lucie Latex, Shh!Couture and Valkyrie Corsets. Cervena also designs and produces her own jewellery range - Lady Hollywood Jewellery.
Outfits
The outfit choice is also important and well-known brands should be used. Designers may supply outfits for free if publication is guaranteed, otherwise suitable outfits may need to be rented. For this shoot I intend to use outfits by Burning Violet, Eustratia and Kimberlicious for the five sets.
This shoot needed to be booked quite a way in advance as Cervena was working in the US during October and she is always in demand for shoots for various magazines and designers.
Once I had the model booked I needed to ensure that we could the main studio as I wanted to be able to use the infinity curve for the main part of the shoot. In addition, I would need the Mac in order to shoot tethered with the Phase One Digital Back.
The shoot took place shortly after Cervena's return to the UK and in the run up to the shoot we kept in touch to work out what outfits we were going to use. Cervena managed to secure some great outfits from a good range of designers and I was keen to light these well in order to get the best shots I could. The lighting workshop that I attended in September has really helped me improve the quality of my images and I have been experimenting with using different combinations of lighting modifiers.
On the day before the shoot I managed to break my 50D and 5D MK II! A cheap card reader had damaged the pins on my CF card and this (I later found oout) in turn had damaged the centre pin in the CF tray in my MK II. Thinking that it was a problem with the card I tried it in my 50D and it was only later that I discovered that both card slots had beeen damaged. Although I was using the digital back for this shoot, I was using my MK II as a back up as I wan't fully confident with using the Phase One. I found that my MK II would still work tethered and I decided to research how to connect it to my laptop - via USB - using Canon's software.
On the day of the shoot I connected the Phase One to the Mac via Firewire and my Canon to my laptop via USB. My USB cable was slightly shorter than the cable with the digital back and I found it quite restrictive to shoot with.
This shoot was all about creating technically excellent images that could be used for designers to showcase their outfits in either product catalogues or onlinesoftbox and honeycomb grid) to give the desired lighting effect. In addition, I also used backlighting to make the images stand out. The backlights were set the same as the grid, while the softbox was two stops under.
Here's some random shots from the shoot.
Once I had the model booked I needed to ensure that we could the main studio as I wanted to be able to use the infinity curve for the main part of the shoot. In addition, I would need the Mac in order to shoot tethered with the Phase One Digital Back.
The shoot took place shortly after Cervena's return to the UK and in the run up to the shoot we kept in touch to work out what outfits we were going to use. Cervena managed to secure some great outfits from a good range of designers and I was keen to light these well in order to get the best shots I could. The lighting workshop that I attended in September has really helped me improve the quality of my images and I have been experimenting with using different combinations of lighting modifiers.
On the day before the shoot I managed to break my 50D and 5D MK II! A cheap card reader had damaged the pins on my CF card and this (I later found oout) in turn had damaged the centre pin in the CF tray in my MK II. Thinking that it was a problem with the card I tried it in my 50D and it was only later that I discovered that both card slots had beeen damaged. Although I was using the digital back for this shoot, I was using my MK II as a back up as I wan't fully confident with using the Phase One. I found that my MK II would still work tethered and I decided to research how to connect it to my laptop - via USB - using Canon's software.
On the day of the shoot I connected the Phase One to the Mac via Firewire and my Canon to my laptop via USB. My USB cable was slightly shorter than the cable with the digital back and I found it quite restrictive to shoot with.
This shoot was all about creating technically excellent images that could be used for designers to showcase their outfits in either product catalogues or onlinesoftbox and honeycomb grid) to give the desired lighting effect. In addition, I also used backlighting to make the images stand out. The backlights were set the same as the grid, while the softbox was two stops under.
Here's some random shots from the shoot.
I did encounter a last-minute colour problem when I was getting the images ready to take to Farnell's. I edited the Canon images separately from the Phase One images and it was only when I put them onto the stick I realised that there was a colour problem so I ended up having to reprocess them in Capture One and alter the embedded colour profile before conversion to sRGB.
I think I have produce images that would be acceptable to Designers and Magazine for advertising purposes and I now need to build on that to enable to develop further. The most difficult part was choosing the final five images to add to my portfolio book.
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