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Dungeness by Carmen and Kurtiss
Dungeness is an editorial story based on romantic futurism. There's a huge mix of influences in this post-apocalyptic but optimistic story. It's supposed to look anachronic so you can't place it in time.
Styling: Carmen Hudgens
Photography: Kurtiss Lloyd
Model: Ewa
Tim Walker
- these photos remind me of the styling exercise class we had on Monday where we combined various different garments together with props
- these are some examples i found from Tim's photos of combining multiple types of styles in one photo
- also an example of men wearing women's garments
- Tim photographs these people in an outdoor environment which makes it more interesting adn contextual thus adding depth to the photos
Ryan Staley
- found his own photographic style through no formal training and taking photos more instinctively as opposed to following rules
- I like how he takes photos from unconventional angles because it gives us a unique perspective of ordinary objects and people that can be very confusing and visceral for the viewer
- the angles in which he captures a photo creates images that distort reality even though the nature of his photography is street style, which typically conveys the candid and reality as it is but he pushes this idea of an "alternate reality" through his photos
60s Space-Age Fashion
- I reference the style for my shoot from 60s space race fashion
- this is because i feel that that era saw the rise of plastic/pvc in garments as designs reflected how people would dress in the future as a people saw the rise of space technology
- hence the association between plastic in fashion as something futuristic/space-related
Alasdair Mclellan
- captures subjects in a very candid context; typically subjects are related to or placed in a north England context
- He only captures subjects that he is personally interested in
- I really like the colour tones of his photos because they are vibrant but not too saturated so it seems a bit more natural
- I also like his use of natural lit settings to capture his subjects in
- He uses props that a representative of a rural/street/home settings like the use of a garden beach chair in one of his photos or capturing subjects in homes
- These props he includes aren't exactly props introduced into the current environment they are shooting in but rather an inclusion of the environment's context, which creates a more candid and less high fashion look which is a known element of his photos
Society Girl (DAZED mag)
Photography by: Sean and Seng
Styling by: Robbie Spencer
- found this styled shoot in DAZE Mag Dec and saw that they had also use a similar styling as me for my publication shoot where i used a rain bonnet as a head piece
- i really like the extent in which they use the PVC styling by including PVC gloves and boots; this should've been something to consider using during my shoot but i also felt that using PVC gloves and boots it will take away the sci-fi/futuristic element of the look i was going for because it would make it look more domesticated than futuristic
- the reason why the PVC gloves and boots work for this DAZE shoot was because they were aiming to create societal looks of girls and one of their looks is a domesticated girl, hence a justified used of the pvc gloves and boots as a styling element
Louise Dahl-Wolfe
- pioneer in fashion photography
- she experimented with colour and black white fashion photography and was one of the earliest fashion photographers to explore shooting outside a studio setting, using natural lighting and going to exotic locations to shoot fashion
- I really liked her minimalistic approach to shooting from the colour palette to the composition because I am naturally drawn to a more minimalistic aesthetic
- the poses in which she gets the models to pose in, they are all so simple yet they evoke quite powerful imagery and also imagery that can look relevant now (which meant that her images were very forward looking back then)
- i feel that he background in painting/fine art/portraiture influenced the way she takes photos and made her be selective over the colour palette used for each shoot
- she was very hands on with the process of getting her photos published on Harper's and Vogue, from the shooting and even to the printing process
- one thing i can learn from her would be the use of body language in posing, especially for women as she got them to pose without posing, meaning that she captured women in a very liberal and natural way which evoked a strong image of a modern powerful and independent woman
Bill Cunningham
- Bill Cunningham photographed real people wearing real clothes on the streets of New York for 50 years
- He used his camera a means of fashion journalism, capturing styles mainly seen on the streets of NY and not only captured people's styles but also their personality along with it
- I liked how he was able to make visual connections between designers and wearers, environment and tribes, fashion and history from the photos he captured just on the streets
- He captured fashion in it's true natural form on everyday commuters and looked at fashion through their spectacle instead of a high fashion model or celebrity
- I feel that even though his photos are not commercialised or he was not a commercial photographer making campaigns, his photos are of more high value because of the nature of which his photos become an archive for fashion across the years he has been photographing
- His photos do not have a distinct photographic personal style to it and neither is it always aesthetically pleasing but the documentary style of capturing fashion and placing a set of his images next to each other act as a reflection of the current fashion landscape in NY which I feel may actually carry more weight than just a fashion campaign
- I also like how he has no regard for fashion labels and high profile personalities, which typically is what the fashion industry is made of, and chooses his subjects on the streets carefully, paying attention to details and capturing their personalities