Access to Higher Education Diploma: (Fashion Media & Communication)

Introduction To Photography Evidence for Assessment

Name: Daniela EusebioResearch StudentNotebook no: EUS13400659 Date: 25/11/2013

Part 1: The Photography Notebook

This document shows the ten images I’ve taken during this term which subject is a story of a day by the Thames River and other characteristic elements of the city of London. The style is defined by people in their daily routines and relaxing and admirable landscapes. The sun and the shadows, the streets almost free of people to walk, the green of the trees and peaceful river mean relax, pleasantness and nature which constituted the mood and atmosphere.

Fig.1. Composition (f/7.1; 1/200s; ISO-100) Fig.2. Composition (f/8; 1/250s; ISO-100)

Both images demonstrate the composition photo technique. When I took these photographs I thought about giving a sense of action and dynamism to the photograph in the Figure 1 by shoot the post slightly on my right, the London Eye in the centre and the building and the trees on the left, so it can encourages the eye to roam around the picture. On the other hand, what I had in mind was place the bridge right in the centre to have a contrast between the photographs. Also, both were shot with narrow aperture, which means a large depth of field, fast shutter speed, since we can state the photograph is non-blurred and low ISO Speed.

Fig.3. Perspective (f/5.6; 1/80s; ISO-200) Fig.4. Perspective (f/5.6; 1/50s; ISO-200)

For the Perspective Photo Technique, I’ve taken two photographs of the same subject, which are the leaves, but with different focal length lenses. Changing the camera position and the fov changes the perspective and this changes the composition. In Figure 3, as we can state, the image as more contents than in Figure 4, where the background had been reduced due to the focal length of the lenses (the sky is not available to see in the second image, which means that the length of the lenses increased).

Fig.5. Movement (f/5.6; 1/100s; ISO-200) Fig.6. Movement (f/5.6; 1/30s; ISO-220)

When it comes to the movement photo technique, I used a longer shutter speed in Figure 5 than Figure 6 because I wanted to capture motion blur and a bigger exposure. As a consequence we can see the light in Figure 5 is stronger. In Figure 6, I tried to use a long focal length in order to get a faster shutter speed. However, I wanted movement blur (as we can see in the car) and so, I did not use a shutter speed faster than 1/focal length.

Fig.7. Depth of Field (f/5.6; 1/125s; ISO-100) Fig.8. Depth of filed (f/5.6; 1/40s; ISO-200)

In terms of Depth of Field, I have chosen the Figure 7 to illustrate a long depth of field, since the subject is further from the camera and to do it I used a small f- number. In Figure 8 I meant to do the exact opposite by shooting the subject closer to the camera and using a smaller aperture. In both photographs, the ability of the lens to vary its focus and aperture size allowed me to create depth of field and selective focus. Also, I was able to control the movement blur with the aperture and shutter speed.

Fig.9. Selective Focus (f/5; 1/125s; ISO-80) Fig.10. Selective Focus (f/5; 1/100s; ISO-200)

As we can see in the images, the photo technique present in Figure 9 and Figure 10 is Selective Focus. As the technique implies, the post is focused leaving the rest of the image out of focus and the hand and wall are also focused, leaving the river out of focus and blurred, in Figure 9 and Figure 10 respectively.

Part 2: Photography Research Notebook

PHOTOGRAPHY SDS WEEK 2 – Find a fashion photographer and collect some of their work

Francesco Carrozzini is an Italian photographer who lives and works in New York and is an Emmy award nominated director.

His carrier started in 2001, at age 19, and now Francesco is well known internationally and has his work published on covers and editorials of L'Umo Vogue, , Rolling Stone, Vanity Fair, W, amongst others. To name a few, he has also photographed models such as , , , ; musicians Keith Richards, , ; and politicians like Tony Blair.

His photograph style usually reminds us of still images, in a certain way, and that's what makes me passionate about his technique. The way he relates that to fashion is a work of art that looks like a story, almost like a narrative.

I started to follow his work on the television show America's Next Top .

Resources:

 Carrozzini, F. (2009) Vogue [Online image]. Available at: http://www.2bmanagement.com/artist/carrozzini/book-3/ (Accessed: 17 November 2013)  Carrozzini, F. (2010) Vogue Germany [Online image]. Available at: http://www.2bmanagement.com/artist/carrozzini/book-3/ (Accessed: 17 November 2013)  Carrozzini, F. (2011) Vogue Germany [Online image]. Available at: http://www.2bmanagement.com/artist/carrozzini/book-3/ (Accessed: 17 November 2013)  Carrozzini, F. (2010) l'Umo Vogue [Online image]. Available at: http://www.sita- place.com/2010/02/tyra-banks-by-francesco-carrozzini-4.html (Accessed: 17 November 2013)  Carrozzini, F. (2009) l'Umo Vogue [Online image]. Available at: http://fromswithlove.com/photography/francesco-carrozzini/ (Accessed: 17 November 2013)  Carrozzini, F. (2008) Rolling Stone [Online image]. Available at: http://www.iorr.org/talk/read.php?1,1137733,1137839 (Accessed: 17 November 2013)

PHOTOGRAPHY SDS WEEK 2 – Find a fashion photographer and collect some of their work

French-born is a fashion and portrait photographer. This legend is one of the bests in the industry. The most well-known fashion magazines have his work all over their pages, as well as the most prestigious brands such as , , Yves Saint Laurent, Versace and Calvin Klein. In 1992, Demarchelier began a long-term collaboration with Harper's Bazaar, becoming the magazine's premier photographer.

His photography style inspires me, since he has de ability to ease models into a peaceful and serene mode, making them reveal their emotions required for a particular purpose. “Lighting helps to bring the character out” he says. Some of Demarchelier’s photographs have also the power to captivate me due to the futuristic vision, sophistication and classic style present on it.

I started to follow Patrick Demarchelier’s work on fashion magazines.

Resources:

 Demarchelier, P. (2009) [Online image]. Available at: http://www.247feature.com/2009/05/08/art-commerce-now-represents-patrick- demarchelier/ (Accessed: 17 November 2013)  Demarchelier, P. (2007) French Vogue [Online image]. Available at: http://online.wsj.com/news/articles/SB122661892463826331 (Accessed: 17 November 2013)  Demarchelier, P. (2009) Vogue UK [Online image]. Available at: http://models.com/feed/?p=985 (Accessed: 17 November 2013)

 Demarchelier, P. (1994) Vogue [Online image]. Available at: http://fashionstyleguru.wordpress.com/2012/06/05/patrick- demarchelier/ (Accessed: 17 November 2013)

PHOTOGRAPHY SDS WEEK 2 – Take photographs of people we see on street with a look we appreciate and find interesting

The rest of the Street Style photographs are available to see on my blog.

PHOTOGRAPHY WEEK 3 - Photographers, their work and its composition

During the third week we had to research fifty photographs from our own interest and from those fifty, reduce them to ten. These ten photographs had also to be from ten different photographers and our task was to explore their work and the composition of each photograph.

Russell James

Adriana Lima for Donna Karan Spring/Summer12

Born in Australia, Russell James is one of the world's most renown fashion photographers of our times. Working with the world's top models such as , Miranda Kerr, Alessandra Ambrosio and others, made his work become provocative over the decades since they are some of his muses and the photoshoots usually take place in tropical locations.

James' photography is also known because he is the main photographer of Victoria's Secret and has collaborated with Vogue, Sports Illustrated, American Photo, W, Marie-Claire, and GQ.

Composition:

 Separation - Distance between the man in the background and the model. The fact of the light being in the center of the photograph and the movement of the dress also gives us the feeling that she is moving away;  She is the only thing focused in the image which means she is the center of the attention;  The shadow on her, the fluidity of the clothing, the warm brown tones of the dress and the rest of the scene gives us the feeling of a hot summer day;  Her expression reveals power as well as independence.

Resources:

 http://www.guyhepner.com/artists/#!ART48/Russell-James  James, R. (2012) Donna Karan Spring/Summer12 [Online image]. Available at: http://xaxor.com/fashion/38531-adriana-lima-for-donna-karan-springsummer- 2012-by-russell-james.html (Accessed: 17 November 2013)

Emma Summerton

Nicole Kidman and Clive Owen for W Magazine, May 2012

Australian-born photographer Emma Summerton lives and works in London. This photography lover was a Fine Arts student at the National Art School, in Sydney, and then worked as a photographic assistant for six years. Emma moved to London in 1998 and that's when her photographic projects really began.

This photographer works with Italian, British, American, German and Australian Vogue, i-D, Self Service, Dazed & Confused and Nylon. In addition, Yves Saint Laurent, Miu Miu, Topshop, Selfridges, Bodyamr and Jaeger are some of her commercial clients. Emma combines her fine art foundation and modern eye to create dynamic spreads.

Composition:

 Sexual tension - Distance between the couple and complicity, at the same time;  Their body language and clothes reveal they are a married couple, or lovers, from upper class;  The dramatic atmosphere is present in the corridor length (where the photograph is centered) and clarity beyond the door of the hotel room;  The feelings I got from the image are repentance, hesitation and romance.

Resources:

 http://www.emmasummerton.com/Biography  Summerton, E. (2012) W Magazine [Online image]. Available at: http://wmagazine.tumblr.com/post/21227855898/photo-by-emma-summerton- now-this-is-an-affair-to (Accessed: 17 November 2013)

Norman Parkinson

Vogue, 1952

Unfortunately this genius photographer can no longer amaze us with some new work. Norman Parkinson was a photographer for over fifty years, having the peak of his career during the Fifties and early Sixties. In my opinion, he was the really first fashion photographer, since he was one of the first in the industry to shoot models outside the studio.

Parkinson inspired me to talk about his work because he had the great capacity to transform fashion photography into a new and modern era. His portraits were playful and dynamic. He began to work at Vogue in 1942.

Composition:

 The model is focused in the center of the photograph, which makes our eyes look at her straight away;  Movement - the car and the walk of the man behind creates some movement in the image;  Her face expression and pose indicates she was expecting to be photographed;  Her shadow as well as of the dogs' and the man's are a notorious part of the composition of the image;  This photograph is also marked by the amount of light that possess and the black and white effect make the image seem old. Resources :

 http://sellsellblog.blogspot.co.uk/2013/04/norman-parkinson.html  http://www.bristol.gov.uk/press/leisure-and-culture/eye-fashion-exhibition-british- fashion-photography-norman-parkinson  Parkinson, N. (1952) Vogue [Online image]. Available at: http://www.1stdibs.com/art/photography/norman-parkinson-barbara-mullen- dogs-vogue-1952/id-a_40156/ (Accessed: 17 November 2013)

William Klein

Piazza di Spagna (Rome),1960 - courtesy Galleria , Milan

William Klein was born in New York City and from 1942 to the beginning of the Fifties he studied Sociology, went to the US army, moved to Paris and collaborated with architect Angelo Mangiarotti and Domus Magazine. In 1954, Klein returned to the Big Apple and during ten years worked for Vogue. He currently lives and works in Paris.

Like Norman Parkinson, also William is one of the "responsibles" of the revolution of fashion photography and modernity in general. He is known for extensive use of wide angle and telephoto lenses, natural lighting and transform the model and the garment into something artful (more than just show the garment).

Composition:

 Photography clearly marked by the presence of black and white straight lines/stripes (dresses and crosswalk);

 Apparently this is a picture from the Sixties, due to the clothes people are wearing, the motorcycle and photo quality;  Movement;  Envy - The woman behind turned her head, probably to look at the model and her clothes.

Resources:

 http://www.artnet.com/artists/william-klein/biography-links  Klein, W. (1960) Piazza di Spagna [Online image]. Available at: http://ehehr1955.wordpress.com/2011/03/24/william-klein-fashion- photography/ (Accessed: 17 November 2013)

PHOTOGRAPHY WEEK 4 - Selective Focus

Hanna Wahmer photographed by Jan Welters, 2012

This photograph, which I love because it transmits serenity and calm, was taken with a small f- number, and so we are analyzing an image with long depth of field and selective focus. The sky and part of the water are unfocused as we can see.

Sebastian Sauve for Fiasco by Aline & Jacqueline Tappia, 2011

In this case we can definitely state the photographer meant to have the model and the lamp as subjects, since the rest is out of focus. Once again the depth of field is long.

Megan Fox for Armani Campaign by Mikael Jansson, 2011

This is a really good example of the selective focus. The photographer had an incredible ability to focus only the model and concentrate the attention on her. As she is not closer to the camera, we have a long depth of field.

Anna Ewers for Vogue Brazil - July 2013 by Mariano Vivanco

The subjects, which are the models, are focused leaving the rest of the image blurred. We can also say that the photographer used a long depth of field to take this photograph.

Sources:

 Welters, J. (2012) [Online image]. Available at: http://www.leyogashop.com/blogs/lejournal/7280224-jan-welters- photographer (Accessed: 17 November 2013)  Tappia, A. & J. (2011) Fiasco [Online image]. Available at:http://plusmen.blogspot.co.uk/2011/03/sebastian-sauvejacob-coupe- thomas.html (Accessed: 17 November 2013)  Jansson, M. (2011) Armani Campaign [Online image]. Available at: http://wallpaperpassion.com/download-wallpaper/4233/megan-fox-armani- campaign-wallpaper.html (Accessed: 17 November 2013)  Vivanco, M. (2013) Vogue Brazil [Online image]. Available at: http://thecitizensoffashion.com/2013/07/02/anna-ewers-by-mariano-vivanco- vogue-brazil-july-2013/anna-ewers-by-mariano-vivanco-vogue-brazil-july-2013- 1/ (Accessed: 17 November 2013)

PHOTOGRAPHY WEEK 5 - Super Real Through Movement

Tony Frissell, 1963

Movement of the subject and the dress is captured without blur by using a fast shutter speed.

Natalia V. by for Vogue Italia 2005

Movement of the subject, which is the model and no movement blur in the image. The light gives a special touch.

Richard Avedon, 1970

Once again, no movement blur and shutter speed since the model is in the air and the dress and hair are perfectly focused.

Jake Walters, Peroxide, 2009

No blur and presence of super real with definitely a faster shutter speed. The three subjects are extremely well focus, as we can see.

Irving Penn, Vogue US 1996

Without blur, the subject captured is very focused, with special attention to the ink because such effect is hard to capture so precisely.

George Hoyningen-Huene, 1931

This time we have a photograph with some blur in the scarf and end of the dress which means the shutter speed was slower.

Sources:  Frissell, T. (1963) Undercurrent [Online image]. Available at: http://heim.etherweave.com/weblog/archives/000337.html (Accessed: 17 November 2013)  Meisel, S. (2005) Vogue Italia [Online image]. Available at: http://heycrazy.wordpress.com/2009/12/19/natalia-v-by-steven-meisel/ (Accessed: 17 November 2013)  Avedon, R. (1970) The Foundation [Online image]. Available at: http://www.touchpuppet.com/2010/07/30/photographer-spotlight-richard- avedon/ (Accessed: 17 November 2013)  Welters, J. (2009) Perodixe [Online image]. Available at: http://minimalexposition.blogspot.co.uk/2009/05/jake-walters-maximum-craft- photoblog.html (Accessed: 17 November 2013)  Penn, I. (1996) Vogue US [Online image]. Available at: http://pleasurephoto.wordpress.com/2012/10/13/cult-creams-vogue-us-june-1996- photographer-irving-penn/ (Accessed: 17 November 2013)  Hoyningen-Huene, G. (1931) A Gracian-inspired shoot [Online image]. Available at: http://pleasurephotoroom.wordpress.com/category/george-hoyningen- huene/ (Accessed: 17 November 2013)

Workshop 3

In our last workshop we developed the movement photo technique and I’ve chosen this particular image, since it demonstrates what we have learned about the technique. The “freeze” effect of the subject and blur around the hair show also the faster speed and selective focus. The photograph was taken with a f/5.6 focal length of the lens.

Part 3: The 400 word illustrated evaluation of two (or more) photographers

Peter Lindbergh and Miles Aldridge

Born November 23, 1944 in Poland, is one of the most conceptualized fashion photographers of these days. He spent his childhood in Duisburg and since his eighteen years old, has lived in Switzerland, Spain and Morocco. Currently, the Polish-born photographer lives between New York, Paris and Arles. I found is work extremely interesting due to the black and white portraits with women, who he uses has subject, and focus on their spontaneity and personality, having the ability to capture their sensitive, fragile and unprotected side.

The lens he often chooses allows him to concentrate mostly on the model, by using the selective focus technique and a quite large aperture. Also his photographs usually contain several depths of field, despite being long in most of the times, natural looking light, no movement blur and accurate compositions and perspectives.

His influence comes from films and cultural history which explains the melancholic black and white style and the way he demonstrate women through is work, particularly in the Nineties, shows their playful, emancipated and sensual features from that time. Lindbergh has been awarded many Fig.1 Peter Lindbergh, , times (more recently received the award for Harper‘s Bazaar, New York, 1994 "Fashion Layout of the Year" and Gold medals for "Best Photography" and "Best Magazine Concept") and has had his work published on Vogue, Marie Clair, Harper’s Bazaar, amongst others.

Contrasting, Miles Aldridge’s is known for his use of lurid color and darker in tone images. Substantially inspired by Hitchcock’s style, Aldridge’s photography is about glamour, beautiful women, provocation and chaos. Through my point of view, is amazing how it works so well since it represents the modern women of today’s society and the problems they face every day and struggle with. The techniques presented in his photographs may vary, although commonly there are a mixture of depths of field, perspectives and compositions. Always focused selected, the work demonstrates a sinister and tension mood and atmosphere.

Miles Aldridge was born in London in 1964, has always lived there and curiously, studied Illustration in Central St. Martins. His work has been published in magazines such as Vogue Italia, GQ, The New York Times Magazine and Harper’s Baazar. We can also easily find some of Miles Aldridge’s work exhibited at The National Portrait Gallery and Victoria & Albert Museum in London, as well as at the International Center of Photography in New York.

Fig.2 Miles Aldridge, 2008

Fig.3. Miles Aldridge, 2011 Fig.4. Peter Lindbergh, 1988

Fig.5. Miles Aldridge, 2013 Fig.6. Peter Lindbergh, 1990

Fig.7. Miles Aldridge, 2010 Fig.8. Peter Lindbergh, 2001

Fig.9. Miles Aldridge, 2011 Fig.10. Peter Lindbergh, 1995

Bibliography

 http://www.photography-collection.com/exhibitions/peter-lindbergh-on- street/ (Accessed: 18 November 2013)

 http://www.peterlindbergh.com/biography/# (Accessed: 18 November 2013)

 http://www.vogue.com/voguepedia/Peter_Lindbergh (Accessed: 18 November 2013)

 http://danielaeusebio.myblog.arts.ac.uk/2013/10/12/photography-week-3- photographers-their-work-and-its-composition-2/(Accessed: 18 November 2013)

 http://fashion.telegraph.co.uk/article/TMG10048858/Miles-Aldridge-on- his-disconnected-subjects.html(Accessed: 18 November 2013)

 http://danielaeusebio.myblog.arts.ac.uk/2013/10/11/photography-week-3- photographers-their-work-and-its-composition/ (Accessed: 18 November 2013)

 Lindbergh, P. (1994) Harper’s Bazaar [Online image]. Available at: http://www.photography-collection.com/exhibitions/peter-lindbergh-on- street/ (Accessed: 18 November 2013)

 Aldridge, M. (2008) Vogue Italia [Online image]. Available at: http://thestylefactoryblog.wordpress.com/2013/09/01/what-happened- next-on-miles-aldridges-photography/ (Accessed: 18 November 2013)

 Aldridge, M. (2011) Vogue Italia [Online image]. Available at: http://noirfacade.livejournal.com/936061.html (Accessed: 18 November 2013)

 Lindbergh, P. (1988) Vogue UK [Online image]. Available at: http://richardmarzphotography.tumblr.com/post/49430034853/opaqueglitter- christy-turlington-linda (Accessed: 18 November 2013)

 Aldridge, M. (2013) I Only Want You To Love Me [Online image]. Available at: http://disegnodaily.com/interview/miles-aldridge-on-fashion- photography (Accessed: 18 November 2013)

 Lindbergh, P. (1990) Vogue [Online image]. Available at: http://sighswhispers.blogspot.co.uk/2013/05/lolita-1990.html (Accessed: 18 November 2013)  Aldridge, M. (2010) [Online image]. Available at: http://lisasaysblog.com/category/future/ (Accessed: 18 November 2013)

 Lindbergh, P. (2001) Hable con ella [Online image]. Available at: http://peter.lindbergh.free.fr/lindba327.html (Accessed: 18 November 2013)

 Aldridge, M. (2011) Purr [Online image]. Available at: http://mimosameltdown.wordpress.com/2011/01/30/kitty-purry/ (Accessed: 18 November 2013)

 Lindbergh, P. (1995) Vogue [Online image]. Available at: http://pleasurephoto.wordpress.com/2012/01/29/nadja-auermann-by-peter- lindberg-1995/ (Accessed: 18 November 2013)