Thursday, 8 January 2015

The Studio Portrait Research - Archeology of Elegance

Poschardt, U. (2002). Archeology of elegance,
1980-2000: 20 years of fashion photography. London: Thames & Hudson.
Within the book Archeology of Elegance, I found that it was divided up into sections throughout the book. The sections included 'glamour', 'art,' 'punk rock' and 'high - tech and futurism'.

Page 2, Patrick Demarchelier, Christy, new York, Vogue UK, 1990.
The photograph I found on page 2 was of interest, I think this was mainly down to the prop used. I piece of material has been created to look like a flower that the sitter wears on their head. I think that the positioning of the sitter work well with the photograph allowing the flower to be shown off more.
Page 6, Serge Lutens, Ombre Lumiere, Tulles Decouples, Elena, 1995.
This photograph captured by Serge Lutens I was drawn to through the use of make up and materials. Only the face can be seen with the hair and body covered and material with only a triangle allows the viewer to see part of the sitters face. The angle looks as though it was captured from above the sitter and gives more effect to the overall outcome of the photograph. 
Page 12, Robert Mapplethorpe, Lisa Lyon, 1982
On page 12 I found a photograph by a photographer I have previously looked at, Robert Mapplethorpe. This piece is relevant to the work I have captured using a veil, with the sitter also looking to the side and other angles. 
Page 22, Anuschka Blammers + Niels Schumm, class of 1998, self service, 1998.

This photograph was 4 photographs to make up one overall picture. I think that the framing works well along with the positioning of where the sitters are. I think that the hair was the main focus of the photograph as they all seems to have a similar style throughout. 
Page 28, Miles Aldridge, Heather, Liberation magazine, 1999.

This photograph was different to the rest, as the sitter is less serious compared to the other photo's I have looked at in the book. The model seems to be comfortable in front of the camera and this is evidential in her facial expression. Also I have noticed the sitters hair is blowing meaning there could have been a fan used. In my own photographs I have used a fan to blow the models hair having a similar effect to this piece.

Page 77, Serge Lutens, Dentelles Ephemeres, Elena, 1995.

This photograph was my favourite, this was due to the lace like material that covers to model. The make up also has been applied to give off a dramatic effect. This was one of the photographs that inspired me to create a face lace photo shoot. I have used in my 5th photo shoot, face masks that are made out of a lace like material. 

Punk Rock:

Page 97, David Sims, Malgrsia, Jill Sander II, 1999.
In the punk rock section of the book I found this photograph. The camera seems to be lower than the sitter, making the model look more powerful. I think the angle makes the photographs seem edgy and that's why it was placed in the 'punk rock' part of the book.

Page 123, Mario Sorrenti, Untitled (Bekka Green Background) W magazine, 2000.
The use of the green background in this photograph has added more depth to the piece, compared to having a plain white of black background. The models hair looks as though it has been styles for the photo shoot. The composition of the photograph works well and the framing doesn't leave too much headroom giving the photo a successful outcome. 
Overall, while looking through this book I have been able to research different photographers and find different photographs that all link in with portraiture. The sections of the book were helpful as this shows the viewer what portraits can be capture for each theme. 

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