Wednesday, 7 January 2015

The Studio Portrait Research - Unseen Vogue

Derrick, R. (2002). Unseen Vogue: The secret history of fashion photography.
London: Little, Brown.

Towards my research into the studio portrait, I have also looked at fashion photography in particular the book of Unseen Vogue photographs. The book is full of inspirational ideas and I have scanned in the pages that I found to be of interest. I mainly looked at portraiture, but I have included a full composition of one of the vogue models (Page 170) as well as just portraiture.
 
 
Page 28, Franco Rubartelli, Veruschka, 1965
Photographed by photographer Franco Rubartelli, I found portraiture shot in the studio that involves materials added to the models face. In this instance, the model wears flowers on her face, on the left the model was wearing a scarf wrapped around her head, with eye shadow that matched it.
 

Page 29, Franco Rubartelli, beauty photography, 1965


This photograph above also shot by Rubartelli was of interest as it's different and unique. The colours go well and also the white background works for the over all photograph. The green visor the model wears over her face looks as though it has been used as a shield from the viewer.


 
Page 126, David Bailey, Jean Shrimpton, 1965


The photograph above shot by Bailey was a photograph of model Jean Shrimpton. I like that this shot shows it's age, giving off a vintage vibe. The photograph holds a glamorous side to it as Shrimpton is wearing diamond type of earrings and has her make up done. The angle of the sitter and the lighting was successful in this shot and the model looks like she has adapted to this lifestyle because of how comfortable she seems in front of the camera.  
Page 133, Brian Duffy, Ursula Andres, 1966

The photograph above shot by photographer Brian Duffy was a successful photograph. I think that what makes the photograph is the fact that both hands have been captured in the shot. The framing is showing how the sitter is feeling due to the body language and the way she is holding her hands. I also like the use of make up on the eyelids, showing off the type of fashion that went on in 60's.


Page 157, Cecil Beaton, Penelope Tree, Late 1960's


The photograph on the left was the main interest, I find the composition and framing works for this shot. The use of a veil like material also reminds me of my idea to add a veil. I like that although the photograph is black and white and the model wears make up, she still hold natural beauty. 
 
Page 167, Guy Bourtin, Chandrika, 1970


The reason I found this photograph interesting was because of the added material also. Though there is a piece of material attempting to hide away most of the model, the viewers are still able to make out what the models face looks like. Throughout my photo shoots I have used a similar material but in black.
 

Page 170, Peter Knapp, Cathee Dehmen, 1971


Although this photograph isn't of a portrait, it shows the studio setting off a bit more. The models hair is also flowing, this is something I have attempted in my photo shoots. Mainly in photo shoot 4 I have used a fan to blow the sitters hair around and have been able to capture the successful photographs when more of the hair was flowing.


Page 262, Ellen Von Unwerth, Tatjana Patitz, 1991
When looking closely at this photograph there is a material between the sitter and the camera. There is a thin net in front of the sitter which wouldn't be noticeable unless the viewer takes real interest to the photo.

Overall, I have found looking at the book Unseen Vogue interesting and yet inspiring. The lighting and angles work well. I have also gained a wider perspective of fashion throughout the years and how it has changed slightly.


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