Research: Ring Flash

I have been looking into ways to solve my lighting problem and think that I have decided that the ring flash is the way to go at this point in time. It provides beautiful, even, virtually-shadowless light and is used extensively in fashion photography. This one, made by AlienBees, is the one I am leaning toward as it self-contained or doesn't require a powerpack, and it is reasonably priced. It is also versatile as it can be handheld, mounted on a tripod with the camera or on a light stand for use off camera which can produce a different effect with the light.

Artist: Mario Testino

Mario Testino is one of the most sought after photographers working today. He was born in Lima, Peru in 1954 and at age 22 moved to London to pursue a career as a photographer. He began selling portfolios (for 25 pounds, including hair and makeup) to wannabe models. Today he shoots regularly for American, British, German and Russian Vogue, V Magazine, GQ, Vanity Fair and countless advertisements for top design houses. His work as been described as "luxury realism" and it's known that whatever clothes he shoots, sell. I love how versatile his work is, it seems that everything he shoots has it's own perfect mood, feeling and aesthetic while still retaining his personal edge and look. I also love that while his images are high fashion and beautifully styled, they also retain an edge of nonchalance, not a forced perfection. This is definitely something that I can apply to my own work as sometimes I let my perfectionist nature take over and my images can become a bit too staged. Mario Testino is an amazing photographer and there is much to be learned form his life and work.

www.mariotestino.com

Research: "The September Issue"

After many months of patient waiting, I finally saw "The September Issue," a documentary film by RJ Cutler, which chronicles the making of the September 2007 issue of Vogue magazine. As a long time reader of Vogue and fan of editor-in-chief, Anna Wintour, I was completely engrossed in the film from start to finish. Not only does it reveal an intimate portrait of the inner dynamics between the key players in the Vogue world, particularly Anna Wintour and creative director Grace Coddington, but also a revealing look at what it it's like to be a photographer for the magazine. In the film Grace Coddington, the magazine's creative director and mastermind behind the majority of the fashion shoots, spends a great deal of time prepping and organizing a shoot with photographer Steven Meisel that centers around a 20's theme. Unfortunately, the actual shoot isn't covered in the film, much to my dismay as Steven Meisel is one of my favorite photographers and the shoot in question is one that I have in my inspiration journal. The images were amazingly beautiful and there were a great deal more that were taken than appeared in the issue. The film shows Anna Wintour cutting photos out of the spread without so much as a second though, simply stating that they didn't work or needed to be cut because the spread was to long. One photo in particular, shown below, was a main photo from the shoot, showcasing the looks by Galliano that inspired the entire idea behind the shoot was cut to utter disappointment of Coddington. At one point Coddington states that Wintour had thrown away probably $50,000 worth of shots from the series. It was amazing to get a behind the scenes look at the industry that I have so badly wanted to be a part of for so long. To see amazing photographers such as Meisel and Mario Testino, who does a shoot in Rome with Sienna Miller for the cover and feature spread, get their pictures scrutinized and Photoshopped and cut from the issue all together is quite jarring to a young, idealistic photographer such as myself. This industry is cut-throat and a behind the scenes look was just what i needed to spark that angry-girl drive to get there myself.

Grace Coddington: Creative Director

Anna Wintour at work in her office

An amazing photo by Steven Meisel that was cut from
the issue by Anna Wintour

Anna Wintour in a meeting with Mario Testino discussing the
cover shoot with Sienna Miller

Artist: Elle Muliarchyk

(note: Please excuse the delay of this post. I had a computer fiasco this weekend when my laptop battery decided to die when I was home in Nova. I then went to the Apple Store in Tyson's to get a replacement and drove all the way back to Richmond before I realized that I left my charging cord at the store. So.... finally up and running again, thankfully!!)

Elle Muliarchyk born in Belarus was discovered in a New York café, by Patrick Demarchelier. She first came to attention as the ex-model who’s guerilla style photographs of herself in fashion boutique dressing rooms received worldwide media coverage after a six page expose on her work appeared in the New York Times Magazine. She has since expanded her body of work into fashion assignments and other collaborations (most recently with Bella Freud). Elle’s “hit and run” method creates very modern images that are at once radical and guerilla while also being surprisingly beautiful and sublime. To create her art works, Elle works alone and embraces the inherent danger and spontaneity as part of her method. (Despite being mugged and mistakenly arrested) She is tirelessly creating new projects that confront luxury on her own terms while addressing numerous social issues. The New York Times termed her technique as “Pretty Larceny” and notes “Elle Muliarchyk has been evicted from fashion boutiques around the world, she is an artist and what she steals are fashion moments. While some have compared her quirky oeuvre to Cindy Sherman’s stills and to Vanessa Beecroft’s performances, Muliarchyk is a true original. Her images are a compelling and eccentric cocktail of cheek and chic, narcissism and vulnerability.”

-www.afgmanagement.com/ellemuliarchyk

I love the way Muliarchyk's images mix fashion with meaning. Even without knowing her process, the images speak of something deeper and allow the viewer to conjure their own story and meaning. With my own series I am seeking to find ways in which I can portray meaning while still keeping a fashion edge and aesthetic. I think these are fine examples of finding that balance. I am also very interested in the use of light to convey emotions and enhance the beauty and meaning of a scene. I love Muliarchyk's use of light, some obviously available light like in the dressing room images and others, creative and imaginative explorations. I am truly inspired by her originality and the beauty of her work.

Absolutely love her use of light in these last few:

Artist Lecture: Brian Ulrich

I was very impressed with the lecture given by Brian Ulrich yesterday. I was a bit nervous in the beginning as his first explanation, given while we stared at a black screen with the word "Copia" on it, seemed a bit long-winded, but once he got in the groove I was engaged right up to the end. What was most impressive and helpful for me was the way he showed the progression of his idea and work. He began with the inspiration: the collective notion after 911 that as Ulrich put it, "it was our patriotic duty to buy things" in order to keep the economy from faltering. It was inspiring to see how he took that idea and pushed it to the limit in the arena of major chain retailers. To then see how he went from the purchasing of things to wondering where all those things ended up and subsequently photographing thrift stores was amazing. He then pushed that idea to the limit and as the times changed and the economy worsened he became interested in the remnants of retailers forced to close and once again has pushed/is pushing that idea to the limit. To see the evolution of the idea and the enthusiasm with which he approached each aspect was truly great. I loved when he spoke of buying plane tickets the next day because a place was scheduled to be demolished or driving six hours through one of the worst snow storms ever just because he really wanted to go right them. What commitment and excitement for one's work! I felt artist envy at times; it must be the most wonderful feeling to know that what you are working on it important to you and to have the means, monetarily and time-wise, to pursue that however you see fit. I am in awe of this and have vowed to seek it out in my own artistic journey. My favorite thing he said, something that I will use to comfort myself when I get discouraged that everything has been done before, was "There is a whole world of pictures out there that you could never imagine."

Research: Old Hollywood Glamour and the Vanity

Instead of focusing specifically on the the 1920's and the "flapper" aesthetic, I have been working with the idea of referencing "Old Hollywood Glamour" without pushing it so far that it becomes a main component in my work. I want the images to appear modern while acknowledging the past. I think it is important to have a through understanding of what I would like to reference so I have been doing some research on what Old Hollywood Glamour really looked like. One specific trend I found was the use of the vanity. A vanity in itself is a piece of furniture that is associated with glamour, even today, as it is where a woman would sit down to do her hair and makeup, to transform into her perfect glamorous self. A vanity is the one place in a home that is dedicated specifically to beauty; a grand central station, if you will, of glamour. The mirror associated with the vanity is an important aspect of why I am drawn to it as a set piece for my flawed beauty series. A mirror offers back a physical reflection of self which can be a metaphor for internal self-reflection, both of which are important to my flawed beauty theme. I am now on a mission to find the perfect vanity for my series!

Vanity Inspiration (past and present):

Aline Smithson

Aline Smithson began her career as a fashion editor for Vogue Patterns magazine and later became a freelance photo stylist. When she discovered her uncle's twin lens Rolleiflex she discovered that she preferred to be behind the camera. All of these images are from a series titled, "Hollywood at Home". Smithson grew up close to Hollywood and has always been intrigued by the real and manufactured Hollywood. Inspired by the portraits of celebrities at home from the 40's and 50's she created her own manufactured "Hollywood". Her statement says, "This ongoing series is about elevating family and friends into a false stardom, where they, perhaps, are just on the verge of being discovered, happy to participate in the artificial glorification of who they really are." I find these images beautiful and intriguing, they make me want to know more about who the woman really is. I love her use of the old Hollywood glamor as that is the aesthetic that I'm working to portray in my series. I find this series inspiring definitely something to reference as I move forward in my own work.

www.alinesmithson.com