TASK ONE

In order to fully understand the complexities of the task undertaken by
artists, we must deconstruct each individual element used to create the
illusion. Camera control, lighting design and the nuance of performance
all have to be carefully considered and understood. Atmosphere is a key
element in creating emotive imagery.
º Research, analyse and deconstruct what you consider to be an
‘iconic’ fashion image and give careful consideration to what makes it
such. Your image may be historical or contemporary.
º You should take into account all the elements making up the narrative
within this singular frame: the characterisation of the sitter or model,
the garments & costume worn, the setting and context, the style of
hair and make-up, the use and meaning of props and the lighting and
photographic techniques employed.
º lf your |mage |s |mp||c|ty commerc|a| account for the |nfuence and
importance of the market place upon the above factors.
Note your fnd|ngs |n your sketch book / journa|. Produce a small
PowerPoint, of 2 slides. Slide 1: Your name; Photographer/title
and Slide 2: the image. Also have a printed hard copy available for
discussion when we next meet.
Task deadline; Monday 14th January. Please print your image on
an A4 sheet of paper and pin it on the wall before the meeting.
fashion: constructed image
BA (hons) Photography (Contemporary Practice)
2013 Stage 1 Term 2 Unit RPHC4004
Photography: Corrine Day: British Vogue
Photography: Mario Testino
fashion: constructed image
BA(hons) Photography (Contemporary Practice)
2013 Stage 1 Term 2 Unit RPHC4004
Photography (top left/bottom right): Philippe Halsman, David LaChapelle, Annie Leibovitz, Norman Parkinson, Annie Leibovitz, Guy Bourdin, Irving Penn
TASK TWO
Characterisation is perhaps the key to great image making since it can
who||y defne the subject and context.
Street casting and portraiture is as much cultural documentary as fashion
reportage. We ask you to carry out a simple ‘street’ casting and return
with an image of a chosen character or model. This person may be known
to you or a stranger encoutered in public. They may be conventionally
‘beautiful’ or their appearance and character may rest out side of what the
mainstream media my consider the norm. Whatever the reason for your
choice, they must inspire you in some manner, whether by the the way they
stand, dress or behave. In creating your image you must consider not only
the characterisation, but also costume and context of the sitter. Be prepared
to verbally account for your choice.
ln cast|ng for a spec|fc fash|on shoot further pract|ca| cons|derat|ons ex|st.
Will the model move well or do they seem self- conscious or awkward?
Can they inhabit the required role and take directions? Finally (and perhaps
rather obv|ous|y} do they ft the c|othes?
Street casting has become widespread (and somewhat ubiquitous) online
and in print. See the following websites for inspiration:
http://facehunter.b|ogspot.com/
http://www.thesartor|a||st.com/
Note your exper|ences |n your sketch book / journa| and have a pr|nted hard
copy of your fna| cast|ng |mage ava||ab|e for d|scuss|on when we next meet.
Task deadline; Monday 14th January. Please print your image on
an A4 sheet of paper and pin it on the wall before the meeting.
fashion: constructed image
BA(hons) Photography (Contemporary Practice)
2013 Stage 1 Term 2 Unit RPHC4004
From; Go-Sees: Girls Knocking on My Door by Jergen Teller
From; Face Hunter by Yvan Rodic
fashion: constructed image
BA(hons) Photography (Contemporary Practice)
2013 Stage 1 Term 2 Unit RPHC4004
TASK THREE
You are asked to form a project teams of 3 members, g|v|ng carefu|
consideration to individual skills sets within your group and the abilities each
individual brings to the task. Your team will need a broad spectrum of skills
from negotiation and organisation to practical construction and lighting. All
team members should contribute to all aspects of the task however due to
the comp|ex|t|es of the project we requ|re you to ass|gn |ead ro|e(s} to each
member of your group:
º shoot co-ordinator
º lighting lead
º building lead
º budget controller
º props master
º casting lead
º camera master
º health & safety representative
º post-production lead
Think carefully when assigning roles; play to the strengths within your team
and cons|der how some tasks may over|ap or conf|ct, espec|a||y dur|ng the
shoot production. It will also be helpful if your team members share a similar
taste in genres and styles.
Task deadline; Monday 14th January. Please submit proposed
groups to Jonathan Simms by 2pm.
Photography: Julia Fullerton Batten

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