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TASK ONE: research, analyse and deconstruct what you consider to be an 'iconic' fashion image. 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 and 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. TASK TWO: characterisation is perhaps the key to great image making since it can who
TASK ONE: research, analyse and deconstruct what you consider to be an 'iconic' fashion image. 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 and 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. TASK TWO: characterisation is perhaps the key to great image making since it can who
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TASK ONE: research, analyse and deconstruct what you consider to be an 'iconic' fashion image. 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 and 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. TASK TWO: characterisation is perhaps the key to great image making since it can who
Авторское право:
Attribution Non-Commercial (BY-NC)
Доступные форматы
Скачайте в формате PDF, TXT или читайте онлайн в Scribd
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. 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. 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. 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: shoot co-ordinator lighting lead building lead budget controller props master casting lead camera master health & safety representative 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