Beauty: Bibi by Michael Taborsky in 'Dazed Fairy'

With the magazine publishing industry growing bigger than ever and the format of magazine continuously shifting, it's never been so easy to create a magazine online. One that stood out was institutemag.com. I particularly like the beauty editorials such as 'Dazed Fairy' by Michael Taborsky, a talented photographer who has only been shooting fashion and beauty since 2012. I particularly like the softness and shallow depth of field, this effect to portraits really draws you in. Her skin is like silk complimenting the colourful hair, beauty and accessories styling. This is a good example of talented individuals making a striking editorial. She certainly is a captivating dazed fairy.

Further Links:
Michael Taborsky
Bibi @ Flair Model Management

Model Exposure: Archana, The Indian Model

Archana Kumar came up on my models.com feed and my, what a beauty she is! You rarely see striking Indian models on the Western model circuit as they are usually Bollywood actresses (who are glamorously gorgeous). However Archana possesses both feminine and masculine beauty with strong jaw and cheek lines; it is no wonder she's getting featured in the top fashion magazines including Vogue India, Elle India, Harper’s Bazaar and Marie Claire. Her natural beauty is charming and distinguished. It's always refreshing seeing a face so captivating and interesting.

All photos from: http://models.com/newfaces/dailyduo/30836

Exhibition Review: Hisaji Hara at Michael Hoppen Gallery

Contemporary photography is going back to its artistic roots reminiscing paintings as its source of inspiration. Many notable photographers such as Tom Hunter and Peter Lindbergh’s ‘Portrait of a Lady’ editorial of Julianne Moore in Harper’s Bazaar [1] have used historical art references to build their photographic ideas; so it is refreshing to see emerging Japanese photographer, Hisiji Hara convert paint to pixels [2]. Hara bases his exhibiting series at the Michael Hoppen Gallery on Polish-French 20th century artist Balthus stating he wanted to explore ‘authenticity’ which he believed his paintings possessed [3]. Although Hara uses the painter’s original compositions, his interpretation are culturally and visually laudable in their own right [4]. This is the first time that Hara’s work has been exhibited in Europe [5] where Western contemporary art is slowly embracing photography of the East and it is encouraging to see portraiture capturing a timelessness to a wider audience which he recreates from his meticulous approach. Though it is interesting and beneficial knowing the background to the image, what the viewer reads and feels is all in the foreground. First notions are that his work is sexually suggestive, atmospherically staged and the viewer later realize it’s a beautifully dark portrayal of childhood innocence and mature eroticism and the transition between the two. Exploring themes such as this has created mixed interpretations of his work leaving a lasting impression on the viewer; one cannot figure out the entirety of his work in one glance, it takes absorbing the whole room first to get a feel for his portraits which is most enjoyable for the voyeur.

 [FIG. 1] © Hisaji Hara, ‘A Study of ‘The Room’’, 2009

Veysey, Iris; ‘In Review: Hisaji Hara at the Michael Hoppen Gallery’ on ‘Vignette Magazine’; Available at: http://www.vignettemagazine.com/exhibitions-events/in-review-hisaji-hara-at-the-michael-hoppen-gallery/

Reviews of this work have stated Hara puts the viewer in a voyeuristic role with compositions such as ‘A Study of ‘The Room’’ [Fig. 1, above] where we are looking through an ajar door as if we were the photographer. Though this isn’t present in the original [Fig. 2, below], Hara embodies the expression of Balthus’ paintings rather than copy every minute detail; Hara puts his own twist. While the viewer may feel prurient and slightly naughty looking at young girls in short skirted school uniforms the atmosphere in the purposely aged photographs is soft and ethereal challenging the notions associated with voyeurism. The contrast between the two is most compelling yet at times unsettling as we are charmed by the instant beauty but contradicted by society’s view of representations of young girls. Hara states that ‘If you can see the mixture of innocence and eroticism in my series and be unsettled by it, that is because you are seeing our unavoidable antinomy. And that is very beautiful and important for me.’ [6] He also mentions that ‘eroticism’ roots to our physical existence and that ‘innocence’ reflects our spiritual existence and how they both represent two opposing sides of our actuality. He believes Balthus had challenged this and forced the viewer to ‘listen’ to their spiritual side and not necessarily be overwhelmed by our physical self. Modern thought (our physical existence) associates short skirts with sexual desire and thus transforms the girl into an object. As Laura Mulvey puts it; ‘pleasure in looking has been split between active/male and passive/female’ (Mulvey 1992, 27). [7] This can clearly be seen in [Fig. 1] and ‘A study of ‘Because Cathy taught him what she learnt’’ where there is a man leaning above the girl who is kneeling on the floor. Balthus said that he painted little girls because "women, even my own daughter, belong to the present world, to fashion" [8] thus creating a timelessness that children possess [9].

[FIG.2] Balthus; ‘The Room’, 1953

‘The Room’ on ‘Wikipaintings’; Available at: http://www.wikipaintings.org/en/balthus/the-room

Admittedly it was Guy Bourdin’s exhibition at Michael Hoppen Contemporary that was the main attraction however wandering downstairs to find a small room displaying Hara’s 20’s styled portraits juxtaposed the feeling from Bourdin on the top floor. Hara’s girls possessed a soft innocence where the viewer feels enchanted to gaze longer; a contradictory character to Bourdin’s women who were powerfully sexual and demanded your attention in a loud manner. After viewing Bourdin’s colourful work first, made Hara’s black-and-white portraits become more captivating and somehow delicate especially his depiction of young females. Perhaps the Gallery purposefully chose two dissimilar styles to exhibit at the same time that both shared a theme of underlying sexuality to impact the viewer further more.

Another prominent piece that makes ‘A Photographic Portrayal of the Paintings of Balthus’ so beautiful is Hara’s painstaking approach to recreate the original compositions using a medium format film involving elaborate set up and technicalities. The disquieting serenity is due to Hara’s scrupulous staged tableaux which is becoming a prominent art form in modern photography. Today’s society is engrossed in digital post-production manipulation [10] thus rendering old-fashioned film a dying medium however Hara prefers the labour intensive approach using multiple exposures and a smoke machine that enhances the misty atmosphere and sense of depth. He does so by using a matte box and cardboard screens altering the perspective. With a foggy set up the exposure time would vary from 1 – 10 seconds reminiscing the long periods an artist would need to paint his subject. Again Hara embodies not only the composition of Balthus’ paintings but encompasses a painters approach too. Also the traditional means and soft focus prompt similarities to the Pictorial era [11] enriching his photographs with historical likeness that is refreshing for 21st Century photography.

Michael Hoppen Gallery has been applauded for bringing contemporary photographers from across the globe to the Western market and has created a platform for emerging artists. [12] Though the exhibition was considerably small leaving us wanting to see more of Hara’s work it was pleasant surprise to acknowledge world-class talent and forth fronting Japanese photography in the West. Though Hara uses Western influence for the basis of his photographs, it is his native cultural impression that is fascinating such as the use of Japanese actors including a self-portrait in ‘A Study of The King of Cats’ personalizing his work. In 1974 John Szarkowski, co-curator of an exhibit of Japanese photography at New York’s MoMA, wrote “What comes new of an artist today will, if interesting, be the common property of the whole world next year”. [13] Perhaps Hisaji Hara’s ‘A Photographic Portrayal of the Paintings of Balthus’ will be the advancer for Japanese contemporary photography.

Inside the exhibition (photographs by myself)

References:

1. Published in Harper’s Bazaar, May 2008
Galperina, Marina; ‘Julianne Moore as Famous Works of Art’ on ‘Flavorwire’; Available at: http://flavorwire.com/245622/julianne-moore-as-famous-works-of-art [Online resource, accessed 15/05/12]
2. In the exhibition the Michael Hoppen Gallery uses digital archival prints to see to potential art collectors rather than the originals themselves. ‘Hisaji Hara’ on ‘Michael Hoppen Gallery Past Exhibitions’; Available at: http://www.michaelhoppengallery.com/exhibition,past,1,0,0,0,0,0,0,0,michael_hoppen_contemporary.html [Online resource, accessed 14/05/12]
3. 'Question: ‘Photographie.com : The Michael Hoppen Gallery in London is now exhibiting a series of your portraits modeled upon painting by Balthus. Why did you feel the urge to recreate / revisit his paintings?’ Author unknown; ‘Hisaji Hara, ou l'inévitable antinomie de l'être’ on ‘Photographie.com’; Available at: http://www.photographie.com/event/hisaji-hara-ou-linevitable-antinomie-de-letre [online resource, accessed 15/05/12]
4. Bohr, Marco; ‘Hisiji Hara’ on ‘Photomonitor’; Available at: http://www.photomonitor.co.uk/2012/03/hisaji-hara-2/ [Online resource, accessed 14/05/12]
5. Unknown author; Exhibition statement present at the Michael Hoppen Gallery
6. Question: 'Photographie.com : Your work contains an unsettling and at the same time most natural mix of innocence and eroticism - some might even say that your pictures contain lots of Lolitas. Why is this theme important to you?' Author unknown; ‘Hisaji Hara, ou l'inévitable antinomie de l'être’ on ‘Photographie.com’; Available at: http://www.photographie.com/event/hisaji-hara-ou-linevitable-antinomie-de-letre [online resource, accessed 15/05/12]
7. Chandler, Daniel; ‘Notes on “The Gaze”’; Available at: http://www.aber.ac.uk/media/Documents/gaze/gaze09.html; [Online resource, accessed 16/05/12]
8. O’Hagan, Sean; ‘Hisaji Hara – review’ on ‘The Guardian’; Available at: http://www.guardian.co.uk/artanddesign/2012/feb/26/hisaji-hara-photography-hoppen-review [Online resource; accessed 14/05/12]
9. 'Question: Photographie.com : Do you agree with Balthus' when he says that girls convey timelessness better than women ?' Author unknown; ‘Hisaji Hara, ou l'inévitable antinomie de l'être’ on ‘Photographie.com’; Available at: http://www.photographie.com/event/hisaji-hara-ou-linevitable-antinomie-de-letre [online resource, accessed 15/05/12]
10. O’Hagan, Sean; ‘Hisaji Hara – review’ on ‘The Guardian’; Available at: http://www.guardian.co.uk/artanddesign/2012/feb/26/hisaji-hara-photography-hoppen-review [Online resource; accessed 14/05/12]
11. Bohr, Marco; ‘Hisiji Hara’ on ‘Photomonitor’; Available at: http://www.photomonitor.co.uk/2012/03/hisaji-hara-2/ [Online resource, accessed 14/05/12]
12. Michael Hoppen Gallery – ‘History’; Available at: http://www.michaelhoppengallery.com/info,history,1,0,0,0,0,0,0,0,michael_hoppen_gallery.html [Online resource, accessed 16/05/12]
13. Tucker, Anne Wilkes; ‘The History of Japanese Photography’ (Museum of Fine Arts, Houston); published; Yale University Press [Hardcover](4 Feb 2003)

Beauty: Lara Stone by Josh Olins

Whilst going through my daily feed of current fashion photography I was mesmerized by this beautiful portrait of top model Lara Stone (above). Though many consider her not conventionally beautiful by the gap in her teeth and porcelain skin she has managed to take the fashion world by storm; her ability to transform herself into anything. I believe Josh Olin has captured natural beauty in the photo alone and all the details such as the adorned embellishments amount to an enchanted fantasy. Her direct gaze is what I find most fascinating especially the expression in her eyes. This photograph is powerful yet soft at the same time and I believe images that possess a balance between the two are the most compelling.

Lara Stone is photographed by Josh Olins and styed by Gillian Wilkins for Vogue Nederland May 2012

All images sourced from Fashtiontography: http://www.fashiontography.net/2012/05/lara-stone-by-josh-olins.html

More photos from the shoot:

Beauty: 'Black is Beautiful' by Eve Arnold

Above image photographed by myself from at The Sunday Times Magazine 50th Anniversary exhibition at Paintworks, Bristol (Mar 23 – Apr 3 2012)

‘This image by Eve Arnold of an unnamed model was used as a cover picture in 1969. It was seen as ground-breaking at the time, even though the Civil Rights Movement in the US had already made great strides towards racial equality. Other photographs, taken mainly in Harlem, and a report by Eve Arnold addressed the slogan “black is beautiful”, which was in widespread use at the time. It was coined by the black poet and social activist Langston Hughes.’ - accompanying caption to image at the exhibition.

I believe Arnold’s image truly captures black beauty and that beauty isn’t restricted to one race. Publishing such a controversial image (at that time) in a national newspaper was a great platform to showcase ‘other’ types of beauty and challenged racial segregation and beauty. Who are we to say one race is superior and more beautiful than the other?

Useful Links:

Paintworks - The Sunday Times 50th Anniversary Exhibition http://www.paintworksevents.co.uk/index.php?id=121&tx_ttnews%5Btt_news%5D=179&tx_ttnews%5BbackPid%5D=120&cHash=1580295d84

The Sunday Times 50th Anniversary Exhibition http://www.thesundaytimes.co.uk/sto/public/magazine/article858993.ece

Magnum Photos - Eve Arnold http://www.magnumphotos.com/C.aspx?VP=XSpecific_MAG.PhotographerDetail_VPage&l1=0&pid=2K7O3R14AZX1&nm=Eve%20Arnold

Beauty: 'Real Beauty' by Jodi Bieber

 

Image Source: http://www.jodibieber.com/index.php?pageID=17&navLay=3

Bieber’s body of work has been very inspiring and brave to challenge the concept of beauty. There has been much speculation to what beauty truly is yet there is no true answer. Everyone has their own view yet the media feeds the ‘fair-skinned, slim and sleek’ look as the typical beauty so we are forced to sallow this perception. Bieber goes against this and wants to show the real life people, not airbrushed but as beauty comes in the majority of the population; she focuses on shooting in her native country: South Africa. It is interesting to see how she addresses various themes such as race and body image in such a conservative nation. Shooting her subjects half-naked shows confident women in their entirety, not hiding their true body and shape. I am particularly drawn to the above photograph as I rarely seen a South Asian woman in just a bra and underwear, let alone being middle aged. This is due to cultural norms that don’t condone showing naked flesh as it conjures negative perceptions on the woman. I like how the woman in this image stands up for Bieber’s ‘Real Beauty’ project and that she looks proud of whom she is. The fact that Bieber shoots the portraits in the sitter’s home gives the viewer a sense of who the person is and makes the project even more personal. The little details such as the blue hanger and flower bed sheet shows how this image is constructed up to point, but the environment seems untouched. Usually I prefer portraits with a shallow depth of field and the background blurred, however in this case the background is as much in the foreground as the sitter is. Though the sitter is conscious of the photographer, in this series the subjects all seem rather relaxed and Bieber’s approach certainly eases any anxiety the women in the photographs had.

Image Source: http://www.jodibieber.com/index.php?pageID=17&navLay=3

As my current project looks at the concept of beauty and the relationship with the media, especially the fashion industry I am enthralled to have come across Beiber’s ‘Real Beauty’ project as her themes confronts the ‘ideal’ beauty and raises questions on what it is. I like how Bieber finds it within and in her interviews she states her findings that ‘most women believe that there is no real perfect body shape, and that beauty is more about being healthy and feeling comfortable in one’s own skin’; this corroborates with my survey I posted on Facebook on what my friends thought beauty in people was. See my survey responses here.

Read an article on Jodi Bieber's work discussing 'Real Beauty' on Visura Magazine.

Useful Links:

Jodi Bieber http://www.jodibieber.com/

British Journal of Photography - 'Sister Show' by Diane Smith http://www.bjp-online.com/british-journal-of-photography/profile/1646030/sister

Exhibition Review: London - Paolo Roversi and Guy Bourdin (25/02/12)

On 25 Feb 2012 I visited London and dragged my boyfriend to two galleries that were showcasing fashion portraiture; Paolo Roversi at the Wapping Project Bankside in Southwark and Guy Bourdin at the Michael Hoppen Gallery near South Kensington. Though both photographers sharing the interest of fashion their approaches are very dissimilar and was interesting to see two different exhibitions in one day.

Guinevere Van Seenus by Paolo Reversi
Image Source: http://www.1883magazineblog.com/paolo-roversi-at-the-wapping-project-bankside/

Paolo Roversi is renowned for his soft focus, shallow depth of field, ‘rustic’ portraits that have been described as timeless. The models in his images do not look like stereotypical models and are dressed down. I like how he shows their natural beauty and captures ‘rawness’ unlike any photographer I’ve seen. In the above image she is partially nude yet the viewer does not first think this but we are drawn to her alluring expression. This photograph is difficult to date when it was taken as the characteristics do not show anything of this time, hence the ‘timelessness’ to his photographs. Her expression is ethereal yet focused directly at the viewer creating an almost haunting look reminiscing that of the Pictorial era in the late 19th and early 20th century. My two favourite photographs in this exhibition was a black-and-white portrait of Natalia Vodianova and an exquisite large colour print of Guinevere Van Seenus. My boyfriend, (he’s no art expert!) managed to feel these were the most expensive prints on sale, and rightly so: I think these were Reversi’s strongest exhibiting pieces (see below).

Natalia Vodianova by Paolo Reversi
Image Source: http://fashionnews.zalando.co.uk/2011/02/01/my-favourite-ad-photos-from-the-spring-2011-fashion-campaigns/paolo-roversi-natalia-vodenova/

Guinevere Van Seenus by Paolo Reversi
Image Source: http://www.nowness.com/day/2012/1/29/1850/paolo-roversi-my-guinevere

I enjoyed this exhibition as it was displayed in a clean and clear manner; the prints weren’t too big or small and were spread out evenly through a vast white space. The visitor didn’t feel enclosed or too open. Even my boyfriend who isn’t interested in art much, let alone fashion photography was quite impressed with the work. 

Later in the day I rushed to the Michael Hoppen Gallery just in time before it closed. The exhibition wasn’t what I expected it to be: it was much smaller and cramped and the prints were hung in distracting places such against a bookshelf full of colourful books. Bourdin is renowned as a master of colour so was a shame to drown out his prints with even more colour and clutter in the exhibition. I hadn’t really researched much of Bourdin’s work before visiting except the knowledge of his erotic photographs. After going to the exhibition I wasn’t too keen on his work as it was too much ‘in your face’ and didn’t allow the viewer to digest the photograph as there was a lot going on. This was a surprise to me as I had read many comparisons between Helmut Newton and Bourdin and I am completely enticed by Newton’s work even naming him as one of my favourite photographers. However Bourdin did stimulate discussion and one must applaud his technical ability using vivid colour which was new at that time. One that I found particularly interesting was ‘Campaign for Charles Jourdan, Spring 1979’ (below) due to the clashing of bold yellow and red and the unusual posture of the female model. Bourdin is commendable on taking fashion photography to new depths and wasn’t afraid of pushing the boundaries of a fashion image thus challenging the expected stood-straight face-on pose to the camera. Though I am not prudent and fully embrace female sexuality represented in fashion photography I did find some of his work quite crude however there were a few pieces that were composed wonderfully with flair.

Campaign for Charles Jourdan, Spring 1979 by Guy Bourdin
Image source: http://lamblegs.wordpress.com/2010/02/13/hot-photo-friday-guy-bourdin/

Though the two photographers are regarding amongst the elite in the fashion world, they have very differing styles and approaches. Overall I preferred the Paolo Reversi exhibition at the Wapping Project Bankside than I did for Guy Bourdin at the Michael Hoppen Gallery. One of the reasons for this was the layout and space at the Reversi exhibition; I was able to absorb his images, feel the model’s expressions and the photographer’s mood. Whilst visiting these exhibitions I was engrossed in my ‘Beauty’ project so couldn’t help but notice the subject matter; both photographers featured nude models and all were Caucasian. Where are the ethnic models? I enjoyed how this day questioned how beauty can be presented in contrasting ways and the power a renowned photographer can have on influencing the new generation on what a beautiful image and model is.

Exhibition photographs I took at the gallery:

Paolo Reversi @ The Wapping Project Bankside

Guy Bourdin @ The Michael Hoppen Gallery

Bibliography:

http://www.johnjones.co.uk/news/2012/01/the-wapping-project-paolo-roversi/

http://www.harpreetkhara.com/archives/24721

http://akickupthearts.wordpress.com/2012/03/08/paolo-reversi-at-the-wapping-project-bankside/

http://www.theculturalexpose.co.uk/arts-culture/something-you-should-see-paolo-roversi-at-the-wapping-project/

http://www.dazeddigital.com/photography/article/12546/1/paolo-roversi-the-wapping-project

http://www.vignettemagazine.com/exhibitions-events/paolo-roversi-at-the-wapping-project-bankside/

http://www.thewappingprojectbankside.com/exhibitions/2012/roversi_photography/index.shtml

http://fredbutlerstyle.blogspot.co.uk/2012/04/sun-april-1st-paolo-roversi-at-wapping.html

http://www.vogue.co.uk/news/2012/02/01/paolo-roversi-wapping-project-exhibition-preview

http://www.michaelhoppengallery.com/exhibition,past,3,0,0,0,154,0,0,0,guy_bourdin.html

Useful Links:

Paolo Reversi interview PDF article (British Journal of Photography) - http://www.thewappingprojectbankside.com/artists/paolo_roversi/press/BJP-March-2012-Roversi.pdf

Wapping Project Bankside - http://www.thewappingprojectbankside.com/index.shtml

Michael Hoppen Gallery - http://www.michaelhoppengallery.com/

In Discussion: Photography and The Law

What are the Morals and Ethics?

Reading on the infamous photography legal case between renowned photographer Philip-Lorca diCorcia and Erno Nussenzweig, an Orthodox Jew it raised question on the morals and ethics of reproducing images, photographing the public and who should own the copyright. Read more on the case here [1].

Philip-Lorca diCorcia's photo of Nussenzweig from his portraiture series 'Heads' (2001)

Image Source: http://en.wikipedia.org/wiki/File:Dicorcia.jpg

After acknowledging various viewpoints I have come to agree with the consensus that the photographer has the right to take pictures in a public place and photograph people unknowingly. In Philip-Lorca diCorcia's case, I agree with the New York State Supreme Court's ruling in his favour.

In today's surveillance society everyone is subjected to being watched, by who, we are not knowing; in a sense we are continuously being photographed, frame by frame. A student from my photography course, Rebecca Sharplin-Hughes, states 'The only difference about having your photograph taken is that the photographer has the right to do whatever they please with the photograph, this may mean that a photograph of you is published for all of the public to see,' .

Technology and accessibility have allowed practically anyone to own a device that can take a picture such as a phone camera, DSLR, compact camera and many more. In today's globalized world social networking is particularly prominent today; so an innocent photograph of the street which can capture many people's faces and then published online can be viewed by hundreds and more. This can be seen as a violation of privacy as the people in the photograph have not consented yet this is not necessarily frowned upon or unethical as such yet the viewership can be considerably higher than if a photograph was published in an gallery for example.

If someone, a photographer per se, decides to take this street photography further and to make a 'professional' body of work and publish unsuspecting people of the public in art galleries etc. it is seen as an invasion of privacy. I can relate this issue to instances such as wanting to take a 'professional' DSLR to a concert which I am not allowed purely down to the fact it looks 'snazzier' but compact cameras are accepted yet the function and act of taking a photograph is exactly the same. So in many cases many people see that if a photograph is 'professionally' being taken it can be more unethical but if it's done in an amateur manner it isn't. For example, if a professional photographer used a tripod & camera in the street one may seem more uneasy however an amateur tourist snapping pictures, one wouldn't seem so suspecting. The issue of taking photographs in public can come down to the professional instance however questions such as 'what is professionally taking a photograph' are debatable.

I found this statement interesting by fellow colleague, Sarina Langer's: 'Richard Billingham said that all photography is exploitative, and that all we can do is make the photograph so artistically good that this becomes relatively irrelevant.' I agree with the fact that taking photos in public is fair, but when forcing yourself onto someone's property/land is not only unlawful by trespassing but morally wrong. 

Overall I don't believe in intruding someone's space (in which Philip Lorca diCorica did not do as he used a powerful telephoto lens) is morally right, especially someone's home, however in public people should have the freedom to take photographs and publish them with respect. Then again this raises questions such as 'what is respectable?'.

References:

1. Wikipedia - Nussenzweig v. DiCorcia http://en.wikipedia.org/wiki/Nussenzweig_v._DiCorcia

Useful Links:

Tate Modern - Exposed: Philip-Lorca DiCorcia http://www.tate.org.uk/context-comment/video/exposed-philip-lorca-dicorcia

Image Exposure: Charlotte Free by Terry Richardson

For one of my other modules on my photography course I was looking into fashion photography and style and thought of Terry's work. One of the images that caught my eye whilst looking through his wealth of images on Terry's Diary was one of model Charlotte Free.

Charlotte Free at my studio #9

December 29th, 2011

Image Source: http://www.terrysdiary.com/post/14977007565/charlotte-free-at-my-studio-9

This particular photograph stands out from his vast archive of images where he posts practically every day. It dates back to December 29th, 2011 with a caption of ‘Charlotte Free at my studio #9’. I like how simple the set-up is with a single flash attached to the camera body as the only source of light. This set-up is most common for his studio portraiture where he shoots many of his friends, acquaintances and models in his home studio. Usually he shoots black/white for this set up however there are examples of colour portraits such as the above photo. Terry prefers taking pictures in a landscape format showing only the torso and face. I think this particular set-up of shooting is Terry’s trademark style and is reminiscent of his portrait editorials for big magazines such as Rolling Stone. There have even been editorials using this simple set up for magazines like Purple Fashion. Despite Charlotte Free being an up-and-coming model being shot for various advertisements I originally thought she was one of Terry’s acquaintances who had quirky style so decided to shoot her over again. The reason why I chose this shot is I like the off white background and the slight vignette from where the flash fades outwards and her carefree expression. Terry has a great knack of getting the most of his subjects and showing off their personality on camera. He isn’t afraid of highlighting the fun side of ‘untouchable’ celebrities and portraying them as normal people who want to have fun too. In relation to my project about photographing people with style and loving what they wear, Charlotte Free is a great example of individual style. This photo isn’t made up and she hasn’t got a make-up/stylist team on hand; she is herself wearing clothes she enjoys wearing. The salmon pink colour in her t-shirt goes with the aesthetics of her hair and pale skin. Though this image only reveals one item of clothing, a person’s style is in much more than the clothes they wear, but how they wear it as well as the characteristics of their hair and skin. The viewer feels the essence of being a kid and having childlike freedom from her ‘The Ren & Stimpy’ t-shirt (which is seen as vintage today) and the motion of flying her hair around.

Useful Links: 

Terry's Diary http://www.terrysdiary.com/

Terry Richardson http://www.terryrichardson.com/

models.com - Terry Richardson http://models.com/people/terry-richardson

Read More:
V.E.S.T: Blog Exposure: Terry's Diary http://nishahaqvisualexploration.blogspot.co.uk/2012/05/blog-exposure-terrys-diary.html

Exhibition Review: Someone Else by Shilpa Gupta

Arnolfini, Bristol

3 March 2012 - 22 April 2012

Image: Taken by myself at the exhibition, 'Singing Cloud' (2008-09)

After attending Sophy Rickett's 'To The River' exhibition on the ground floor I made my way up to Shilpa Gupta's 'Someone Else' consisting of five artworks spanning 7 years of work. I was particularly interested in her work especially her choice of medium using 3D art installation, typography and photography. Her work examines 'themes of desire, conflict, militarism, security, technology and censorship' [1] The varying pieces look at how the media affects us. Exploring the theme of media grabs my attention as am interested in the relationship between the two. 

As we enter the first room, 'Someone Else' one see's a metallic book shelf consisting of 100 silver 'blocks'. Only until one looks closer you realize that they are recreations of books from all over the world that have been written either anonymously or under a pseudonym. On the cover she explains why the author had chosen anonymity. I was engrossed in reading the reason and learnt a lot historically from this piece of art. Shame I didn't have enough time to read through all 100 of them! The second piece was the main attraction of the show, 'Singing Cloud', a suspended giant cloud made of 4000 microphones. She reversed the function of the microphone and its emits a soundtrack rather than used to record. I was very impressed with this art sculpture and gave an unsettling experience especially as the room was dark, one could just see the small reflections of light bouncing off the microphone heads. This room was shared with a flap-board used to announce departures so the echoes transmitted around the room in the shadows gave an eerie feel which I particularly enjoyed as a piece of art doesn't usually leave an unsettling effect on me. The penultimate piece were four photographs of her stylized in military clothing pinned to the wall that are part of a wider series 'Don't see Don't Hear Don't Speak'. She shows the effect of violence in today's society and makes the viewer think about today's current affairs. The final piece is brightly bold typographic piece entitled 'There is No Border Here' shaped in a flag. She explores the idea of borders and nationhood and as an Indian artist this piece feels like a reflection of her. 

I thoroughly enjoyed this exhibition as I didn't know what to expect moving from one room to the other and the atmosphere differentiated entirely creating a new buzz every time. I enjoyed the diversity exhibited and hope to see more of her exhibitions in the future.

References:

1. Exhibition Guide document - Arnolfini, Shilpa Gupta, Someone Else

Useful Links:

Arnolfini - Shilpa Gupta http://www.arnolfini.org.uk/whatson/exhibitions/details/1234

Shilpa Gupta http://www.flyinthe.net/

More of my photos from the exhibition:

 'Someone Else' (2011-12)

'Someone Else' (2011-12)

'Someone Else' (2012-12)

'Untitled' (2008-09)

'Untitled' (2006)

'There is No Border Here' (2005-06)

'There is No Border Here' (2005-06)

Beauty: Supermodels Supernaturals by Peter Lindbergh

 Harper’s Bazaar Sept 2009

Image Source: http://models.com/feed/?p=3747

Peter Lindbergh is famous for his ‘classic’ approach to fashion photography and is on hot demand in the fashion industry. His shooting style is high-end glamour making the fashion instantly irresistible however from for this shoot he has stripped bare the made-up glamour and shows the real beauty in ‘supermodels’. In an industry fixated on youth which in turn reflects on wider society, the older generations are left behind and only a select few ‘mature’ models representing the whole age group. Adolescent models that have barely grown full breasts are being cast to model ‘adult’ fashion yet they are not adults themselves. This is confusing for the consumer and contradicts the true population, especially the target audience which is the older generation who are rich enough to purchase expensive designer clothes yet society is obsessed with youth and associates this with beauty. This particular shoot in Harper’s Bazaar shows that models over 30 are still beautiful and is ridiculous to think otherwise. The viewer can see their experience and Lindbergh captures this wonderfully. It’s refreshing to see non-airbrushed models that dominate the beauty and glamour market; Valletta, 35 (above) doesn’t need these digital touch ups as she is naturally beautiful. I like how her eyes are sincere and her simple expression. Usually I’m not fond of overly grey portraits as the tones are rather dull however the subject matter is so strong, the beauty shines through the dullness and shows that high contrast isn’t needed. Like Avedon and Daemian Smith I like the simple approach and that this method works best to show beauty as it is. Nadia Auermann (below) says ‘"I think women look best when they're natural,". I completely agree with this statement.

More photos from the editorial:

[Left – right]

1. Kristen McMenamy, 44 / 2. Helena Christensen, 40 / 3. Nadia Auermann, 38 / 4. Shalom Harlow, 35

References: 

Harper's Bazaar Supermodels Supernatural http://www.harpersbazaar.com/beauty/makeup-articles/supermodels-without-makeup-0909#slide-1

Models.com http://models.com/feed/?p=3747

Useful Links:

Peter Lindbergh http://www.peterlindbergh.com/

Fashion Gone Rogue - Peter Lindbergh http://fashiongonerogue.com/photographer/peter-lindbergh/