Fashion: Constructed Image Brief

8/3/2019 Fashion: Constructed Image Brief

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fashion: constructed imageBA(hons) Photographic (Contemporary Practice)

2012 Stage 1 Semester 2 Unit RPHC1004

Each magazine page of Vogue is really a stage. Everything on that stage

is pure make believe. Nothing is to be taken seriously; all is theatre.AL; , , , ,

Photography:

Tim Walker,

British Vogue

March 2009


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fashion: constructed image2012 Stage 1 Semester 2 Unit RPHC1004

Location Rochester

Level & Credit Level I, 30 Credits

Duration Weeks 1- 15

Learning hours 150 hours

Tutors: Jonathan Simms & Sam Chick

INTRODUCTION

In truth fashion photography has earned itself a varied and misunderstood

reputation. At its most commercially intense, narratives are reduced to a

relentless and ubiquitous mass-marketing mirror held up to the consumer.

own subliime end. Equally at its most entertaining and inspiring fashion

photography may be pure inspirational narrative and fantastical story telling.

Its theatre is writ large upon the pages of venerable fashion journals such

as Vogue, Harpers Bazaar and more recently the culturally challenging Tank,

Dazed and Confused and Visionaire.

The genre can blur the boundaries of art and scultpure. It envelopes

portraiture, mimicking and satirising the secular canons of celebrity. It can

speak of the mundane and domestic whilst engaging with the epic and

sets, cohesive styling, sympathetic casting and evocative lighting designs all

help to heighten our emotional responses to the predetermined narratives.

Unlike reportage and much art photographry (disciplines which are more

often lone pursuits) fashion shoots are collaboartive offers generated with a

range of interelated art directors, creative artists, set builders, hair & makeup

and fashion stylists. The project therefore asks you to demonstrate an

collaboratively and as a member of a wider team of sourced talent.

The successful fashion photographer needs to have the ability to move

comfortably between all of these creative disciplines.

Working in teams, you are asked to create a single, constructed

fashion image in the studio.

The main aim of the project is to encourage you to analyse the nature of

photography and to increase your understanding of the way in which you

and others create and construct meaning using the photographic medium.

The project also aims to develop a appreciation of the importance of

research, testing, pre-production and conceptual development prior to a

photographic shoot.

The level of Professional Practice will dictate the success of your project

and will be an indicative part of the assessment process.

UNIT CONTENT

This unit encourages students to speculatively

explore the cultural and visual contexts for

fashion photography. The unit considers

cultural ideas and genres of representation.

in groups use a cultural idea and an aesthetic

source of inspiration as the foundation from

Students are challenged to navigate this clash

area of fashion, this unit challenges students

to investigate different reference points,

such as social and political contexts, and the

coherent narrative as a conceptual response

analysis of fashion narratives, characterisation,

production, creative direction, casting, set

design, propping, styling, hair and make-up.

characterisation, mise-en-scene, lighting,

gesture, action, set and special effects from

This creative approach requires students to

conceive of the fashion image as developed

The constructed fashion image relies upon

direction and understanding of cultural

montage.

Photography:

Nick Knight

Visionaire


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UNIT AIMS

A1 To provide a critical and creative understanding of the fashion

image:encouraging you to analyse the nature of photography and

increase your understanding of ways to perceive and then construct

meaning.

A2 To develop an awareness and understanding of genre and

narrative:considering visual language and semiotics (ask if you

dont understand!) in story telling.

A3 To develop the ability to engage in research and develop

concepts employing a methodology proceeding from a

cultural engagement:critically appreciate fashion photography

in terms of historical, cultural, social, economic, political and

technological contexts - leading to the exploration of your own

narratives.

A4 To develop the ability to project-manage:helping you to

understand the holistic view of creating images through critical path

planning, organisation, team management, execution of shoots and

post production.

LEARNING OUTCOMES

LO1 A growing critical understanding of the fashion image

LO2 The ability to use research and analytical skills to support speculative

approaches to the characterisation and mise en scene of fashion

LO3 A growing knowledge, and understanding of the of visual language

aligned to the techniques of photography

LO4 Developing project management skills.

INDICATIVE TECHNICAL CONTENT

Shoot Production Workshops

Set Design & Concept-Boarding workshops

Camera Format (Hasselblad HD)

Digital Production

TEACHING AND LEARNING METHODSthe unit is supported by:

supporting cultural programme.

PDP - online journal or blog in which students archive, annotate and

peers.

Tutorials, interim critique, assessment feedback.

UNDERSTANDING THE APPLICATION OF KNOWLEDGE(LO2) Developing application of analytical skills and research in support of

project progression

(LO3) Ability to employ photographic techniques to add speculative

qualities to visual strategies

APPLICATION OF TECHNICAL PROFESSIONAL SKILLS

(LO4) Appropriate project management: planning and organisation

(preparation, heath & safety, shoot production skills, etc.)

fashion: constructed imageBA(hons) Photography (Contemporary Practice)


ASSESSMENT REQUIREMENT

Assessable Components Weighting

Research/pre production/Peer assessment 40%

ASSESSMENT CRITERIA

(Research/Pre-Production & Creative Project)

Developing application of analytical skills & research in

(Research/Pre-Production)

qualities to visual strategies.

(Creative Project)

incl. preparation. health & safety, shoot production skills.

(Creative Project)


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TASK ONE

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,

hair and make-up, the use and meaning of props and the lighting and

photographic techniques employed.

importance of the market place upon the above factors.

Task deadline; Monday 30th January. Please print your image on

an A4 sheet of paper and pin it on the wall before the meeting.



Photography: Corrine Day: British Vogue

Photography: Mario Testino


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Photography (top left/bottom right):


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TASK TWO

Characterisation is perhaps the key to great image making since it can

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

to verbally account for your choice.

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

Street casting has become widespread (and somewhat ubiquitous) online

and in print. See the following websites for inspiration:

Task deadline; Monday 30th January. Please print your image on

an A4 sheet of paper and pin it on the wall before the meeting.



From;


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TASK THREE

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

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

shoot production. It will also be helpful if your team members share a similar

taste in genres and styles.

Task deadline; Monday 30th January. Please submit groups to JS

Photography:


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PART ONE: MAPPING IDEAS - WEEK 1

Working in teams, you are asked to create a single, constructed

fashion image in the studio. The image must be generated under

controlled studio conditions. Collaborate with your team and select one

theme from the following thematics:

Folkstories and folklore

Film, stage drama or iconic actors

Music (classic or contemporay), music video or iconic musicians

Art and artists

Literature and authors

tutors, respond to your thematic by constructing visual concepts or moodboards. This process should enable you to begin the visual mapping

of your submission. When interogating your subject you must thoroughly

critique associated contemporary cultural references. Develop a concept

in terms of historical, cultural, social, economic, political and technological

concept using a PechaKucha format. This automated power point

presentation simply runs 20 slides at 20 second intervals.

You will be populate the slides and verbally account for the imagery.

1. Creative Content - your idea along with mood-boards

2. Preliminary Casting

3. Professional guidlines for working together.

To download and learn more please visit: http://www.pecha-kucha.org/

PART TWO: PRE-PRODUCTION - WEEK 8

PRESENTATION / PITCH - H&S APPROVED

The key to a successful production is to carefully plan and set yourself

interim stages, which must be time tabled for each team member. Be aware

of your schedules.

Key tasks are detailed below. Post these to your Online Production Diary as

you complete them.

assigning roles and responsibilities within a team is essential.

Cast your models and characters

Source the required costume, clothing or styling. You may take this

task yourslef of may choose to commission and collaborate with an

Consider further skills you may require on set such as hair and make-

up, set build assistance and even catering should you and your team

be restricted to the studio.

casting, styling and set building effect your constructed narrative.

You will be required to present, pitch and discuss your planning and

concpets during tutorials at key stages throughout the project.

team will demand a high level of professional skill. Negotiation, mediation,

delegation and decision making all need to be undertaken with the clear

respect of each individual both within the direct photographic team and the

wider creative collaborators.

PRESENTATION DELIVERABLES:

Once you have agreed your image, you must;

3D Model, (you may choose to use Google SketchUp)

create a proposed lighting plan include position, source and details of

their qualities

produce detailed drawings of any scenic elements you plan toconstruct

complete a props list including sourcing information

key dates and deadlines than affect your project

all elements of the production

PART THREE: STUDIO BUILD & POST PRODUCTION

SHEDULE OF THE WEEK

During the studio production weeks, four teams will work at the same time

Monday - Setbuild

Tuesday - Scenic Design

Wednesday - Pre-light

Thursday - Shoot

Friday - Res-shoot & strike set

HEALTH AND SAFETY

As part of the overall project, important Health & Safety factors will be taken

into account and assessed. During each of the workshops the health and

safety concerns of studio setbuilding will be discussed. In advance of the

build weeks each team will be required to complete a Risk Assessment of

their production. In addition to this during the build week each team will be

subject to a Health & Safety spot-checks



Photography: David LaChapelle


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DELIVERABLES AT FINAL DEADLINE

PRODUCTION BLOG

Whilst you will be working in a team, your personal, Blog will again be the

vehicle for collating evidence of your research, organisational process and

overall engagement. Each team member must maintain a new catergory,

eg. Fashion: Production Management, within their Course Blog. Use the

Blog to keep a record of your work within the team.

Every member must post at each stage of the production Therefore the

Unit Blog must contain the following, but highlight the personal lead

responsibility:

Characterisation and Casting

REVIEW CRITIQUE

and as a Group in the form of a presentation. Students are asked again to

produce a Critical Appraisal. Through Peer Review and Self-evaluation,

students establish those points of the assignment that have been most

successful and consider any points that you feel need to be addressed

should you repeat the project.

DELIVERABLES: FINAL DEADLINE

FRIDAY 11TH MAY (10.00am) - Grps: 1,2,3,4

MONDAY 14TH MAY (10.00am) Grps: 5,6,7,8

FRIDAY 18TH MAY (10.00am) Grps: 9,10,11,12

in a fully colour-manged environment. Using the colour calibrated Eizo

monitors wiould be recommended. Do not use a laptop.

Test-Strips. (Paper surface: Satin)

Photoshop advisory settings:

Colourspace: Adobe 1998

Mode: RGB 8bit

Resolution: 300ppi,

Document Size: 1.11m shortest length.

MATERIALS

the studio production starts. We strongly suggest you pre-build as much

of your scene as possible.




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PROJECT SCHEDULE

Week 1

Concept Boards Workshop

20 x 20 Concept Student Presentations

Week 2

Digital Photography: Princilples & Processes

Fashion Design: Methodology & Collaboration

Week 4Tutorials: Narrative & Charchterisation (Sam Chick)

Workshop: Set Construction - Basic Principle & Risk Assessment

Week 5

Photograper, Melissa Moore: Talk & Seminar - Recycling Fashion

Workshop: Studio Lighting: From Film Noir to Fairytale

Week 6

Tutorials: Shoot Production (Sam Chick)

Week 7

Workshop: Scenic Design

Week 8

Production Presentations: The Pitch (Sam Chick & Jonathan Simms)

Workshop: Risk Assessment & Mock-Ups (Colin Jackson)

Week 9

Workshop: Pre-Light - Lighting Plan & Test

Week 10

Workshop: Set-Construction

Weeks 11, 12, 13- Shoot Production Schedule

Week 15

Unit Assessments - Group Presentations




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RECOMMENDED READING

process (California: Michael Wiese Productions)

Bright, S (2007) Face of Fashion (Aperture)

Carter, G (2008) Vanity Fair: The Portraits (NPG)

Campany, D (2008) Photography and Cinema (Reaktion Books)

Cotton, C (2000) Imperfect Beauty: The Making of Contemporary Fashion

Photographs (London: V&A)

Cutler, R (2009) The September Issue (DVD)

of Elegance (London: Thames & Hudson)

Glebas, F (2009) Directing the story: professional storytelling and

storyboarding techniques for live action and animation (Focal Press)

Golosorkhi, (2002) Tank: Best of Tank Magazine (Thames & Hudson)

Klein, S (2007) Steven Klein. Stern Fotographie

Knight, N (2009) Nick Knight (Collins)

Lindbergh, P (1999) Peter Lindbergh: Selected Work 1996-1998

Storaro, V (2011) Vittorio Storaro: Colours - Writing with Light (Mondadori

Electa)

Talon, D.S (2007) Panel discussions: design in sequential art storytelling

(Talon, TwoMorrows Publishing)

Townsend, C (2002) Rapture: Arts Seduction by Fashion (London:

Thames & Hudson)

Verthime, S (2010) Guy Bourdin: In Between (Steidl)

Walker, T (2008) Tim Walker: Pictures (Te Neues)

Technical

Adobe (2010) Adobe Photoshop CS5 Classroom in a Book (Adobe Press)

Evening, M (2010) Adobe Photoshop CS5 for Photographers (Foacl Press)

Fraser, Schewe (2009) Real World Image Sharpeming (Peachpit)

Schewe, Fraser (2010) Real World Camera RAW (Peachpit)

Culture, Fashion & Photographic (online)

www. arrilightingrental.com

www.cirrolight.com

www.hasselblad.co.uk

www.mapltd.com

www.artandcommerce.com

www.art-dept.comwww.anothermag.com

www.showstudio.com

www.tankmagazine.com

www.thelovemagazine.co.uk

www.vogue.it

www.wmagazine.com

www.125magazine.com

Scenic Design & Set Construction

www.shonaheath.com

www.andyknight.co.uk

www.tcsetbuild.com

www.themodelunit.co.uk

www.scottpask.com

www.sketchup.google.com

www.thestudiostore.co.uk

www.angels.uk.com



Documents

Fashion: Constructed Image Brief