My chosen two images were from my first shoot based on the advertising campaigns for both Cèline and Marc Jacobs shot by Juergan Teller.

My feedback was positive and my use of coordinating colour accents was praised.

As my first shoot for this new brief, I was very pleased with the outcome of this.

Image one was taken using one key flash for a hard light portrait, only lighting one side of the face. 








 This is my favourite image from this workshop, we used one light and got rid of the second light which was present in the previous shot. I really like how the light is coming from above, which Matt taught us is important as we are trying to achieve ambient light, which is trying to mimic the sun, which is above us. Therefore the position of this light is important and more flattering when coming from above.

Hayley is a fashion photographer and editor of Brick Magazine, a 300 page bi-annual magazine.

She studied fashion photography at degree level at LCF, and used fashion images in magazines as her greatest references for photographic imagery.

Hayley stressed to us that it is important to take photographs of subjects which interest you and that you shouldn't do something because its trendy but because you like it.

"I like taking pictures of people I fancy."

Lina Scheynius is a Swedish self taught photographer, and I found her work whilst following links on Dazeddigital.com. She is quite often infront of the camera in her images as well as behind, and photographs very raw and intimate moments. I love the lighting of her work and the aesthetic.
All her images have a very still feeling to them, they are completely paused and calm, which I like.
She presents her images in a form of diary which is interesting too, as a constant stream of consciousness. Her work has inspired me to shoot more, and to maybe start a photo diary of anything and everything.

Today I had a 1 to 1 with Matt to discuss my essay plan. I plan to compare and contrast the following two images:

Georgina at home rock mount estate 1994 by Corrine Day
and Self portrait with Charlotte Rampling by Juergon Teller.

He questioned my belief that the corrine day image hadn't been shown commercially in a fashion environment, as this was one my my points, He said I need to research into her images more extensively, he believed that it was published in 'The Face' as a fashion story. I have researched into this and have found no evidence however I cannot state this in my essay as I need to show evidence for anything I say.

Theory wise, he gave me a couple of people to look into which will assist me with my essay writing; Susan Bright, David Campany and Laura Mulvey. Also Terry Barret's Criticising photographs is another book which I have been meaning to get out from the library as this will help me a lot with this essay.

Today I learnt:

• Soft light means there is a larger area where the shadow gradates. 
• Flat light is where the lighting is so even side to side that the shadows practically disappear.
• Flat light is caused by direction and lack of shadow density. 
• Where as high key lighting needs more contrast, dark images need more fill. 

James Grant is a freelance fashion photographer.
At the age of 16, James was a painter, painting portraits, in which he took photographs of his subjects to paint from, and he happened to get some work experience as part of a compulsory scheme in school, in a photographic studio at age 16. This lead to him studying photography at ALevel, and went to study a foundation degree before university; during which he was still keen to become a painter. He enjoyed controlling everything and staging images rather than waiting for a shot to compose itself and to happen by chance. Any images he took were set up himself to document and to bring some humour across too.
He was told during his foundation course that his photographs were better than his paintings, and he decided to undertake a fine art photography degree, in which he shot mainly urban landscapes and focused on the way they make you feel. He was, however, "bored of being lonely" and shooting solo and went into the fashion direction of the industry.

He made a point that he forced himself into the industry, and that is one of the only ways to do it. Also the same point which has been drawn to our attention previously which is that we need to respect that the first jobs we do, we shall be doing for free. No moneys for Becky.

James spent 2 and a half years in Cambodia shooting some really cool stuff, however he wasn't enjoying his work and returned to london and to education, completing a MA in Fashion Photography at LCF.

His work which he completes now are more about selling a lifestyle; he will go away with his mates and just shoot for fun, for something personal, and a brand will see those images and ask him to rip himself off, which he is apparently more than happy to do.

Something I learnt from James is to always always push the boundaries of the student card to breaking point. It is the only time in our lives when we can pretty much do whatever the hell we like and use the fact we are students to get ourselves out of basically any situation. Cheeky.

For this weeks workshop we experimented with flash accessories and the effect each of them brought to the photograph.

One of my personal aims for todays workshop was to master the radio sync for the flash heads, as this is something I haven't understood clearly and something which is rather important when setting up a studio and assisting others.
To set up the radio sync I need to press both the up and down arrows at the same time and then press the bulb button until the 'f' option appears. This is what needs to be synced with the number on the radio sync. Previously I have been confused as there are other options such as 'r' and 'g' but Richard assured me that the only one I need to worry about is 'f', and that even he isn't sure what the others do totally, but that 'g' should be set to one. I am glad I now have this knowledge which will definitely come in handy in future workshops or if I plan to hire the studio out for myself.




Our final experiment was with a beauty dish. I had never used one of these before either and it was interesting to see if it lived up to its name. I liked the natural tones which the gold beauty dish gave and this was my favourite tone out of the possible three beauty dish attachments.

She has been commissioned for the Museum of London, as part of Sherlock Holmes Season, where clothing references from the adventures of Sherlock Holmes had been reimagined using 21st century menswear.  Other publications include Dapper Dan, Fotografi, Galleries, The Guardian, Jocks and Nerds,  La Monnaie Magazine, Pylot, Stylist, Suitcase, Wall Street International and 125 Magazine.

Its always nice to come across the work of photographers who have visited NUA;  the new cover of NME magazine comes out tomorrow, featuring Justin Bieber, and being a fan I was doing some reading and came across Dean Chalkley's name as the photographer who shot the cover. Small world.

So since Dean met Justin and I've met Dean Ive basically met Justin? Seems legit to me.

http://www.childmode.com/2012/11/14/alice-in-wonderland-for-vogue-by-annie-leibovitz/#ixzz3rBHYCY00 

Katy Lassen is a freelance fashion stylist and part time lecturer at University of the Creative Arts in Epsom. She studied french and media and had no formal creative training.

To gain experience Katy approached Vogue and was turned away for having ‘no experience.' Ironic.  So she added a two week work experience with her step father, a journalist, to her CV and went back to vogue, where she completed a months work experience.

Once she had finished her work there she approached Glamour and later GQ whom she also completed work experience with. She emphasised how grateful she was for putting money aside during university to keep her afloat whilst working for free. I have taken note of this and will try to do the same. (No promises.)

She started by giving us an introduction to fashion styling, and wanted us to realise that fashion photography, and fashion styling, is all about advertising.

She told us that Editorials for magazines are often unpaid or have a small budget to cover costs. Often the photographer would put their own money towards the production. However this will often pay off as they are the stories which would make up the bulk of our portfolio, which promotes us to get commercial work.

Working for free is something which is hard to accept however Katy assured us that working for free is vital for us to build our portfolio and that if we wont work for free, that someone else will. 

Another point Katy made to us was that is it really important to build working relationships with people in different lines of work to us; such as stylists, as magazines and clients will often ‘book your team’ if they see a shot which they would like reciprocated for their own advertising purposes. This makes the creative process easier if we know people and have people that we work with a lot. We were told to acknowledge that is it a commercial work and that we will be collaborating with others.

Being represented by an agency was a process which Katy described as either being highly beneficial or our worst nightmare. If we are ever represented she said to ensure that they understand us and they way in which we work, or they will put us in for jobs we will not enjoy. Examples of agencies Katy gave us were, CLM, Art and Commerce, D&V, Smile Too, Map and Art Partner.

I found Katys work very inspiring and I want to give myself a greater fashion background. I was also intrigued by Let Them Eat Cake, a fashion publication dedicated to championing the new generation of creative minds.