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Posts Tagged ‘Concept’

Concept To Creation: Editorial Versus Campaign

18 Jul

Editorial vs. Campaign

 

 

Hey FashionPhotographyBlog.com readers.

 

Thanks for joining us on our “Concept to Creation” series where we walk you through the process of taking an idea into an image. If you were here with us last time, we investigated examples of how working fashion photographers in the industry turn their inspirations into a concepts.

 

Concept – crucial to binding your images together. You’ll find that any high end magazine only published editorials that has a concept holding the story together so today we are going discuss the difference between editorial and campaign images and how these can affect the concept for your shoots.

 

There’s a bit of a formula to it all. A set of rules that can, and are, broken.. But for the most part hold true to all editorials and campaigns you see.

 

 

Campaigns

 

Typical, successful campaigns do a few things. Obviously, they showcase the clothing. If you can’t see the clothing, you’re not getting paid. In fashion, clothing is king. It comes before all else.

 

You’ll notice that campaigns shot on location tend to stick to one area. If you’re on a sofa in a house- you’re on that sofa, in that house, for all of the images. A lot of campaign images tend to look the same. That’s a job well done! It’s this repetition that makes you remember “Oh, the girl on the blue couch with a million men is that Brian Atwood campaign.” So every time you see a girl on a blue couch with a million men, what do you think? That’s right! Subconsciously you recall Brian Atwood’s name!

 

 

Brian Atwood’s Fall 2012 Campaign by Mert & Marcus:

 

Notice all the images have the same general perspective, are in the same place, and are essentially the same image (with variations).

brian-atwood-fall-2012-campaign-by-mert-and-marcusbrian-atwood-fall-2012-campaign-by-mert-and-marcusbrian-atwood-fall-2012-campaign-by-mert-and-marcus

 

Louis Vuitton Spring 2012 by Steven Meisel

Notice a pattern?louis-vuitton-2012-by-steven-meisellouis-vuitton-2012-by-steven-meisel

EDITORIALS

 

With an editorial, you have more freedom! You’re not glued to one location, you can play with lighting (it should be relatively consistent but doesn’t necessarily have to be exactly the same in every shot), you can play with angles, etc.

 

As long as all the images are tied together via concept, have some fun with it. Editorials do showcase clothing however you can be a bit more liberal and artistic with how it’s shown. And one day, if you have enough power in the fashion world like Steven Meisel or Steven Klein, you can sometimes get away with having the dress you’re supposed to feature laying on the floor or hardly showing. (This only applies to the big players in the fashion photography industry.. don’t get any ideas!)

 

 

Steven Klein for Interview Magazine

 

Observe that there is a definite concept. However, unlike a campaign, there is more variation between the shots.

steven-klein-for-interview-magazinesteven-klein-for-interview-magazinesteven-klein-for-interview-magazinesteven-klein-for-interview-magazine 

Tim Walker (& Tim Burton!) for Harper’s Bazaar

 

tim-walker-and-tim-burton-for-harpers-bazaartim-walker-and-tim-burton-for-harpers-bazaartim-walker-and-tim-burton-for-harpers-bazaartim-walker-and-tim-burton-for-harpers-bazaar

I hope you all enjoyed discovering the difference between editorial and campaign images. It’s definitely something you want to keep in mind when you’re translating your inspirations into concepts. With a better understanding of the concept to creation process, you’ll be able to turn your shoot ideas into reality.

As always, if you have any questions, feel free to shoot over an email!

 

Alana

 

 

IMAGE SOURCE:

Feature image & images 1-3: Mert & Marcus for Brian Atwood’s Fall 2012 Campaign

Images 4 & 5: Steven Meisel for Louis Vuitton Spring 2012 by Steven Meisel

Images 6-9: Steven Klein for Interview Magazine

Images 10-13: Tim Walker (& Tim Burton!) for Harper’s Bazaar


Fashion Photography Blog

 
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Posted in Uncategorized

 

Concept To Creation: Editorial Versus Campaign

17 Jul

Editorial vs. Campaign

 

 

Hey FashionPhotographyBlog.com readers.

 

Thanks for joining us on our “Concept to Creation” series where we walk you through the process of taking an idea into an image. If you were here with us last time, we investigated examples of how working fashion photographers in the industry turn their inspirations into a concepts.

 

Concept – crucial to binding your images together. You’ll find that any high end magazine only published editorials that has a concept holding the story together so today we are going discuss the difference between editorial and campaign images and how these can affect the concept for your shoots.

 

There’s a bit of a formula to it all. A set of rules that can, and are, broken.. But for the most part hold true to all editorials and campaigns you see.

 

 

Campaigns

 

Typical, successful campaigns do a few things. Obviously, they showcase the clothing. If you can’t see the clothing, you’re not getting paid. In fashion, clothing is king. It comes before all else.

 

You’ll notice that campaigns shot on location tend to stick to one area. If you’re on a sofa in a house- you’re on that sofa, in that house, for all of the images. A lot of campaign images tend to look the same. That’s a job well done! It’s this repetition that makes you remember “Oh, the girl on the blue couch with a million men is that Brian Atwood campaign.” So every time you see a girl on a blue couch with a million men, what do you think? That’s right! Subconsciously you recall Brian Atwood’s name!

 

 

Brian Atwood’s Fall 2012 Campaign by Mert & Marcus:

 

Notice all the images have the same general perspective, are in the same place, and are essentially the same image (with variations).

brian-atwood-fall-2012-campaign-by-mert-and-marcusbrian-atwood-fall-2012-campaign-by-mert-and-marcusbrian-atwood-fall-2012-campaign-by-mert-and-marcus

 

Louis Vuitton Spring 2012 by Steven Meisel

Notice a pattern?louis-vuitton-2012-by-steven-meisellouis-vuitton-2012-by-steven-meisel

EDITORIALS

 

With an editorial, you have more freedom! You’re not glued to one location, you can play with lighting (it should be relatively consistent but doesn’t necessarily have to be exactly the same in every shot), you can play with angles, etc.

 

As long as all the images are tied together via concept, have some fun with it. Editorials do showcase clothing however you can be a bit more liberal and artistic with how it’s shown. And one day, if you have enough power in the fashion world like Steven Meisel or Steven Klein, you can sometimes get away with having the dress you’re supposed to feature laying on the floor or hardly showing. (This only applies to the big players in the fashion photography industry.. don’t get any ideas!)

 

 

Steven Klein for Interview Magazine

 

Observe that there is a definite concept. However, unlike a campaign, there is more variation between the shots.

steven-klein-for-interview-magazinesteven-klein-for-interview-magazinesteven-klein-for-interview-magazinesteven-klein-for-interview-magazine 

Tim Walker (& Tim Burton!) for Harper’s Bazaar

 

tim-walker-and-tim-burton-for-harpers-bazaartim-walker-and-tim-burton-for-harpers-bazaartim-walker-and-tim-burton-for-harpers-bazaartim-walker-and-tim-burton-for-harpers-bazaar

I hope you all enjoyed discovering the difference between editorial and campaign images. It’s definitely something you want to keep in mind when you’re translating your inspirations into concepts. With a better understanding of the concept to creation process, you’ll be able to turn your shoot ideas into reality.

As always, if you have any questions, feel free to shoot over an email!

 

Alana

 

 

IMAGE SOURCE:

Feature image & images 1-3: Mert & Marcus for Brian Atwood’s Fall 2012 Campaign

Images 4 & 5: Steven Meisel for Louis Vuitton Spring 2012 by Steven Meisel

Images 6-9: Steven Klein for Interview Magazine

Images 10-13: Tim Walker (& Tim Burton!) for Harper’s Bazaar


Fashion Photography Blog

 
Comments Off on Concept To Creation: Editorial Versus Campaign

Posted in Uncategorized

 

Concept To Creation: Finding Inspiration

17 Jul

Hey FashionPhotographyBlog.com readers.

 

This time around, we’re going to look at something a bit more conceptual. I can give advice and guide you, but ultimately it’s your job to really dig in and put it all together. That being said.. This post we’re going to briefly explore “Concept to Creation.” How to take an idea and turn it into an editorial or, if you’re lucky enough, an advertising campaign. Granted this post (hell- this whole blog) is geared more toward fashion photography, but the same principles apply for all walks of photography.

 

One of the biggest things I didn’t understand when first starting out was what an editorial really is. Sure, it’s a “story.” It’s a group of images that go together. Easy enough. So what was I doing wrong that I couldn’t get any of my “stories” published? They were good pictures but I lacked concept and intrigue.

 

When planning a shoot, there is no precise way to tell you how to get from initial inspiration to final image. However, we can look at developing an idea and the unwritten rules behind the images we see.

 

 

Inspiration

 

Let’s start at the beginning. First off, find some inspiration.

 

Many people ask where to find inspiration. There’s no right or wrong answer. For some people it’s reading a book, watching a movie or going to a museum. For others it’s found walking around town or listening to new music. Everyone gets inspired differently. The hardest part is finding out how you’re inspired and taking it from there. Are you stimulated visually? Auditorily?

 

The best piece of advice I could give you is to NOT look at fashion photographers work when trying to get inspired. Sounds silly, I know. Look at fashion photographers work all the time! Knock yourself out. But when it comes to initially conceiving an idea and you’re looking at the work of other fashion photographers, you’ll run into a few problems.

 

1) You’re most likely going to steal a bit of their idea/image subconsciously

2) If you’re looking at the work of masters such as Guy Bourdin or Steven Meisel, you’ll drive yourself mad! There is no way your work can stack up against these guys.

 

Let your ideas come organically. Bounce ideas off friends. Watch a movie. Go to the Met. (Can’t get to NYC? No sweat! The Met has their collections catalogued online, so does the MoMA

 

Browsing online and see something you like? Create an inspiration folder on your desktop to keep images for later reference.

 

francis-bacon-pope

Francis Bacon’s work often focuses on how the face distorts as one screams. I used this as inspiration for some personal images I shot.

 

alana-tyler-slutsky-personal-work-lighting

Image I shot studying how the face can be manipulated through distortion and lighting. As you can see, Bacon’s work was a big inspiration for this set of images.

 

Stayed tuned because we will be diving a little further into turning inspiration into concept next time.

Until then –

 

Alana

 

 

IMAGE SOURCE:

 

Image 1: Francis Bacon

Image 2: Alana Tyler Slutsky


Fashion Photography Blog

 
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Posted in Uncategorized

 

Concept To Creation: Turn Inspiration Into Concept

17 Jul

 

Turning Inspiration Into A Concept

miles-aldridge-vogue-italia-cat-story

Hey FashionPhotographyBlog.com readers.

 

Thanks for joining us on our Concept to Creation series where we walk you through the process of taking an idea into an image. If you were with us last time, we talked about talked about how to find inspiration for your shoots. On today’s we’re going to jump into discussing how to turn your inspiration into a concept.

 

Now, this right here is the most important step. You have an idea, great. How do you turn that idea into a set of images? Can it be turned into a picture narrative/story? Now that you have your base idea, it’s time to do some research! Doing an editorial based on the color red? What does the color red evoke? How have people pulled off red editorials in the past? While researching, plan your shoot. Is it in studio? Is it on location? One model or two? Blonde, brunette or redhead? Take this laundry list of ideas and findings and start turning it into a picture in your head.

 

For some people, it helps to sketch things out. For others, it helps to collage. I tend to collect images while I sit on an idea and then go straight into creating a moodboard.

 

Look at an editorial or a campaign, you’ll see that there is one main thing that binds all the images together – a concept. When flipping through the pages of a magazine, you can determine when one story ends and another beings purely based on the concept behind the images. You won’t find an editorial that consists of different girls wearing different types of clothing in locations that aren’t relevant to each other. That’s just not how it works.

 

A concept is what will bind your story together. And the way in which you handle it shows a bit of your voice. A concept goes further than “my model is wearing red in all the images”. That’s purely a way of styling the model. Put some imagination into it.

 

Hope you all enjoyed this dive into the thought process behind translating an inspiration into a concept. To help explain the points raised in this post further, the next article I’m posting, we’ll dive a little further by showing you some examples of how working fashion editorial photographers pull their inspiration and translating them into concepts.

 

Until then –

Alana

 

 

IMAGE SOURCE:

Feature image & image 1: Miles Aldridge for Vogue Italia


Fashion Photography Blog

 
Comments Off on Concept To Creation: Turn Inspiration Into Concept

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Concept To Creation: How Professional Photographers Do It

16 Jul

Examples of Concept to Creation from Working Fashion Photographers

 

Hey FashionPhotographyBlog.com readers.

 

Thanks for joining us on our “Concept to Creation” series where we walk you through the process of taking an idea into an image. If you were with us last time, we discussed how to turn your inspiration into a concept. Today, we’re going to dive a little further. I’ll help you out with some examples of how working fashion editorial photographers pull their inspiration and translating them into concepts.

 

 

Miles Aldridge for Vogue Italia:

Sure, there is a concept in the styling: spring time flowy dresses. There’s continuity between the images because of the bold use of color. But anyone that knows Miles Aldridge’s work knows that’s his style. What ties all these images together? Cats! Without the cats, none of the images would appear to be from the same editorial.

miles-aldridge-vogue-italia-cat-story

miles-aldridge-vogue-italia-cat-story

miles-aldridge-vogue-italia-cat-story

Mert & Marcus for W Magazine:

All the images are shot in the same room. A room that has been flooded. Bingo! There’s your concept.

Mert-&-Marcus-for-W-Magazine

Mert-&-Marcus-for-W-Magazine

Knowing that these guys often pull inspiration from artwork, I wouldn’t be surprised if they were inspired by Pre-Raphaeliate “Ophelia” paintings. I especially wouldn’t be surprised if a big piece of their inspiration came from photographer Gregory Crewdson’s interpretation of these Ophelia images.

ophelia-by-john-everett-millais

Ophelia by John Everett Millais

Ophelia-by-Gregory-Crewdson

Ophelia by Gregory Crewdson

 

Granted, these examples are more on the extreme end of the spectrum. However, I think it drives the idea across. These images aren’t united because of what the model is wearing. They’re not united because of a dominant color (although, it helps). They’re united because of an idea which brings them together. It takes them out of the real world and brings them into a fantasy land.

 

This is extremely hard to do on a limited budget. That’s okay! No one is expecting someone with no budget to pull off a shoot like the ones pictured above. Just because you don’t have funds doesn’t mean you cant create a concept on a low/no budget that ties everything together.

 

 

Melissa Rodwell for Kurv Magazine:

 

Not something that would require an extravagant budget like the images pictured above. However, they’re all united in their lighting, clothing, hair, makeup, location and way in which they’re shot. Melissa brings you into this whimsical, etherial world with a simple concept. White.

 

I know, I know, I’ve said it shouldn’t just be a color that holds your images together. But In these images, it works! Melissa brings you beyond the color white and creates a fantasy world out of it.

 

melissa-rodwell-kurv-magazinemelissa-rodwell-kurv-magazine

Concept – crucial to binding your images together. You’ll find that any high end magazine only published editorials that has a concept holding the story together.

 

Hope you all enjoyed the examples of working fashion photographers and their thought processes behind turning inspiration into concepts. Stay tuned because next time, we’ll be discussing the difference between editorial and campaign shoots and how these relate to your shoot concepts.

Until then –

 

Alana

 

 

IMAGE SOURCE:

 

Feature image: Mert & Marcus for W Magazine

Images 1-3: Miles Aldridge for Vogue Italia

Images 4 & 5: Mert & Marcus for W Magazine

Image 6: John Everett Millais

Image 7: Gregory Crewdson

Images 8-10: Melissa Rodwell for Kurv Magazine


Fashion Photography Blog

 
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Concept To Creation: Editorial Versus Campaign

15 Jul

Editorial vs. Campaign

 

 

Hey FashionPhotographyBlog.com readers.

 

Thanks for joining us on our “Concept to Creation” series where we walk you through the process of taking an idea into an image. If you were here with us last time, we investigated examples of how working fashion photographers in the industry turn their inspirations into a concepts.

 

Concept – crucial to binding your images together. You’ll find that any high end magazine only published editorials that has a concept holding the story together so today we are going discuss the difference between editorial and campaign images and how these can affect the concept for your shoots.

 

There’s a bit of a formula to it all. A set of rules that can, and are, broken.. But for the most part hold true to all editorials and campaigns you see.

 

 

Campaigns

 

Typical, successful campaigns do a few things. Obviously, they showcase the clothing. If you can’t see the clothing, you’re not getting paid. In fashion, clothing is king. It comes before all else.

 

You’ll notice that campaigns shot on location tend to stick to one area. If you’re on a sofa in a house- you’re on that sofa, in that house, for all of the images. A lot of campaign images tend to look the same. That’s a job well done! It’s this repetition that makes you remember “Oh, the girl on the blue couch with a million men is that Brian Atwood campaign.” So every time you see a girl on a blue couch with a million men, what do you think? That’s right! Subconsciously you recall Brian Atwood’s name!

 

 

Brian Atwood’s Fall 2012 Campaign by Mert & Marcus:

 

Notice all the images have the same general perspective, are in the same place, and are essentially the same image (with variations).

brian-atwood-fall-2012-campaign-by-mert-and-marcusbrian-atwood-fall-2012-campaign-by-mert-and-marcusbrian-atwood-fall-2012-campaign-by-mert-and-marcus

 

Louis Vuitton Spring 2012 by Steven Meisel

Notice a pattern?
louis-vuitton-2012-by-steven-meisellouis-vuitton-2012-by-steven-meisel

EDITORIALS

 

With an editorial, you have more freedom! You’re not glued to one location, you can play with lighting (it should be relatively consistent but doesn’t necessarily have to be exactly the same in every shot), you can play with angles, etc.

 

As long as all the images are tied together via concept, have some fun with it. Editorials do showcase clothing however you can be a bit more liberal and artistic with how it’s shown. And one day, if you have enough power in the fashion world like Steven Meisel or Steven Klein, you can sometimes get away with having the dress you’re supposed to feature laying on the floor or hardly showing. (This only applies to the big players in the fashion photography industry.. don’t get any ideas!)

 

 

Steven Klein for Interview Magazine

 

Observe that there is a definite concept. However, unlike a campaign, there is more variation between the shots.

steven-klein-for-interview-magazinesteven-klein-for-interview-magazinesteven-klein-for-interview-magazinesteven-klein-for-interview-magazine 

Tim Walker (& Tim Burton!) for Harper’s Bazaar

 

tim-walker-and-tim-burton-for-harpers-bazaartim-walker-and-tim-burton-for-harpers-bazaartim-walker-and-tim-burton-for-harpers-bazaartim-walker-and-tim-burton-for-harpers-bazaar

I hope you all enjoyed discovering the difference between editorial and campaign images. It’s definitely something you want to keep in mind when you’re translating your inspirations into concepts. With a better understanding of the concept to creation process, you’ll be able to turn your shoot ideas into reality.

As always, if you have any questions, feel free to shoot over an email!

 

Alana

 

 

IMAGE SOURCE:

Feature image & images 1-3: Mert & Marcus for Brian Atwood’s Fall 2012 Campaign

Images 4 & 5: Steven Meisel for Louis Vuitton Spring 2012 by Steven Meisel

Images 6-9: Steven Klein for Interview Magazine

Images 10-13: Tim Walker (& Tim Burton!) for Harper’s Bazaar


Fashion Photography Blog

 
Comments Off on Concept To Creation: Editorial Versus Campaign

Posted in Uncategorized

 

Concept To Creation: How Professional Photographers Do It

15 Jul

Examples of Concept to Creation from Working Fashion Photographers

 

Hey FashionPhotographyBlog.com readers.

 

Thanks for joining us on our “Concept to Creation” series where we walk you through the process of taking an idea into an image. If you were with us last time, we discussed how to turn your inspiration into a concept. Today, we’re going to dive a little further. I’ll help you out with some examples of how working fashion editorial photographers pull their inspiration and translating them into concepts.

 

 

Miles Aldridge for Vogue Italia:

Sure, there is a concept in the styling: spring time flowy dresses. There’s continuity between the images because of the bold use of color. But anyone that knows Miles Aldridge’s work knows that’s his style. What ties all these images together? Cats! Without the cats, none of the images would appear to be from the same editorial.

miles-aldridge-vogue-italia-cat-story

miles-aldridge-vogue-italia-cat-story

miles-aldridge-vogue-italia-cat-story

Mert & Marcus for W Magazine:

All the images are shot in the same room. A room that has been flooded. Bingo! There’s your concept.

Mert-&-Marcus-for-W-Magazine

Mert-&-Marcus-for-W-Magazine

Knowing that these guys often pull inspiration from artwork, I wouldn’t be surprised if they were inspired by Pre-Raphaeliate “Ophelia” paintings. I especially wouldn’t be surprised if a big piece of their inspiration came from photographer Gregory Crewdson’s interpretation of these Ophelia images.

ophelia-by-john-everett-millais

Ophelia by John Everett Millais

Ophelia-by-Gregory-Crewdson

Ophelia by Gregory Crewdson

 

Granted, these examples are more on the extreme end of the spectrum. However, I think it drives the idea across. These images aren’t united because of what the model is wearing. They’re not united because of a dominant color (although, it helps). They’re united because of an idea which brings them together. It takes them out of the real world and brings them into a fantasy land.

 

This is extremely hard to do on a limited budget. That’s okay! No one is expecting someone with no budget to pull off a shoot like the ones pictured above. Just because you don’t have funds doesn’t mean you cant create a concept on a low/no budget that ties everything together.

 

 

Melissa Rodwell for Kurv Magazine:

 

Not something that would require an extravagant budget like the images pictured above. However, they’re all united in their lighting, clothing, hair, makeup, location and way in which they’re shot. Melissa brings you into this whimsical, etherial world with a simple concept. White.

 

I know, I know, I’ve said it shouldn’t just be a color that holds your images together. But In these images, it works! Melissa brings you beyond the color white and creates a fantasy world out of it.

 

melissa-rodwell-kurv-magazinemelissa-rodwell-kurv-magazine

Concept – crucial to binding your images together. You’ll find that any high end magazine only published editorials that has a concept holding the story together.

 

Hope you all enjoyed the examples of working fashion photographers and their thought processes behind turning inspiration into concepts. Stay tuned because next time, we’ll be discussing the difference between editorial and campaign shoots and how these relate to your shoot concepts.

Until then –

 

Alana

 

 

IMAGE SOURCE:

 

Feature image: Mert & Marcus for W Magazine

Images 1-3: Miles Aldridge for Vogue Italia

Images 4 & 5: Mert & Marcus for W Magazine

Image 6: John Everett Millais

Image 7: Gregory Crewdson

Images 8-10: Melissa Rodwell for Kurv Magazine


Fashion Photography Blog

 
Comments Off on Concept To Creation: How Professional Photographers Do It

Posted in Uncategorized

 

Concept To Creation: Finding Inspiration

15 Jul

Hey FashionPhotographyBlog.com readers.

 

This time around, we’re going to look at something a bit more conceptual. I can give advice and guide you, but ultimately it’s your job to really dig in and put it all together. That being said.. This post we’re going to briefly explore “Concept to Creation.” How to take an idea and turn it into an editorial or, if you’re lucky enough, an advertising campaign. Granted this post (hell- this whole blog) is geared more toward fashion photography, but the same principles apply for all walks of photography.

 

One of the biggest things I didn’t understand when first starting out was what an editorial really is. Sure, it’s a “story.” It’s a group of images that go together. Easy enough. So what was I doing wrong that I couldn’t get any of my “stories” published? They were good pictures but I lacked concept and intrigue.

 

When planning a shoot, there is no precise way to tell you how to get from initial inspiration to final image. However, we can look at developing an idea and the unwritten rules behind the images we see.

 

 

Inspiration

 

Let’s start at the beginning. First off, find some inspiration.

 

Many people ask where to find inspiration. There’s no right or wrong answer. For some people it’s reading a book, watching a movie or going to a museum. For others it’s found walking around town or listening to new music. Everyone gets inspired differently. The hardest part is finding out how you’re inspired and taking it from there. Are you stimulated visually? Auditorily?

 

The best piece of advice I could give you is to NOT look at fashion photographers work when trying to get inspired. Sounds silly, I know. Look at fashion photographers work all the time! Knock yourself out. But when it comes to initially conceiving an idea and you’re looking at the work of other fashion photographers, you’ll run into a few problems.

 

1) You’re most likely going to steal a bit of their idea/image subconsciously

2) If you’re looking at the work of masters such as Guy Bourdin or Steven Meisel, you’ll drive yourself mad! There is no way your work can stack up against these guys.

 

Let your ideas come organically. Bounce ideas off friends. Watch a movie. Go to the Met. (Can’t get to NYC? No sweat! The Met has their collections catalogued online, so does the MoMA

 

Browsing online and see something you like? Create an inspiration folder on your desktop to keep images for later reference.

 

francis-bacon-pope

Francis Bacon’s work often focuses on how the face distorts as one screams. I used this as inspiration for some personal images I shot.

 

alana-tyler-slutsky-personal-work-lighting

Image I shot studying how the face can be manipulated through distortion and lighting. As you can see, Bacon’s work was a big inspiration for this set of images.

 

We’ll dive a little further into turning inspiration into concept next time.

Until then –

 

Alana

 

 

IMAGE SOURCE:

 

Image 1: Francis Bacon

Image 2: Alana Tyler Slutsky


Fashion Photography Blog

 
Comments Off on Concept To Creation: Finding Inspiration

Posted in Uncategorized

 

Concept To Creation: Turn Inspiration Into Concept

15 Jul

 

Turning Inspiration Into A Concept

miles-aldridge-vogue-italia-cat-story

Hey FashionPhotographyBlog.com readers.

 

Thanks for joining us on our Concept to Creation series where we walk you through the process of taking an idea into an image. If you were with us last time, we talked about talked about how to find inspiration for your shoots. On today’s we’re going to jump into discussing how to turn your inspiration into a concept.

 

Now, this right here is the most important step. You have an idea, great. How do you turn that idea into a set of images? Can it be turned into a picture narrative/story? Now that you have your base idea, it’s time to do some research! Doing an editorial based on the color red? What does the color red evoke? How have people pulled off red editorials in the past? While researching, plan your shoot. Is it in studio? Is it on location? One model or two? Blonde, brunette or redhead? Take this laundry list of ideas and findings and start turning it into a picture in your head.

 

For some people, it helps to sketch things out. For others, it helps to collage. I tend to collect images while I sit on an idea and then go straight into creating a moodboard.

 

Look at an editorial or a campaign, you’ll see that there is one main thing that binds all the images together – a concept. When flipping through the pages of a magazine, you can determine when one story ends and another beings purely based on the concept behind the images. You won’t find an editorial that consists of different girls wearing different types of clothing in locations that aren’t relevant to each other. That’s just not how it works.

 

A concept is what will bind your story together. And the way in which you handle it shows a bit of your voice. A concept goes further than “my model is wearing red in all the images”. That’s purely a way of styling the model. Put some imagination into it.

 

Hope you all enjoyed this dive into the thought process behind translating an inspiration into a concept. To help explain the points raised in this post further, the next article I’m posting, we’ll dive a little further by showing you some examples of how working fashion editorial photographers pull their inspiration and translating them into concepts.

 

Until then –

Alana

 

 

IMAGE SOURCE:

Feature image & image 1: Miles Aldridge for Vogue Italia


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Flexible sheet camera concept could lead to bendable capture devices

14 Apr

Researchers at Columbia University are working to produce a flexible sheet camera with stretchable lenses. The program aims to create very thin, high resolution cameras that can be wrapped around surfaces like car panels. Currently in concept form, the sheet lens array that such a camera might use has been developed to produce a seamless image on a flexible sensor when it is bent or wrapped around a physical object.

The focus of the research is in creating flexible lenses that are capable of changing shape (and hence the effective focal length) as they are stretched and compressed so that the imaging sensor can record a detailed image whatever the field of view.

With fixed lenses, gaps appear between the coverage of the lenses as the substrate is bent (left), but in the researcher’s flexible lens example (right) the lenses bend with the substrate and offer continuous coverage of the subject.

In previous attempts at flexible lens arrays only the substrate has been flexible, and as the sheet of lenses has been bent gaps have appeared in the subject coverage as the angle between the lenses increased beyond their individual field of view. These gaps lead to aliasing artifacts in the final image that can’t be corrected in post-processing software. In this new concept the lenses are also flexible and they stretch as the sheet bends, altering their focal length and providing better sampling of the subject.

So far the research has successfully produced a sheet of silicone with lenses molded on one side and a diffuser behind a sheet of apertures on the other. The apertures act as a low pass filter ensuring light from each molded lens reaches only one point on the viewing diffuser.

Images created with the substrate bend by different degrees, showing how the field of view changes

The system hasn’t actually been used with a sensor yet, but the study did use it to project images on to the diffuser screen to determine how effective it would be. Bending the sheet increased and decreased its field of view, or effective focal length, and the images were displayed without missing areas. All that is required now is a flexible sensor to go with it.

An array of lenses was formed by pouring silicone into a metal mold

The intention of the project is to work towards finding a way of making sheets of lenses to work with photosensitive materials that will record images when wrapped around real-world objects. The researchers want ultimately be able to produce these sheet cameras in roll format at a low cost so that the sheets can be cut to size to suit specific uses.

The released information suggests a sheet camera could be wrapped around the panels of a car to give the driver a view from all angles. Alternatively sheet cameras could be used by consumers to take normal pictures but with the user bending the sheet to alter the field of view, or zoom effect, of the system.

For more information see the project’s page on the University of Columbia website.


Press release:

Flexible Sheet Cameras With Elastic Optics

In this project, we pursue a radically different approach to imaging. Rather than seeking to capture the world from a single point in space, our goal is to explore the idea of imaging using a thin, large, flexible sheet. If such cameras can be made at a low cost (ideally, like a roll of plastic sheet), they can be used to image the world in ways that would be difficult to achieve using one or more conventional cameras. In the most general sense, such an imaging system would enable any surface in the real world to capture visual information. While there is significant ongoing work on the development of flexible image sensors, our interest here is in the design of the optics needed to form images on such sensors.

At first glance one might imagine that a simple lens array aligned with a flexible detector array would suffice – its field of view (FOV) can be varied by simply bending it. What is perhaps less apparent is the fact that, in a curved state, the FOV can end up being severely under-sampled. This under-sampling leads to a captured image that is not bandlimited. Thus, the Nyquist sampling criterion is violated and the image will suffer from aliasing artifacts when reconstructed. It is important to note that these artifacts cannot be removed via post-processing since scene information is lost during image formation.

To address the above aliasing problem over an entire range of sheet curvatures, we propose the design of a deformable (elastic) lens array. We show that, if designed carefully, the deformable lenses of the array will change shape (and hence focal length) under bending forces in a way that mitigates aliasing. A remarkable feature of our design is that the lens array can achieve aliasing compensation passively, without the use of any per-pixel actuation or control. Our optics can be combined with a flexible sensor array to obtain a complete sheet camera. This project was supported by the Office of Naval Research (ONR).

Articles: Digital Photography Review (dpreview.com)

 
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