Photography Technical - White Out and Gels

As part of this weeks technical photography class we worked on creating a white out for an image also experimenting with gels. White out is a technique that I had never used before and I found the technique rather complex but very beneficial in particular for creating a clean headshot image. "White Outs" involve using additional lighting to complexly remove any shadowing form behind the model therefore giving you a clean backdrop which makes transferring the foreground onto alternative settings easier in the editing process but also creates a simple clean headshot. To create this image two additional lighting set ups are required in addition to the basic lighting that will be put in front of the model.  These involved two basic light stands with a beauty dish set up placed on top, these lights were then placed behind the model at either side facing a focal point on the backdrop directly behind the model. Ensuring that all the lights are then placed onto cell mode when an image is taken the burst of light behind the model will remove any shadowing from the image. In regards to the results created when using the white out technique within a photo my personal opinion varies, the final look of this photo is to me very passport like and rather harsh on the models complexion. That being said for a beauty shot and with a full makeup look applied I imaging that it would work perfectly for drawing all attention to the beauty shot. This use of light set up is not something that is soley for the purpose of white out photography as it can also be used in corporation with gels (plastic coloured light overlays) to create interesting effects on the skin or backdrop of the image.

Gels in photography is something that I have had some experience with in my own personal work from the previous semester however this was with the help of a photography. During this class I was able to experiment more with the outcome of my images by adjusting where the gels were placed for each image. Just by changing the colours and positions of a gel you can achieve a complete different aesthetic. The first image is an example of using gels behind the model pointing both away from and at the camera, this technique creates a shaded background and lick of colour on the face. Unfortunately within these images the front beauty camera was slightly underexposed and therefore made my final images look dull, however the technique is still visible. The second and third light set up were significantly more successful and i also prefer the colour selection for these images despite the fact that it is pink. The overall tone is much brighter and the models face more visible and well lit.  In addition the two images supply examples of how having a bright facing light can also alter the final outcome of the gel effect as both these example used the same lighting set up however the second has been significantly bleached as a result of the large soft box light. Now that I have a better understanding of how to use gels in photography this is definitely something that I want to take forward into future shoots as through the addition of coloured lighting it completely changes the vibe of a shoot.

Image 1: Blue gel pointing backwards with a red gel slightly behind and to side of models face.

Image 2: Pink and peach gel placed behind the model in a "white out" lighting set up. 

Image 3: Foreground beauty lighting removed, model stood between white backdrop and orange and pink gels both pointing at canvas from either side. 

Editorial Images (Unedited) - Complete Looks

Technical File - Beach Hair Natural Beauty

Health and Safety: 

Place apron around the neck to protect clothing. 

Always ensure to run a client consultation to check for any infections, allergies or contraindications.

Wash/Disinfect hands thoroughly before touching the clients hair/skin.

Tools Used:

- Paddle Brush 

- Sectioning Comb

- Sectioning Grips

- Curling Tongs (Large)

- Diffuser Hair Dryer

- Salt Spray

- Mousse 

Process of Creation: Diffused Beach Hair

1. Ensure that the hair is fully saturated/damp. 

2. Begin by applying a gold ball sized amount of mousse into the palm of your hand and work it through the lengths of the hair with the finger tips, focusing at the root. 

3. Sea salt spray may also be added to the lengths of the hair.  

4. Taking a hair dryer with a diffuser end (which enables you to hold the dryer closer to the scalp without burning) begin scrunching the hair together into the diffuser. Work the dryer around the head to create volume and texture, be sure to do this at the root first and work your way to the ends.

5. Ensure to work to the condition of the hair, damaged/processed hair should be dealt with at a lower temperature. 

5. Continue to scrunch the hair into the diffuser to encourage natural movement.  

6. When finished style as desired or leave natural. 

Process of Creation: Curled Beach Hair

1. Take a fairly large section of hair roughly 1-2 inches wide.

2. Using a larger curling wand begin to work from the front of the face backwards away from the face but leaving the ends straight. Continue through the rest of the hair alternating direction. 

3. This style doesn't necessarily require pinning the curls so just leave them to cool naturally. 

4. Once the hair has cooled go in with your fingers to create more body and texture by breaking up the curls to create waves. 

5. Once the hair has been curled it can then also be styled as desired. 

Process of Creation: Styled Beach Hair (Chignon)
1. Prep the hair using one of the above hair styling techniques to create texture. 
2. Section the front of the hair away from the back of the hair along the ear to ear line. 

3. Taking the back section of hair secure backwards into a neat low ponytail. 

4. Using a tail comb, back comb the top layer (side visible to you) to create density and volume in the ponytail. 
5. Taking your fingers roll the hair upwards to create a sausage roll shape at the back of the head and secure the roll at the base of the ponytail. 

6. Gently pull the sides out back toward the head and secure against the hair with hair pins. This will create the illusion of a bun shape. 

7. Style the front as desired.

Evaluation:
My client had previously crimped her hair before we went about creating the beach hair look which meant there was even more texture that had already been put into the hair. Some of this texture was lost during the wetting down process however much of it remained in particular at the root section, this however allowed for a greater amount of volume for the hairstyling. Diffusing the hair gave lots of natural body and texture which was effective as my model has hair that is more fine, because of this the volume that was put in by the diffuser held effectively. This technique is definitely a very quick and effective way of creating the effect of beach hair, I do feel however that this may look better on hair without previous texture such as crimping and also being on black hair makes it difficult to see the texture effectively. The second technique is my preferred for creating beach hair on darker colours as it is more structured but still creates a nice dressed down effect. This technique definitely gives more of a wave effect as opposed to random body, in addition by allowing the hair to fall naturally and not curling the ends makes the final look less polished. I do feel that this style would hold better throughout the day whereas the above one may drop. The final look was that of a basic chignon hairstyle created using the beach hair technique as preparation. This style looked very effortless and pretty as the texture from the diffuser and curling wand allowed for a hairstyle that is traditionally more formal to be dressed down. I decorated the hair with twists from the front section which added a final decorative element to the look. Overall I enjoy the beach hair technique as the use of texture allows you to not only create naturally messy hair but also reinvent classic hairstyles such as chignons and braids etc. 

Technical File - Lips

Health and Safety: 

Place apron around the neck to protect clothing. 

Always ensure to run a client consultation to check for any infections, allergies or contraindications.

Wash/Disinfect hands thoroughly before touching the clients skin.

Products Used:

- Lip balm 

- MAC Lipliner 'Barely There' 

- Kiko Lipliners 'Burgundy' & 'Plum'

- Kryolan Rouge Palette

- Mac SS Trend Palette 'Purple' 

- Illamasqua Liquid Metal 'Gold' 

Process of Creation: 

1. Apply a lip balm to the lips to smooth any dry areas and create a softer base for lip colour application. 

2. If required lips may also be exfoliated beforehand to remove any dead skin cells/dry areas.

3. Blot away excess balm with a tissue. 

4. Taking a lip liner of preference outline the lips starting from the outer corners and working to the inner area of the lips.

5. Using a lip colour of preference in coherence with that of the lip pencil begin to fill in the area up to the edge of the lip ensuring as clean a line as possible. 

6. Blot the lip colour and reapply the layer to ensure staying power.

7. Using a concealer go ahead and clean up any rough lines for a crisp finish. 

Evaluation:

Lip colour is something that can be rather difficult to achieve a clean result with, much like eyeliner it is a common skill that many struggle with. In regards to executing a lip it comes down to practice and redoing the application over and over until it comes comfortable. To achieve this each person develops there own technique, personally I find it easiest to start from the outer corners of the lip and work in, this ensures that I don't miss the line and over draw the lip too much. When completing this technical I decided to work to colours that were preferred by my model, working to her complexion and taste therefore I worked through nude shades into deep reds and plums. Overall I think the nude application was the easiest as it required less precision in comparison to a red lip which can stain if mistakes are made. In addition to these lips I also recreated the SS16 trend lip for Prada which featured a gold metallic lip, this stood out to me because of how bold it was on the runway but also  because of how the colour looks against different skin tones. My model had a similar complexion to that of the models featured in the show as she is of very fair complexion therefore the gold really stood out. To create this I used Illamasqua's Liquid Metal in 'Gold' as it is more antique toned and appeared to match more closely to the original makeup than that of a very orange based gold. Overall I was pleased with how the lip application went however I can see from the images where I have slightly overdrawn the natural outline, this is something that can be worked on with further practice. 

1. Nude Tone                                                         2. Blood Red

3. Deep Plum            4. Prada SS16 Gold Lip Milan Fashion Week

Hair Design - Editorial Shoot

The hair design element of my editorial shoot was slightly different, inspired by the techniques that we had picked up in both our technical lessons on plaits and braids, but also the work of hair stylists such as Paul Hanlon's for Rocha's SS16. I knew that I wanted to reflect the sleek hair looks that had been featured in my research of the SS16 trends, however I was also inspired by the theme of the Erdem runway which was entitled 'Prairie Madness', as a result I wanted to create something that had a Western/Native American feel but was subtle and still tied in nicely with the trend seen at the SS16 shows. Taking inspiration from the skills taught to us within our technical classes I decided to create sleek ponytails with harsh centre partings. These hairstyles although simple to look at can prove challenging but also create a sleek finish to a look in combination with glowing makeup. The makeup element of this look is very simple with naturally radiant skin and the other look having a bold copper eye. As a result I wanted the hair to remain understated as to not draw attention away from the makeup, but also this is relevant to the trends of the season. 

For this I designed two looks both of which feature a connection to the Western/Native theme but also embody the trend of sleek hair. The first of which is a simple middle parting plaited ponytail that will be gently pulled apart to thicken the braid and also fastened at the bottom with either a wrap of hair or metal clasp. The second is a simple sleek low ponytail that also features a middle parting. This too will be fastened with either a metal clasp or hair wrap. Due to the simplicity of these designs and also the fact that I will have more than one model I hope to be able to use both styles or at least attempt to incorporate them both into my final images somehow. These styles will be all about the finish of the hair so it is important that I am able to execute them well to achieve a smooth final outcome. 
I intend for this look that both my models will have long hair so that I will be able to achieve these styles, that being said even if one of my models happens to have shorter hair I will still be able to use the first style of the low ponytail. If I happen to choose someone with really short hair it will simply be a case of slicking the hair down smooth to create a similar finish just minus the ponytail. 

Makeup Design for Editorial Shoot - Main Look Copper Eyes and Glowing Skin

The main makeup look for my editorial campaign is a combination of very natural skin/dewy foundation base and the second look which is more dramatic and features a bold copper eye. Although this look appears more intense it is simply the addition of a eyeshadow over the already existing illuminous base that would of been applied to both of my models as I intend on using more than one in my final images. Within the editorials for Givenchy the aesthetic is commonly very minimal in regards to the makeup, any more dramatic looks are done so through the use of black and white photography or the addition of accessories within the makeup. The application of the base makeup is consistent to how it will be done across a variety of my looks for this unit, beginning with a serum base by Hourglass and MAC's strobe cream, both of these products in combination is my go to technique for creating glowing skin as both have hydrating elements as well as features for enhancing a dewy skin. This will then be topped off with Face and Body foundation and concealer but only in places that I feel my model will require it, the whole point of this look is to create beautiful natural complexions with radiant skin. Once the skin is fully prepared I will go in the refine the brows and add the bold wash of copper eyeshadow over the entirety of the lid. Unlike many eyeshadow looks this is going to be done as a single colour wash, I feel that often this creates the most dramatic results and was also a technique used by Val Garland for the Erdem collection during SS16. By using a single colour it will really draw attention to my models eyes, particularly when set against the styling that will feature purely black and white garments. I did not feel the need to create multiple looks for this editorial as I was certain almost immediately on the look that I wanted to create, I am someone who works better simply going by my gut feeling and working to a face than I do creating multiple designs for ideas the  may not translate well onto the model. 

Editorial Inspiration Analysis - Rianne van Rompaey, Interview Magazine ft Givenchy 2016

The S/S 2016 editorial for Interview Magazine slightly differed from that of the have previously been analysed as Givenchy simply featured, as opposed to dominated the garmentry of the shoot. That being said there is a visible appearance of their key traits notable between the styling of the photography and the core ideology of the traditionally Givenchy aesthetic. This editorial is not only relevant to the season trends put forward by the fashion house but also takes into account a wider variety of fashion sources to produce a S/S trend based montage of images. The total of designers within these images include brands such as Burberry, Givenchy and Calvin Klein as styled by Karl Templer, however the image over (left) includes that of a Givenchy slip dress which reflected the lingerie aesthetic of their complete Ready to Wear SS16 show at New York Fashion Week. 

Image URL: http://www.fashiongonerogue.com/interview-slip-dress-fashion-editorial/

The use of photography and editing within this editorial can be closely linked to that of Givenchy as the images share a similar style to that of previous campaigns, for example S/S 14. The use of greyscale is a common reoccurring feature within many of the Givenchy campaigns which are either wholly or at least patricianly done in greyscale tones. If not it is used as a feature along with high contrast or burnout filters that reinforce the classic modern gothic tones of Tischi's ideology. In regards to this selection of campaign images in particular the use of black and white photography is done so against a higher balance of strong lighting which creates heavy shadowing on areas of the body, although the use of a bright bulb also adds dramatic lighting to the models face and high features. By focusing the light here it draws out attention to her hair/makeup but also the flood of light in marriage with the styling creates a innocently fresh take, which acts in turn as a contrast to the sensual nature of the silk and lace slip. The use of dramatic lighting is effective in black and white imagery as it constructs a mood about the picture, the harsh contrast of the model and the murky background are somewhat grungy and give an almost dirtied down illusion to the images despite their crisp set up. Shooting in a studio also adds a minimalist tone, directing the attention straight to the model and the garments that she has on her person. Studio shoots are commonplace for a lot of Givenchy's editorial work, often being used within their more atmospheric ideas that feature a rock 'n' roll edge to them. Strong poses set against strong crisp backgrounds that reinforce the drama of the look, in addition soft shadow overlays are also introduced to further enhance the dirtied down aesthetic of the shoot and create dimension between the model and her surroundings. Taking this information forward it is important when shooting for a Givenchy campaign to ensure a similar tone of grunge attitude with the use of shadowing, styling and crisp lighting effects. 

Rochas Sleek Ponytails - Paul Hanlon S/S 2016

http://www.vogue.com/fashion-shows/spring-2016-ready-to-wear/rochas/slideshow/beauty#13

In regards to the hair design for Rochas Spring/Summer 2016 show very little information could be found in regards to Paul Hanlon's concept for the hair. That being said there is an obvious connection between a possible conceptual meaning for the hairstyling with that of the garment design. Rochas collection featured a whole variety of classically feminine designs with structured lines, lace overlays and floral prints. Glossy textures dominated the garments with metallic overlays and patent leathers being the forefront fabrics of the show, the gloss of the clothing mirrored in the sleek structures of the ponytails which created a flat sheen to the hair. The whole styling of the show was accessible regality, a mild change to the classic aesthetic for Rochas but with simple makeup and casual hair styling the trend of natural beauty is reflected effortlessly.

Bronzed Eyes - Charlotte Tilbury S/S 2016

Internet Ref: Tilbury, C. (2015). Milan Fashion Week: Etro SS16. Available: http://www.charlottetilbury.com/uk/blog/2015/09/milan-fashion-week-etro-ss16/. Last accessed 19th Feb 2016.

http://www.vogue.co.uk/beauty/2015/09/14/spring-summer-
2016-hair-and-make-up-backstage/gallery/1488697

The inspiration for Etro’s SS16 look came from the ideology of the ‘lady of the lake’ with subtle tones of bronzed gold’s washed over the complexions of each model to create beautifully soft, romantic makeup. Mixed tones of oyster whites, bronzed browns and gold’s in the shades Antique Diamond,  Constructivist and Indianwood were applied in delicate washes over the eyelids and then accentuated using a thin coating of clear gloss to catch the lights as each model took to the runway. Continuing with the trend of glowing skin the face was softly highlighted in warm champagne and gold tones to create a dreamy soft complexion. This was first done so by adding a moisturizer to the skin with light correction of any blemishes or discoloration. The highlight was created through a combination of powder and a soon to release adaptation on the classic strobe cream by MAC, this time featuring a golden tint. Freckles were added to the skin using MAC eyeliner in the shade Cork to create the illusion of natural features. The whole look was then finished with a coat of lip scrub to soften the lips and a glossy balm to finish.

This combination of warm metallics and luminous skin is a personal stand out trend for the season of S/S 2016 and ties in nicely with my attraction to the combination 70's garmentry and the biker aesthetic that has been featured on the catwalk and in previous campaigns by Givenchy for the Spring/Summer season. The aesthetic for my personal catwalk/editorial look is a tie in of this styling with the cultural events of the period focusing in particular on the Civil Rights movements of the 1960's/70's. The use of the gold and copper in this makeup look has a great deal of symbolism within the Native American culture and therefore with further evidence shall tie in effectively with the theme of my take on the S/S campaign for 2016.  

Fresh Luminous Skin - S/S 2015 Issey Miyake & S/S 2016 Preen

Internet Ref: Jones, A. (2015). Your Spring Makeup Guide. Available: http://www.glossybox.co.uk/magazine/2015/03/26/changing-faces-your-spring-make-up-guide/. Last accessed 19th Feb 2016.

Issey Miyake S/S 2015

http://makeuputopia.com/edit-issey-
miyake-ss2015/

The makeup for this show was designed by makeup artist Alex Box who played with the upcoming trend of using a ‘strobing’ technique. This involved placing highlighting products on all the highest points of the face including the cheekbones, the forehead and nose at Issey Miyake, which gave the skin a beautifully lifted luminosity. This is a trend that appears frequently within the catwalks of the S/S season as it radiates every element of natural beauty. Cosmetics for this look in particular were supplied by MAC with the cult favourite product 'strobe cream' supplying the all over glow on each models face. Skin is a crucial factor to this look and therefore skincare is essential to achieving an evenly lit effect on the face, the use of strobe cream adds additional moisture to the skin as a result of its hydrating benefits. This look was then paired with a delicately glossed lip and washed out lid to further enhance the ethereal elements of the look. Strobe cream is buffed into the face with a mixture of face and body to supply a naturally light but even coverage to ensure perfection of the complexion. Alex Box described this make-up look as: "A beautiful blue. Cold makeup where it's all about the lashes and the coldness of the skin... It's hopeful and fresh." 

Preen S/S 2016

http://www.professionalbeauty.com.au/2016/02/05/makeup-
must-read-m-a-c-delivers-the-trends-for-ss16/

The aesthetic for the Preen show was that of touchable beauty, focusing again on the elements of natural beauty and providing the skin with the upmost care in order to achieve the best results from it. A Clarins 'Skin Beauty Repair' serum is applied all over the skin to push moisture into the face, this is then enhanced further by the addition of a skin oil to create that heavily hydrated effect to the skin. The point of this makeup was to build up the skins moisture to the highest possible point without it appearing sweaty. Imperfections such as tired eyes, blemishes or discolouration were tackled using a radiant concealer that also bounced light back from the face, no foundation is applied nor needed for this makeup look. Flushes of colour were added to the cheeks using a cream colour that is dabbed into the cheeks with the finger tips to create a natural flush of colour.  Directing makeup artist Val Garland finished the look by creating faux freckles with drawn dots from forehead to chin using MAC Penultimate Brow Marker in a natural taupe/brown shade. The whole aesthetic for the look is very light with hints of ethereal metallics.

S/S 2014 Givenchy Zen Magazine Editorial Inspiration - Multicultural Models

Internet Ref: Okwodu, J. (2015). Lara, Joan, Lea, and Mariacarla: Riccardo Tisci on the Models He Adores and the Careers He’s Made. Available: http://www.vogue.com/13266964/riccardo-tisci-interview-top-models/. Last accessed 18th Feb 2016.

Image URL: http://zenmagazineafrica.com/fashion/givenchy-springsummer-2014-campaign-featuring-rb-beauty-erykah-badu-maria-borges-3-hot-models/

Riccardo Tisci for Vogue, Interview April 3rd 2015:

Givenchy’s casts are always incredibly diverse—is that a deliberate move or something that simply happens organically?

"I think we’re all the same, and beauty is something that doesn’t have culture, religion, or color. I opened my second couture show with nine black girls; some of them I’d discovered, some of them were established like Naomi Campbell or Liya Kebede. I did it in a very naive way and, in retrospect, a very honest way. I remember all the magazines talking about the casting, and that surprised me. People make such a big deal about using black girls in your casts, but it shouldn’t be a big deal—it should be normal. Your cast should have everything that is related to your world and your aesthetic. It doesn’t matter what their race is, what their gender or sexuality is, you should represent beauty—beauty is beauty."

“It’s 2013. Everybody’s being so cool about Instagram, about Facebook, about social media—everybody’s being so open. At the end of the day, why are not so many black girls or Latin girls in shows? When you have an American president who is black! When I see this happening, it’s quite sad, I think. People can be so avant-garde, so advanced, but actually not, because people are still making differences between skin colour.” - Zen Magazine, Erykah Badu, Maria Borges and Asia Chow for Givenchy's Spring/Summer 2014 Campaign

This editorial spread holds a significant level of influence in regards to its relevance within the aesthetic of my personal editorial campaign. Givenchy are known for their fresh take on beauty as within an industry dominated by white models they stand to include a diverse cast of ethnic and cultural backgrounds. My editorial in particular focuses its style around that of a 70's based trend aesthetic and therefore I feel personally that it is important to fully incorporate the cultural events of what was going on within that era into my images. The key events of this decade were that of the Civil Rights Movements which stood for raising awareness of the multicultural community within the United States and advocating equality. As my garments will be themed within this decade it makes sense to me to embody the cultural events within my model casting. Taking inspiration from the S/S 2014 campaign for Zen Magazine which made a point of including models of a variety of backgrounds I have established a similar concept for my own shoots. An additional element that make this editorial campaign all the more captivating is that of the choice of garment and posing, again the models are placed in the classic Givenchy monochromatic palette which in itself is dominating. This use of black and white is enhanced further by the strong stances of the women within the images, all of which stand tall and with eye contact. Dominating the frame. Givenchy editorial emphasis the empowerment and in these images place particular emphasis on the strength of women regardless of background, culture or race.