Fashion: Constructed Image Brief

fashion: constructed image
BA(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.
Aiixaxoii Liniixax; xacazixi ioiroi, iuniisuii, iaixrii, iuorociaiuii, scuiiroi air oiiicroi
Photography:
Tim Walker,
British Vogue
March 2009
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.
lt may (w|thout apo|ogy} be a sha||ow but beaut|fu| pursu|t, just|fed by |t`s
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
fantast|c: regard|ess, the narrat|ve |s a who||y |nvented art|fce p|ac|ng and
stag|ng the fgures |nto fabr|cated contexts and env|ronments. E|aborate
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
effect|ve and refect|ve approach to project management: |ndependent|y,
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
fashion as a territory that is infuenced by
cultural ideas and genres of representation.
The relationship between genre, narrative and
audience are introduced as students working
in groups use a cultural idea and an aesthetic
source of inspiration as the foundation from
which to engagement with fashion narratives.
Students are challenged to navigate this clash
between cultural ideas and cultural references.
Drawn from engagements, outside the subject
area of fashion, this unit challenges students
to investigate different reference points,
such as social and political contexts, and the
cinematic, for example. Students will develop a
coherent narrative as a conceptual response
to a brief that is based upon cultural research,
analysis of fashion narratives, characterisation,
and aesthetic speculation and judgement.
The project will involve investigating and
interrogating the collaborative world of fashion.
lt will cover key disciplines such as shoot
production, creative direction, casting, set
design, propping, styling, hair and make-up.
Following previous units, the unit methodology
requires students to establish genre,
characterisation, mise-en-scene, lighting,
scale, relationships, movement, angles of view,
gesture, action, set and special effects from
which the fashion image will be selected.
This creative approach requires students to
conceive of the fashion image as developed
from clearly identifed sources of inspiration.
The constructed fashion image relies upon
strong imaginative abilities, consistent art
direction and understanding of cultural
montage.
Photography:
Nick Knight
Visionaire
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
||ght|ng & Exposure Workshops
Camera Format (Hasselblad HD)
Digital Production
TEACHING AND LEARNING METHODS the unit is supported by:
Project br|efng, story board|ng and narrat|ve workshops, and a
supporting cultural programme.
PDP - online journal or blog in which students archive, annotate and
refect cr|t|ca||y upon the|r own creat|ve pract|ce, and that of the|r
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.)
BA(hons) Photography (Contemporary Practice)
ASSESSMENT REQUIREMENT
Assessable Components Weighting
Research/pre production/Peer assessment 40%
Creative Project 60%

ASSESSMENT CRITERIA
On completion of this unit you will have produced evidence of:
Knowledge and understanding of fashion narratives.
(Research/Pre-Production & Creative Project)
Developing application of analytical skills & research in
support of project progression.
(Research/Pre-Production)
Ability to employ photographic technique to add speculative
qualities to visual strategies.
(Creative Project)
Appropriate project management: planning & organisation,
incl. preparation. health & safety, shoot production skills.
(Creative Project)
TASK ONE
ln order to fu||y understand the comp|ex|t|es of the task undertaken by
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,
the garments & costume worn, the sett|ng and context, the sty|e of
hair and make-up, the use and meaning of props and the lighting and
photographic techniques employed.
lf your |mage |s |mp||c|ty commerc|a| account for the |nfuence and
importance of the market place upon the above factors.
Note your fnd|ngs |n your sketch book / journa| and have a pr|nted hard
copy ava||ab|e for d|scuss|on when we next meet.
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
Photography (top left/bottom right): Philippe Halsman, David LaChapelle, Annie Leibovitz, Norman Parkinson, Annie Leibovitz, Guy Bourdin, lrving Penn
TASK TWO
Characterisation is perhaps the key to great image making since it can
who||y defne the subject and context.
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
the character|sat|on, but a|so costume and context of the s|tter. Be prepared
to verbally account for your choice.
ln cast|ng for a spec|fc fash|on shoot further pract|ca| cons|derat|ons ex|st.
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
rather obv|ous|y} do they ft the c|othes?
Street casting has become widespread (and somewhat ubiquitous) online
and in print. See the following websites for inspiration:
http://facehunter.b|ogspot.com/
http://www.thesartor|a||st.com/
Note your exper|ences |n your sketch book / journa| and have a pr|nted hard
copy of your fna| cast|ng |mage ava||ab|e for d|scuss|on when we next meet.
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; Go-Sees: Girls Knocking on My Door by Jergen Teller
From; Face Hunter by Yvan Rodic
TASK THREE
You are asked to form a project teams of fve / s|x members, g|v|ng carefu|
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
the comp|ex|t|es of the project we requ|re you to ass|gn |ead ro|e(s} to each
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
and cons|der how some tasks may over|ap or conf|ct, espec|a||y dur|ng the
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: Julia Fullerton Batten, Teenage Stories, 2007
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
News and current affairs
Film, stage drama or iconic actors
Music (classic or contemporay), music video or iconic musicians
Art and artists
Literature and authors
ln order to fac|||tate creat|ve exchange and d|a|ogue w|th|n your team and
defne a reference document to pass on to externa| co||aborators and
tutors, respond to your thematic by constructing visual concepts or mood
boards. This process should enable you to begin the visual mapping
process of your narrat|ve and estab||sh the understand|ng and s|gn|fcance
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
co||ex|s. |e/|e a|d d|s|||| ,o0| |a||a||.e |||o a s||0|a| |mae.
At the end of the frst week you are asked to present and p|tch your
concept using a PechaKucha format. This automated power point
presentation simply runs 20 slides at 20 second intervals.
Friday 3rd February (Studio 1j
11.00am - Grps: 1,2,3,4
1.30pm - Grps: 5,6,7,8
15.30pm - Grps: 9,10,11,12
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
that cast|ng and fnd|ng props w||| take |onger than you expect. ||kew|se
externa| co||aborators must be sourced where needed, br|efed and |nformed
of your schedules.
Key tasks are detailed below. Post these to your Online Production Diary as
you complete them.
Defne |nd|v|dua| ro|es w|th|n the team. When work|ng on |arge projects
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
externa| fash|on des|gner or sty||st.
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.
Further research and refne your concept a|ways cons|der|ng the how
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.
The creat|on of a photograph|c set and props taxes your ab|||ty to ach|eve
max|mum |||us|on. Obta|n|ng mater|a|s, p|ann|ng ahead and organ|s|ng your
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;
create a v|sua| concept exact|y as you p|an to photograph |t
create a proposed foor p|an w|th d|mens|ons (metr|c cm/m}
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 to
construct
complete a props list including sourcing information
create a product|on schedu|e / cr|t|ca| path for your team h|gh||ght|ng
key dates and deadlines than affect your project
produce a budget p|an, deta|||ng the breakdown of expected costs for
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
across three stud|os. Each team w||| have fve days |n the stud|o:
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
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:
Ooncept / Storyboards / Opt|cs
Characterisation and Casting
Stud|o mockups & Setbu||d
Propp|ng & Scen|c Des|gn
||ght|ng Des|gn & Exposure
R|sk Management & Budget
Shoot Product|on & Oommun|cat|ons
Teamwork & Profess|ona||sm
REVIEW CRITIQUE
The fn|shed project w||| be assessed both |nd|v|dua||y, us|ng your own B|og
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
A fu||y |abe||ed ODR/DvDR & Proof-pr|nt must be de||vered to Jack|e
Andrew, |n the Facu|ty Offce on the fo||ow|ng dates:
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
For assessment the fna| subm|ss|ons must be a s|ng|e retouched d|g|ta|
PSD f|e. Th|s w||| be used to produce a |arge format G|c|ee pr|nt
For reference we requ|re you a|so subm|t the or|g|na| RAW d|g|ta| f|e from
the camera (the '.FFF / 3F" f|e}. lt |s |mportant that work |s undertaken
in a fully colour-manged environment. Using the colour calibrated Eizo
monitors wiould be recommended. Do not use a laptop.
;OLMVSSV^PUNPTHNLSLZOH]L[VILZ\ITP[[LK!
A4 Proof-Print - lndication exact colour and density, include Digital
Test-Strips. (Paper surface: Satin)
The untouched camera RAW fle (.FFF / 3F flej
The fnal retouched 'layered/unfattened' PSD
JPEG, Final Retouched image, 6Mb.
JPEG's low-resoultion, 1Mb, folder of all images.
Photoshop advisory settings:
Colourspace: Adobe 1998
Fo|ma|. |5D ('0|/a||e|ed'
Mode: RGB 8bit
Resolution: 300ppi,
Document Size: 1.11m shortest length.
MATERIALS
For the product|on week each team w||| be prov|ded w|th 6 wooden fats
(4 of wh|ch need to be returned |n a usab|e state for the next weeks
product|on}. There w||| a|so be too|-box ava||ab|e on extended |oan before
the studio production starts. We strongly suggest you pre-build as much
of your scene as possible.

PROJECT SCHEDULE
Week 1
P|o|ect B||ehng Monday 30th January
Concept Boards Workshop Tuesday 21st January
20 x 20 Concept Student Presentations Friday 3rd February
(All Grps.j
Week 2
Digital Photography: Princilples & Processes (All Grps.j
Fashion Design: Methodology & Collaboration (All Grps.j
Friday 10th February
Week 4
Tutorials: Narrative & Charchterisation (Sam Chick)
Workshop: Set Construction - Basic Principle & Risk Assessment
Wo||s|oo: /nt|o. D|g|ta| Wo||how & Hasse|o|ad HD System
Tuesday 21st February - (see iCalj
Thursday 23rd February - (see iCalj
Friday 24th February - (see iCalj
Week 5
Photograper, Melissa Moore: Talk & Seminar - Recycling Fashion
Wednesday 29th February (All Grps.j
Workshop: Studio Lighting: From Film Noir to Fairytale
Tuesday 28th February - (Grps. 1,2,3,4j
Thursday 1st March - (Grps. 5,6,7,8j
Friday 2nd March - (Grps. 9,10,11,12j
Week 6
Tutorials: Shoot Production (Sam Chick)
Tuesday 6th March - (Grps. 1,2,3,4j
Thursday 8th March - (Grps. 5,6,7,8j
Friday 9th March - (Grps. 9,10,11,12j
Week 7
Workshop: Scenic Design
Week 8
Production Presentations: The Pitch (Sam Chick & Jonathan Simms)
Workshop: Risk Assessment & Mock-Ups (Colin Jackson)
Tuesday 6th March - (see iCalj
Thursday 8th March - (see iCalj
Friday 9th March - (see iCalj
Week 9
Workshop: Pre-Light - Lighting Plan & Test
Week 10
Workshop: Set-Construction
Weeks 11, 12, 13 - Shoot Production Schedule
Monday 23rd - Friday 27th April - (Grps. 1,2,3,4j
Monday 30th April - Friday 4th May - (Grps. 5,6,7,8j
Monday 7th May - Friday 11th May - (Grps. 9,10,11,12j
Week 15
Unit Assessments - Group Presentations
Monday 21st May
Tuesday 22nd May
RECOMMENDED READING
Beg|e|ter, M (2001} From word to |mage: storyboard|ng and the f|mmak|ng
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)
De Beaupre, M (2002} Twenty Years of Fash|on Photography: Archaeo|ogy
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)
|aOhape||e, D (2003} Hote| |aOhape||e (Bu|fnch}
|e|bov|tz, A (2008} Ann|e |e|bov|tz at Work (Jonathan Oape}
Lindbergh, P (1999) Peter Lindbergh: Selected Work 1996-1998
Newton, H (2006} He|mut Newton, Photof|e (Thames & Hudson}
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)
Box, H (1999} The Gaffer`s Handbook (Foca| 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.com
www.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.cosprop.co.uk/company
www.angels.uk.com

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