Bibliography

• FilmSite, n.d., Film Noir - Films, (viewed 01/03/2016), available from: http://www.filmsite.org/filmnoir.html
• MAC Cosmetics, n.d., Our History, (viewed 14/02/12), available from: http://www.maccosmetics.jobs/mac/our-history.html
• MAC Cosmetics Instagram, 2016, MAC Cosmetics, (viewed 14/02/12), available from: https://www.instagram.com/maccosmetics/ 
• MAC Cosmetics Facebook, 2016, MAC Cosmetics, (viewed 14/02/12), available from: https://www.facebook.com/MACcosmetics/photos_stream 
• Tim Martin, 2015, World of Light and Shadow - German Expressionism and its Influence on Modern Cinema, (viewed 01/03/2016), available from: http://centerforcreativemedia.com/index.php/german-expressionism/ 
• Lisa Niven, 2014, My Burberry: When Kate Met Cara, (viewed 03/02/16), available from: http://www.vogue.co.uk/beauty/2014/09/02/kate-moss-cara-delevingne-my-burberry-perfume-advert
• VogueVideos, 2014, Pitching the Concept for "Petal Pushers", (viewed 05/02/16), available from: http://video.vogue.com/watch/vogue-in-motion-pitching-the-concept-for-petal-pushers
• Various, 2016, Film noir, (viewed 01/03/2016), available from: https://en.wikipedia.org/wiki/Film_noir

My brand image model - Fiona

For my MAC shoot I wanted a model with large lips, to really emphasise the lip product I am promoting. I wanted someone who looked a little different to make it unique and interesting - be it freckles, beauty marks, their teeth, etc. And finally they needed to look good with the hair in a ponytail. 

I asked my friend Fiona to model for me - she has great lips, a lovely smile, freckles, great skin and looks good with her hair up. I am really excited to see how the shoot comes out as I have not used her as a model before!

Making back shots interesting

I researched some portraits taken from behind, and analysed what makes them interesting to look at when the face is not visible. Usually, the hair would be eye-catching, of the model would be wearing a bright or interesting outfit. Also, the choice of background colour could contrast with the model or lead the viewer to consider the mood and story behind the image. Alternatively, there would be a more sensual vibe, where the model is not fully clothed, bringing focus to the curves of his/her body. Lighting would be used to accentuate this, as well as softening their skin. 

My concern with needing to submit a front, side and back shot was that without the face and make-up being visible, the back image might be a little boring, especially when the hairstyle I wanted to use was not an intricate one. Therefore, I thought about my composition and my model's poses - I wanted to keep the childlike concept, so I thought initially of my model playing with her hair with her fingers. I liked the simplicity of the first image. I then wanted to incorporate shadows, in theme with my word 'penumbra.' So I directed my model to create a heart shape with her hands, and made sure the image was taken at the right angle so that both her hands and the shadow created on the wall behind could be seen. This shadow helps to fill what would otherwise be a large blank space. I loved this second image - it maintains the youthful vibe, while also incorporating 'penumbra.' I am pleased with how my back images came out, and think I have avoided them looking too plain. 

My editorial shoot model - Marianne

My editorial shoot, based on the word 'penumbra', was all about the idea of light meeting dark, good meeting bad, and the grey area in between. To illustrate this visually, I wanted to portray a young, innocent, sweet girl, but with a juxtaposition of darkness. Therefore, it was important that I found a model who would look youthful, with characteristics of 'innocence' such as big eyes and a lovely smile. 

My friend Marianne fitted this perfectly, and has long hair which meant I could style it in bunches like my design. Her full lips furthered the doll-like/young effect also; not forgetting that she is very comfortable in front of the camera and easy to direct. 

Lighting set-ups

Following inspiration from Pinterest, such as images like the ones above, as well as my research of Film Noir and German Expressionism, I have considered the lighting set-ups I want to use for my projects. I definitely want to use a gobo and a spotlight, to cast patterned shadows over my model, fitting perfectly with themes of 'light meets dark,' and also because I love the Film Noir feel of it. On a more conceptual and emotional level, I want there to be heavy contrast between black and white, furthering the light/dark, good/evil ideas. I also want my model(s) to appear beautiful, strong and seductive, as these types of women seem to go hand-in-hand with the shadowy style of art. 

Film Noir and German Expressionism

Noticing a slightly 'Film Noir' aspect in my project ideas, I decided to do some research. I was fascinated to discover the emotional connotations that can be communicated through something as simple as lighting...

film noir

noun

1. a style of cinematographic film marked by a mood of pessimism, fatalism, and menace.

 - 'Used primarily to describe stylish Hollywood crime dramas, particularly such that emphasise cynical attitudes and sexual motivations' -

Extending from the early 1940s to late 50s, Film Noir originated partially from German expressionism (1). It was a greyscale visual style of film, given its name when French film critics noted the dark themes and appearance of many American crime movies at the time. Often, through tones of fear, mistrust, injustice and paranoia, and main characters portraying violence, greed and crime, these films mirrored social tensions and issues that followed the war, contrasting the other height of entertainment at the time: Hollywood's comedies and musicals (2). Plots of Film Noir often grew on the idea of a cynical, broken male character meeting a beautiful, seductive, manipulative and conscience-lacking female. This encounter would lead to crime and betrayal, choices and desire, and the female character was frequently killed at the cost of the male's life too, after a story of twisted and passionate love (2). Some argue that because women, at the time of this film style, discovered independence and power during the war, they would suffer, instead, on screen.  

German Expressionist Cinematography:

This style of filmmaking came from the German Expressionist movement of the first world war. Artists began to illustrate the destruction and pain of the war, blurring the lines between good and evil and reflecting the insanity and darkness of war and the brokenness of the soldiers who returned with shattered and ruined bodies and minds (3). Soon, producers were pumping out many movies in the same style, dealing with heavy contrasts of black and white, light and shadows, and their connotations of good and evil. The work of some directors, like Tim Burton, still displays traces of German Expressionism today (3). 
The skewed walls, unsettling angles and flashing colours of the settings in the images below visually portray insanity; and the enlarged silhouette of a vampire climbing stairs effectively showing a great contrast of light and shadow. 

I find it interesting how a lighting set-up can portray so much, and evoke so many thoughts in a viewers mind. Something as simple as light and shadow suddenly becomes associated with mystery, seduction, lust and manipulation - emotions like paranoia and fear are instilled. It fits perfectly with my 'penumbra' project; from the beginning I wanted to incorporate themes of good and evil, beauty and horror, etc. I now feel inspired to use lighting to really push the emotional side of my photography work. 

1: https://en.wikipedia.org/wiki/Film_noir

2: http://www.filmsite.org/filmnoir.html

3: http://centerforcreativemedia.com/index.php/german-expressionism/

MAC storyboard and feedback

Today I presented my MAC brand image storyboard to my class. I received some helpful comments: for example finding a model for my work with a strong profile like the models in these images. I felt happy with how it went and I feel inspired and confident moving forward with my work. 

Penumbra - own images

The softer, less solid parts of the shadow in the first photo are a perfect example of 'penumbra.' I found it interesting how my thumb and little finger became almost invisible in the shadow cast by the soft morning light through my window. It made my hand look less human, distorted and stretched - and thus mysterious and intriguing. 
The second photo shows the pattern of light which appears on my ceiling every morning. I thought the way my window and curtains split the light into different colours and hues, when dispersed across the uneven texture of my ceiling, was really beautiful, and perfectly represented different types of shadows and 'penumbra.' I found it inspirational in terms of background, lighting, and shadow effects for my project. 

Pinterest images as inspiration

MAC Vamplify Lipgloss campaign with Kaitlin Aas

I have chosen these three images as my favourites from my Pinterest collection. The first one from the MAC 'Vamplify' campaign has the pose I like - her head tilted back, and her eyes half closed with her mouth parted to emphasise her lips - and also it has very shadowy lighting, which fits with my word 'penumbra.' However, it has quite a dark undertone, whereas my interpretation of 'penumbra' includes the idea of 'light meets dark,' so for my work I would like to create a more gentle, brighter mood as well to contrast the shadows and bold lips. 

The second and third photos demonstrate the cropping and composition I like, as well as the pose - again, the head tilt, the eyes, and the emphasised lips. I also love the lighting effects. The backgrounds are black and parts of the model's faces are in shadow - perfect for 'penumbra', and also in theme with a lot of MAC imagery, which often contains dark backgrounds. The patterned shadows are something I would like to use in my work, through the use of gobos. 

Penumbra - hair designs

I drew up some hair designs for my PENUMBRA photoshoot. Initially I wanted to keep the focus on the make-up and lighting, so I opted for a slick-back ponytail with dead straight hair so as not to cause distraction from the rest of the image. It was inspired by the nude, calm feelings I gathered form my moodboard, and is more in theme with the 'light' side to the concept of shadows and penumbra. 

Next I wanted to take a darker approach, creating feelings of moodiness and mystery. So I designed a textured, centre-parted style, where the hair will hang over the face and frame it. There will be added volume at the crown. 

 

Finally I tried to combine the two - I think this is my favourite design. I feel like it follows the theme of 'light meets dark' - the sleek ponytail at the front, with added volume above the forehead, and then the messy, backcombed and curled, voluminous ponytail. This look was partly inspired by MAC Cosmetics 'To Live' promotion video. Even though the models in the video were dressed in white with pale skin and hair, there was still a sense of darkness and almost evil in the video - perfect for the concept of 'light meets dark.'

MAC Cosmetics

Founded in 1984, MAC Cosmetics was intended to be a make-up line that would fulfil professional needs. The founders, Toskan and Angelo, had found a lack of colours that would shoot well with photography, and so became the 'ultimate colour authority.' MAC's target audience, although originally intended more for professionals, is now mainly young women with a passion for make-up. However the brand's credo, ‘All Ages, All Races, All Sexes,' is accurate - the brand's image and innovative products are very versatile and can fit the needs of everyone. MAC describe themselves as ‘a makeup brand defined by appreciation of individuality, artistry and self-expression,’ with their main appeals including creativity and high standards, perfect for professional make-up artists. They are also a brand that believes in 'giving back,' evident through their AIDs/HIV fund. Their products blend casual, street styles with glamour and flare, and their honour of individuality and self-expression introduced a sense of drag and theatre; again, suiting the needs of a wider audience. To me, MAC symbolises colour, modern fashions, confidence, standing out and ignoring conventions. They are appealing due to their bright, dramatic, abstract, eye-catching, but also often simple image. 

https://www.instagram.com/maccosmetics/

MAC's look is sleek, chic and simple. Their packaging, store image and advertisements all demonstrate this; for example the black pots and boxes with the simple logo that products come in. This makes products more affordable than other luxury brands. MAC is usually promoted via magazines or online; they rely on the integrity of their 'carefully formulated' product line rather than using conventional or traditional adverts or promotion methods. 

http://www.maccosmetics.jobs/mac/our-history.html 

This advert campaign from June 2014, named Mineralize, 1, 2 and 3, shows lots of shadow, and black negative space - similar to MAC's packaging style. 

In the first image, which is selling a lip product, the shadow covers the top corner of the model's face, revealing only one eye, her nose and lips. Her head is tilted back slightly, further pushing forwards her lips, and her eye is almost closed, taking focus away from it and leaving all the attention on the lips. The model appears to be nude, meaning no distractions of clothing, and her hair and body is covered in the shadow anyway. The lipstick is the brightest and most eye-catching part of the photo.

In Mineralize, 2, much more of the face is shown as it is advertising a foundation. The model faces the camera directly, and the skin is flawless. The eye and lip colours have been chosen to flatter and compliment the skin tone, and more of the model's body is visible, emphasising the focus on skin. The shadow cast still hides the hair, preventing any distraction and focusing attention on the skin. 

Finally, in the last image, promoting eye shadow, the model stares directly into the camera, despite having her face turned away slightly - this draws attention to the eyes. The eye make-up is vibrant and strong, much more dramatic than in the previous two photos, and the lips are kept nude, to keep the focus on the eye shadow. The lighting, again, hides the model's hair and body, preventing distraction.  

When the images in this campaign are considered as a whole, despite being mostly black and shadowed, they have actually got quite a warm vibe; the make-up colours and lighting are warm and vibrant.

I found these Paris Haute Couture images from MAC's Instagram page quite inspiring and relevant to my work. The shadows, dark colours and moody poses suit well with my word 'penumbra.' 

https://www.facebook.com/MACcosmetics/photos_stream

This photo of Mariah Carey, advertising a lip gloss, has the caption 'One shimmery swipe of this luminous frosted nude lipstick makes your lips as fierce and timeless as the icon herself.' I like how the brand do not need to use colour in order to show off and sell a lip product. Despite being black and white, the lighting hitting and highlighting the lips and also the open-mouth pose both bring attention to this part of her face. Her hair covers her eyes and skin, meaning the focus is not on them, and much of the photo is left in shadow, as is common in MAC campaigns, only the left side of her face being softly illuminated.

When watching this 'To Live' commercial, the word 'abstract' springs to mind. Everything about it is very arty. The colour scheme is pale and white, contrasting the black and shadowy themes seen so often in MAC promotions. The models seem to float around with almost lifeless facial expressions, while their hair and clothing is intricate and powerfully styled. To me, I think this video is intended to showcase MAC's abstract artistry, and focus on self-expressionism and MAC's message and image, rather than any actual products. This video perfectly fits my word 'penumbra.' Despite being all white, pale and seemingly angelic, there is a sense of darkness and almost evil undertones to the video - perfectly matching the 'light meets dark' concept of penumbra. 

For my work I will be selling a lip product, and so, taking inspiration from Mariah Carey's image and also the Mineralize Lipstick photo, it would suit the brand's image to use shadow to cleverly reveal the lips and keep them as the focal point. I will also make sure the lipstick is the most eye-catching part of the photo by keeping the rest of the make-up subtle, and my model will pose in a way that makes the lips look appealing - for example with their mouth slightly open or their head tilted upwards. It is important that the product looks wearable, eye-catching and appealing. 

Photography practical - Gobos and shadows

I was really excited about this lesson, because it would relate perfectly to my word 'Penumbra.' 
We were shown a couple of examples of brand advertisement designs that we will have to insert our image into; as I have been given the brand MAC, my image will go with this template - although I have the option of changing colours and the product picture:

A light was set up directly above the camera, with a spotlight attached to it, which created a circular spread of light on the model. Gobos - thin metal discs with holes and patterns in them to cast shadows - can be inserted into the spotlight, which can be focused to create a softer or sharper shadow. Black boards were used on either side of the model to block any light hitting the sides of the face, and we also tried using lights at the back above the model to highlight the hair or create a fade effect in the corners of the photos. We experimented with an 80mm lens and saw that colours came out much warmer. We also tried using gels and our hands to create colour effects or shadowed parts over the model - for example to bring focus to a certain part of the face. 

Following on from this practical, I am excited to try using gobos and shadow to create effects in my images. It means I can represent 'penumbra' through my lighting and set-up, rather than just my hair and make-up. 

Images from session:

Penumbra - Make-up design ideas

For my first face chart I followed the idea of masking or and hiding something.  I was also inspired by the image I spoke about in my previous post which featured stars amidst the shadows - and so I chose to create the 'mask' out of diamond, again creating a juxtaposition of diamonds being associated with emitting light, while shadows are the opposite. I also used the idea of a bright pop of colour, again contrasting the shadow, by adding a bright red lip. I wanted to keep the eyes and eyebrows fair and neat so as not to detract from the 'mask.'

For my second design I was inspired by the Vogue image of a girl with long lashes creating shadows down her cheeks. However I wanted to continue the idea of light-meets-dark and mystery, so I wanted to obscure the eyes - and in doing so, block the 'window to the soul.' So instead of creating shadow from lashes, I have chosen to use the brows, so that shadows will be cast over the eyes, almost rapping them behind bars. To do this I will need to attach long, false brow hairs. For the lips, I wanted to carry on with dark and shadowy tones, so I opted for a deep purple. I would also heavily contour my model, to create as much 'shading' as possible. 

Next, I wanted to focus less on the make-up, and more on the actual creation of shadows. So for my face chart, I used very natural make-up to create soft skin, lightly contoured, with a nude lip and pale peach eyeshadow and fair eyebrows. I wanted everything to look natural, innocent and delicate, to contrast the shadows I will cast over the model. These shadows, and how I will create them, are something I still need to work on. 

Finally, I chose to go for a more obvious approach, and do the make-up in a 'shadowy' way, by applying a smokey eye and greyish eyebrows. The smokey eye will fade from grey to black, representing my initial keyword 'penumbra.' For the lips I chose a muted, greyish-purple tone. 

Second 'penumbra' moodboard

Taking the feedback into account, I created a new moodboard. My first change was to use fewer beauty shots - this moodboard contains only one, if counting the chin, neck and shoulders at the top as a 'beauty' shot. I also stuck to a dark colour scheme; all the images are either black and white or at least muted, dull colours, as I felt that these represented shadow, darkness and mystery better. I made sure to include one of my own images - the downward lines of shadow and colour in the large picture to the left. I was lucky enough to wake up and see this beautiful light and darkness being cast on my ceiling this morning, and thought it showed various types of shadows and penumbra really well. I paid attention to the layout of my images, keeping gaps even in the grid, and placing images that I feel depict movement together around the bottom and right sides of the board. I added a short quote which I found quite powerful - 'To light a candle is to cast a shadow.' I felt that this created a sense of darkness and mystery; as if everything you do can have a negative side to it, and creating wonder and mystery about what lay in the shadows created. By adding this text, and also by including pictures where shadows seem blurred or distorted - even the dog's shadow is unnaturally lengthened - I feel I am pulling on emotions like mystery and fear of the unknown.

I am pleased with my second moodboard and feel I have taken the feedback I received and put it to good use. I understand that more imagination and inspiration can be created from photos that are not all beauty images - with beauty shots you run the risk of simply copying an image. 

I also found this quote, while researching for my moodboard, by Martin Luther King, Jr.: 

'Everything That We See is a Shadow Cast by That Which We Do Not See.'

This quote triggers thoughts about how everything is created, and by whom. It also evokes thoughts about family and ancestors, and how so much of life we really know little about - again, reinforcing this fear of the unknown. Most of all, to me, this quote speaks about gratitude - so much time and effort has gone into everything we see around us in order for these 'shadows' to be created; there is an importance in remembering and appreciating this. 

In terms of my work, I think this quote pulls further on the emotions of wonder and mystery, something I would like to incorporate through my work via use of shadow, darkness, body language and facial expressions. 

Moodboard Feedback

Things people liked: 

• The underexposed lighting
• Black and white images
• Shadows created to cover face
• That it was unusual/interesting
• Good links to the key word
• Clean, neat, professional layout
• Sense of mystery, dark emotions, intense, unknown
• Varied colour images 
• Pops of colour in images - contrasting
• How the images are placed makes you look around the outside first
• Shapes, angles, compositions, shots
• Idea of masking
• Idea of light meeting dark

Things to improve:

• Not just beauty shots! Need more variation
• Photograph own shadows, etc - not just found images
• Pull on emotional links more
• Play with more colours, more ideas of how to create shadows - branch ideas out
• Add text?
• Stick to a colour scheme?
• Be careful about even gaps in grid layout
• Consider how the eye is drawn around the moodboard

Thoughts: 

It was a really useful, helpful activity being able to present and discuss my moodboard with my peers. They had a lot of great ideas and suggestions for me to consider and play around with, and I got the chance to express any of my concerns. I agree with all of the suggestions for improvement, and am excited to put them to use and see where I end up. I will next create a new refined and perfected moodboard; incorporating more colour pictures or perhaps selecting a colour scheme; varying my images from beauty shots to other images to own photos; playing with emotional links more, and so on. 

In terms of my Pinterest board, my favourite image so far is this:

I love the creation of shadows, the black and white effect, and the natural hair and make-up. A nude/minimally clothed model is definitely something I want to use in my own shoot. I feel that adding clothing would detract from the focus of the image, and the nude effect instead adds to the sense of mystery further. I like the addition of stars in this image; it adds a juxtaposition - shadows are created by an object blocking light, so why are there stars (which produce light) amidst the shadows?

Beauty ad. analysis

This advert immediately has a lot going for it - two modelling superstars joining forces... wearing nothing but the classic Burberry trench coat. The campaign was all shot in black and white, keeping it simple and in conjunction with the minimalistic theme - very natural hair and make-up, and minimal clothing. The only part of colour in the advert is the fragrance bottle, drawing attention to it and making it clear what is being sold. 'The fragrance itself was created with Francis Kurkdijan to represent the brand's classic trench coat' (Vogue.co.uk, 2014). From the advert, however, it is not clear that the perfume in anyway represents the trench coats; except, perhaps, via its colour. 'My Burberry features notes of geranium, freesia, sweet pea and damask and centifolia roses to call to mind an English country garden after the rain' (Vogue.co.uk, 2014). Again, none of this is demonstrated through the visual ads. 
The advert is intended for a more wealthy audience, and judging by the minimal writing and the elegance of the whole piece, an older audience. On the other hand, having both Cara Delevingne and Kate Moss - aged 18 years apart - in the same ad, suggests perhaps targeting a younger audience as well. This advert was seen both on TV screens and in magazines/online, again targeting a varied audience. Selling strategies include creating the idea of a seductive, free and fun-loving attitude - as if, by buying the product, viewers too can achieve this. 



http://www.vogue.co.uk/beauty/2014/09/02/kate-moss-cara-delevingne-my-burberry-perfume-advert 

Photography seminar notes

Shooting Beauty

ISO 100
Shutter Speed 1/160
Aperture F5.6 (change as needed)

• Work with a mark on the floor for the model to stand on - feet roughly 1 metre from tripod with model's head 1 metre from light
• Lights pointing at the camera mean fingerprints will show up really clearly on lens (clean with cotton cloth)
• Reflector right underneath chin will flatten picture; angled under the eyes will keep definition 
• Make sure camera is at the right height for the model so that you cannot see under the neck 0 more flattering
• Vary white/silver reflectors for different brightness
• Various mm lenses for very close up shots, etc.

Set-up examples:

Images from session: