VOGUE WORD DOC 6

Mode:
LE STYLE
N’A PLUS DE
TABOU
Kate
Allen
MESSAGE
PERSONNEL.
Le Corps
PHENOMENE AUX 10
MILLIONS DE FANS
1

Picasso inspired
Collection
THE
ART OF
MAKEUP
Inspired by Picasso, I held a shoot where I used makeup to
manipulate their face in the style of Picasso’s cubism.
First of all, I set up the shoot, with a flash light and fill light.
I then set the iso to what the asa says on the box of the film,
which was 400. I then then changed the f-stop to f8. You do
this by holding the av button and scrolling across. The
shutter speed should was set to around 1/125. I never go
above shutter speed 1/200 otherwise a black line will appear
over my image. Once the camera is set, you then need to test
the settings on a model to ensure that you are happy with the
outcomes.
However, I increased the f-stop to f11 because it was far too
overexposed when I was practicing shooting.
Once I was happy with the settings I copied them onto my
analogue camera. When shooting I took images on both the
digital and analogue camera so I know that if the film didn’t
go right I still have the digital images that I can print onto
acetate.
“OH SO
KATE” 2

“Every act of
creation is first
of all an act of
destruction." -
Pablo Picasso”
Picasso's Early Life
Picasso was born in Malaga, Spain, to Don Jose Ruiz y
Blasco and Maria Picasso y Lopez. His baptized name
is much longer than the Pablo Picasso, and in
traditional Andalusian custom honoured several saints
and relatives. His father was a painter and a professor
of art, and was impressed by his son's drawing from an
early age. His mother stated at one time that his first
words were to ask for a pencil. At the age of seven
Picasso begin receiving formal training from his father.
Because of his traditional academic training, Ruiz
believed training consisted of copying of masterworks
and drawing the human form from live figure-models
and plaster casts.
In 1891 at ten years old, the family moved to A Coruna
where School of Fine Arts hired Ruiz to be a professor.
They spent four years there where Ruiz felt his son
surpassed him as an artist at the age of 13 and
reportedly vowed to give up painting. Though paintings
by Ruiz still seem to have been generated years later,
Picasso's father certainly felt humbled by his son's
natural skill and technique.
Picasso and his family were horrified when his seven
year old sister died of diphtheria in 1895. They
relocated to Barcelona and Ruiz began working at its
School of Fine Arts. He persuaded officials there to let
his son take an entrance exam for an advanced class
and Picasso was admitted at the age of just 13. At the
age of 16 he was sent to Spain's foremost art school in
Madrid, the Royal Academy of San Fernando. Picasso
disliked the formal instructions and decided to stop
attending his classes soon after he arrived. He filled his
days inside Madrid's Prado, which displayed paintings
such as Francisco Goya and El Greco.
The body of work Picasso created throughout his
lifetime is enormous and spans from his early
childhood years until his death, creating a more
comprehensive record of his development than perhaps
any other artist. When examining the records of his
early work there is said to is a shift where the child-like
quality of his drawings vanished, therefore being the
official beginning of his career. That date is said to be
1894, when Picasso was just 13. At the age of 14 he
painted Portrait of Aunt Pepa, a striking depiction that
has been referred to as one of the best portraits in
Spanish history.
His technique for realism, so ingrained by his father
and his childhood studies, evolved with his introduction
to symbolist influences. It led Picasso to develop his
own take on modernism, and then to make his first trip
to Paris, France. The poet Max Jacob, a Parisian
friend, taught Picasso French. They shared an
apartment where they experienced the true meaning of
what it meant to be a "starving artist." They were cold
and in poverty, burning their own work to keep the
apartment where they experienced the true meaning of
what it meant to be a "starving artist." They were cold
and in poverty, burning their own work to keep the
apartment warm.
Picasso would predominately spend his working adult
life in France. His work has been divided roughly by
periods of time in which he would fully develop 3
complex themes and feelings to create a unifying body
of work.

“The Nick
Knight set up”
Nick Knight is among the world’s most influential and
visionary photographers, and founder and director of
award-winning fashion website SHOWstudio.com. As a
fashion photographer, he has consistently challenged
unusual ideas of beauty and is famous for his
groundbreaking creative partnerships with leading
designers including Yohji Yamamoto, John Galliano,
Alexander McQueen. Advertising campaigns for the most
prestigious clients such as Christian Dior, Lancôme,
Swarovski, Tom Ford, Calvin Klein or Yves Saint Laurent
as well as award-winning editorial for W, British Vogue,
Paris Vogue, Dazed & Confused, Another, Another Man
and I-D magazines have consistently kept Knight at the
frontline of progressive image-making for the past three
decades. He has directed award winning music videos for
Bjork, Lady Gaga and Kanye West. His first book of
photographs, Skinheads, was published in 1982, winning a
DandAD award in 1996.
He has since produced Nicknight, a twelve year
retrospective, and Flora, a series of flower pictures, both
published by Schirmer Mosel. His latest book entitled
Nick Knight was published by Harper Collins in 2009
.His work has been exhibited at such international art
institutions as the Tate Modern, Victoria & Albert
Museum, Saatchi Gallery, the Photographers'
Gallery, Hayward Gallery and the Gagosian Gallery. In
1993, he also produced a permanent installation, Plant
Power, for the Natural History Museum in London. A
long-standing commitment to experimenting with the
latest technologies led to Knight launching his fashion
website SHOWstudio in 2000, with an aim, in Knight's
own words, of 'showing the entire creative process from
conception to completion.' SHOWstudio has pioneered
fashion film and is now recognised as the leading force
behind this new medium, offering a unique platform to
nurture and encourage fashion to engage with moving
image in the digital age. Since its inception,
SHOWstudio has worked with the world’s most soughtafter
filmmakers, writers and influential cultural figures
to create visionary online content, exploring every facet
of fashion through moving image, illustration,
photography and the written word. Knight lives with his
wife and three children in London. He was awarded the
OBE in 2010 for his services to the arts. He is an
honorary professor of the University of the Arts London
and was awarded an honorary PHD by the same
university.
4

High
Key
Setup
High-key lighting is a style of lighting for film, television, or photography that aims to reduce the lighting ratio present
in the scene. It is often used in sitcoms and comedies. High-key lighting is usually quite homogeneous and free from
dark shadows. The terminology comes from the higher balance in the ratio between the key light and the fill light in a
traditional three point lighting setup. In the 1950s and 1960s, high-key lighting was achieved through multiple light
sources lighting a scene—usually using three fixtures per person (left, right, and central) —which resulted in a uniform
lighting pattern with very little modeling. Nowadays, multiple hot light sources are substituted by much more efficient
fluorescent soft lights which provide a similar effect. The advantage to high-key lighting is that it doesn't require
adjustment for each scene which allows the production to complete the shooting in hours instead of days. The primary
drawback is that high-key lighting fails to add meaning or drama by lighting certain parts more prominently than
others. Shows with bigger budgets have moved away from high-key lighting by using lighting set-ups different from the
standard three-point lighting. Part of the reason for this is the advent of new lighting fixtures which are easier to use
and quicker to set up. Another reason is the growing sophistication of the audience for TV programs and the need to
differentiate.
Originally high key photography emerged as a solution for screens that could not correctly display high contrast ratios.
Today capturing high key photos is a stylistic choice in photography.
When capturing a high key photo, there are a number of factors you need to consider, especially if you are trying to
achieve that classic studio look. For starters, you will have to make sure you have the right equipment for the job,
including lighting and a backdrop. You could take advantage of outdoor lighting, but there’s only so much you can
control when it comes to the weather. Finally, you will also have to consider camera settings and lighting set up to
capture those images. Like high key photos, low key photos are also the product of lighting manipulation and contrast.
Though the resources required for capturing low key shots are less extensive – one light source compared to the four
required for high key photos for example – it takes just as much skill and patience to achieve.
Deciding which style to choose for your photos all comes down to atmosphere as both are powerful tools for creating
certain moods. With high key photography, multiple powerful sources of lighting are strategically positioned to
eliminate harsh shadows from images, giving them a very light and optimistic feel. Components of the image with rich 5
colours stand out and areas with lighter colour wash out, almost to a white. High key is an excellent choice for both
colour and black and white photos.

Continuous lighting – camera settings
The best shutter speed for flash is around 1/125.The higher the number such as 1/120 the faster the shutter opens and
closes letting in less light. The lower the number such as 1/30 the shutter is open longer and lets in lighter. To avoid
camera shake, I would avoid to go under 1/80.
The best F stop for continuous lighting is f8. The smaller the number (f4.5) means that there is a much larger aperture
(hole). This then means that there is lighter getting into the camera and so gives a shallow depth of field (blurring in
parts of the image). A much larger number such as f22 causes less light to access the camera as there is a much smaller
aperture. A good ISO to use is 400 for continuous lighting. The smaller the number such as 100 needs more light,
however gives the image much more detail. The higher the number needs less light but gives poor image detail because
of digital noise. Going above iso 800 can cause digital noise.
FLASH LIGHTING
For flash lighting I would keep the shutter speed around 1/125. I would avoid going over 1/250 as this will cause black
bands to appear across the images. The best F stop for Flash lighting is f8. The smaller the number (f4.5) means that
there is a much larger aperture (hole). This then means that there is lighter getting into the camera and so gives a
shallow depth of field (blurring in parts of the image). A much larger number such as f22 causes less light to access the
camera as there is a much smaller aperture. A good ISO to use is 100 for flash lighting. The smaller the number such as
100 needs more light, however gives the image much more detail. The higher the number needs less light but gives poor
image detail because of digital noise. Going above ISO 800 can cause digital noise.
Natural Lighting
This method is using the light outside,
which is constantly changing, so you
have to constantly change your
settings.
ISO: I tried to keep to keep it low,
such as 200 or 400 for better detail.
Shutter Speed – you cannot go below
1/80 because it will cause camera
shake. I used 1/180, and this was fine
for what I was doing.
F-stop – I used F7, 1-F8 for a good
depth of field.
Ambient Lighting
This method of lighting is created
using normal room lights which are
not very bright or powerful. Using a
tripod would be great help for this as
it would help avoid camera shake. A
low ISO (200) would give this image
good detail, shutter speed ¼ which is
a long shutter speed due to the lack of
light. F stop- 7.1 to give a relatively
big aperture.
“You don’t take
a photograph.
You make it.” –
Ansel Adams
Types
Of
Lighting
6

Rembrandt
Lighting
Rembrandt lighting is a lighting technique that is used in studio portrait
photography. It can be achieved using one light and a reflector, or two
lights, and is popular because it is capable of producing images which
appear both natural and compelling with a minimum of equipment. It is
named for the Dutch painter Rembrandt, who often used this type of
lighting.
Rembrandt Lighting is one of the 5 basic lighting setups used in studio
portrait photography. There are two things that make up Rembrandt
Lighting… A light on one half the face, and a triangle of light on the
shadowed side of the face (called a chiaroscuro). If it’s ‘real’
Rembrandt lighting, the triangle shadow should be no wider than the
eye, and no longer than the nose. The thing that distinguishes
Rembrandt Lighting from simple short lighting is the triangle of light.
In the real world, when it comes to portrait photography, Rembrandt
Lighting is often confused with Short Lighting and is used as loose
shorthand for ‘using a single light source to light roughly half the face,
while leaving the other half of the face in some level of shadow.’ This is
because it can often be quite 'fiddly' to get the triangle of light just right
on a subject.
Rembrandt lighting at its most basic level is constructed with a single
light source placed approximately 45 degrees offset from the subject
and a bit higher than eye level, lighting the side of the face that is
farthest from the camera.
Chiaroscuro (Italian: "light-dark") in art is "an Italian term which
literally means 'light-dark'. In paintings the description refers to clear
tonal contrasts which are often used to suggest the volume and
modelling of the subjects depicted", and this meaning has extended to
other visual arts such as photography and cinema.
Rembrandt was the greatest Dutch painter of his age and is one of the most important figures in European art. The many
self-portraits he painted throughout his life provide us with a visual autobiography.
Rembrandt van Rijn was born on 15 July 1606 in Leiden, the son of a mill owner. In 1621, he began training with a local
painter and in 1624-1625 he was in Amsterdam, studying with Pieter Lastman who had been to Italy and now introduced
Rembrandt to international trends.
Rembrandt settled permanently in Amsterdam in 1631 and set up as a portrait painter. One of his first major public
commissions was 'The Anatomy Lesson of Dr Tulp' (1632). In 1634, he married the well-connected Saskia van
Uylenburgh. Rembrandt prospered, painting mythological and religious works as well as portraits, and the couple lived
well.
One of Rembrandt's most well-known paintings, 'The Night Watch', a group portrait of one of Amsterdam's militia
companies, was completed in 1642. Saskia died in the same year, which coincided with difficulties in Rembrandt's
business. This, coupled with his extravagance, resulted in him being declared bankrupt in 1656. His house and
possessions were sold, including his own large collection of works of art.
After Saskia's death, Rembrandt had an affair with his son's nurse, but they quarrelled and he later began a relationship
with his housekeeper, Hendrickje Stoffels. She frequently modelled for him.
Rembrandt continued to receive commissions and some of the great paintings from this period are 'The Syndics of the
Clothmakers Guild' (1662) and 'The Jewish Bride' (c. 1666). Rembrandt was interested in drawing and etching as well as
painting, and his etchings were internationally renowned during his lifetime.
Throughout his career, he attracted pupils who also served as his assistants. Their work can sometimes be hard to
distinguish from Rembrandt's own.
7
Rembrandt died on 4 October 1669.

17 November 2016 – 26 February 2017
The Taylor Wessing Photographic Portrait Prize 2016 is the
leading international competition, open to all, which
celebrates and promotes the very best in contemporary
portrait photography from around the world.
It showcases talented young photographers, gifted amateurs
and established professionals; the competition features a
diverse range of images and tells the often fascinating stories
behind the creation of the works, from formal commissioned
portraits to more spontaneous and intimate moments
capturing friends and family.
The selected images, many of which will be on display for the
first time, explore both traditional and contemporary
approaches to the photographic portrait whilst capturing a
range of characters, moods and locations. The exhibition of
fifty-seven works features all of the prestigious prize winners
including the winner of the £15,000 first prize.
Although I enjoyed the exhibition, I did not feel that the prize
winner was worthy and it wasn’t as spectacular as the 2015
exhibition.
Swiss-Italian photographer Claudio Rasano was born
in 1970, Switzerland. The portrait, which is part of the
series Similar Uniforms: We Refuse to Compare was
taken in Johannesburg, South Africa and focuses on
issues of preserving individuality in the context of
school uniforms. The photograph was shot in
daylight, outdoors and in front of a plain white paper
background. The sitter for this particular print is of
student Thembinkosi Fanwell Ngwenya.
Rasano explains: “Children themselves have been
known to rebel against uniforms, especially as they
approach the awkward age characterised by the need
to fit in and the desire to stand out, all at the same
time. Some experts too have spoken against school
uniforms on the grounds that they suppress
individuality and diversity.”
Rasano has exhibited at the oslo8 contemporary
photography, 2014; Lens-Culture Exposure Awards,
Photo London, 2015; Museum of African Design,
Johannesburg 2015; Portrait Salon, London, 2015;
Bohai Galerie, Hannover, Germany and Expo
Milano, Milan, Italy among others. Rasano’s awards
include the 2016 Shortlist for the Athens Photo
Festival; 2015 Bieler Fototage; 2015 Leica Oskar
Branack Prize and the Finalist 2015 Photography
Masters Cup.
Judges’ comments: “This year’s winner stood out for
its simplicity and powerful directness, and was
commended by the judges for its ability to create
something beautiful out of the everyday.”
Taylor Wessing
Exhibition
8

Camera Settings – digital camera
For analogue photography we can use both
digital and analogue cameras at the same time.
Using the digital helps us make sure that the
lighting is correct so we don’t waste film and time
using the analogue cameras if the lighting is bad.
The film used in the analogue camera can
determine how well the images will come out. The
lower the number on the box of the film (ASA)
the better the image will come out. For example
Analogue
photography
FP4 will come out better than HP5 because it has
a lower ASA.
On the digital camera you set the iso to what the
asa says on the box of the film, i.e 100.you then
need to change the f-stop to f8. You do this by
holding the av button and scrolling across. The
shutter speed should be set to around 1/125.
Never go above shutter speed 1/200 otherwise a
black line will appear over your image. Once the
camera is set, you then need to test the settings on
a model to ensure that you are happy with the
outcomes.
Camera Settings – analogue camera
On the canon ae1 camera (analogue camera) you
replicate the settings on the digital camera and so
you set the ASA to the ASA that is displayed on
the box of the film, using the ASA dial (100). The
shutter speed to 1/125 and the F-stop to F8.
However, some analogue cameras have a shutter
speed threshold of 1/60. In this case the digital
cameras shutter speed needs to also be changed to
1/60. If this makes the image too bright then
change the aperture to F9 or F11.
Camera Settings – using the light metre
Alternatively you can use a light meter. This finds
out the aperture. To use it, you turn it on and set
it to flash mode by pressing mode and turn toggle
to the middle mode (flash). The top right displays
ISO. Press ISO and move toggle to set the ISO to
125. Then set the shutter speed to 1/60. You then
need to turn the dial and the white ball pops out.
Face the ball towards the lights next to the
subject, ensuring that you are not bl9ocking any
of the incoming light. This will then give you the
f-stop that you require.
How I processed my film; First of all, I needed to get the film out of
the column (capsule). If the film is all the way in, then there are
various techniques that you can use to get it out. You could crack the
top open, which you would have to do in complete darkness or use
tools to feed he film back out. There is also another method where
you dampen film, put it into the slot in the capsule and hope that it
sticks to the other film so that you can pull it out.
Before beginning the process in the darkroom, I ensured that I had
all of the equipment that I needed. This included, scissors, funnel, a
column and a spool. In complete darkness I unwounded the film and
fed it into the spool. I then winded the spool until the film run out. I
then cut the film off. After that I double checked that the column was
in the spool. I then put this in the container. On top of the spool, I
placed the funnel.
Chemicals:
I could do this process in normal light however I did it in red light just
to be safe.
1. I poured the film developer into the container. Using the wall chart
I saw that I had to develop the film for 165 seconds. For the first
30 seconds I agitated the container, ensuring the lid was on tight. I
agitated it by gently turning the container upside down and back
the right way over and over again. In the second minute I agitated
it for a further 10 seconds.
2. Once the 165 seconds was up, I poured the developer back into the
chemical container using a funnel.
3. I then poured the stop into the container. I wanted to keep the stop
in the container for 3 minutes. For the first 30 seconds I agitated
the container and in the second and third minute I agitated for a
further 10 seconds.
4. Once the three minutes was up I poured it back into the chemical
container’s
5. Next I poured the film fix into the canister and for FP4 film I
needed to leave this in for 7 minutes. I again agitated for 30
seconds and in every minute I agitated for 10 seconds.
6. Once the 7 minutes was up I poured the fix back into the chemical
container.
7. The film is now fully developed so I turned on the white lights. I
took the whole canister over to the sink and let water run into it for
5 minutes.
8. I then emptied all the water and filled the container up with fresh
water.
9. I added a few drops of rinse aid to the canister and shake it
slightly. I then left this for a further 5 minutes. This stops streaks
from occurring on your images.
In the darkroom there is a tall cabinet, I switched it on and pegged my
film at the top and the bottom so it was pull tight. This cabinet is 9 a
drying cabinet. I left my film in there for around half a day before I cut
it into strips of 6 images so that I could put them in a neg bag.

“Film for me is a
process of learning
on the job.”
– Michael Stuhlbarg
10