Sebastian Kim for Vogue KOREA

 

The colour palette for this series by Sebastian Kim focuses on blue and green tones with pops of warmer colours mixed in, mainly yellow or red. The backgrounds that each model is posed in front of are very different to each other and interesting in their own way however, they are subtle and allow the subject to be the main focus without being overcrowded. The model takes up most of the frame in the bottom 3 images; placed almost centre in all of them, posed in a more masculine fashion with legs spread in all 3 images, posed comfortably. In those 3 images she takes up space and her stance is confident, looking down on the viewer in the 2 bottom images on the right hand-side. The top 2 images are similar in that while the subject takes up less space in the frame, she is posed with spread shoulders and wide legs which signify power and control. This posing along with the colour palette indicate a sense of being cool, calm, and collected.

Kim has chosen to light this series so that harsh, dark, shadows fall behind the model in the bottom 3 images which means that the model takes up even more space in the frame, further highlighting her statuesque presence. In the bottom left image Kim has placed the model in front of a tanning bed however, the dark shadows are still present behind the model’s legs and the lighting is further accentuated by the contrast between the bright blue-white light and the dark, warmer tones of the sun-bed itself.

I found the use of majority cool tones in these images as well as the backgrounds to give off an almost stone-cold serious vibe however, the use of contrasting this with warmer tones (yellow socks, red skirt), the clothes the model is styled in (particularly the sterile shoe covers), and the peculiar poses she is placed in add a lot of comedy to this series. She is posed to appear large and powerful, yet bizarre, eccentric, and fun as well. The impact of all of these factors collect to give us a comedy-type shoot; a young woman in sterile and fragile (lots of glass-wear) situations taking herself and everything around her into such absurdity that it doesn’t look out of place. I feel because of this the intended audience for this series could be at an art gallery; this could be part of a series intended for exhibition to explore a more humorous take on young women living in lavish lifestyles i.e. models, celebrities etc. As a society we see them almost as untouchable, and so a series like this would be humanising to them and therefore could have a large variety of people interested in viewing it.

Alice Hawkins “Paloma Faith”

The first thing that really stands out for me is the glaring contrast between the RED and YELLOW against the dull, muted blues and greens in the background. Even in the second image where the sky in the background is brightly coloured, the garish yellow and red still stand out and cause separation between the subject and the background. In the second image we are looking up at Paloma; her and the snake take up almost the whole frame, demanding the viewer’s attention. Behind her, a metal fence decorated with barbed wire is black against the sky, and contrasts with both background and foreground. This not only furthers the separation between the subject and the background but also gives me feelings of hardness, danger, disconcertion. Similarly, in the first shot the subject and the snakes take up most of the frame; she is placed lying down, surrounded by discarded metal and ropes and this also gives me hints of sharpness, hardness, as well as implying that the subject has been scrapped. In both images the bright colours of her hair, clothes etc as well as the sleek, shiny textures of her outfit and the snakes and the softness of her skin and hair contrast wildly against the metal, cold, sharp objects surrounding her.

In the second image she is lit so that strong highlights and dark shadows further this feeling of drama, danger, and being on the fringes of society, other-ly. In the first photograph she is lit more softly however, the scene has been lit so that the background is dark and dim against the brightness of the subject, which further facilitates the feelings of strangeness and how out of place the subject is in her background.

The impact of this series on the viewer is of the bizarre kind; the subject looks unique and far from the expected, her surroundings are also strange but in a different way, and the combination of both makes me think of the circus, or something similarly separated from normal society. The many different kinds of contrast from colour, to texture, to style, as well as the kind of lighting used work together to communicate an idea of transcendence and oddness to the viewer.

Georges Antoni “Bella of the ball”

For Antoni’s series “Bella of the ball”, the overall style and design of these images communicate a sense of elegance and luxuriousness to the viewer. The model is draped in flowing gowns, fur coats, and stylish dresses; this along with the casually styled hair and muted make-up give the impression that she has had to make no effort to look as fabulous as she does. It implies she has the wealth and is of such importance that she has a team of stylists and make-up artists trailing after for any occasion. The use of both colour and black and white images add variety to this shoot; the black and white photographs give me feelings of timelessness as well as furthering the imperial style already defined by the style choices. The close up b&w image feels more personal, the model seems more exposed; the choice of tighter framing brings us in to focus more on her face and expression as opposed to the clothes she is wearing. The expression on her face is one of slight sadness, which continues the feeling of vulnerability.

The colour images add flare to this set, particularly the second image on the left; the pop of pink complements the pink used on the cover page as well as adding a softer, and more playful texture in to the mix whilst still upholding the regal style that is present throughout. By shooting the model so that she is looking slightly down on the viewer it adds to these feelings of imperialism and stateliness, she is shot to look important as well as beautiful. The lighting Antoni used also adds to this; the highlights on her skin further the look of softness and the harder shadows underneath her jawline accentuate her facial features.

This series works well to show the model as a regal person of importance, someone who is elegant and striking and yet it shows a softer and more vulnerable side to her, which makes give this set a personal and delicate feel.

 

Eric Chang “WET”

This is one of my favourite sets that I have researched so far, everything about it demands the viewer’s attention. The model is void of all clothing, her hair completely back out of her face, removing any distraction from her natural form against the pure black background. The use of liquids and foam add to the already erotic atmosphere of this set; highlighting each curve and individual shape of the subject’s body as well as verging on the pornographic, eluding to other liquid substances. The model could be anyone; she is almost faceless in the majority of these images which gives the impression of her being more an object than an individual however, I don’t see this as the model being negatively objectified per-say. She is posed almost as a piece of art; something to look at and drink in without touching or being able to own. This work is an admiration of the female human form whilst also subverting our normal view so it is seen as something more sexual and controversial.

Chang has included a mix of tight-framed shots as well as images where we can see more of the subject’s body; he has used positioning of the model to further illustrate the shapes and curves of the body which add more highlights and shadows on to her frame causing drama and adding to the shock value. The lighting is dramatic giving off bright highlights in the coloured liquids whilst also creating short shadows that add depth and again continue to accentuate the bows and twists of the female form. Chang has placed the subject on a completely black background, devoid of any detail, to stress the focus of this series: the female form.

These images are intended to offend, to cause controversy, to scare away any prudish on-lookers whilst also adding some fun to a simple nude photograph. The model is always the focus, she is mostly anonymous and yet that doesn’t take away from her power over the audience.

 

“AFTER THE STORM”

I also wanted to add this image by Eric Chang from his series “AFTER THE STORM” and a few comments on it as out of all the images I have researched it has been the most impactful for me. It begs so many questions from “who is she?” to “Where is she going?” “where is she coming from?” “where is she running from?” “who is she running from?” or is it “what is she running from?”. This image asks a lot of questions but does not provide many answers: a lone woman wearing a gas mask and conservative clothing drives in the rain.

Going by compositional rules this image shouldn’t work, and yet it does! Chang has captured this image so that the windshield wiper cuts right into the left hand-side of the women’s face, leaving only her eye, a slither of the gas mask, and her hands clutching the steering wheel. The impact of this image is strong; we aren’t given many clues to understand what is happening around her or the situation she is in and that, along with the odd yet strong compositional choice, reels us in and keeps our attention. The windshield wiper is black as night compared with the lighter tones of the subject’s skin, hair, clothing, and the remainder of the background and yet it is the lone eye we are constantly brought back to, almost as if the wiper is trying to steal our attention and yet we cannot tear ourselves away from the subject.

Below I have included the film from Eric Chang’s “WET”:

WET

Bibliography

Online Sources

• SEBASTION, K. 2015. Vogue Korea. [online] Available from: http://www.sebastiankim.com/vogue-korea-may-2015-78/ [Accessed 17.10.18]
• HAWKINS, A. Paloma Faith. [online] Available from: http://www.alicehawkins.com/portfolio/ [Accessed 17.10.18]
• ANTONI, G. 2016. Bella of the ball. [online] Harper’s BAZZAR. Available from: http://www.georgesantoni.com/hb-bella-of-the-ball [Accessed 17.10.18]
• CHANG, E. 2012. AFTER THE STORM. [online] Available from: http://chang.pictures/after-the-storm-gallery [Accessed 20.10.18]
• CHANG, E. WET [online] Available from: http://chang.pictures/after-the-storm-gallery [Accessed 20.10.18]
• CHANG, E. WET [online] Available from: http://chang.pictures/wet-film [Accessed 20.10.18]