WEEK 5: SUPERVISOR SESSION (W/ DAVID)
1st shoot: Selection
I like all these pictures but might only use 1–3 … I prefer waiting for the other shoots to see how they unfold. But that also depends on the lockdowns and if I can wait. I have not edited them in detail, only slightly in Lightroom. I like the look and feel right now.
And here are more alternatives.
Moodboard for shoot w/ Matt
Bio. Statement. CV.
Work on report and other assignments until I can do photo shoots.
Consider showing the clothes in the final exhibit.
What is the context of the work? Who is the audience? Community of practice? I don't see it in a gallery (but maybe I just don't know the right gallery). I see the work rather in a magazine (Lindsay, RUSSH, 032c, Purple – crossover art and fashion). BLESS fashion label. Ivan Todd (?), Dan Silvester (?) > think about those things as this will also help the assessors. As I'm kinda in between fine art and commercial photography; think if it's an exhibit, how to display it or if it's an editorial, what is the text that goes with it? How I would put it right now: it has the aesthetic of commercial work but the approach of fine art. Dress Codes at the icp.
Idea of exploring the multiplicity of the self in the work (different from the Postmodern idea of the self being performed). Compare what I'm doing to what Cindy Sherman is doing (costume, clothing, appearances to explore different facets of the self – historical community of practice).
Designers who made clothes for individuals: Haute Couture.
Talk about collaboration. How am I working with the subjects? Why those 3 people? What conversations did I have with them? What role did they play when making the garments? How have they influenced the garments? How collaborative is the photo shoot? > So far, whenever I mentioned that they are friends of mine, I had the impression people stopped caring and had the attitude that I was simply doing a project with my friends for fun, which doesn't need an audience. Still mention it briefly. Current conversation about the relation of the photographer with their subject. Idea of agency of the subject. Right to representation of anyone. Way of working and interest in people (the ethical side of fashion photography): Aim is not to male gaze and objectifying the model. Look at the model in a very in-depth way. Outline in these 3 case studies, I tailored different processes in response to give the subject the agency. This project challenges conventional power dynamics (photographer – model). Different cultural backgrounds > should I open that can of worms? I'm worried that if I touch that topic it will be the only focus.
Mockups of exhibit or magazine spread (prints and video of going through pages or online magazine).
Streamline statement and bio to research. But depends a lot on intention and audience. Chatty, casual depends on context and positioning. CV: mark exhibits as student exhibits (folio exhibit as part of the master of photography).