Preperation for Magazine Cover Comission Set Work

After the workshop in class with the differnt lighting techniques it was our own turn individually to do that task at home from with a similar comission but from a different client. With a given template we had to research images where models are made to look not like themselves. A copy of the breif is given below:

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From the template what we were given it seemed that all of the writing on the it were in a differnt langue it appeared, so I tired to use an online translator to deciphen what it could mean but it was unsuccessful and I think it could have just been some sort of made up language. However had it been a real foreign language it would have given me an idea of the kind of image I could have produced to compliment and article and the magazine.


First of all the style of work that came to mind when I thought about producing a magazine cover was a fashion magazine; not only because fashion photography is a passion of mine, but also because it gives you lots of scope to be creative and create a make-believe character that is an interesting experssion of art in life. I knew I wanted to follow the lines of a Vivian Westwood style fashion photography photoshoot. I had an idea of the style that I was going for in a Tim Walker meets Vivian Westwood’s fashion in a photographer but with an extra edge to it. The vivian westwood feature in the latest edition of Men’s Vogue I have recently purchased gave me a further idea of how much I love thinking outside of the box photography with fashion.


Creative collaboration during research 

Whilst researching I thought it might be a good idea to speak to my friends who are all on different course but may be able to help me with any insiration as they might look at it from another angle. Speaking to my friend Glen who is doing Graphic Design at Ravensbourne suggestest that I look at the work of Jessica Walsh the Graphic designer for her artwork on faces and also Tony Futura for any inspiration on thinking out of the box ideas.

Jessia Walsh Design Artwork

My friend Lissy who I have asked to do the makeup for the photoshoot is studying Fashion Promotion and she suggested I look at Plastik Magazine (an interesting page on Instagram) for ideas. Lissy also has a real passion for makeup and explained to me the extent of it is that one of the most satisfying parts of her day is applying her makup in the morning. She had a great knolege of what makeups would work well on the face and how they might appear to they eye, making my job as a photographer a whole lot easier as therefore I knew what styling would make it all look best.

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Plastik Magazine

Planning the shoot

Its always important to have a lighting diagram sketch before a shoot, just so you can prepare yourself for what you want to do. You need to think about the look you are going for and therefore how to set up everthing in order to get that look. However it is also important and I do think it is a key point that you must not be too blinkered by this and not let that plan stop you from see other ideas. I would say that most of the time when I am working my best outcomes come from during the photoshoot when I experiement and the photographs I plan at the begining are not as good because they are too structured and not a felxible.

Lighting Diagram


This is the rough sketch lighting diagram that I produced for my photoshoot for the two photographs.

  1. Setup one has the light facing stright towards the model but slightly above them, using a key lighting setup which is typically used in beauty photography. I wanted to have a slight reflection of the light in the model’s eyes to give the character life and a bit of warmth. I also wanted the effect on the fact to make the skin look pretine and perfect. I wanted used a small reflector of white paper just infront of her to carry light down the model’s chest and ehance that white glow on them.
  2. The for the second setup I wanted the light higher to cast a dramactic shadow on the model under her chin. Lightly to one side to excentuate the shape of her face and allow the colours that I want to have drawn on her face to have a range of tones. I wanted a brightly coloured background which would compliment and contrast with what the model’s skin tone and also her clothing so it could bring her forward as the focal point. I also wanted the camera to one slide where the shadow was being cast so there would be an intersting mix of tones used that was not too similar to the cover photo in a leap lighting setup.








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