Horst P. Horst
Horst was an early adopt starting his professional career as a photographer for the US Army but later turning towards fashion photography. Horst's photography mainly comprises of scenes mainly featuring women& Fashion. Although, He is also recognized for his photography of architecture & still-life. However, I shall be primarily focusing on his fashion photography!
Horst was well known for his careful preparation in setting up his photographic scenes while preparing an necessary arrangements in advanced to the shoot. However what really makes Horst's work engaging & unique is the way lighting is used to add contrast as well as push the subject into the foreground. Such scenes were created with careful preparation, His instructions to models being brief and to the point.
In the following two images, it should be apparent that Horst has made very good use of lighting. Not to simply illuminate the subject but also to concentrate the subject as the core, center of focus in the scene. Such use of lighting not only highlighted the subjects but also the subjects possessions, features details emphasis on facial expressions and other elements of the subject such as hands, skin & etc.. This is quite noticeable in Figure One where the use of a reasonably high contrast has also added definition to the model and her props.
Figure Two is a similar example where Horst has focused the lighting in a way which illustrates the subject as a silhouette and outlines the subjects clothing. This ultimately outlines the fashion statement that is being made by Horst. The use of deep, contrasted, tones add a seductive feel to the image, drawing the viewer towards the creases & curves modeled by the model.
Such techniques used by Horst are very common and in some cases a primary aspect to photography. The use of lighting give can enhance or disorientate the sense of depth & themed composure of the scene. Something of a make or break decision.
Eve Arnold
Unlike Horst, Arnold's work would require her to adapt her in-visioned scene around the lighting that is available at the time. This noticeable in Figure four where the choice of lighting is quite narrow. The use of a high contrast as well as how the camera is focused on the bottle. This gives an insight-depth into the troubles of the subject.
Further more, the narrow depth of field really push the viewer to focus entirely on what is happening in the focused scene! Giving a sense of drowsiness to the environment. Confusion, loss, wonder...
Figure four is of a different approach. The subject is Marilyn Monroe but she isn't posing for anyone but looks quite natural in the way she is lying down. As if she is relaxing. Doing a little bit or research into the source of the image, It turns out that Eve took the image while Monroe was resting.
The scene & subject itself do not seek any form of attention. The way the photograph has been vignetted does however! Spiraling the viewers attention towards the lightest part of the scene (the pearl-white sheets).
Irving Penn
Penn originally studied painting and arts, however, he is best known for his fashion photography which became his peak of his photography career. Throughout most of his career,Penn worked with Vogue magazine. Photographing covers, portraits, still life's, fashion...
Penn's photographic approach challenged the traditional methods of photography at the time. For example, posing subjects against a set of upright angled backdrops in a simple grey/white colour to form stark, acute corners that add definition. This approach provided a minimalist attitude which had a positive effect on Irving's fashion photography (especially with Vogue magazine).
Penn's work is composed with great attention to detail which can be seen in subtle ques of his work.
For example, figure seven would appear to be an average picture if the subject in the background was not positioned in a such a way that the transparent object in the foreground would contain her. This skillfully arranged assembly of still life food & objects executed a unique theme to the image. Not only focusing on the fashion aspect but on a wider scale of a desired lifestyle!
Penn's distinctive black & white compositions are produced with a unique sense of deep, dark contrasts. Such careful use of contrast give contoured areas of the subject an added depth of texture as well as bringing are such as the eyes, lips and hands into the foreground.
The raised levels of contrast further supports the minimalism achieved by the texture of the background as well as supporting a clean & crisp feel to the overall subject in scene!
This is quite noticeable in figure five & seven where the contours of the eyes of the model are given added definition which in turn, engages the viewer towards her eyes, following her right arm towards her right hand! allowing the creases in the subjects clothing to be defined throughout the picture while continuously stand away from the background.
Beaton wasn't exactly never known as a skilled photographer but primarily focused on composing the model, scene and looking for the "perfect-moment". He's well known as an influence of style and sophistication for which the 1930s are known for. Despite becoming one of Britain's leading war photographers & the official photographer of the royal family, I shall be focusing on his fashion-based photography.
Beaton's photography is over a unique nature. With his primary focus mostly being on the overall scene. This is quite noticeable in his photography work and easily seen in figure nine. The subject is isolated from the background, with any non-essential objects/features being isolated too. This could've been achieved by the strong, head-on/top-down position. In conjunction with the high contrast gives added detail to the bouquet of flowers and eyes.
This is easily seen in figure nine where the extreme depth of contrast separate the subject from the background. Almost creating this mysterious environment with a limited depth of view.
Only essential elements of the scene standout & attract the attention of the viewer while other elements are made fuller (e.g. hair, flowers) by the deep contrast levels. The way the light is projected onto the subject gives an element of smoothness to the skin of the model (almost as if her skin is artificial).
Beaton has kept the images very simple. Just like figure eight where Beaton has worked with the messy background in order to bring out the subject in the foreground. The background colours complement the subjects features (curves, hair, pose...). However, this is a potential distraction to the viewer as the subject doesn't stand out as much as in figure nine.
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| Fig. 1 | http://4.bp.blogspot.com/-KqFoJ1ysNKc/ T5LHGCMntgI/AAAAAAAAGKc/yL9-tOVMUy4/s640 /Horst-P-Horst.jpg |
Horst was well known for his careful preparation in setting up his photographic scenes while preparing an necessary arrangements in advanced to the shoot. However what really makes Horst's work engaging & unique is the way lighting is used to add contrast as well as push the subject into the foreground. Such scenes were created with careful preparation, His instructions to models being brief and to the point.
In the following two images, it should be apparent that Horst has made very good use of lighting. Not to simply illuminate the subject but also to concentrate the subject as the core, center of focus in the scene. Such use of lighting not only highlighted the subjects but also the subjects possessions, features details emphasis on facial expressions and other elements of the subject such as hands, skin & etc.. This is quite noticeable in Figure One where the use of a reasonably high contrast has also added definition to the model and her props.
 |
| Fig. 2 | http://4.bp.blogspot.com/-4E0FFLeNVCw/ UOrJAL3KcEI/AAAAAAAAAa8/yGf99JVmlp4/ s1600/Horst_P_Horst_03.jpg |
Figure Two is a similar example where Horst has focused the lighting in a way which illustrates the subject as a silhouette and outlines the subjects clothing. This ultimately outlines the fashion statement that is being made by Horst. The use of deep, contrasted, tones add a seductive feel to the image, drawing the viewer towards the creases & curves modeled by the model.
Such techniques used by Horst are very common and in some cases a primary aspect to photography. The use of lighting give can enhance or disorientate the sense of depth & themed composure of the scene. Something of a make or break decision.
Eve Arnold
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| Fig. 3 | http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/ 2012/1/5/1325780044602/1955-Marilyn-Monroe-resti-025.jpg |
Eve Arnold is another fashion photographer which too a different approach to the field of photography... Eve didn't see various classes of people, or people of a different background... But saw people as just; People! As she said in one of her interviews; "...I don't see anybody as either ordinary or extraordinary...". Not only documenting iconic figures of the 20th century, Eve was equally comfortable photographing the lives of migrant workers, civil-rights protesters of apartheid in South Africa, disabled Vietnam war veterans, Mongolian herdsmen and so on...
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| Fig. 4 | http://25.media.tumblr.com/tumblr_ maji27Xjv71rw3fqbo1_1280.png |
Further more, the narrow depth of field really push the viewer to focus entirely on what is happening in the focused scene! Giving a sense of drowsiness to the environment. Confusion, loss, wonder...
Figure four is of a different approach. The subject is Marilyn Monroe but she isn't posing for anyone but looks quite natural in the way she is lying down. As if she is relaxing. Doing a little bit or research into the source of the image, It turns out that Eve took the image while Monroe was resting.
The scene & subject itself do not seek any form of attention. The way the photograph has been vignetted does however! Spiraling the viewers attention towards the lightest part of the scene (the pearl-white sheets).
Irving Penn
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| Fig. 5 | http://cdn.freshnet.com/blogs/118/2013/03/ gemma-ward-balenciaga-spring-2006-photographed-by -irving-penn-vogue-march-2006.jpg |
Penn's photographic approach challenged the traditional methods of photography at the time. For example, posing subjects against a set of upright angled backdrops in a simple grey/white colour to form stark, acute corners that add definition. This approach provided a minimalist attitude which had a positive effect on Irving's fashion photography (especially with Vogue magazine).
 |
| Fig. 6 | http://www.whatgoesaroundnyc.com/blog/ wp-content/uploads/2013/05/Photographed-by-Irving -Penn-19491_1280.jpg |
For example, figure seven would appear to be an average picture if the subject in the background was not positioned in a such a way that the transparent object in the foreground would contain her. This skillfully arranged assembly of still life food & objects executed a unique theme to the image. Not only focusing on the fashion aspect but on a wider scale of a desired lifestyle!
 |
| Fig. 7 | http://pleasurephoto.files.wordpress.com /2012/10/shalom-harlow-photographed-by -irving-penn-vogue-1996.jpg |
The raised levels of contrast further supports the minimalism achieved by the texture of the background as well as supporting a clean & crisp feel to the overall subject in scene!
This is quite noticeable in figure five & seven where the contours of the eyes of the model are given added definition which in turn, engages the viewer towards her eyes, following her right arm towards her right hand! allowing the creases in the subjects clothing to be defined throughout the picture while continuously stand away from the background.
Cecil Beaton
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| Fig. 8 | http://pleasurephoto.files.wordpress.com/2012/10/ jean-shrimpton-photo-by-cecil-beaton-vogue-june-1964b.jpg |
Beaton's photography is over a unique nature. With his primary focus mostly being on the overall scene. This is quite noticeable in his photography work and easily seen in figure nine. The subject is isolated from the background, with any non-essential objects/features being isolated too. This could've been achieved by the strong, head-on/top-down position. In conjunction with the high contrast gives added detail to the bouquet of flowers and eyes.
 |
| Fig. 9 | http://farm8.staticflickr.com/7054/ 6874173665_855990857d_o.jpg |
Only essential elements of the scene standout & attract the attention of the viewer while other elements are made fuller (e.g. hair, flowers) by the deep contrast levels. The way the light is projected onto the subject gives an element of smoothness to the skin of the model (almost as if her skin is artificial).
Beaton has kept the images very simple. Just like figure eight where Beaton has worked with the messy background in order to bring out the subject in the foreground. The background colours complement the subjects features (curves, hair, pose...). However, this is a potential distraction to the viewer as the subject doesn't stand out as much as in figure nine.
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