Portfolios

While I'm shooting and adding more work to my portfolio, I must begin to think (and rather obsess) about a physical print portfolio. Every photographer interested in a career must invest in both their work and the tools that would connect them to their clients. A print portfolio is the presentation of our work (although arguably in today's time many photographers make do with just a web presence and online portfolios- I'll write about websites another time, it's yet another obsession). It's an investment of both effort and a lot of money, especially since a nice book cover can run in the hundreds and when you add business cards, promo cards, websites, perhaps even a design of your logo (let's put aside the photographic equipment for the moment), you'll be seeing red for awhile before your career could possibly cover it in later years. 'Quite an expensive hobby' as a friend use to say.

As I've started in photography rather haphazardly with more of a conviction than any knowledge, all information relating to photography and the commercial industry and about fashion and the ways to go about setting yourself up comes from the internet, from other photographers much wiser, more experienced, and of course from trial and error and thinking about the path I'd like to take.

There is of course a lot of mis-information from the internet, often contradictory and most of the time rather vague, one must use discerning judgment and hope for the best.

So back to portfolios. General thought by those in the fashion industry for aspiring fashion photographers, your book should be 11x14, comprising 10-20 pages (20-40 single images) of your best work. It is remarkably difficult to find portfolio books in Melbourne (Australia) that 1) looks professional, 2) are of the right size, and 3) allows for easy page changes. It is far more economical and (with a wide range of options) easier to find something online.

House of Portfolios (pictured above) offers a super sleek and solid design (among others). It's really classic and you can personalize them too. I can imagine their leather books are divine to hold. Little bit out of my price range however which is a pity.

 

I'm quite favouring Pina Zangaro's portfolios, a multitude of presentation covers for those desiring to stand out a little more unique. I suppose they are slightly more modern yet it hasn't stopped me from lusting after their synthetic leather Rossano (pictured right) or the acrylic panelled Vista (in Onyx matte black) all quite conventional choices!

I'm influenced by understated elegance and letting my work show by itself. It should be neat, sleek and simple. The screwpost system also allows you to add more pages when ever you like so that's definitely a bonus.

The only thing left is to go see the portfolios (Zetta Florence in Australia supplies Pina Zangaro), and decide what to print and include and in which layout......

And whether I'd like an imprinting of my logo or any of the other additional personalizations.

Quelle la vie.

(Images belong to their respective companies)

Self Portraits

I started photography with self portraits (actually it began with some abstract shadows and building tops from the balcony, and of course I also photographed Cat who would get curious at the sight of this black shiny DSLR), but since I've always been more drawn to people imagery and having a lack of models I just used myself (one could also always use siblings, family, friends and random people on the street).

Self portraiture is an art in itself. It's a direct reflection on who you are as an artist, and you not only have to grapple with the conceptual imagery you wish to present but also the technical difficulties involved- focus, light fall, composition anyone? Since you're playing both roles, the majority of time would be spent on running to and fro adjusting all the details. At least I do anyway.

Self Portrait: The Shoot

Since getting my camera back from repairs, I had to try shooting again. Voila, another self portrait (see image above). First is deciding what you want to shoot. It's the same with any other shoots- the theme and details are important. In this case I was influenced by my outfit of the day- a gothic lolita skirt from ebay, a Cue long sleeved collared shirt, a pair of black and purple knee high stockings and my favourite pair of black suede boots. I wanted a white background for contrast (cleared a section of wall space) and hard lighting and shadows (one light top right). Once there is a setup, it's some experimentation getting everything else on camera right. Adjust, adjust, adjust until happy.

 

Then off I go. Trying different poses, different expressions.  One good note about using digital is that I can keep experimenting without having to worry too much. I didn't like the first 100 frames (continuous shooting on bursts of 10), until I started playing with my spectacles. Much better.

Once I get a good selection, it's off to editing, deleting those that are terrible, bad, not good enough and keeping those that are usable. I did basic corrections, lower the saturation slightly, and resized these to 11x14. I really liked a couple and combined them, thus final product:-

It's quite interesting to see the variety of ways that photographers present themselves, some even make whole portfolios of self portraits and it does push one to be as creative as they can to do something different and unique each and every time. I'd like to try the 365 days Self Portrait Project one day, so perhaps....one day =)

Gender fashion

2009 marked an explosion of new fashion for men- skirts. With names the likes of Gaultier, Commes des Garcons, and Yohji Yamamoto, male models in avant garde makeup and trailing skirts or over skinny pants walked the runways. Is this a sign of fashion taking gender bending to new heights?

Interestingly one response was about the need to make skirts for men more masculine looking or else they just look wrong. Hmm.

Contemporary fashion is about pushing limits. No rules, no must, no have tos, it's about defining yourself without definitions. Transgress boundaries by disregarding it completely, reinvent it. This is why fashion is sometimes incomprehensible, out there and thus avant garde.

Vogue Italia- Linda by Meisel

Linda Evangelista with Steven Meisel

For Vogue Italia 2009
What a gorgeous editorial. Sublime black and white tones and I love the light flare.

Here's another one with Linda. There was a conversation today about moving models. Movement always bring a certain dynamism and liveliness to an image- even if a model is moving -into- a pose. The hard part is of course maintaining a suitable facial expression, thus it does take quite alot of control.