Research: Lara Jade

I first became aware of Lara Jade's photographs in 2007. I read an article about a court case she was involved in (and has since won.) An adult entertainment distribution company (that's probably the safest name to use), had used a self portrait she'd taken as a DVD cover without her permission. And quite rightly she was trying to get some compensation. An unfortunate event, but the upside is that it drew the world's attention to just how good a photographer she is. Despite only being 21, she has already amassed an amazing portfolio and is quickly becoming recognised as a brilliant fashion photographer.

Self portrait: Cut Off Lips3 © Lara Jade, October 16 2006

Specialising in portraiture. Lara Jade's photo's are mostly high concept fashion shoots. She is always very involved in the whole process, and is often personally responsible for the styling and hair dressing. Although many of the shoots are commissioned by magazines, or fashion manufacturers, She also undertakes a lot of personal projects. These are frequently merely an attempt to improve her skills, or to release the ideas she has bubbling in her head, but in my opinion are usually the most spectacular (as you'll see).

Fantasy Series

Although Jade has created a whole load of different photographic series: phobias, crime scenes (morbid, but beautiful), bird cage. The standout images for me, are her creative/fantasy series. I'll admit though this might be because I'm a self confessed fantasy buff (My book collection is currently spread over several rooms!) A personal project she shot in may 2008. I think they best represent  her style and approach to photography. The series consists of 23 photographs and I've selected a couple of my favourites to illustrate what she can do.

© Lara Jade, May 21 2008

This is by far my favourite of all the pictures. Called yellow brick road, it's obviously inspired by the wizard of Oz, but with an opulent and ethereal beauty that typifies Jade's work. As far as the composition is concerned, there are a number of things I like. The yellow brick road itself naturally leads the eye towards the model (Danielle, not Dorothy), and she in turn leads the eye towards the emerald city at the centre of the picture. I also think the fact the model has been captured moving and that the hedges loom in at the sides (creating an almost claustrophobic atmosphere), all helps to add a real sense of urgency. I get the feeling she desperately wants to get to the city. Lara has said she has no problem using photoshop to enhance her images, which is evident in this picture. Blatantly the castle has been added in post processing, but I think there are other elements of the picture that have also been changed. Looking at it, I'd say the square hedge is a manipulation, but the other trees were actually at the location. To give the picture a grungy look, the general tone has been adjusted, the edges of the picture have been darkened and a dirty texture overlayed.

© Lara Jade, May 21 2008

The next photograph I've chosen, is a perfect example of what I want to achieve with my assignment pictures, the use of colour to define, but not dominate the image. Despite being mostly out of focus, the red foliage is what makes the picture work and combined with the strong central light source, becomes a perfect frame. The other brilliant piece of compositional technique, is the use of the foliage and introspective look on the models face, to creates a sense of almost voyeuristic intrusion, a sense that you're seeing something you shouldn't.

One of my initial ideas was to do a series of fantasy based pictures, but I eventually decided to shelve it, due to a lack of time and finances. If by some miracle  I'm allowed to continue on to level 2 (and even level 3) I would like to return to this theme. 

"I have been inspired by dreams,

nightmares, childhood memories"

-Lara Jade-

© Lara Jade, May 6 2008 

Jade has more than a thousand photographs in her Flickr albums, and though the above might be a selective quote, it would seem to fit with the majority of them. You can't help but notice how her pictures have a fairytale element, sometimes it's a strange twist on those fairy tales, but it's there nonetheless. She has an ability to view everyday objects and turn them in to surreal and dreamlike creations. 

 © Lara Jade, February 19 2008

 

Not that I'm suggesting a giant bird cage is an everyday object, but you get what I mean! I think part of this ability stems from her photographic influences. These include Tim Walker, Sølve Sundsbø, Miles Aldridge. All of these have an eccentric and individual style, often transforming the mundane in to the fantastical.

Well there you have it Lara Jade. An incredibly young, but incredibly talented photographer (don't you hate some people!) I still don't know if this is too much information, or too little (probably the latter.) I'm sure Marie will let me know!

Thanks to Lara for allowing me to use her photographs
http://www.larajade.co.uk
http://www.flickr.com/photos/larajade/

Research: Edward Steichen

“A portrait is not made in the camera, but on either side of it.” Edward Steichen

I'd like to pretend, I have an encyclopedic knowledge of photographers, that when pressed, I could instantly rattle off a list of the most important and influential photographers of all time. Sadly, this isn't the case. I could probably bluff my way through a conversation with the casual enthusiast (dropping an Ansel Adams here, or a David Bailey there), but, if confronted by a genuine student of photography, I would probably only succeed, in embarrassing myself. So, having made this admission, I'd like, if I may, to introduce you to Mr Edward Steichen.

Edward J Steichen by Nickolas Muray

If I'm being perfectly honest (and that would appear to be the case), I've never heard of Edward Steichen...correction, I hadn't heard of Edward Steichen. That is, until about a week ago. Whilst looking at Marie's blog, I came across a link to: Steichen in Color. This is a book discussing Steichen's experiments with the different methods of creating colour photographs, in the early part of the 20^th century. Always eager to expand my knowledge, I quickly ordered a copy, and simply had to wait for it to arrive. When it did, I wasn't disappointed. My eyes have since been opened, not only to a highly accomplished photographer, but to the great contributions he made to photographic art. As a result, I've decided to change the theme of my main assignment, and include more colour, than I'd originally intended.

Frances Farmer, September 21, 1937 by Edward Steichen

I really like this portrait, the wistful look on her face and subtle catchlights in her eyes, encourage an emotional connection with the subject. You find yourself wondering what she's thinking about while she poses. I think the texture and colour of the backdrop, combined with the muted nature of her clothes, also gives the picture an interesting tonal quality. Produced as a 33.5 x 25cm colour print,  Steichen used a complicated process known as dye imbibition. I won't pretend I understand the process, but it involved the production of three negatives, each of which would then have been turned in to dye absorbing gelatine matrix (no, me either.) these matrices would then have been placed on a piece of paper, and the absorbed dyes would have been secreted on to the paper, creating a colour image.

Charlotte Spaulding Albright 1908: Autochrome By Edward Steichen

Before taking up photography, Steichen trained as a painter. When you look at his work, you can easily see how this has influenced his approach to photographs. His portraits are often highly stylised, with the models formally posed and containing traditional props, such as a bouquet of flowers. I think this traditional approach was also the result of his desire that photography be considered a proper art form. A good example of this, is his picture of Charlotte Spaulding Albright. It reminds me of Gustav Klimt's painting Adele Bloch-Bauer I. Klimt's painting was completed in 1907, only a year before Steichen's autochrome. Looking at them, they both successfully convey the regal nature of the subject, and the texture of Miss Spaulding Albright's clothes, closely echoes the complex patterns present in the picture.

Adele Bloch Bauer I, by Gustav Klimt

Although I could never hope to replicate the complex methods Steichen used. If possible, I'm going to try and include a pose, or object in some of my pictures that will act as subtle reference to his work.