A Little Bit of Everything

A Little Bit of Everything Issue 2

2011-09-02T10:55:00.002+01:00

Hello, today I have the second issue of A Little Bit of Everything. This issue features some black and white photographs which were scanned from negatives I bought online. There is something about selling or giving away photographs that I find quite upsetting. I am a collector of all things and I have boxes of letters, keep sakes and photographs that I could never get rid of, so I find it hard to imagine that anyone else could. Not only am I now collecting bits and bobs from my own goings on but I am intrigued by the photographs, postcards and letters that people no longer want. At some point someone loved them enough to create them in the first place and someone else loved them enough to keep hold of them so at what point do you decide to give them up?

I know not everyone is nostalgic but there is something beautiful and heart warming of times past and without things to remind us of what has been many people forget. I am aware that just because there is no 'evidence' that something happened or once existed does not discount that it ever did but without photographs you would never know how you looked as a baby, remember how you looked as you were growing up, know the faces of relatives before your time or you were old enough to remember.

This all brings me back to a lesson at university when we were talking about memory and how much of our past do we remember through photographs rather than just relying on memory itself. I think photographs and remnants of our past makes us who we are and help us understand more about ourselves, taking us back to the people and places we used to know and love. This may all come across rather sad in its context but I don't mean for it to sound glum.

Photographs and keepsakes in many ways offer us the chance of time travel without the need of a TARDIS. This zine in particular was aimed to give these once cherished photos a new life and chance to be loved once more. I hope you like what I have done with them.

L x

A Little Bit of Everything Issue 1

2011-08-30T21:36:00.002+01:00

A new week and a new zine, or what could be described as an old zine as it was once a printed version. The original printed versions of the zines were available for free in PAD gallery, Preston but unfortunately no longer exists due to the current economic climate.

This collection of zines is a mixture between my own photographic work and also found images which were taken from a series of negatives I purchased both online and from the Preston's flea market which features heavily in a number of my projects.

The first zine in the series of four features my own photographic work which, surprise surprise, were taken in and around the markets.

L x

We Are Golden Issue 6

2011-08-25T12:43:00.000+01:00

We Are Golden Issue 5

2011-08-24T11:08:00.000+01:00

Open publication - Free publishing - More carboot

We Are Golden Issue 3

2011-08-23T13:56:00.000+01:00

The third issue in the series of zines documenting Preston's flea market.

Open publication - Free publishing - More carboot

We Are Golden Issue 1 & 2

2011-08-22T18:24:00.002+01:00

I have finally put together digital versions of the zines I made for my final degree project. Here is the first and second issue so far and I will keep posting the other over the next few days. Hope you like them.

Open publication - Free publishing

L x

Find me on Facebook

2011-08-21T18:43:00.002+01:00

Hello just a little plug about my facebook page which features all my photography work... have a look and see what you think. Like my work, like my page :)

L x

Look What I found...

2011-08-21T11:47:00.001+01:00

Open publication - Free publishing - More photography

Today I was browsing through issuu.com which is a wonderful digital magazine stand offering you everything from well known high-end magazines such as V-magazine to independent and one off publications such as Blur which I stumbled upon and happened to find my own work in! Safe to say I was pleasantly surprised as I hadn't expected to find so much of my work in the publication itself.

Hope you like it,

UCLan Creative Festival 2011

2011-08-16T16:48:00.001+01:00

Open publication - Free publishing - More architecture

This booklet was created for UCLan's Creative Festival 2011 which celebrates graduating students and their work.

Photographer / Editor: Laura E Oliver
Journalists / Editors: Olivia Pinnock & Gareth Hughes

Finished Degree Show

2011-06-28T22:17:00.000+01:00

DIY Table

2011-06-28T16:17:00.000+01:00

As the paint was still wet around the door we decided to leave it off. When we came back the next day the table which I had set aside for my display had been removed! So I went around looking for a new replacement, who knew it would be so hard to find a desk!

Instead with the help from our technician and Mathew we found some crates which would make a lovely rustic, market style table.

I loved the red one but there was only one so we had to think about the look and how big the table could be. For the top we also found a 2ft wide piece of chip board, which was a little smaller than I had imagined but it would still do the job.

The crates had to be cut down as they were a little to high and the new crate legs of the table also needed to be made a little more sturdy to make sure the table would 1. be able to support the items i was placing on it and 2. would not wobble if someone was to knock it.

The finished result can be seen below:

I was thrilled with the finished result and would like to thank Darren and Mathew for their help and hard work!

Fresh Painted Walls = big difference

2011-06-27T12:39:00.000+01:00

The tired room ended up looking a little better with a fresh coat of paint and all the old stuff removed. As part of my display I needed a table which was a bit of a pain to get in the room due to the tight corridor which the room was at the end of. After numerous attempts in the end the door had to be removed, which you can see in one of the photographs below.

The Soon to be Gallery...

2011-06-26T22:37:00.000+01:00

The journey to the degree show began with transforming what was a pretty sad looking and small room into what should be a worthy gallery space soon to be known as The Book Room. To give you an idea what we had to work with I have included a selection of the before photographs:

A good way from being a room worth presenting work in!

Sorry...

2011-06-24T23:40:00.001+01:00

Hello all,

A huge apology for my absence over the last few months but university had well and truly taken over my life! Over the last few months I have completed my final year dissertation, degree project and then I have been busy doing projects for and with my university - All of which I will be letting you know about in the near future.

Firstly though let me begin with my recent journey for my final degree show.

For my final project I decided to do a project on my local flea market to celebrate its worth to the community and to show some of the treasures you can find in places such as Preston's Markets.

Look out for my next post as I will be showing the transformation from University room to gallery space and how I decided to hang my final degree show.

Teapot

2011-01-23T20:41:00.000Z

This post is not fashion or photography related but I took a trip to Bygone Times today (the place where I did my last photo shoot) and bought some lovely things. One of which is an owl teapot. I seen it and knew I had to have it straight away - and it was only £1.50 bargain!

I also got an old bottle which I want to use as a vase and also a miniature tea cup, not sure what I am going to do with it but it was so cute. I will post a picture or it soon!

Fiasco Magazine

2011-01-19T12:24:00.001Z

Open publication - Free publishing - More yuri pleskun

American Rebel

2011-01-19T12:24:00.000Z

Open publication - Free publishing - More wise

Fiasco Magazine - The Lost

2011-01-19T12:23:00.001Z

Open publication - Free publishing - More boys

V Magazine: The Size Issue

2011-01-19T12:23:00.000Z

Open publication - Free publishing - More v magazine

Bygone Times - Final Photographs

2010-12-08T14:38:00.000Z

Victoria Stewart Vintage

2010-12-08T14:35:00.001Z

Hello all,

Sorry I haven't been posting that much recently but I have had loads of university work on which has left me little time to blog. As a treat I am posting the final images from the client brief I have just completed, so I hope you like the photographs.

One of the clients I used was a delightful little stall in Bygone Times called Victoria Stewart Vintage. The clothes are mainly from the 1950's and all of the items are amazing. VSV were kind enough to let me borrow a number of items from their stock to shoot in the studio and here is the final product:

New Project!

2010-11-21T15:40:00.000Z

So... As I have finished one big project (not counting my dissertation - which is still on going) I have two more in return which I am in the process of. One is to find a client to work for which is pretty fun and the other is a presentation.

For my client brief I have asked to do a shoot for Bygone Times which is a lovely vintage store in Chorley. It has a whole mixture of antiques, toys, furniture and also vintage clothes and accessories at really good prices too! (Photos to follow). For this project I think I am more likely to just be submitting a work book but I will keep posting on here as I go and take photos of my sketchbook too.

As for my other project: I hate presentations! For some reason I am just rubbish at them. I can do all the research but when I have to stand up in front of people and talk it just doesn't work. What's worse is when I get nervous I start to talk faster and faster and with my accent it is generally pretty quick and hard to understand at the best of times... not good!

Final Images & Conclusion

2010-11-11T10:31:00.001Z

So that the images are true to showing my lighting skills I have not altered the images in Photoshop. The only time which anything has been changed is to change two of the photographs to black and white.

---------------------------------------------------

I think the final images are a success and that they as a group show a range of different and intriguing lighting styles. Before this project, lighting was normally a second thought, however, after making myself so aware of it my eyes have been more opened to the possibilities and the way in which light can be manipulated for the purpose of photography and how easily it can be used to alter the whole look and feel of a shoot. With saying this I am not suggesting that I have been ignorant to the importance of light within photography just that it has never been my main priority when it comes to my own work.

For the final images I have chosen the selection which shows my progress and also the difference in lighting. I wanted to put forth a mixture of both high-key and low-key lighting and also a range of backgrounds and colours.

Having looked at the photographs as they are it is easy to see how they could be translated into other photographic contexts and for different shoot styles. These photographs will now serve as a good reference point when thinking of shoots in the future. In comparison to my starting point and 'style' which I started with I think my work has seen a vast improvement. These final five images I think show a dynamic range from being vibrant and garish to the subtle and tender and then to the dark and intriguing.

The first photograph has quite strong but even lighting. This particular lighting was designed to show that I could separate a dark black suit from a black background so that you could still clearly see the separation between the two. The photograph shows clear inspiration from the likes of Hedi Slimane, however it was not my intention to emulate his work, it is only looking back and reflecting on it that I have made this relation.

I didnt just want to stick to traditional ways of lighting and as I had never used coloured gels before I experimented with them. The photograph below I thought was really successful. The lighting was quite dynamic and in some ways had a futuristic feel to it. As the face was blue the crisp white background tends to even out the colours so it is not too garish to look at.

The yellow is very summery and has a happy feel to it. Again using the coloured gels but this time it was to change the background colour. I was in fact surprised at how vibrant the colour came out in the end, but I think it has potential for many shoots.

The forth photograph is pretty universal in my opinion. I think the lighting style would suit a range of shoots and works well in both colour and black and white. Looking at this, in comparison to the grey, which I would have normally have gone for, there is more depth and a better quality to the over all image. The tonal range is there and also the light picks up the texture in the suit.

Finally a photograph which was lit with two lamps, each either side of the model and aimed behind. For this I wanted to make the outline of the body a main feature and also try to get the feel of a 'glow'. I think this lighting is effective and dramatic. It is not a style which would lend itself to a number of shoots but I think it is still effective.

Over all I have been really pleased with the project and my final five images. With working in the studio and taking away all the other aspects of a traditional shoot it really allowed me to focus solely on the lighting. Looking back over the past few weeks I have become more confident in my lighting abilities and have seen a dramatic change from the bland grey backgrounds which I used to rely on.

Lighting is the essence of photography and it should be just as important if not more than the model, styling, hair & make-up and so on.

Even though this project was to look at all types of lighting I found myself drawn towards low-key lighting and also the darker backdrops. This is something which I am aware of and although I prefer them it does not mean that all of my work will be created using them. If this project has taught me anything it is how important light is not only for the photograph itself but also how the photograph is read and understood.

Word Count: 770

Third Cut

2010-11-10T23:59:00.002Z

I have managed to get the selection down to 8 images. From this selection I need to choose only 5 for the final selection.

Second Cut

2010-11-10T23:54:00.003Z

So far I have managed to get the photographs whittled down to 11. I thought that it would be interesting to show how the large group of photographs is cut down to the final five. For the final cut I want to make sure that there is a range of different lighting styles.

First Cut

2010-11-10T23:54:00.000Z

Below I have compiled all the photographs which I have selected from the different shoots. From these I will narrow them down again before choosing the final 5 images which I will submit for the project.

Nick Knight - Let There Be Light

2010-11-07T15:34:00.009Z

http://showstudio.com/project/lettherebelight/#30808

Nick Knight Interview

Shoot, behind the scenes:

Simple light set up of an over head small umbrella and a light from below.

Follow the link below to see the images from the let there be light shoot - unedited versions:

http://showstudio.com/projects/lettherebelight/imagegallery/default.html

Lily Donaldson Interview

2010-11-07T15:15:00.001Z

Third Shoot

2010-11-06T23:53:00.000Z

I quite like the lighting in this photograph but I think the shadow in the beam of light lets it down now looking back over it. I think it would be more successful if the shadow was not there, this will come down to trial and error as it was difficult in the studio. I created this structured beam of light with two polyboards as they gave a more defined shape in comparison to using the barn-doors, this due to there being too much dispersion of the light.

Again using the dreaded white background. I was quite impressed with this photograph as there is a relatively even lit background and also the suit looks particularly well lit too. I think this style again is universal and would suit most shoots. It would work well for a shoot where you just wanted it to be about the clothing without any theatrics. With the clinical and sparse background there is nothing to distract you.

The above photograph above was focused on the shadow, the square structure is very strong and think is very masculine, but it would also work for the female form to place emphasis on the shape of the female body, much like this is emphasizing on the male body and stereotype. It would also look interesting if a garment had a particularly strong shape. When taking the photographs i found that even if the model moved just a touch it would completely change the dynamic of the photograph and the shadow formation.

The more I have been in the studio the more I have realised how much I like low-key lighting. Each time I am in the studio and when looking at photographs that I like the vast majority are quite dark. Thinking of this I wanted to use the light to pick out the features of the face, what I found was that it was possible to make the human face appear quite animal like.

For these particular photos I only used the lamp rather than using the flash. Being in a dark studio this meant that focusing was increasingly difficult but I think the photographs have been successful and created the look I was aiming for.

I think this lighting style (with the warm tones) would work really well for the Autumn / Winter trends at the moment, thinking of furs, the woods, big knits and antlers! Like in the photograph below:

Could work?

I like the feel to this shoot as it is very wintery with the cool blue tones which I managed to create with changing the white balance by changing it to tungsten (lightbulb).

I love the richness of the purple in this photograph. The snoot has really brought out the models shadows too. With photographing on an angle slightly to the models right it meant that I was able to capture two different shadows. The photograph below looks as though one shadow is regretting something and the other looks relatively strong. This could symbolise conflicting ideas or indeed a conscience.

This shoot was also in reference to the lighting style commented on my Knight post where he used a spot light on the models. It is different in its look but I wanted to experiment with this harsh direct pool of light. In many ways it frames the model as the dark creeps in from the edges.

Nick Knight shoot Rick Owens

2010-11-04T15:18:00.003Z

I have found the videos created by Nick Knight for Showstudio to be full of inspiration and also they help you understand how a professional lights his subjects and works within a studio. These have been really handy when it comes to my own practice.

Looking at the lighting he uses, he has shown that more than often he only uses one or two lights. When I look at some of the work I have done previously I keep comparing it to come to an understanding of how his work looks so different to mine. I think it comes down to practice and also understanding the kit and how it will work with different models, clothes, textures etc.

Francesco Brigida

2010-11-02T23:51:00.000Z

Brigida is another example of a photographer who plays around with shadows and alternative lighting.

Forte & Zachary

2010-11-02T23:50:00.003Z

The lighting style in Forte & Zachary's work often changes but shadows are often frequent within their photography. I have never really included shadows within the work I have done in the studio as they normally look out of place. In Forte & Zachary's work they are used in interesting ways, the multiple shadows are something which I haven't thought about using before and so are something worth experimenting with when in the studio.

The photograph above really reminds me of the work by Joachim Schmid (seen below). The coloured stripe in the background seems reminiscent of the cut which is clearly seen in the images created by Schmid.Even down to the lighting, it is all very similar to the original portraits.

Jan Welters

2010-11-02T23:50:00.002Z

In Welters' work there is a variety in the ways in which he chooses to shoot whether this is the lighting style or the backgrounds which he works with. The photograph I found most appealing was the one with just the dress as the main focus of attention.

To me this looks slightly surreal and I don't know if the photo has been digitalised a bit. Regardless, the lighting used really picks out the feel of the silky fabric and also brings out the intricate pattern detail of the dress.

Andreas Ohlund

2010-11-02T23:50:00.001Z

I really like Ohlund's work, but it is more for the idea of matching the backgrounds to the colours the model is wearing. In terms of lighting I think he has used the light which best picks out the shape of the clothing in terms of creases and folds. His work is clean and uncluttered both in his studio and location work.

Ferrater

2010-11-02T23:50:00.000Z

The photograph above I like however I think it would have worked better if the lighting was not as bright and it looked more like the main light source was the match itself. The item being worn is a beautiful shape and it is a shame that this has not been made to be more exaggerated or a feature of the photograph. If anything I am more distracted by the model and what he is doing rather than the clothing itself. I think if the model was only to have the light from the match on him and then the background lit so it was more of a silhouette it would be more interesting as a photograph. It is still a nice picture, however, I think I would have approached it differently.

This particular lighting reminds me of the light spill you would see coming from a doorway into an unlit room. I really like this image as you are left with questions about the situation and it does not directly make you think of fashion. In my view it would be really effective for shoes - thinking of Guy Bourdain and his influences.

The lighting in this photograph above works well as it adds to the mystic of the model. The slouched back, hidden face, clothing and even smoking all add to this illusion. There is a certain 'thuggish' look to the image and the lighting helps emphasis this feel.

This photograph has an almost defeated look about it, the lighting again compliments this as the light source is above the model meaning that the shadows are formed under the eyes making them appear to have bags under them adding to the 'depressed' or 'defeated' look. This particular lighting also picks out the models furrowed brow. This teamed with the brushing of the hair and cradling the head all help emphasize this.

Patrick Demarchelier

2010-10-31T23:48:00.000Z

Second Shoot

2010-10-31T18:32:00.003Z

These are by no means all of the photographs but there are some of the ones which were either more successful or ones which I wanted to make comment on:

Admittedly this is my first attempt with the ring flash and I think it is safe to say it was a bit of a fail, out of the few photographs I had taken this is the best one out of a bad bunch. Even still I thought I would still put one photo up to show I had at least given it a try. Even though it was a failed attempt I did like the way the ring flash brings out the colours in the background, making the color 'pop' so to speak.

Keeping with colour and making them stand out I have been using gels more and more. I was surprised to find how well they come out in photographs and how vibrant they can look too. Looking at a colour wheel you wouldn't usually expect yellow and blue to work with one another yet I think they compliment each other well in the photograph below.

For this particular lighting to work it has a lot to do with the black suit as it absorbs most of the blue light leaving it clearly on the models face. If this particular lighting style was to be recreated and a lighter clothing used this would change the look of the photograph. For example if white was used it would have a blue cast to it.

The above photograph has a nice summery feel to it and I think it would work for a pop art style shoot with the bold colouring. It might work to have clothing that clashes with the colouring of the background?

I found the above photograph (photographer unknown) and liked the way coloured lighting had been used. Similarly the colours in the photograph below with the turquoise and the purple colour, the difference that I had used a white backdrop and there is a black one used in the photograph. The image above does show how the colour would look on lighter coloured clothing.

I did try saturation some of the colour to see what it looked like and I am undecided on which I prefer.

This photograph again reminds me of the work of Hedi Slimane although this is not what I was thinking about when photographing however it is obvious that it is influenced by his style. This lighting is quite universal and could be used for a range of shoots.

2010-10-31T15:48:00.003Z

Paolo Roversi On The Mysteries of Light

The legendary fashion photographer talks about flashlights, sunlight and his love affair with beauty.

For me, light is life – and the first light that I see is the sun, says Italian-born fashion photographer Paolo Roversi. So when I think about light, I think about the sun and nothing else. Window light is the most important light for me. When I take a picture using window light, I always think about what a long trip the light is making to reach my subject.

Speaking by phone from his home in Paris, Roversi pauses, perhaps reluctant to discuss the impulses behind his creations. His technique ‘is not at all rational’, he confides. My studio is a place for the chance, the dream, the imaginary to prevail. I give these forces as much space as I can.

While he prefers to be lost in the mystery of it all, he recognizes that there is a single motive at work in his creations. I am always in search of beauty. This I know for sure. Beauty is something that attracts me completely all of the time and pushes me far in search of something. In an industry that has glamorized grunge, misogyny and heroin chic, Roversi’s reverence for his female muses has remained a constant. His images have been described as romantic, tender, etheral, erotic and exquisitely beautiful.

PDN:

You never use strobe to illuminate your images. Why is that?

Paolo Roversi:

I like longer exposures because, in general, my photography is about portraits. I even consider my nudes to be portraits. The eyes are very important in every portrait. I can’t explain technically why the look of the subject is more deep, more touching, more human if the photographer uses a long exposure for the shot, but it is. I learned this from studying early photographs, when the photographers were obliged to use longer exposures. The portraits looked much deeper.

PDN:

So what types of lighting sources do you use?

Roversi :

I work primarily with HMI lights, Mag-Lite flashlights and window light.

PDN:

Do you have a favorite?

Roversi:

Window light. For me, it is the basis of everything. As Nadar said many years ago, at the beginning of photography, everyone can learn the technique of lighting. What is very difficult, and what you can’t teach is a feeling for the light, a sentiment of the light.

Lighting is, above all, not a question of technique, but of the feeling. Because, even if you think it is a simple light, it depends on where you put the camera, where you put the subject,what you put behind the subject or beside the subject, the angle of the sun, if there is a cloud in front of the sun. Anybody can use a strobe, anybody can use any light - but to capture the sentiment of the light - that is not so easy.

PDN :

Has your approach to lighting changed much over the course of your career?

Roversi :

Yes. In the beginning, my lighting was very stiff, very different from today. I was taking a lot of care with the light. Maybe the relationship between the light and me was young, so I was a little bit scared of the light. But now the relationship is much cooler - we know each other much better and everything is much easier. In the beginning, like many young photographers, I think I wanted to show what I was able to do with the light. I was more narcissistic about it.

Now I am much more humble. I prefer to hide what my light is doing. Now I work more in a way that the subject is dictating the light.

PDN:

How does this affect the lighting decisions that you make on a daily basis?

Roversi:

I try to be very fresh, very spontaneous and very free when I work. Sometimes, when I arrive at the studio in the morning, the lights are just sitting in a certain way - however my assistant left them - and I will just switch on these lights and take a picture without changing anything. Chance is very important to me.

PDN :

How do you go about lighting an image?

Rovresi :

When I work in my studio, I always start with the main light. The main light for me is the sun, even if it is a tungsten source or an HMI. I always start with my sun. I set up one light - with its one angle, one shadow, one direction, one intensity, one quality.

Then, around this sun, I can start to maybe put reflections, to put other little lights here and there and there.

PDN :

What is it like to light with the Mag-Lite?

Roversi :

When I work with a flashlight, I work in total darkness. I have to think about how long I will keep the light on different parts of the subject. And I have to think about the direction that I am moving the light in, because the quality of the light is determined by how I move the flashlight with my hand.

It is like using a pencil in a way. A writer, or a painter or a composer of music is filling a white canvas. But, for me, photography is a black canvas. And on this black page, I use the Mag-Lite to write with the light.

PDN :

People will sometimes refer to lighting done with Mag-Lite flashlights as 'Roversi lighting'. How did you arrive at this technique?

Roversi :

Everything in photography is very old. Perhaps this 'technique' had not yet been adapted for fashion photography because the model cannot move too much because of the very long exposure. It is not so simple, but it is easy for me because I work with Polaroid Film. I can see the result immediately. The most difficult thing is establishing the exposure time_ how long you keep the light on the subject. Sometimes it is difficult to judge, and with the Mag-Lite it is a matter of a second. So you have to move the flashlight very quickly. But I like this light because it is completely irregular. You never know what will happen.

PDN :

Given the spontaneity you bring to your lighting, do you ever find yourself lacking a necessary piece of lighting equipment?

Roversi :

I have enough lighting equipment to do many different things. I can always use another light. My lighting is not dependent on a particular source. There are many different possible ways to light a subject, and I choose one - the one that is coming from my heart, that is all.

PDN :

Are you still working primarily with Polaroid Film?

Roversi :

Most of the time, yes.

PDN :

Are you shooting with large-format cameras exclusively?

Roversi :

Much of the time I still work with 8x10 cameras. This is the reason that I work with one-second, two-second, three-second and sometimes 20-second or 30-second exposures. I never mind how long the exposure is - it is very rare that I shoot at exposures that are shorter than a quarter second.

But I am very free about the things that I use. I have no prejudice. I can use other cameras as well. It depends on what I want to do. Sometimes I change cameras three times before I find the right one. I’ll start with an 8x10 camera and two hours later I am shooting with my Leica or the Linhof.

I also work with the Rolleiflex for the 6x6 cm and the Alpa for the 6x9 cm. I like the little Polaroid SX-70s too and the Holga plastic cameras.

It’s very subjective - and sometimes very arbitrary. I change cameras for the same reason that I put more vinegar on my salad. You never want to eat the same dish every night! But my old 8x10 camera, my Deardorff, of course that is my favorite. When I work with that, I feel at home.

PDN :

Do you have a preference for hard or soft sources?

Roversi :

I prefer soft, indirect light-diffused light.

PDN :

Where did you learn about lighting?

Roversi :

I don’t know if I’ve learned about lighting yet. I’m still learning, still discovering. That’s why I like photography.

I never went to school for photography. I learned lighting by working as an assistant. I learned by looking at the photographs of the masters of photography and the paintings of the great masters. You never invent : you simply take your influences from the giants before you.

PDN :

Your latest book, Studio - which will feature more than 100 photographs from 25 years of photography - is scheduled for publication in September 2005. In interviews about the book, you’ve been quoted as saying that the studio is not just a space or a place, but a theater of the imagination - your observatory, the lens through which you watch the universe.What can you tell us about this book?

Roversi :

The subject of this book is very personal. It is an ensemble of pictures of my studio, of the place where I work - of the chair that I work in, my camera, my lens, all of my instruments, my window where the lighting is coming from. Many of the images are still life shots within the studio or shots of the studio itself, and these are interspersed with sequences of nudes and portraits of models.

PDN :

Has anything influenced your lighting recently?

Roversi :

When I came back from my last trip to India, I could not stop thinking about India in the moonlight. In my mind, I kept seeing all of these little candles in the temples - and dust everywhere. I was very attracted by this dust, because you see more of the light with the dust. India, for me, was one big shadow. Sometimes, I didn’t know what I was seeing in those shadows : a man, a god, a cow, a stone - and the mysteries that these shadows contained fascinated me.

So when I came back to my studio, I wanted to work with no light at all. I began a search for no light - it was as if I were searching for something deeper, because the light sometimes reveals too much.

PDN :

Is there a particular quality that you’ve been consistently striving for in your lighting for different assignments over the years?

Roversi :

When I look at my pictures from 20 years ago, even when the technique of the light is very different, I see a kind of unity, and this is surprising me a lot. Even in my book, Nudi, the photos look like they were taken in the same place, in the same light, on the same day. But they were taken over the course of 10 to 12 years, in New York, London, Paris. Sometimes they were done with window light, sometimes with HMI, but of course the design of the light was always the same. I think that in every image there’s a skeleton of the light, and the skeleton of my pictures is a little bit the same.

But I don’t think a certain light should become one’s style. I know some photographers who screw a light into the floor of their studio because they like it, and this becomes their style. I think this is terrible. It is too much like putting the same jacket on everyday because you want to be recognized and you are afraid that if you change jackets you won’t be recognized anymore. Your personality is not coming from your jacket or the cut of your hair - and your photographic style should not be coming from a lighting technique. Your photographic style comes from your creative expression, from your esthetic, from the beauty that you can bring to the image, the emotion that you can give to the people who are looking at your work.

Susan Reich

Photo District News March 2005

2010-10-30T20:14:00.001+01:00

http://rankin.co.uk/behind-the-scenes/#/pic34

Rimmel - Lily Cole

Nike V for Victory

2010-10-30T19:50:00.001+01:00

Beth Ditto - Rankin

2010-10-30T19:48:00.001+01:00

Rankin Live - Behind the Scenes

2010-10-30T19:47:00.004+01:00

These photographs make the lighting setups look so simple in the fact that he is only using two large soft boxes and also a reflector. This holds a big question to that why do my photographs not stand up next to Rankin. Practice is a big factor and with time the skills I will be there however it is just persistence and experimenting and becoming more confident as a photographer and also with the photographic kit available.

M.I.A - Rankin Shoot

2010-10-28T13:51:00.003+01:00

Britain's Missing Top Model - Rankin Shoot

2010-10-28T13:46:00.006+01:00

With this particular video I found it interesting to see how Rankin has his lights set up and also the way in which he uses the polyboards.

Rankin Photoshoot

2010-10-28T13:43:00.004+01:00

Marina and the Diamonds - Rankin Shoot

2010-10-28T13:37:00.005+01:00

This Film shows how Rankin uses light within a professional shoot. This is something you don't usually get to see, the behind the scenes of a shoot. I think they are really helpful in terms of my own practice as you get to see how a big name photographer lights his subjects and also how they conduct a shoot.

Lighting Test - Beauty Dish

2010-10-27T14:59:00.001+01:00

Lighting Test - Blue Light

2010-10-27T14:41:00.003+01:00

The photograph above has a pop art feel and look about it, it reminds me of some of the work by Andy Warhol:

Lighting setup for for shoot:

I had never used coloured lighting before so it was something new to me. With the model wearing a black suit it meant that the blue was mostly absorbed, leaving the coloured light solely on the models face. To make sure that there was no blue cast onto the background I used another soft-box to bleach out the backdrop.

This photograph would come out differently if the model was wearing lighter clothing which would be something to consider if this particular lighting style was to be used again. I think the closer of the images is more successful due to the models stance but also because of the shadows which have been captured and you are more aware of the white light on the other side of the face which is counteracting the blue. This particular photograph reminds me of the brightly coloured shoots which are usually seen in iD and also Dazed and Confused. It also reminds me of the V magazine cover which featured Lady Gaga which was out not so long ago.

Lighting Tests - Blue and Red Lighting

2010-10-27T14:38:00.001+01:00

This lighting was a simple set up of two medium soft-boxes with blue and red gels over them. There was no separate light on the background, instead I just let the light reflect off the background to create a hazy colour.

It was only after the shoot that I found this photograph by Paolo Roversi which I found interesting due to the lighting similarities.

I really like the use of coloured light and think it could be successful for a fashion shoot. I have never thought about using coloured lighting before in a shoot but it is something I will consider using in future shoots.

Lighting Test

2010-10-27T14:36:00.001+01:00

Looking at this shoot it reminds me of the work of Hedi Slimane. For this particular lighting style I wanted to shoot black on black to see if I could clearly separate the two from one another. I was able to do this with a two light set-up, one to light the front of the model and another to light the model from behind to illuminate the model from the back which would create the divide between the black of the models suit and the black of the backdrop.

Lighting Test - Light Spill

2010-10-27T14:24:00.001+01:00

Lighting Test - Silhouette

2010-10-27T14:21:00.002+01:00

The silhouette is a lighting style which is not used too often. This is due to it only really helps show off a particular shape or outline. For this to show off a fashion item the garment will have to have a defined shape or the models pose would have to be visually striking.

Lighting Test - Light Bleed

2010-10-27T13:49:00.002+01:00

The light bleed was possible by over saturating the background. I did this with the use of two large umbrellas pointing them at the curve.

I believe this lighting style is quite universal and would work for a number of different garments and shoot styles. It does however lend itself to a whimsical feel and I think it would work well for delicate clothing as the soft light would reflect the feel of the garments.

For me this is a very different style of lighting as I tend to avoid using a white background and also using high key lighting. I think the photograph is successful and more than likely I will be using it in the future.

I need to get into the practice of thinking about what light will best suit a shoot rather than sticking to what I am more comfortable with. By working with a model I am confident and it has helped me in terms of my work practice. I think it would work well to use the model again in the future to keep experimenting with my lighting styles and building up on my knowledge and lighting ideas for potential shoots. It might be worth thinking of doing lighting tests before shoots and having models stand in so that I can make sure the lighting will fit the over all feeling the shoot im going for. The idea of the light is not just to show the garments but it also adds mood and can help highlight texture which I have become more and more aware of as I have been looking at other photographers and picked apart the ideas behind their work.

Lighting Test - Lens Flare

2010-10-27T13:39:00.002+01:00

By placing the light behind the model and slightly towards the camera lens I was able to create a lens flare on the photograph. By doing this and capturing the outline of the suit the light also picked up all the creases in the sleeves.

This particular lighting style may look effective but it does depend on the style of clothing being photographed. For example it would not suit an intricately beaded dress as the detail would be lost in the darkness. It does, however, compliment garments that are structured or that are plain in design. This type of light illuminates the shape and the creases of the materials with great effect.

Examples From First Studio Shoot

2010-10-26T23:20:00.006+01:00

Here are a selection of photographs from my first shoot. I have not tampered with the photographs as I wanted them to have their originality as I think this shows the lighting skills with greater effect than an edited photograph.

I am pleased with the outcome but I would like to have more sessions in the studio. I think I would like to be in the studio at least one or two more times depending on time. I think I would like to try using more of the coloured lighting and also try and use the white background more. I have noticed I am more drawn to using the black or grey background rather than the white one. This is also seen in my lighting style as I seem to prefer low key lighting to hight key lighting.

2010-10-25T18:36:00.004+01:00

I have found these videos to be invaluable as they allow you to see how the greats set up their shoot and what kit they use to produce their stunning photographs. I am aware that it is not as simple as copying their approach as there are many other elements which go towards creating a beautiful image.

Digital Portraits

2010-10-25T16:11:00.008+01:00

Digital art and digital portraits are becoming more and more practiced with advances in technology and computer software. I have included this in my research as they are becoming increasingly similar to photographs. I think what gives them their 'lifelike' quality is down to the use of light.

Some images however are more like paintings. Light is used to pick out details of the subject. The way in which the light is used can be translated into a studio, I really like how they hide some if not all of the subjects face.

The picture above looks like they have taken influence from candle light. The warm tones are interesting on the stark black background. This particular lighting would be easily recreated in a studio.

The image above could also be transferred into the studio. I like the idea of using coloured lighting as a what to light the background.

Lily Donaldson for V Magazine - Nick Knight

2010-10-25T16:01:00.008+01:00

Another video, however the reason I keep posting is due to the information you can get out of the films created by photographs as they dip into areas of multi-media to further their practice. Knight and Ranking don't just share with you their final images but the whole process into how they create their fantastic images. It is through videos such as these that you get an insight into the way they work and also how they create their stunning photography, which is something you don't get from a two dimensional image.

Fringed - Nick Knight

2010-10-25T15:58:00.014+01:00

The light used captures the movement and the texture of the dress Lily is wearing.

Collaboration - Nick Knight

2010-10-25T15:55:00.007+01:00

This short film reminds me of the film I posted earlier by Amy Gwatkin, however this is more theatrical which is something you would expect from Knight and also Gareth Pugh.

Like in the other film the models move under the lights so you can clearly see the change of the shadows on the faces and in the clothes. The low key lighting makes the film really interesting as with the blackness it creates a really eery feel, with the models coming into focus out of the darkness you are always looking for the shapes and the movement. With the majority of the film being in total darkness you are searching for what will next appear.

Not only was this a short film it also appeared in the October 2008 edition of Dazed and Confused as a fashion shoot.

I think this piece was successful as both a film and a photographic shoot, each has a different feel to it and it shows how the different mediums can be understood differently.

Solve

2010-10-25T15:52:00.033+01:00

Solve Sundsbo is a Norwegian fashion photographer who cleverly manipulates images making them out of the ordinary.

His work incorporates everything from X-rays and 3-D scanning to hi-tech manipulation and laborious hand-painted retouching. “If I’ve got a style,” says Sundsbo, “it’s that I’ve got no style.”

Solve is rallying against the mediocrity of fashion photography, he complains that “anybody can use a digital camera to take a picture and alter it in photoshop” and I’m all for experimentation and Sundsbo’s image manipulation gives fashion photography a complete fresh look.

"I don't set out to break boundaries," he explains, "but I'm incredibly restless. When I've conquered one thing, I could do it again, but it's not exciting. That's why I'm drawn to fashion--it's an industry that continually changes."

Solves lighting style is always changing. He uses it to maximum effect and chooses his lighting style depending on what will most suit the shoot. The photograph of a woman smoking has the light focused on her mouth and the smoke which she exhales. Another example is the woman with her hair 'wild', to make a feature of this her face is shaded and the light is above her picking out the texture and style of her hair.

Even though my shoots are just going to be focused on the light I will be making reference to how the lighting style will be best suited if they were to be translated into a fashion shoot scenario.

Hedi Slimane

2010-10-25T15:51:00.031+01:00

Hedi Slimane tends to stick to one particular lighting style which in many ways has become his photographic signature. Even though he he does this it does not mean his photographs are not stunning. The simplicity of his black and white photographs are much to be desired.

I think black and white photographs make you more aware of the lighting as there is little to distract you. Even though I am looking at light it is still important to consider the other aspects of photography such as the use of models and also styling for example. As well as shooting in black and white he typically photographs his subjects smoking, this 'prop' is popular with many photographers.

Paolo Roversi

2010-10-25T15:51:00.030+01:00

Paolo Roversi's work often looks as if it could have been painted rather than photographed. The soft blurring and almost pastel colours add to the alluring elegance of the images.

Nick Knight

2010-10-25T15:51:00.029+01:00

Nick Knight's work is ever changing both technically and visually. Looking over examples of his work the lighting is different from shoot to shoot, however this is not just for show sake but the change in the lighting is used to complement the photograph itself and the intent of the image. This could be to show off the craftsmanship of a particular garment, the delicate fabrics, the intricate stitching etc. Light is not simply used to illuminate the models and clothing it is used to elegantly capture creativity with maximum effect.

“Digital manipulation is just another tool,” he says. “It’s less profound than the lens you use, or the angle.” But in the end, he adds, “photography is all about manipulation, and as it’s evolved, it’s become more manipulative in every way. I’ve never seen photography as a truthful medium. It’s about individual perceptions of reality, and that’s what people want to see.”

Nick Knight pushes himself relentlessly, experimenting with complex techniques such as 3D scanning, digital sculpture, interactive film and other innovations within technology.

Horst

2010-10-25T15:50:00.012+01:00

Horst is known as the master of dramatic lighting and rightly so. The way he has used light within his photography has an air of elegance. Considering light and Horst's work he more than often used four spotlights. One would be directly above the subject and the rest would be carefully positioned to pick out the subject.

Horst used lighting skillfully to highlight mood or more than often the clothing which was worn. My favourite of his photographs is 'Round the Clock' primarily because you get a great sense of the texture of the skirt:

I think this is something to envy the fact that he has managed to capture the texture as it is something hard to create considering a photograph is a 2 dimensional image.

Irving Penn

2010-10-25T15:50:00.011+01:00

"Sensitive people faced with the prospect of a camera portrait put on a face they think is one they would like to show the world. ...Very often what lies behind the facade is rare and more wonderful than the subject knows or dares to believe."

—Irving Penn, 1975.

Irving Penn's photographs appeared in Vogue from the 1940's onwards.His stunning images were created with a small amount of kit, yet somehow he never repeated himself when photographing. All he used was a roll of paper, a stool, a piece of carpet, a rolleiflex camera, tilt-all tripod and two stage flats.

Penn isolates his subjects taking them out of context, he believed in the need "to prune away anything inconsequential," focusing on elegance and simplicity.

By removing models from traditional cluttered settings Penn modernised fashion photography. He eliminated unnecessary props drawing attention to clothing and accessories by photographing models isolated against stark surfaces.

In many of his images he used the stage flats to create a corner in which he photographed his subjects. Penn found "this confinement seemed to comfort people, shooting them. The walls were a surface to lean on or push against."

Edward Weston

2010-10-25T15:49:00.001+01:00

Edward Weston is undoubtably one of the all time greats of photography. When looking at his work in terms of light he has managed to use it in order to highlight the shapes of his subjects and show them in all their glory. In doing this he has managed to make even the most mundane everyday items look visually stunning.

I like this use of light to exaggerate the shape of the subjects in his photographs, when looking at fashion images it would be interesting to experiment with light to show off the shape of the model and the clothes rather than just focusing on getting the garments well lit. Much like Weston has used light to show every crease and curve it would also work with clothing and showing the way the fabric falls.

Absolute Man

2010-10-25T11:44:00.000+01:00

I have posted this series of photographs before but I think they are wonderful. For lighting I think it works as it shows how a grey background can be used successfully. When I look at these photographs in comparison to the ones I have done using a grey background they are much more successful in terms of lighting and aesthetics.

Styles by Tsuyoshi Noguchi and photographed by Satoshi Sakurai, Ash Stymest appears in the October (2009) Issue of Japanese magazine HUgE.

Unknown

2010-10-25T11:41:00.004+01:00

I can't remember who these photographs are by as I just stumbled on them when on the internet. I think they work really well as a series of photographs, from the models, to the pose, to the styling and most of all the lighting. The photographs show a mixture of textures and shapes and I think the lighting is reflected in each of the photos to show this with great effect.

Gerhard Richter

2010-10-25T11:41:00.003+01:00

Gerhard Richter works mainly from photographs. Looking at his painted works they are almost lifelike and have many similarities to that of a photograph. Light plays a huge part in this as it is the shadows that give the images there 'reality'.

Marcel Gonzalez Ortiz

2010-10-25T11:41:00.002+01:00

Thinking about studio lighting and ideas, it hadn't occurred to me to use a slow shutter speed and experiment with movement. Looking at these photographs I think Ortiz has captured movement and fashion in a really interesting way. What makes it work so well in my opinion is that you can still clearly see the shape of the model and the garment, the feel of the shoot and look is not lost in an inappropriate blur which often tends to be the case when it is used within photography.

Ortiz is another photographer who uses a mixture of lighting style but I think he could push them further. Yes everything is well lit over all but I think the images could be made more interesting like the photographs above. This may come down to what the photographs were originally intended for but I think it was possible to push the lighting further to make a more dynamic shoot.

Looking at the colour photographs and the black and white images there doesn't appear to be much difference in the way they have been lit. The photographs look nice enough, I am however more drawn to the black and white photographs, I think they are more successful.

The photograph again is ok but I think there could have been more done with the photos. The flash might have looked better is the photos had been captured on film? With the model hiding her face there is a slight paparazzi feel to she shoot, this might have been more successful if this had been explored?

Edward Hopper

2010-10-25T11:41:00.001+01:00

Looking at Hoppers work was interesting, his works are stunning and pull you into them through the characters he has created within them. Loneliness is a dominant theme in his art work, you often find the characters gazing out of windows, engrossed in books or standing alone as if waiting for someone's return. Even those which feature more than one character still have a distant feel to them.

The reason I have chosen him as an example of painters using light is because of his clever use of it. He has skillfully used it to draw you into the people in his art but it is not obvious (in that he hasn't shown them under a spotlight). The light is even more important as most of his art is set at night and light is the only way in which we can see in the dark.

A porch light at night blocks out the surrounding neighborhood, a lit cafe blocks out the streets outside with the reflection of the cafe's lights, a cinema is in darkness while a woman waits by the stairs in a lit corridor, a women sat on her bed drenched in the sunlight pouring through the window as she looks out. It is not just as simple as having a light source to counter the darkness and make the characters central within the paintings but he has also used it to capture the way the clothes fall onto the body showing the creases in the garments, much like you can see if you were to photograph them, this goes in some ways to further the realism within the paintings.

Caravaggio

2010-10-25T11:41:00.000+01:00

Carvaggio's work is really dark and has limited use of light. With art to add reality Carvaggio uses harsh lighting and harsh shadows to heighted the drama and reality of the depiction. This use of light is known as chiaroscuro.

In Caravaggio's paintings are all dramatically lit by shafts of light from a constricted and often unseen source. This compositional device was developed by Caravaggio and also Ugoda Carpi, Giovanni Baglione.

Caravaggio is also credited with the invention tenebrism, which is often cited as "caravaggesque tenebrism". This style of painting often uses very pronounced chiaroscuro where there violent contrasts of light and dark, darkness being the most dominant feature of the image. Often, candelight was used to light the figures and there is often only one source of light.

I would like to take this style and adopt it within the studio to produce a series of images that focus both on a heavy contrast of light and dark and also a heavy use of darkness.

Max Beckmann

2010-10-25T11:40:00.000+01:00

Max Beckmann may not be the first person that pops into your head when thinking about light but after studying some of his work you see how important light is within his paintings.

He is best know for his heavy use of black outlines and bold colouring, but what is most interesting is his view of light and use of shadows. The more you look at his work the more you notice, under the moody and often violent depictions (mainly in his later work) you begin to recognise familiar objects, the main one which I have stumbled upon is the candle. The candle is featured in a number of his works and is used as the main light source. Having studied Carvaggio's work I now understand that this uses of light source is known as tenebrism.

The self portrait above is beautifully created and is probably my favourite painting by Beckmann. Looking at the picture above you can clearly identify how this could be translated into a studio environment. I'd like to give this ago and see what lighting would best recreate the shadowing on a model.

Brian Shimansky - Amy Gwatkin

2010-10-23T12:02:00.054+01:00

Brian Shimansky from Amy Gwatkin on Vimeo.

I found this video while I was scouting the internet for examples of lighting. I thought it was a beautiful piece and really worked for what I was looking for, the simplicity of the setup and plain clothes allows you to see the changes in the lighting and also how the shadows fall onto the model and how they change as the lighting is moved or a different type of light is used. The one I preferred was the strip light as it seemed to have more impact both in a photographic sense and also within the short film.

The different types of lighting all create a certain mood. The strip light when it is held above the models head feels a little sinister as the eyes are shaded, where as when the light is held directly in front of the model it has a softer look in comparison. The use of the spotlight reminds me of a Nick Knight shoot featuring Lily Cole & Gemma Ward:

April Vogue 2004

'And the Spotlight Falls On . . . . . '

With this particular lighting style is like having a frame with a frame. You have the dark outer frame and then the light. It is interesting with it being such a well defined circle giving it a completely different feel if it was to be evenly lit or for the full frame to be shown. To me it seems like the light is a search light almost and it has just stumbled upon the models in the darkness. Particularly of the photographs of the model adjusting her top, Lily with the blue background and also the model with the green background above.

It is interesting how your associations with light can change the way you read a photograph. Even though the photos are taken in a studio with this particular style of lighting it is still possible to picture a scenario in where you would expect to see this lighting. It might be worth keeping this in mind when it comes to lighting my own photos in the studio, thinking about how we interpret light and what we associate particular light with.

Trentemoller - (I Will Wait For You) Even Though You're With Another Girl

2010-10-23T10:03:00.001+01:00

This video may not be directly linked with studio lighting but when I watched it I was drawn in by the moody lighting and thought it might work out if it was translated into the studio. Watching the video I really liked the harsh shadows on the faces and the shadows of the dancers with the backlight. Each of these can be created within the studio environment and is something worth thinking about when planning my sessions in the studio.

I am starting to look at photos, videos and even natural light more and making myself more aware of how it falls on particular objects, inspiration can come from a range of different places however it is just translating this into a way which can be created within the studio environment.

Introduction

2010-10-22T23:35:00.001+01:00

After considering my previous work and the feedback I have received over the past few projects lighting seems to be a recurring issue which I need to improve on. The lighting style I have adopted does not seem to change from shoot to shoot. By relying on the same lighting style it has made my images look bland and flat which often lets the initial concept down. Below are some examples of the grey backgrounds which I find myself using time and time again what photographing in the studio:

In response to this I would like to structure my brief around lighting and focus on both my practical and critical understanding in order to improve on my current skills as a photographer.

This Blog Has Been Taken Over

2010-10-22T09:34:00.002+01:00

Hello, I have taken over my own blog and changing its format yet again, I am currently working on a new brief and so I have decided to do both a blog and also carry on with my workbook. The reason I want to do a blog is because it is easy to keep posting ideas and stuff when I am researching on the net rather than having to stop and start doodling in my workbook. So for the foreseeable future my blog will be concerned with studio lighting and also looking at light critically as I find ideas and research not only for my workbook but also for the essay which will accompany it.

Things I'm Loving at the Moment:

2010-10-18T10:38:00.000+01:00

Suitcases:

Particularly this image of them all stacked inside one another

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Muted colours and pastel shades & quirky props:

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Remembering the long forgotten summer:

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This beautiful living room space

(would be a great location for a shoot!)

Telephone Bag:

Statement Eye Make-Up:

Channel F/W

Print Is Not Dead - Anthology Magazine

2010-09-27T11:59:00.002+01:00

Print Is Not Dead from Anthology Magazine on Vimeo.

MAC Venomous Villain's Collection

2010-09-24T20:47:00.021+01:00

This may not be a photography post but when I seen this new collection for MAC I couldn't help but get excited! Its out at the end of the month and I'm sure it will be a hit! Check out the video to have a look at the goodies for each Disney villain!

The limited collection features Cruella De Vil (101 Dalmatians), The Evil Queen (Snow White and the Seven Dwarfs), Maleficient (Sleeping Beauty) and Dr. Facilier (The Princess and the Frog).

If I had to choose one I think it would have to be Maleficient, check out those stunning eye shadows!

I want them all :D

Paolo Roversi

2010-09-23T15:14:00.003+01:00

When I was browsing for inspiration I came across this series of images by Paolo Roversi featuring Jessica Stam and Lily Cole from Pop Magazine A/W 09/10. I am loving the nana chic vibe and all the layering.

I have been looking at peoples reviews on the shoot and there seems to be a mixture of feeling towards it. Personally I really like the washed out feel to the images (this keeping with Roversi's photographic style). The theme is not exactly original however I do like how a scene has been created using just a few choice items. My favourite is the photograph of Jessica in the arm chair with the crumpled rug. These photos work as a good example of ways of using a studio and more importantly a white background with good effect and using a minimal amount of props.

Things I'm Loving at the Moment:

2010-09-21T18:17:00.013+01:00

Balloons in Shoots:

Tim Walker

Luis Monterio

Unknown

I love the idea of using balloons to make images rather than just having them being held within the photo. Other examples of this that I have found are dresses being made from balloons (see below).

Dress created by Susie McMurray

Not to mention on the catwalk thanks to Krizia Robustella's S/S 2010 collection which featured a range of balloon bags and purses:

Clear Polaroid Camera:

Sophisticated Camouflage / Minimal Colour Pallet: