Everything old is the new "new"

Ready or not, but I'm preparing for a new photo shoot! With real/professional models!
(It's not for a magazine or anyone but my own improvement)

Now that I've deflated expectations, allow me to explain why I'm doing this.

But, before get a real model, I must first convince a (or more than a) modeling agency here in New York that I'm worth giving a model to. And I'm not even asking for Gisele or Lyla here, I'm looking for nobodys - new faces that need more exposure.
Over the past weeks, I've already been rejected by a couple of agencies (nothing I didn't expect); however, one of them was insightful enough to mention specifically because they thought my work sucked.

I figured it was better than an ambiguous "no" for no reason I could perceive.

Amongst working on my sales pitch, of myself, to improve my chances of at least one of these agencies to see a grain of potential and give me a model, if for no other reason, out of pity. And and to make it less obvious that my best looking friends were, in fact, my "models" in college, I have since been trying to scrape around my portfolio to improve what I still can.

Exhibit A: Madame X Revisited Part Deux

Here is an "after and before" (thought I'd switch it up to further prove my capability of outer box thinking), the "after" is on the left.
Previously I had shot this with a 4x5 horseman camera with Kodak EPP chrome. I thought to convert it to B/W and fix the model's pose and skin. Her face is tilted off to the side which looks unflattering in the direct lighting, I changed her face position slightly and retouched her skin. Her wrists are creating a LOT of tension so I smoothed them out, as well.
I thought B/W treatment would be more mysterious and better convey the mood I was attempting at that time.



Exhibit B: Aileen in Red Part Deux

I've always had mixed feelings about this shot (the "before" is at the bottom and is color). I wanted it to be "colorful," but I can tell you that I did not have quite this in mind when I started this shot. I mostly wanted to change the make up and background, and once again, the easiest way to change was to convert it to B/W; there was too much going on with the color.



So, ask yourself, look deep down if you have to: If you were a NYC modeling agency would you give me a model? For free?
If not, why not?

(seriously though, I started this blog seeking constructive criticism, not a circle jerk fest like Deviant art; so crit generously but constructively)

series V

These images are another collaborative effort with another friend and fellow fashion student, Cristina. The gathered silk gowns were part of the senior collection she designed and created.
This was all shot on location at Savannah, Georgia's Kehoe House Bed & Breakfast, with kind permission from the proprietors. I used 400 speed Ilford b/w film.






The above pictured mid-length wool and velvet coat was part of Cristina's other garments from a non-thesis class.

series IV

These images include the remainder of final cuts from that final commercial lighting class.


If you continue examining this series, I took most of my inspirations from the past of western imaging: classic paintings and motion picture. This shot was a departure from my obsession with the past, and I wanted a truly sexy fashion shot.


This shot was inspired by early American television, specifically Rod Sterling's "The Twilight Zone" (most of which was shot on b/w 35 mm). I had also recently seen "Good Night and Good Luck," and was fascinated with the movie's photography and how heightened the sense of the time was as a result. This was shot digitally with a Canon 1Ds.


This was my first attempt at using the Horseman large format camera. I've come to truly love this camera for high-end studio work for it's singularity in control and focus. The selective focus is intentional and this was the first time I was actually pleased with the Kodak 4x5 chrome's color balance of warm hues.


The above image is one of three women's eveningwear gowns I designed and created for my own senior project in the fashion design department. The clothing collection was inspired by Poe's "Fall of the House of Usher." For the images, I drew inspiration from the moody and, particularly for their time, elaborately honest paintings of John Singer Seargent, specifically his "Madame X." This, like the image preceding it, was also shot on 4x5 film with a Horseman monorail large format camera.

series II

This was a collaborative project I completed with my friend and fellow fashion student, Anne. We had just graduated and she wanted images of some of the eveningwear gowns she'd created for past fashion design courses. A mutual friend of ours from the metals & jewelry department also kindly lent us some earrings of her own design, as well.
The red and black lace dress pictured is her own design, and modeled by her.

series III

These images are from the final class I took for studio lighting. I was focused primarily on diversifying my lighting technique and styling abilities.

This image I intended to be a non-specific, lifestyle-oriented statement. It could be a jewelry or clothing ad, and maybe with some help could be a liquor ad.



The above two images were done early in the class. I had recently discovered a mild-grey seamless in the studio and I much preferred it to bond white or solid black.

series I

These are the earliest studio shots I've done, dating from the first studio class I took my junior year.
I instantly fell in love with lighting equipment and modeled this final project after the "many moods of light." Early in college, I had some cursory experience working with motion picture lighting on films by fellow students, thus began my inspiration to characterize light and make it more than just a "prop." These are the first intimations I successfully executed.