Introduction to Photography Unit Submission: 11/25/12 10:08 AM TIM WALKER (23 November 2012) Tim Walker worked on collating Vogue’s collections of Cecil Beaton’s negatives archive for a year of work experience in Conde Nast library, London, where Tim Walker gained exposure to the historical content of Vogue Magazine and understood the cultural history of British, especially the era where Beaton flourished in the industry. (Vogue, 2012). Tim Walker later illustrates the influences he has gained onto his works along with his distinct personal vision. In 1994, he worked freelance as a photographic assistant in London before assisting full time to

Richard Avedon in New York. Initially, Tim Walker concentrated his works on portrait and documentary for the United Kingdoms’ newspapers. Later, he did his first fashion story for Vogue and has gained recognition ever since. In contrast to Richard Avedon that often involved movements and portraiture, Tim Walker’s style often relates to the dramatic Broadway glamour and

theatrical scene of the 50’s and 60’s, getting influenced by Beaton’s past works. However,

Tim Walker did it with a twist of fairy-tale like and surrealistic manner. He would use film-based format instead of the digital medium when capturing the images, as he prefers to deliver his perspective to his audience as genuine and organic, without means of digitally manipulate his photographs. (Jacques, 2012) In addition, Tim Walker gathers a group of prop makers and designers to construct surrealistic and big size props to create moments with a carefully directed scenario along with fascinating locations least expected. It is through those hard work and effort, which allow his audience to feel as though being a part of his fantasies.

LINDSEY WIXON, NORTHUMBERLAN

D, 2011 ITALIAN VOGUE

Lady  Windermere’s  Fan,  1946,  Cecil  Beaton  

 

SELF PORTRAIT WITH CAKES, EGLINGHAM HALL,

NORTHUMBERLAND, UK, 2008

BIBLIOGRAPHY Kading, C. (2008) I Love Pictues. German: Hatje Cantz Muir. R. (2008) Tim Walker Pictures. Italy: TeNeues National Portrait Gallery (1946) NPG x40649; On the set of ‘Lady Windermere’s Fan’. [Internet]. Available from :<http://www.npg.org.uk/collections/search/portrait/mw67894/On-the-set-of-Lady-Windermeres-Fan?LinkID=mp05064&wPage=6&role=sit&rNo=127> [Accessed 20 November 2012] Tim Walker- SHOWStudio- The Home of Fashion Film. (2012) [Internet]. Available from :<http://showstudio.com/contributor/tim_walker> [Accessed 17 November 2012] Vogue. (2012) Tim Walker Biography. [Internet]. Available from :<http://www.vogue.co.uk/spy/biographies/tim-walker-biography>[Accessed 27 October 2012] Tim Walker Photography. (2012) [Internet]. Available from :<http://timwalkerphotography.com> [Accessed 17 November 2012]. Tim Walker Photography. (2012) [Internet]. Available from :<http://timwalkerphotography.com/biography.php> [Accessed 17 November 2012]. Walker, T. and Jacques, H.L, (2012) TIM WALKER STORY TELLER. London: Thames & Hudson Ltd

PAOLO ROVERSI (23 November 2012) In 1971, Paolo Roversi met the Art Director of Elle magazine then, Peter Knapp, whom invited him to Paris in November 1973. Paolo Roversi did a few commissioned works for magazines after nine months of assisting until Marie Claire published his first major fashion story. His style of photography is likely to be influenced by famous photographers such as Man Ray and Irving Penn, which utilized the simple background, focusing on creating artistic and avant-garde images, and Swedish illustrator, Mats Gustafson as the artist translates his work to viewers with elegance and subtlety. (Paolo Roversi Biography 2012)

Much of Paolo Roversi’s work would also remind of the early mood and style of the Victorian era, Broadway and avant-garde with the texture of soft, expressive, sensual and shows vulnerability of his subjects, that were achieved with his soft textured lighting technique. In 1980, Paolo Roversi began to base most of his work using 8 x 10” Polaroid format and

now best known as his trademark. Paolo Roversi always preferred creating his fashion stories in studio and rarely on location. (Reich 2005) And also known for using mirror reflections to capture

the mood of his subjects. As seen in many of his photographs, Paolo Roversi often uses natural daylight, HDI and MagLite to portray his images to draw the beauty and sensuality of his subjects. Creatively projects his photographs differently with both monochrome and carefully manipulated colors, creating an effect almost as though the subject is communicating with its viewer.

Guinevere, Paris, 1996

Mats Gustafson, 2002, p51

Guinevere, Vogue UK, 2009

Vogue Italia, 2011

BIBLIOGRAPHY Mats Gustafson. (2012) [Internet]. Available from :<http://www.artandcommerce.com/C.aspx?VP3=CMS3&VF=AACAC3_120_VForm&FRM=Frame:AACAC3_117#/CMS3&VF=AACAC3_120_VForm&FRM=Frame:AAC_FramePortfolio&ARID=2U1XC5IJLXI6> [Accessed 17 November 2012]. Achermann, B. (2002) Unified Message In Fashion: photography meets drawing. Unique Edition. Germany: Camera Work and Steidl Publishers. pp. 34-57 British Journal of Photography (2012) A Little Space for the Imagination. [Internet]. Available from :<http://www.thewappingprojectbankside.com/artists/paolo_roversi/press/BJP-March-2012-Roversi.pdf> [Accessed 28 October 2012]. Diane, S. (2012) BRITISH JOURNAL OtF PHOTOGRAPHY, Interview Paolo Roversi [Internet]. March 2012 pp. 32-41. Available at: <http://www.thewappingprojectbankside.com/artists/paolo_roversi/press/BJP-March-2012-Roversi.pdf> [Accessed 26 October 2012]. Reich, S. (2005) Paolo Roversi On The Mysteries of Light. [Internet]. Available from :<http://www.paoloroversi.com/images/pdf/photodistrict.pdf> [Accessed 28 October 2012]. Paolo Roversi Biography.(2012) [Internet]. Available from :<http://www.paoloroversi.com/images/pdf/biography.pdf> [Accessed 28 October 2012]. Robert, D. (2011) Paolo Roversi. English-language ed. London: Thames & Hudson Ltd By: CHEN ZHIDE CHE12377539 Group Maple