HORST - PHOTOGRAPHER OF STYLE
‘Fashion is an expression of the times. Elegance is something else again.’ Horst, 1984 |
Horst Paul Albert Bohrmann, commonly known as known as Horst P. Horst, was a fashion photographer. Horst shot for the like of Vogue and Bergdorf Goodman. He also produced photographs as part of the surrealist art movement as well as pictures that involved pattern from nature, which were published in his book in 1946. Horst's collection, Patterns from nature, was a surprising contrast to his usual work of glamours models and actresses.
|
The Studio
To capture his images Horst used a large format camera. The camera was a one film camera. This meant that Horst had to take a picture then develop it at a time. Although this process was much longer in comparison to modern photography process - where a photographer is able to take multiple picture then choses the best one - it that Horst had to concentrate on the composition of each of his photographs as well as carefully adjusting the exposure time each time. The photograph below shows Horst photographing his muse Lisa Fonssagrives, who featured in a number of him pieces
Haute Couture
At the time of when Horst joined Vogue, in 1931, the publisher Condé Montrose Nast were improving the quality of image reproduction. Many of the photographs captured by Horst were printer by Condé Montrose Nast. Condé Montrose Nast very detailed negatives, with a size of 10 x 8 inches.
Horst's photographs were the product of collaborations with a number of talented people, from models to set technicians and fashion editors to art directors. As a result of the modelling profession being many of the models shown in the photographs were often actresses or aristocrats. Horst's muse was the actress Lisa Fonssagrives. Fonssagrives appeared as a model in a number of Horst's photographs. In the haute couture collection within the Horst exhibition at the V and A Horst photograph Lisa Fonssagrives tangle in ribbons court my attention the most. Horst use of light in the photograph was breath-taking. The positioning of the light tells a story. the combination of the dark shadows behind her and the white light illuminating her face almost suggest that in a dark world she is enlightened by something pure. |
Stage and Screen
In the thirties Horst was famous for photographing elegant images showing the chiaroscuro of light and shadows. Horst also produced many photographs of actresses such as Jessica Tandy and Rita Hayworth. In the photograph of Rita Hayworth Horst's use of lighting makes her look mysterious and sensuous.
Fashion in Colour
The colour prints Horst produced were rare. Majority of the photographs produced by Horst P. Horst were produced in black and white. In the late 1930s Horst embraced the arrival of the new colour process. He then went on to produce vibrant and bold colour photographs, some of these would then go on to be used for the fashion magazine Vogue. A team at the Victoria and Albert museum worked with a printing expert and the Condé Nast Archive to print a few of Horst's transparencies (dating from the 1930s to the 1950s).
Entering the space of the fashion in colour section of the exhibition. I was over-welled by the sheer amount of colour as it was a large contrast to black and white of the other photographs. A very few print of Horst colour photographs existed I felt privileged to be amongst them. |
|
From the collection my favourite piece was Horst's photograph of Muriel Maxwell for the American Vogue in 1939. The photograph of the Maxwell emanates beauty and glamour as well as a sense of an effortless perfection. The use of the colours white, red and blue are almost representative of the American flag, therefore signifying patriotism. This is important as the image was taken a few months before the start of second world war. The photograph also represents female empowerment, as women were forced to take on more responsibility. Yet this did not mean that women were not allowed to be considered as being elegant.
Horst's image of a dinner suit and headdress by Schiaparelli was also another photograph I particularly liked. The lighting used in the photograph was very effective in highlighting the details of bow. Horst's use of black lighting along with the additional diagonal spotlight accentuates the black beading on the pink satin bow. The profile of the model as well as her silhouette is also highlighted by the back lighting.
Horst's image of a dinner suit and headdress by Schiaparelli was also another photograph I particularly liked. The lighting used in the photograph was very effective in highlighting the details of bow. Horst's use of black lighting along with the additional diagonal spotlight accentuates the black beading on the pink satin bow. The profile of the model as well as her silhouette is also highlighted by the back lighting.
Surrealism
Through the surrealist art movement Horst was able to explore the world through his lens in a different and somewhat unique way. A friendship with Horst and the surrealist artist Salvador Dalí occurred. Dalí had a large influence on Horst's surrealist images as he experimented with radical compositions, nudity and other avant-garde techniques. These influences were added to Horst's classical aesthetic, creating whimsical, mysterious and surreal elements to his photographs.
Horst's iconic photograph of the laced corset by Mainbocher in 1939 created a sexual image as a result of the timeless beauty, The image captures the interplay between modesty and sensuality with a subtle elegance, along with the flattering light and dramatic shadows.
Horst's iconic photograph of the laced corset by Mainbocher in 1939 created a sexual image as a result of the timeless beauty, The image captures the interplay between modesty and sensuality with a subtle elegance, along with the flattering light and dramatic shadows.
ROOM 100: PHOTOGRAPHS GALLERY
Cyanotype:
Dandelion, Anna Atkins, 1854 The image is comprised of plant specimens, dandelions and leaves. The process used to create the image is called cyanotype. The process produces a white silhouette with a blue background. The cyanotype process uses a sheet of paper covered in iron salt solutions then dried in the dark, as it is light sensitive. An object, for instance a plant specimen like the one in the example, is then placed onto of the paper under direct sunlight. As a result of being exposed to direct sunlight the background (the parts of the paper that isn't covered by the object) becomes blue, producing a white silhouette of the object. After being exposed the sheet is then washed in water to bring out the blue hue. |
Aerial Shot:
Galerie Lafayette, Marianne Breslauer, 1929 The image shown on the right was take producing an aerial shot of the Galerie Lafayette. Breslaur's use of photographing the scene from above is fantastic at capturing the hectic life of Paris. The shadows of the Parisians below add to the hustle and bustle the image displays. The shadows themselves almost seem to double the amount of people in the image. |
Playing Card, Irving Penn, 1975 Penn used detritus, such as cigarette butts, to transform an object making it look more abstract, and therefore allowing an audience to be engaged. Surprisingly the image appears much larger in person, allowing for more details to become more apparent. The edge on the playing card almost looks like the silhouette of a landscape, thus adding more depth to the image. "Photographing a cake can be art"
Irving Penn |
Nudes 1-50 (Legs & Arms), Edward Weston, 1934
Edward Weston was a 20th art photographer along with his son Brett, Ansel Adams, Imogen Cunningham and a few other photographers were part of the Group f/64. The group of photographers used the aperture f/64 to produce sharply focused photographs. Weston was a renowned photographing still life and nudes in black and white. His images were often naturalistic and detailed. The image looks geometric and bold as the lines and shape of the limbs stand out. The photograph is also quite sensuous as it displays a lot if bare skin. |
Photography unplugged: The Lecia camera
As part of Photomonth the manufacturer of the famous red dot camera opened up a pop up gallery in the trendy east London. The gallery consisted of a collection of photographs taken by a variety of photographers all on Leica cameras. THe pop up gallery also hosted talks and workshops.
On my visit to the to Leica pop up there was an exhibition from the photographer Matt Stuart. The collection, 'Pedestrians at Photomonth' captured many of London'd contrasting commuters. As a whole the series of images gives a sense of the type of city London is, along with the type of people that inhabit it. The various characters that London has can be seen in each image captured by Stuart.
One of my favourite images on display has to be the photograph of the woman in the turban. In the image the photographer captures the moment where the subject's privacy is invaded as she try to eat her burger in a quite corner. The invasion of privacy shown is representative of the fact that as a mega city there is little room for privacy, even if it is just a burger from McDonalds. Another one of my favourite images taken by Matt Stuart is the photograph where a pigeon is shown to be part of the daily commuters. The photographers use of perspectives makes the feet of the pigeon look as if it the same as the feet of the pedestrians. Many Londoners have a strong dislike for pigeons even though they are a large part of London's pedestrians. Although the feet of the pedestrians are in focus to me it is in fact the pigeon who is the main subject.
On my visit to the to Leica pop up there was an exhibition from the photographer Matt Stuart. The collection, 'Pedestrians at Photomonth' captured many of London'd contrasting commuters. As a whole the series of images gives a sense of the type of city London is, along with the type of people that inhabit it. The various characters that London has can be seen in each image captured by Stuart.
One of my favourite images on display has to be the photograph of the woman in the turban. In the image the photographer captures the moment where the subject's privacy is invaded as she try to eat her burger in a quite corner. The invasion of privacy shown is representative of the fact that as a mega city there is little room for privacy, even if it is just a burger from McDonalds. Another one of my favourite images taken by Matt Stuart is the photograph where a pigeon is shown to be part of the daily commuters. The photographers use of perspectives makes the feet of the pigeon look as if it the same as the feet of the pedestrians. Many Londoners have a strong dislike for pigeons even though they are a large part of London's pedestrians. Although the feet of the pedestrians are in focus to me it is in fact the pigeon who is the main subject.
Toy Stories - Gabriele Galimberti
Scanning through the list of galleries and exhibition available in Photomonth the V&A Museum of childhood instantly stood at to me, due to that fact that I spent much of my childhood visiting the museum with my mother.
Organisation in something that would would expect to be unorganised. Layout of the images seem militarian. Although the images show that the children come from contrasting backgrounds they are united through their shared love of play. Toys such as Lego or even a simple stuffed animal. The toys photographed as well as the environment they are captured in tells us a lot about the subject. Contrast in the quantity and quality of the toys.
Organisation in something that would would expect to be unorganised. Layout of the images seem militarian. Although the images show that the children come from contrasting backgrounds they are united through their shared love of play. Toys such as Lego or even a simple stuffed animal. The toys photographed as well as the environment they are captured in tells us a lot about the subject. Contrast in the quantity and quality of the toys.
Light. People. Dark. Places - Anne Heslop
As a result of growing up an a city that is thrives diversity and multiculturalism I find it fascinating to learn more about the various cultures that surround me. Another one of the exhibitions I visited was a collection of images by the photographer Anne Heslop in the Bengal a Village Restaurant. The collection had themes of people, places, light and darkness running through out the images. The images were taken in the light available, varying from candle to a single bulb.
As an international photojournalist Anne Heslop's images have a special interest in the stories of the people she capture. Heslop presents the photographs of her adventures and experiences on her travel blog.
This series of images were taken in Morocco and India, the countries are both rich in culture. The use of light in developing counties such as Morocco and India contrast to that of its use in developed countries like the UK. In the series of images the photographer focuses on how the subject's use of light.
Heslop captures light being used in both its primitive and modern forms for recreational and professional use. One of my favourite images in the collection is the photograph of 'Azemmour Shop' in Marrakech, Morroco. The image shines light on subject, illuminating her profile. The image itself contains little light, yet it appears to be so allive
Daytime -exotic and enchanting. The cloak of darkness that light brings a new life to the city of Marrakech. There's something so intimate in the dark canvas of night where life is illuminated, and context is lost.
The 'Candle Boy Dehli' photograph captures a moment in Diwali, the festival of light. The annual ancient Hindu festival signifies the light's victory over darkness. The light in the image has a spiritual purpose. The brightness of the yellow tulip shaped candle (diva) stands out against the cool blue of the river. The use of the blue as the backdrop of the image.
In the UK people do not value the light they have.
Cyanotype - Anna Atkins
Photograms in the first instalment of Photographs of British Algae: Cyanotype Impressions in October 1843.
|
The cyanotype printing process produces cyan prints and was mainly used in the 19th and 20th centuries as a simple and low-cost process to produce copies of drawings. Atkins used the process as for her botany work, allowing her to make record of the species of plant she had encountered and grown.
|