Mario Testino & Steven Meisel
I am choosing to compare two photographers renowned for their work in fashion. I have never before explored fashion photography, and think that a comparative study will help me to gain more insight into the technical and creative process that happens to create an image for a fashion campaign.
The two photographers I have chosen are Steven Meisel and Mario Testino. Their work differs enough for me to compare their contrasting choices regarding angles and lighting etc.
I have chosen the photographer Steven Meisel as I think that his work is very striking in a unique way. His images, though most of them black and white, have a soft finish that is rare and beautiful. Usually with monochrome imagery, the contrast hardens the photograph, and yet Meisel has managed to produce smooth curves between the desaturated colour. He uses techniques such as burning out to produce eye-catching photography.
Meisel is an American photographer, born in 1954, who obtained popular acclaim with his work in the US and Italian Vogue. He also gained recognition for taking photographs of Madonna in 1992, featured in her book Sex. As a child, Meisel showed his fascination for beauty by drawing women, turning to magazines such as Vogue and Bazaar for inspiration. Meisel has shot campaigns for Versace, Valentino, Dolce and Gabbana and Calvin Klein. Meisel also shoots Prada every season, and it is with these photographs in particular that he shows his unique and particular style, and also with these that I was first drawn to.
I have also chosen photographer Mario Testino, who we briefly looked at in class for inspiration for some fashion images of our own. Testino’s images are also unique, yet incorporate more colour and decoration than Meisel’s. The colours in Testino’s images range from muted neutrals, to bright block glittering make-up. Testino is wildly creative and each of his images has clearly been thought out and planned to the finest detail. It is this detail that strikes me the most. I am interested in the techniques, lighting and camera equipment Testino uses to create such photographs.
Mario Testino is a Peruvian fashion photographer, born in Lima in 1954. Testino’s flamboyance began in University, where his wearing of pink flares and platform heels got him noticed by everybody. As part of the eccentricity, Testino dyed his hair pink, which helped to get noticed as a photographer. Testino has now become one of the world’s most famous photographers, photographing hundreds of celebrities and shooting covers around the world, such as Vogue and Vanity Fair.
The two photographers I have chosen are Steven Meisel and Mario Testino. Their work differs enough for me to compare their contrasting choices regarding angles and lighting etc.
I have chosen the photographer Steven Meisel as I think that his work is very striking in a unique way. His images, though most of them black and white, have a soft finish that is rare and beautiful. Usually with monochrome imagery, the contrast hardens the photograph, and yet Meisel has managed to produce smooth curves between the desaturated colour. He uses techniques such as burning out to produce eye-catching photography.
Meisel is an American photographer, born in 1954, who obtained popular acclaim with his work in the US and Italian Vogue. He also gained recognition for taking photographs of Madonna in 1992, featured in her book Sex. As a child, Meisel showed his fascination for beauty by drawing women, turning to magazines such as Vogue and Bazaar for inspiration. Meisel has shot campaigns for Versace, Valentino, Dolce and Gabbana and Calvin Klein. Meisel also shoots Prada every season, and it is with these photographs in particular that he shows his unique and particular style, and also with these that I was first drawn to.
I have also chosen photographer Mario Testino, who we briefly looked at in class for inspiration for some fashion images of our own. Testino’s images are also unique, yet incorporate more colour and decoration than Meisel’s. The colours in Testino’s images range from muted neutrals, to bright block glittering make-up. Testino is wildly creative and each of his images has clearly been thought out and planned to the finest detail. It is this detail that strikes me the most. I am interested in the techniques, lighting and camera equipment Testino uses to create such photographs.
Mario Testino is a Peruvian fashion photographer, born in Lima in 1954. Testino’s flamboyance began in University, where his wearing of pink flares and platform heels got him noticed by everybody. As part of the eccentricity, Testino dyed his hair pink, which helped to get noticed as a photographer. Testino has now become one of the world’s most famous photographers, photographing hundreds of celebrities and shooting covers around the world, such as Vogue and Vanity Fair.
What I have come to notice about Testino's photographs is the story that he likes to create with them. There seems to be a narrative behind each images, created by a combination of colour, angle, facial expression and lighting. In the image above. This obsession with dramaturgy creates a unique twist to Testino's photos, and this is clearly one of the main reasons that he is booked as a photographer - his wide imagination, able to produce many stories.
On the other hand, Meisel likes to keep his images simple and subtle and one of the most obvious ways of doing this is through desaturation. Many of Meisel's images are monochrome and the subtlety of colour renders the image completely still, intrinsically beautiful. There is of course, similar use of dramatic expression, but yet the image is immobile, the colours and angles speaking for themselves.
On the other hand, Meisel likes to keep his images simple and subtle and one of the most obvious ways of doing this is through desaturation. Many of Meisel's images are monochrome and the subtlety of colour renders the image completely still, intrinsically beautiful. There is of course, similar use of dramatic expression, but yet the image is immobile, the colours and angles speaking for themselves.
An additional contrast is the use of a subject in these photographers images. Testino likes to mix groups of people together - boys and girls, families, friends. This all adds to the story of his image. This can be seen in the image above, where Testino has mixed genders to create a certain atmosphere in the image. Along with his positioning of the models and the editing also, he has managed to make the undercurrent of the image powerful and obvious to the audience. The strength in the positions of the models in the photograph creates power, as if you could almost feel it yourself.
In Meisel's images, however, he generally uses a sole model. In images which appear to be group ones, such as the photo above, he has in fact duplicated images of the same model. This creates a unified effect to his photographs. This technique of reflection in his images creates patterns and sequences through people and colours. The affect of this on the audience is that of a work of art, Meisel treating his subjects as means to a final, beautiful, end.
In some ways, the technical process of the two photographers is similar. It is clear that they both use digital photography and edit their images in post-process. However, there are some differences that I am able to comment on.
Testino's editing is more subtle in his images, supposedly as he does not want to take away from the image itself and the story behind it. The images I have looked at are relatively edited, or only small changes have been made, such as colour enhancement. Testino does this to present his story most clearly, in the most realistic light possible. He wants his images to be believed by their audience, and in some cases, for example, for advertising campaigns, bought in to.
Meisel's editing is more obvious, in comparison. Desaturation and contrast enhancement are prominent factors in his photographs. Meisel also uses varying other editing techniques, such as adding a filter of noise, which is seen through a particular Prada campaign. And seen above, he uses duplication to create a masterpiece. The editing that Meisel ensues makes sure that his images are powerful as singulars, not having to tell a story but yet being poignant all the same.
In Meisel's images, however, he generally uses a sole model. In images which appear to be group ones, such as the photo above, he has in fact duplicated images of the same model. This creates a unified effect to his photographs. This technique of reflection in his images creates patterns and sequences through people and colours. The affect of this on the audience is that of a work of art, Meisel treating his subjects as means to a final, beautiful, end.
In some ways, the technical process of the two photographers is similar. It is clear that they both use digital photography and edit their images in post-process. However, there are some differences that I am able to comment on.
Testino's editing is more subtle in his images, supposedly as he does not want to take away from the image itself and the story behind it. The images I have looked at are relatively edited, or only small changes have been made, such as colour enhancement. Testino does this to present his story most clearly, in the most realistic light possible. He wants his images to be believed by their audience, and in some cases, for example, for advertising campaigns, bought in to.
Meisel's editing is more obvious, in comparison. Desaturation and contrast enhancement are prominent factors in his photographs. Meisel also uses varying other editing techniques, such as adding a filter of noise, which is seen through a particular Prada campaign. And seen above, he uses duplication to create a masterpiece. The editing that Meisel ensues makes sure that his images are powerful as singulars, not having to tell a story but yet being poignant all the same.
Testino ensures that his props, setting and subject are all very important in each image. The level of detail in his photographs is astounding, from the background to the way that the clothes fall on his models. This obsession with detail shows his theatrical passion for photography, and as seen in the image above, how he creates a story through the acting of the models. Minor details in the image add to the story, the matching wellington boots, the way the child's hair falls over her ear, the slightly slumped back of the mother. His creates strong feelings, that seem to touch his audience, even through still print.
On the other hand, Meisel manages to create works of art whilst the images do not need to tell a story. Meisel's images remind me more of art, or sculpture, and it is clear that his energy has gone into post-process to create edits that are beautiful in themselves.
Overall, I am not able to say which photographer I prefer! I enjoy both their images in different ways, and the most prominent contrast between them is the place that the photographers energy has been placed. In Testino's images, his passionate nature goes into arranging props, backgrounds, clothes and directing expression and subject critically. However, in Meisel's images, it it clear that his energy has gone into the editing process, producing images that are so different, as do not tell a story, are inanimate, yet breathtakingly stunning.
The dramaturgy in Testino's images interests me, and I appreciate each story as it stands on its own, and yet I also love the effortless stillness in Meisel's images.
I have learnt that whether choosing to direct my energy into pre- or post-process, I can create an incredible image. By looking through images from each photographer, I have gained knowledge of how to take a good fashion photograph - considering lighting, angles and subject. I have been inspired to take some photographs of my own.
On the other hand, Meisel manages to create works of art whilst the images do not need to tell a story. Meisel's images remind me more of art, or sculpture, and it is clear that his energy has gone into post-process to create edits that are beautiful in themselves.
Overall, I am not able to say which photographer I prefer! I enjoy both their images in different ways, and the most prominent contrast between them is the place that the photographers energy has been placed. In Testino's images, his passionate nature goes into arranging props, backgrounds, clothes and directing expression and subject critically. However, in Meisel's images, it it clear that his energy has gone into the editing process, producing images that are so different, as do not tell a story, are inanimate, yet breathtakingly stunning.
The dramaturgy in Testino's images interests me, and I appreciate each story as it stands on its own, and yet I also love the effortless stillness in Meisel's images.
I have learnt that whether choosing to direct my energy into pre- or post-process, I can create an incredible image. By looking through images from each photographer, I have gained knowledge of how to take a good fashion photograph - considering lighting, angles and subject. I have been inspired to take some photographs of my own.