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Sonia Sieff’s image

My intention for this image was to accurately reproduce the effect of falling while capturing what the body and clothing look like under no gravity. I think I fulfilled this for the most part. By using the black and white layer adjustment in Photoshop I was able to make certain colour channels white. This allowed me to emphasise the magentas of the material the model is wearing which brought a greater focus to the fabric and not just the fact she was falling. I chose to use exclusively black & white images to reflect the ideals I discussed with Robert Rodriguez’s “Sin City” imagery. The tonal range is low yet contrast is high. This means that the polar tones of white and black are very strong but there is little grey in between. This is most likely the major influence of the Sin City images in my work. I particularly love how the stark white levels highlight the edges of her arm and legs. The blackness is consuming her, a personification of the clutch of death, and the only way to determine detail is by the white outlines. The main drawback of this image is the cut off of limbs. Unfortunately when taking photos with closer detail I moved closer to the model; it’s evident now that I moved a little too close. I could salvage this by making it a close crop of her arm and the material; by cropping out extremities it’d seem intentional that I came so close. But this image feels like I’m not far enough away for it to be a whole body shot or close enough for it to be a close crop; it feels like a mistake. I decided to include it regardless because her right arm meeting her face is an exquisite movement that reflected the models of Sonia Sieff’s music video. It’s a little difficult to see her facial expression but on closer inspection you can see her eyes are closed. This is key body language to convey the notion of dream like lucidity. It was used throughout that music video and I feel it was one of the biggest contributing factors of the feeling I was trying to recreate.

This is one of my favourite photographs of this piece. The tonal range of black and white is more or less a constant throughout all of the images unless a select few needed additional tweaking. The reason this image excels is because of its composition. I thought about the Sin City image and how it’s dead-centre symmetrical approach wasn’t to my taste. This is dead-centre composition but it doesn’t have symmetry. Because of the curve tool just the thinnest little outline allows us to make out the extremities. It’s ghostly, it’s as if she’s not there while she is there, falling into oblivion. She appears much smaller in the frame than the last image, which gives her a frail quality, obscure almost. It utilises the same tonal qualities as all the others.

The above image is the most realistic falling position. I regret not having any detail in the facial expression as she was facing away from the Sun at the time, but the positioning of her jump was too good for me to ignore; it just feels so natural. I used a straight down pan with a slow, subtle rotation, to make it feel as though she’s falling backwards onto her back and shoulders. It gave the feeling that she had just jumped from her starting point.

This is one of my favourite images. My main intention for this was to emulate the biblical feeling of the placebo music video. I asked the model to perform a cross position, which not only gave the image it’s calm feeling, it adds an entirely different narrative. Like one of the previous images she appears obscure in the frame; it’s a whole body shot taking up a very small space which makes the overwhelming blackness seem even more so. The constant filtering of the “Curves” tool as depicted in the technical analysis has been used. The panning in my presentation I used is a straight down pan which means she falls directly through the centre of the image. Here’s a reference to the image from the Placebo video.

The holy feeling was brought across well even though the capture angles of both images are completely different; my image was taken from the side, and this image was taken from underneath the falling subject. The sharp contrast works well with this holy feeling too, a reference to the light coming from above.


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