What do you get when you've got a model who knows how to move, incredible metallic clothes, my photography, and really funky hair? These images! A few months ago my wardrobe stylist on this shoot (LSC of 4 Season Style Management) sent me an image where the model was a bit obscured but her metallic clothing glistened in the light. It was striking, but I knew that I could push the concepts further. I put this image in my inspiration folder until the perfect opportunity arose. This January Relapse Magazine invited me to shoot for the Art Issue, and I knew it was time to pull this idea out of "to do" into "make it happen"! I pitched the idea to Relapse, and they were thrilled with the concept. I knew that I wanted to stick to my clean, bold and graphic style... and was going to use this editorial to push the style to the MAX.
To push this concept further, I felt that the shoot needed to involve a lot of energy, a lot of movement, and graphic poses. I would shoot the model so that her clothing would shine and glisten, but turn her body/skin into a solid black silhouette (in Photoshop). From my hair stylist I would need hair that would look great in silhouette and also help add to the energy when the model models. From my wardrobe stylist I needed incredible clothing with strong metallic elements; either shiny threads, metal chains, gems or anything else that would catch the light. From my model, I would need a girl that could really move and give me a lot of energy. I contacted Muse and asked for that recommendation for such a girl. They recommended Bay, and she was INCREDIBLE. I can't thank her enough for getting on board with a concept that wouldn't even show her face! She still gave it her all and even her faces looked great (though in the end they aren't visible).
For this shoot to be successful, every member of the creative team had to be on the same page, and I believe that we were! The images are just what I was envisioning, and even more! Griselle did a great job creating a variety of looks that still held together on a whole so that I could have both movement and structure in the editorial. Lisa (wardrobe) provided a variety of clothes that ALL gave the visual effect I was looking for.
For you photo nerds out there, to achieve this image I lit the image so that her face didn't have a true white point in it (made it easier to turn into a silhouette), and that there was a broad illumination on her clothes that picked up highlights. I then processed the image TWICE in RAW; once it was processed so that the clothing glistened correctly, and the second time it was processed to ensure her was in silhouette. I was then able to combine these two images in Photoshop using layer masks, and thus create this final effect.