Guy Bourdin was originally a painter who then taught himself photography. He became rather successful in the fashion photography industry, working for companies by the likes of Vogue and Chanel. His knowledge and passion for painting allowed him to create and compose stories within his images. Its said he was one of the first to explore narratives within photography rather than the image being solely about the product advertised. louise-alexander says he did this while "exploring the realms between the absurd and the sublime" and that "he radically broke conventions of commercial photography with a relentless perfectionism and sharp humor."
Bourdin used both sets made for his specific images, studios and pre-existing locations, depending on what the image needed. Working mainly for magazine spreads, he refused to be limited by the seam of the pages that brought a double page spread of his work together, instead he used it to his advantage and constructed the image with the fold in mind, placing his subjects purposefully with it being a part of the image.
This image has a rather painterly look to it, to me the woman doesn't even look real. As you can see, the image is spread over a double page spread with the fold through the middle. The fold here almost acts as a wall, the shadows and highlights it creates in contrast the the rather flat walls in the actual photograph made it pop out.
The image is composed in such a way that it's almost undisturbed by the seam. Of course it's still there and very visable but it's not slicing through an important part of the image such as the subject. Bourdin has used such a technique, however. It just depends on the message and intention of the image produced as to how he goes about using the seam as a device.
This work is incredibly stylistic, bright and well thought out. He had the eye of a painter and you can certainly tell he used what he knew about paintings to create this image. The model reminds me of pre-raphaelite paintings.
While pre-raphaelite paintings focussed on all things natural, which Bourdin's images most certainly do not, the model resembles the 'stunner' in the pre raphaelite paintings; a stongs jaw, long flowing red thick hair, a straight nose, prominent lips and a tall body. She is already known in history as a stunner, so it's no wonder why we still think that when we look at the above work by Bourdin.
The pose he has this model in isn't subtle or reserved, but rather in your face and confident. She takes up most of the frame with her legs spread in a way that shows off her body shape; her bottom and legs specifically. This image was made in the 70's and it's said that Bourdin changed the way images were taken and seen, it wasn't so common to see such indiscreet images then as it is today, particularly in high fashion magazines.
It's interesting how the only way we as the viewer are able to see her face is through the mirror. We never see her face directly and we never make eye contact with her. Because of this informality we feel as if we're looking upon the model without her knowing, yet of course she knows for we can see the flash bounce of the reflecting glossy wall. Because of that, it feels incredibly posed, which of course it is. She is aware of us (the camera) there but she's been directed to ignore us.
Her face tells us something very different what what her body says; her face is unimpressed, lonely almost. She stares at herself, something i'm sure we've all done, and we're left having to speculate on her thoughts and her emotions. It's hard to tell, though, as her face is predominantly blank. But we know she's not happy for there is no smile.
The intense saturation of colour used also feels rather painterly, but at a complete different time and style from the pre-raphaelite paintings. The way the red and the green work together helps bring the image come together as a whole, the contrast in shades and the complimentary colours are so prominent in this image that it's what you notice first.
The choice to have her in the highly saturated red extenuates her sexuality in the image, further suggested through her posture.
Her cool tones skin works well with the red in her outfit, complimenting each other with similar tones. They are one, and the wall is completely separate.
This high saturation brings the image to life, it gives a more energetic vibe despite her very relaxed position. It's bold, it reflects the projected mood of the subject that her face contradicts.
While i'm not planning on having people in my images, the images will be insinuating there are or have been people there previously and I am capturing the aftermath of carelessness.
I think it would be interesting to shoot my images in a similar style; high saturation to create a bold yet stylish look, whereas the message and subject isn't as idealistic or glorious as the style of the image. The subjects I shoot will be annoying, not stylish. Perhaps this will also help me create my humorous undertone I wish to create. For that, I will further research Martin Parr who uses highly saturated images with that same humorous tone, although the techniques and look from Bourdin and Parr differ, I believe I can take inspiration from both and see which I prefer.
Sources;
https://www.identifythisart.com/art-movements-styles/pre-modern-art/pre-raphaelite-art-movement/
https://www.louise-alexander.com/artist/guy-bourdin/
Bourdin used both sets made for his specific images, studios and pre-existing locations, depending on what the image needed. Working mainly for magazine spreads, he refused to be limited by the seam of the pages that brought a double page spread of his work together, instead he used it to his advantage and constructed the image with the fold in mind, placing his subjects purposefully with it being a part of the image.
This image has a rather painterly look to it, to me the woman doesn't even look real. As you can see, the image is spread over a double page spread with the fold through the middle. The fold here almost acts as a wall, the shadows and highlights it creates in contrast the the rather flat walls in the actual photograph made it pop out.
The image is composed in such a way that it's almost undisturbed by the seam. Of course it's still there and very visable but it's not slicing through an important part of the image such as the subject. Bourdin has used such a technique, however. It just depends on the message and intention of the image produced as to how he goes about using the seam as a device.
This work is incredibly stylistic, bright and well thought out. He had the eye of a painter and you can certainly tell he used what he knew about paintings to create this image. The model reminds me of pre-raphaelite paintings.
The pose he has this model in isn't subtle or reserved, but rather in your face and confident. She takes up most of the frame with her legs spread in a way that shows off her body shape; her bottom and legs specifically. This image was made in the 70's and it's said that Bourdin changed the way images were taken and seen, it wasn't so common to see such indiscreet images then as it is today, particularly in high fashion magazines.
It's interesting how the only way we as the viewer are able to see her face is through the mirror. We never see her face directly and we never make eye contact with her. Because of this informality we feel as if we're looking upon the model without her knowing, yet of course she knows for we can see the flash bounce of the reflecting glossy wall. Because of that, it feels incredibly posed, which of course it is. She is aware of us (the camera) there but she's been directed to ignore us.Her face tells us something very different what what her body says; her face is unimpressed, lonely almost. She stares at herself, something i'm sure we've all done, and we're left having to speculate on her thoughts and her emotions. It's hard to tell, though, as her face is predominantly blank. But we know she's not happy for there is no smile.
The intense saturation of colour used also feels rather painterly, but at a complete different time and style from the pre-raphaelite paintings. The way the red and the green work together helps bring the image come together as a whole, the contrast in shades and the complimentary colours are so prominent in this image that it's what you notice first.
The choice to have her in the highly saturated red extenuates her sexuality in the image, further suggested through her posture.
Her cool tones skin works well with the red in her outfit, complimenting each other with similar tones. They are one, and the wall is completely separate.
This high saturation brings the image to life, it gives a more energetic vibe despite her very relaxed position. It's bold, it reflects the projected mood of the subject that her face contradicts.
While i'm not planning on having people in my images, the images will be insinuating there are or have been people there previously and I am capturing the aftermath of carelessness.
I think it would be interesting to shoot my images in a similar style; high saturation to create a bold yet stylish look, whereas the message and subject isn't as idealistic or glorious as the style of the image. The subjects I shoot will be annoying, not stylish. Perhaps this will also help me create my humorous undertone I wish to create. For that, I will further research Martin Parr who uses highly saturated images with that same humorous tone, although the techniques and look from Bourdin and Parr differ, I believe I can take inspiration from both and see which I prefer.
Sources;
https://www.identifythisart.com/art-movements-styles/pre-modern-art/pre-raphaelite-art-movement/
https://www.louise-alexander.com/artist/guy-bourdin/
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