Thermal Camera Imagery - Scientific Depiction of Elemental Temperatures

Book Ref: Sedgewick, J (2010). Scientific Imaging with Photoshop: Methods, Measurement, and Output. United States of America: New Riders. p199.

London Reservoirs
http://thermalcities.com/space.htm

Thermal Key
http://www.flir.com/
instruments/display
/?id=62960

In continuation of how the colours of the earths landscape can be represented through the use of lighting and my previous research into false colour, my research lead me to the use of thermal imagery. Often used for the purpose of depicting differences in temperature, texture and elevation. Pseudocolor (also known as thermal depiction) is created from a basic greyscale image whereby a different colour tone is applied in accordance with a matching value e.g. temperature of land etc. The main example of this technique comes from thermal imaging whereby each thermal pattern is connected to its own colour scheme. Through understanding the meaning of each colour through a thermal key we are able to correspond a landscapes texture to its temperature reading.
Through collaborating the textures of the elements I have chosen to create via makeup and the use of thermal dependant lighting I will essentially be able to depict by image the effects of temperature and substance on the earths biology. A more abstract and scientific take on the them of "organic beauty". To achieve this through the lighting I will assign each element with that of a temperature field and use the means of coloured lighting to recreate the tones.

As the elemental temperature depicted within my images increases so will the atmosphere of the image, for example:
- Terrain: Soft intensity pose, neutral/purple toned lighting, subtle use of gel effect. 
- Liquid: Mid intensity pose, blue/green/yellow toned lighting, mid use of gel effect.  
- Heat: Intense pose, red/orange lighting, high use of gel effect. 

Lighting Changes - Satellite Photography / False Colour

Ref: Atkinson, N. (2007). True or False (Color): The Art of Extraterrestrial Photography. Available: http://www.universetoday.com/11863/true-or-false-color-the-art-of-extraterrestrial-photography/. Last accessed 30th Oct 2015.

Image Ref: "The Earth as Art: Satellite Images of Our Planet from Orbit" 

URL: http://world.time.com/timelapse/ 

Due to the colours within my practice images not translating on camera as vibrantly as I would have liked, I felt it was important to look at other methods of capturing the tones of the earth within my final images. From my research into the natural colour patterns of varying landscapes my previous attempt to recreate those tones through makeup had fallen flat, as a result I took the makeup back to a natural palette and instead am using my model as a human representation of the earths different textures. This therefore leaves my use of colour to more abstract methods, for example lighting. From my previous research it became apparent that many of the colours seen within landscape photography are a result of changing light (often taken as dusk or dawn) therefore to recreate this effect more elaborately I feel it would be beneficial to use coloured lighting for a similar effect. Despite this I also want to take a more biological science based approach to this project and show the changes in elemental behaviours through the use of colour association. As a result I will research into false colour and the processes of thermal technology to demonstrate how colour can be further used to express changes in the organic environment. Despite its scientific base my concept remains organic in nature through the use of products to recreate landscape textures and its connection to the biological sciences.
Satellite imagery is a further exploration of how colour and texture is depicted within the earths natural landscaping, through its images satellite photography constructs a more abstract interpretation of the surroundings that are familiar to us from a first had perspective. By taking a familiar landscape and recording it through the use of satellite technology, the familiar textures and tones that we are accustom to on eye level become dramatically altered. Atkinson discussed how within modern science images of earth are collected through the use of satellite imagery/photography, often these images are documented by the government and spread out to through public access sites such as Google Maps and NASA. Biological science often then use these images for the purpose of monitoring meteorology behaviours, biodiversity, weather patterns and conservation. Often satellite photography is taken through the process of false colour. This is done predominantly as a result of atmospheric interference that renders true colour images unreadable. False colour involves the process of taking colours non visible to the human eye on the electromagnetic spectrum and making them visible. Infrared and green spectral bands are two examples of this occurrence as they are commonly unseen by human eyes, only becoming noticeable through processes such as x-ray and ultraviolet light. So what is the reason for this? The human eye is split into three spectral bands known as the "trichromancy", these same bands are what are combined it the creation of false colour. Traditionally we see through the bands of RGB (red, green and blue) and follows a map of RGB→RGB, false colour on a basic scale resets this path to GBR→RGB. HOWEVER in regards to satellite imagery the infrared spectrum is introduced and therefor the path for false colour translates to NRG→RGB. Infrared reads traditionally as NRG. The blue band is removed from the equation and replaced with infrared (N), as a result the areas of the earth with vegetation appear red on satellite imagery when the blue band is left unused. 

Water 2nd Test Shoot - Soft Box Photography (Lighting Change)

Due to my first test shoot not going very successfully these are images that came from a reshoot which I did independently, for this shoot I changed the camera that was used to a Canon 550D and also adjusted the lighting to a beauty dish (right) and soft box (left). By doing this it not only made the skin appear in better detail but the tone of the lighting itself was more flattering for the makeup and was much warmer in tone. This is a basic lighting structure however I feel that it captured my models complexion the best. This lighting can also be altered to change the intensity etc but without loosing that beauty element that comes from the combination of the dish and box. In addition to this the use of this lighting also added more dimension to the water effect of the makeup allowing for the gleam of the product to be more visible on the skin as the shadow are far softer on even the darker side of the face. 

Test Shoot Images (Unedited) - Liquid/Heat

These are the unedited images from the test shoot for my experimental looks for liquid and heat. The purpose of this shoot was to experiment with the lighting for my final shoot but also to develop the most effective way of creating a liquid effect and sweat on the skin. The makeup was easily the most successful element to this shoot as I was able to experiment with a gel mixing medium to create the effect of water running down the face but also MAC's gloss lip mix on the high points to create the illusion of sweaty skin. In regards to the use of the gel for creating the illusion of water running down the face I feel this was highly successful, the gel acted like a fluid as it ran down the skin but when it reached a certain point it set into a gum like texture but stayed with the illusion of a moving fluid. This meant that the model could move freely into different poses but remain in the captured images with the liquid effect on the skin, this is definitely a technique that I will take forward into my final images as it worked so successfully to create the illusion of liquid. For future reference however I will definitely keep the liquid away from the middle of the face as although it looks like water on the sides of the face, from front on it resembles more of a bad scar. Not something that I want to demonstrate. In contrast to this is the use of the glossy lipmix from MAC which although it looked beautiful in person, for the creation of sweat on the skin in translated to more of a highlight on camera. This is not my desired purpose as I want the skin to appear sodden with sweat rather than dewy/highlighted. Due to this I will have to experiment with out mediums to create sweat on the skin to a more dramatic effect, to achieve this I think that the use of glycerin would be far more effective. Originally I wanted to focus the use of the natural landscape colours (as previously researched) into just the tones used within my makeup. For example for heat the look would feature heavily in the use of reds and golds much like that of a sunset, however on camera I do not feel that this translated boldly enough and did not carry enough of a colour tone as I had looked at within my research images. From my research I knew I wanted to create a very bold image with vibrant tones to work alongside the use of natural effects such as the mud, water and sweat. This however did not come through to the extent that I wanted it to with this makeup as it was too natural, which would work nicely for an organic makeup look that didn't feature so heavily in the use of colour/landscape representation. In addition to this is the use of lighting, for this element of my project I used the help of a photographer however I feel personally that the lighting here is too dark and cold, whereas I wanted my images to have a warm undertone to them. This is something that I will have to change for my final images and I will most likely go back to using a soft box and beauty dish as I know this creates a much warmer light. I do however like the use of shadow here as an important element to my work is depicting the face of my model as a natural landscape with features such as the nose etc acting as the mountains in the photographs. This meant that the use of a harsher shadowing around these central areas of the face works nicely to enhance my message.

Future changes:

- Lighting 

- Colour Palette

- Sweat 

Moodboards - Organic Landscape Through Makeup

Macro Photography - Skin as a Landscape

Human Skin Macro Photograph
http://www.christopherwigan.com/print/skin-identity-5-44.html

A fundamental connection to my project is how it connects to organic matter, focusing in particular on representing the skin as a landscape and using makeup and lighting to define the colour and texture of each chosen element e.g earth, water and fire. In regards to organic beauty I feel that we often forget that we are ourselves products of a natural environment and in many circumstances our skin mimics the of the earths landscape. A key example of this such behaviour is when we compare out skin to the earths crust on a fine detail scale. Macro photography allows us to look upon a material subject in fine detail that we are able to see every texture. These two images to the right are perfect examples of the very concept I am attempting to describe, the above image is that of human skin on the back of someones hand and the second is that of dried out earth. As you can visibly see there are a number of similarities between the two, demonstrating my argument that the connections between the earth and ourselves are high in quantity. We both represent living organisms produced on the fundamentals of organic biology. The first obvious similarity here is that of the texture, both the skin and earth have a series of fine cracks all across their surface, often working in diagonals and diamond shapes. What is most interesting here is how the construction of these shapes is almost identical upon both surfaces. 

Earth Macro Photograph
http://foto-ruta.com/5-tips-on-shooting-macro-that-means-close-up/

We see this more visibly when dry skin is experienced as the textures are maximised and begin to flake, much like that of the dry earth which itself starts to deconstruct more without the introduction of moisture. Yet even without this the patterns remain the same and can be seen here through the use of the macro imagery. This is something that could be enhanced through the use of makeup by using a natural product such as that of 'Fullers Earth' which when placed on the skin and allowed to dry would crack much like the dried landscape seen here. By doing so it would act as a macro recreation of the skins natural texture but on the skin itself and in turn would demonstrate through imagery our connection with the natural landscape. The second connection here is the colour palette, both the skin and soil share a very similar colour tone of neutral/warm brown pigments. Despite being two different surfaces the fine details are very similar and upon an even finer examination and closer use of photography our ability to differentiate the two would be far more challenged. Soil is in almost every way the earths own skin, much like ours is to us. Both behave and respond to temperature, moisture changes and stress in similar ways and show though the use of fine examination how alike they are. This concept is so important to the theme of my work as I want to demonstrate how we ourselves are a landscape, a product of organic creation and through macro photography wish to showcase the very similarities in textures that I have discussed here.

Levi Van Veluw - Human Landscaping

Book Ref: Lewis, R & Moore, S. (2008). Chapter 7: Photography . In: Cengage Learning The Power Of Art. 3rd ed. London: Cengage Learning. p126-127.

Video Ref: 'Landscape 1', Levi Van Veluw, 2008. URL: https://www.youtube.com/watch?v=K3ijV7kDg5M Accessed: 24th Oct 2015

Image URL: http://blog.sans-concept.com/wp-
content/uploads/2008/04/levi.jpg

As my project is based around organic matter and the main focus that of the natural landscape it seems only necessary to combine both the natural landscape with that of the human face and find an artist who does just that as a means of inspiration. Levi Van Veluw is just one example of such an artist as he takes physical materials for the purpose of human landscaping. Veluw's work explores heavily the themes of identity and our mortal place within the world, as a result he constructs otherworldly landscapes through the use of self portrait. Mostly using his own face as the canvas to create his work by placing 3 dimensional objects onto the skin to construct a physical representation of nature on his own body. Human landscaping is very much the key theme within his work whereby the final result is that of a single photograph combining his creation of he landscape with that of an ultimate physical embodiment. "Landscape 1" took roughly 13 hours to create and construct, materials such as moss, plastic animals, tree miniatures and shrubbery were glued to the face to build up the landscape. Veluw considers normal landscape photography a boring art form and therefore creates his own representation through the medium of performance art. This series in particular shows our attachment to nature through a physical representation.
I found this series of work from Veluw particularly inspiring for creating a landscape based makeup look as it took a very literal interpretation and made the overall concept more abstract and visually engaging. The most inspiring images were actually that of the bottom two which don't necessarily show landscape in a direct and obvious manner such as the upper two images, but instead are more of a close up/texturised interpretation of the earths features. The first image appears to be that of bark from a tree whereby Veluw has completely wrapped himself in shreds. Both the eyes, ears and mouth are covered by the bark which to an extent removes his human features rendering him featureless and unidentifiable. Despite this he can still be identified as a person but implies that nature is dominant over people. This is a similar case with the next image which creates the same effect but through the use of stones and pebbles, this is a contrast to the first two images which are visibly human thus creating the illusion of the human world and nature being at one with each other instead of dominant.
In regards to inspiration for my own work I doubt that I will take my designs to such extremes predominately due to the fact that this work blends more into a prosthetics department as opposed to editorial. That being said the use of materials to recreate organic matter is particularly inspiring and something that would most defiantly aid in recreating landscape features onto the skin.

Julien Fumard Photography - "Around Iceland" An Island Shaped by Landscape and Fire

For further exploration of how colour is used within landscape photography and how texture is captured within imagery it is important too look in depth at at least one key photographer. My chosen photographer is that of Julien Fumard, who work is based in particular in the dramatic landscapes of norther Europe. This collection of work in particular is based in and around the scenic volcanic valleys of Iceland whereby the snow of the mountain tops and heat of the volcanic surroundings are combined into one dramatic image.  The two images above focus on two completely contrasting texts, one being that of ice and the other lava however through the use of the colour they compliment each other and flow together despite the differences in their fine detailing.

Julien Fumard "Around Iceland"
http://www.julienfumard.com/portfolio/around-iceland/

Image 1, located on the left hand side of the two focuses more towards the theme of water, ice and liquid substances as opposed to solid masses. As a result there is a high level of reflective surfaces within this image this works to enhance all features of colour, texture and mirrors the lighting of the image.

There is a main combination of two colour palettes within this image however all are cool based tones to be in keeping with the location e.g. Iceland. The two tones most prominent here are blue and red/pink, which work well together due to their primary base. The blue is the most prominent feature here covering most of the landscape and water, this is relevant to the theme of the image as it works to enhance the cold feel and connotes the chilled nature of the environment. In addition to this is the effect on the ice which though the use of the blue adds an iridescent effect. The second colour that features more within the sky and water reflection is that of the red/pink tones, these however appear more as an accent within the image as opposed to a framing tones such as that of the blue. Although the use of red may seem a contrasting tone to that of the blue they actually compliment each other nicely as the red is still cool in tone. By using a cool red the two colours almost blend together, no warmth is added by the red but instead it makes the blue more dramatic and creates the illusion of dawn or dusk which is known as a chilled time of day. The use of colour within the image makes the whole tone more crisp and icy, therefore adding to the atmosphere of the scene.The use of lighting within this photograph is very soft, most likely taken at dawn or dusk. A similar lighting could be created in studio through the use of a soft box as it blends all the harsh edges of the landscape and softens them. The clouds appear fluffier and to an extent blend into the mountainous landscape. Due to the soft natural lighting it also allows for the tones of the sky to be seen more visibly in the calm reflection of the water. Through the reflection the red is more spread out within the final image however due to it delicacy the tone doesn’t dominate over the blue. Most natural lighting is soft during the morning or evening, creating more blurred shadows. As the day goes on the light intensifies until it is at its harshest normally around midday.
Image 2, in contrast to that of the first focuses more on the heat element. Although there is no actual flames visible within this photograph the theme of heat is still very apparent through the colour palette, texture of the volcanic surroundings and use of lighting which combined emphasis the intensity of the dramatic landscape. The use of colour within this photograph is more a combination of primary and secondary colours that work within the same tonal spectrum. As a result they compliment each other nicely and allow the landscape to flow through the colour pattern. This image was most likely taken during the evening as the sky features more sunset colours but also subtle hints of grey suggesting the onset of the evening. The sky however is a cool toned yellow which although subtly suggesting warmth is not overpowering to the colour palette of the landscape. The most prominent tones visible are in fact those of the red/burgundy of the rocks and mountains, which are dramatic when placed against the granite tones of the rocks. The fact the landscape is visibly volcanic also adds to the connotations of heat as subconsciously we associate any volcanic textures, regardless of an active nature or not, as heavily heated due to the preconceptions of moving lava. Due to this connotation the image (despite using colour) is already packed with heated imagery. The use of the red monochromatic spectrum simply adds to this concept. The lighting here again is natural, however it appears to be a combination of both soft and harsher lighting. This is most likely created through the suns natural pattern, as the photograph appears to have been captured during an evening period the sky would be a softer light due to the natural occurrences of a sunset, however if the sun has fallen below the line of the mountains then the lighting would be harsher following the terrain and the edges of the landscape. This combination of both harsh and soft lighting is particularly inspiring as it allows for both the colours to blend but also creates the contrast of the textures that is more dramatic for the landscape.  By doing so the whole mood of the image is more aggressive and intense, further adding to the heated nature of the landscape.

Landscape Photography

A key inspirational element to the focus of my work along the theme of organic beauty is that of recreating the effects of the natural world within the makeup, posing and lighting of the images. To achieve this connection I feel that it would be important to use relevant colour into the makeup designs so that they embody the same degree of vibrancy as seen within organic matter. For this it is vital to examine images from a variety of natural landscapes to grasp an understanding of how texture, colour and light change within the nature. In many respects the connection between the earths scenery and the human aesthetic is strong in regards that both represent a form of landscape, including a variety of colour tones, textures and structural shapes. As light behaves on a mountain side, so does it on the peaks of noses and caverns of the eye socket, the shadows of the face continuously alter themselves as we move around the sun much like how the sun moves around our earth. Within my work this is something that I want to capture heavily so that the makeup links visibly to the organic matter it focuses on, a contrast to the more cliched concept of organic beauty whereby it is the products that base themselves on the natural world. As opposed to using product to create the illusion of nature through beauty. 

Colour
http://www.desk7.net/wallpapers.aspx?typeid=11235

This first image focuses on a combination landscape that features both elements of desert rock, grass and water. An example of how all three elements can be tied together so effortlessly within an biological landscape. What stands out most within this image is the bold colour that occurs across each varied terrain and in turn how the pigment of the colour is a completely natural occurrence (although most likely enhanced slightly through the use of photographic editing). Despite the visual features of three elements the main focus of this image is definitely that of heat, this is predominantly due to the use of colour which is intensely burnt and orange. This is enhanced further by the contrast of the blue and the green which harmonise nicely against the fiery tones. A colour palette such as this can be very easily transformed through the use of makeup by using similar pigment choices for the eye makeup but also a bronzed contour/highlight or lip to add a degree of drama to the look. In addition to the use of colour is that of the earths texture itself, here the ground is visibly dry, sandy and cracked due to sun exposure. This is an effect that could be recreated beautifully through the use of 'fullers earth' which could be applied to the skin or hair and then allowed to dry and crack, thus recreating the grounds texture. Colour could also be added to this if required to enhance the pigment of the clay substance further. 

Reflection
http://www.digitalcameraworld.com/2012/05/16/26-landscape-
photography-tips-every-pro-photographer-still-uses/2/

The second image features heavily in the use of water and reflection. The colour palette is much cooler with predominately blues and yellows, however the tones complement each other and work to create the tones of environment/beach setting. The use of the clear water in the image allows for both the textures underneath such as the pebbles to be seen, while also reflecting the pattern of the clouds in the sky. This technique of the reflection in the water is something that could be recreated within photography through the use of a thicker gel/glycerin substance that will bounce the light back better than the use of just water. By using a soft box light it will create a glint in the moist areas of the makeup, like that of the water within this image both the skin beneath and the light reflection will be seen. The use of the reflection in this images is by far the most stand out element of the whole photograph, the use of the light allows for immense detail to be seen both underneath and above the water. So much so that the castle in the background doesn't remain the most important feature but merely acts as a focal point for the eye to follow up from the foreground. What makes the water so captivating is the set up of this photograph whereby the landscape and sky follows backwards into a inverted diamond to the focal point.

Shadow
http://digital-photography-school.com/11-surefire-tips-
for-improving-your-landscape-photography/

This last image focuses heavily on the use of shadow and therefore inspires the type of lighting that I would like to create within my own images. The use of the mountains is heavily inspiring as it creates a deeper contrast in the tones of the colours such as the blues and yellows as seen here, but also through the harsh shadowing it adds an intense level of dimension to the shape of the mountains. By creating shadow it means that the areas that capture the light draw in our focus and show extra details such as the ridges in the snow and areas that carry foliage, these are elements that can also be seen in the shadowed area but with less detail and therefore your eye is drawn to the light. Shadow also effectively makes things appear slimmer as it is like a natural contour created purely though the use of lighting. This is something that I would like to recreate within my own shoot using the skin as the landscape with the natural features of the face reflecting the same effect of the mountains as seen within this image. 

Editorial Stories - Weronika Kosinska "Fade Into You" 2015. Makeup Trendy Magazine - MUA Izabela Szelągowska

Taken from photographer Weronika Kosinski's collection for the 2015 Makeup Trendy Magazine editorial "Fade Into You", makeup artist Izabela Szelaqowska's work focuses heavily on creating texture through the use of makeup. The images despite their cosmetic context, carry connotations of the natural world. This is achieved through a series of techniques including the colour palette, styling of makeup and technique in which the product has been applied. Despite this the images do also carry a somewhat futuristic, alien feel to them through the models pale skin and long neck. It is interesting how something that focuses on a more natural beauty approach can sometimes take away from what allows us to identify someone as human, as the cosmetic features we are accustom too are faded back. Throughout all of the images within this collection the focus remains on the use of the makeup. Texture is created through foundations, powders and liquids that mimic modern beauty techniques but through their application also resemble that of natural earthy textures. The first image that is presented is that of the cover image, a direct embodiment of the title as both the photography and makeup used are minimal and softly harmonise with the models skin. No hair is visible within the styling as is it wrapped under a selection of bandages, by removing the models hair from sight it takes away an element of her personality. Slightly dehumanising her and thus creating the alien illusion. The skin is flawless and with a lightly powdered sheen across the eyelids and cheekbones, the whole look is rather natural although clearly perfected. In addition to this is the fade out of the eyebrows, eyelids and lips which have been paled out using a cream foundation or pale lip colour. The base makeup as a whole really strips back the identifying features of the model but allows for the key focal point e.g. the contour to gain full attention. This use of a graphic lined shading under the cheekbone creates an apparent contrast between the clean skin and blatantly fabricated contour. Without looking into the constructed meaning behind these images it could be interpreted from the makeup and title alone that the purpose was to advocate how only once we strip back our makeup to our natural selves do we see who we naturally are. Fading the false colours applied to the skin to reveal the natural flesh tones that lay beneath. Perhaps.. 

Images URL: http://izabelaszelagowska.pl  

Narrative text from makeup artist Izabela Szelągowska:

Szelągowska, I. (2015). MAKIJAŻ KU POKRZEPIENIU SERC. Available: http://www.moodboard.es/makijaz-ku-pokrzepieniu-serc/. Last accessed 21st Oct 2015.

"Photo session, the noise on the set, several changes on a model's, shortness of breath. She made the hour 20 when I got home. Somebody knocks on the door. Before my eyes is Ms. Em, all in tears. In a moment the tears on my silk blouse had moved to be already completely on me. These were tears of heartbreak. The tears of disgust and undervalue itself. Someone loved her, he already loved someone else. She loved. She loved so hard that tears pricked up my heart. What time it is 2 am facing two glasses of red wine there, next to me sits a capable and beautiful woman who has lost her self-confidence. A woman who never was afraid of being alone.

When the night fell with the last drop of hard desperation, I felt the emptiness around us. Sadness, who drew in the room on every subject more and more plunged us into despair. I started looking around the room in search of help. Suddenly, on the bedside table she flashed beautiful and sophisticated dressed in black with red lipstick. Illuminated from the heavens not only the lipstick, but also me. She brushed her hair and I saw how beautiful she could be, but only I could see it. She hated herself. She tries to convince herself, "maybe I can do it".

To my surprise, when I took a brush in her hands she sat back in the chair and closed her eyes. Undercoat is applied as gently as I could, eyelashes slightly tinged with black ink, so that nothing was felt. Pink blush and red lipstick, which dropped me from heaven. 

I took her hand and led her to the mirror. She stood there for a minute and did not say anything. I saw her face beaming. "Rays started hitting me too". I saw even a little smile on the face of Lady Em. A smile appeared at the same time on my face. For a brief moment in this abyss of despair we made a quantum leap forwards. At least that night when she fell silent for three hours with a glass of wine, I realized how makeup can sometimes appreciating a woman. 

Sometimes you only need to slightly improve from the outside to the inside feel better. Ms. Em to me is that realisation."

Subliminal Messaging

Article Ref: Business Insider . (N/A). The Shocking History Of Subliminal Advertising.Available: http://www.businessinsider.com/subliminal-ads-2011-5?IR=T. Last accessed 20th Oct 2015 .

The definition of Subliminal Messaging comes under that of a message that exists and operates below the threshold of consciousness. Being or employing stimuli insufficiently to produce a discrete sensation but often being or designed to be intense enough to influence the mental behaviour of the individual. E.g. a subliminal stimulus - subliminal advertising.
How does it work?

http://tinazacharia.blogspot.co.uk/
2013/11/hungry-eat-popcorn.html

Subliminal perception is a deliberate process created by communication technicians, whereby you receive and respond to information and instructions without being aware of it. Messages in the form of printed words, pictures and voices presented either very rapidly or very obscurely bypass your conscious awareness. Anything consciously perceived can e evaluated, criticised, discussed, argued and possibly rejected. Anything programmed subliminally to your subconscious meets no resistance. This subliminal information is stored in your brains and capable of influencing your judgement, behaviour and attitudes.

The first examples of subliminal messaging were seen within the use of advertising for companies such as Coca Cola during cinema projections from 1957. Every five seconds the words "Hungry, Eat Popcorn. Drink Coco Cola" were projected for exactly 0.003 seconds. Although incredibly brief the flashes of information were registered by the subconscious element of the brain even if the eyes did not consciously record the information. What you see in the image on the right is and example of the messages that would be flashed onto the screen during the picture. During this period of subliminal messaging sales of popcorn and cola within the state of New Jersey increased by roughly 57.8% and 18.1% respectively. Numerous scientific researchers following these experiments confirmed beyond any doubt that subliminal messaging was a successful mechanism for increasing product popularity. The techniques however, was not only employed in regards to cinema but was also featured throughout major newspapers, posters and magazines that would have subliminal messages imbedded within them.
Instead of the simplistic five senses of Aristotle e.g. touch, sight, hearing, smell, taste - there are at least 37 known, differentiated sensory inputs into the brain. All of the information picked by these sense is sent to the brain and absorbed by the subconscious. That being said, only the most relevant information is actually processed and stored in our memories.

Communication Through Images
Communication through the use of imagery is not a new concept in regards to the fashion industry, images have been used since the stone age for the purpose of story telling and recording information. The importance of evoking emotion is an essential human need as our emotions supply persuasive results, enabling us to change our behaviours and remain with a person long after speech. Within the editorial beauty industry the use of subliminal messages through imagery is a common feature to convey deeper meaning to a "pretty photograph". Schon Magazine's campaign in collaboration with Makeup Artist Elias Hove is a fine example of how beauty images are created to have a deeper psychological meaning. Integrating nature with the fakery of cosmetics and makeup creates an idea of insects crawling on your face. Modern beauty products are taking a step into including elements such as snail mucus into their recipes, much like the early beetle lipstick of Egyptian Queen Cleopatra, however the overall concept of such ingredients being on your skin can be a rather disturbing concept. Due to such qualities, this campaign was created with the assistance of beauty suppliers Tom Ford, YSL and NARS for this set of images. The use of insects crawling on the models skin depicts the uncomfortable nature of such beings being placed into such unnatural places. In this a subliminal message is created telling the masses that a natural face is not that of one built upon the use of cosmetic beauty and makeup products.

Image Ref 1: Schon Magazine Editorial - Makeup Artist Elias Hove. (2009). URL: https://www.pinterest.com/pin/256916353717294954/
Image Ref 2: Schon Magazine Editorial - Makeup Artist Elias Hove. (2009). URL: https://www.pinterest.com/pin/543739354987346975/

Inspirational Editorial - W Magazine 'Adult Swim' June/July 2013

'Adult Swim' - W Magazine June/July 2013
MUA: Maxine Leonard
URL: http://www.wmagazine.com/beauty/
2013/06/water-resistant-makeup/
Accessed: 16th Oct 2015 

This editorial image is taken form W Magazine's June/July 2013 campaign entitled 'Adult Swim' which focused on the advertisement of the most effective water resistant makeup products. The editorial supplies an example of how high quality beauty images can be combined with the advertisement of products in a way that does not necessarily show the product packaging but rather an artistic embodiment of the cosmetics at work. The product of focus here, Smashbox's 'Limitless 15 hour wear cream eyeshadow' in the shade "Riches", a deep bronze gold tone. The article talks in brief about how modern make up has developed from the wax ridden concoctions of the 1960's bikini clad Bond girl. 
In regards to the editorials inspirational connection, this is created through the use of the water effects within the final image. Although the makeup within this image is very bronzed and metallic in texture, it is the use of the water over the face and crop of the photograph that stands out the most. This effect, similar to that of image discussed in my initial inspiration, is most likely created either with a thicker gel like substance that creates a running water effect on the skin or the use of water itself poured onto the skin. This is an element that would work beautifully for my final shoot in regards to the water element. The overall concept for my shoot is the embodiment of natural elements with that of clean editorial beauty, to create the message of our innate attachment to the organic environment. By pouring liquid substances over the face like this it creates a simple, yet dramatic effect which immediately transforms a natural editorial makeup look into a more abstract final concept. In addition to the use of the liquid effect is that of the close crop of the frame, the use of this creates an intensely personal feel to the photograph and exposes the detail of the image to a greater scale. The use of these close crops reminds me of artistic landscape photography whereby images are taken both from afar whereby the landscape depicted can be identified, and more artistic macro close up shots that expose the detailed texture of the terrain. Through creating such an intense close up of the skin it allows for the texture of the skin to become visible even through the transparent texture of the water. The eye becomes aware of the intense detail of the skin and the way in which the liquid moves across the shape of the face like a stream. The skin acts like the terrain to the face which could become an artistic interpretation of our earth. 

Inspirational Editorial - Organic by Lindsay Adler

Video & Image Ref: 'Organic' - Lindsay Adler, June 2013. URL: http://blog.lindsayadlerphotography.com/organic-beauty-editorial-by-lindsay-adler. 

Accessed 15th Oct 2015

This video is taken from the official blog page for Lindsay Adler's photographic collection 'Organic' in which she explores and explains how even lighting can accompany that creation of a organic focused image. Within the footage Adler discusses how natural light can be manipulated much like studio lighting though the use of polyboard and reflectors to bend the direction of the light, therefore allowing for flattering shadows to be created onto the models face. From this video I took a great deal of inspiration as it demonstrated how beautiful photos can be created though the most simplistic methods, but also how by using the elements, such as that of natural lighting for example the makeup and styling within the photo is better complimented. As discussed by Adler the studio lighting was too harsh for the softer shadowing that she wanted to create for the final photograph. Due to this fact natural light was reflected from both black and white polyboard to create a similar effect as the studio lighting, but significantly softer. 

These images are taken from Lindsay Adler's collection titled "Organic" in which she created a series of photographs that embodies the use of natural products and lighting to produce a heavily organic piece of work. The use of lighting within this body of work is heavily complimentary of the model and makeup as it is a very pale, soft light. As I have discussed previously the use of lighting within these images is done through the use of natural light bounced from a variety of polyboards, by doing so the models complexion is much softer as no harsh shadows are created through the use of a bold studio light. In regards to the use of makeup within these images the overall complexion is very clean and natural with only a subtle tint of colour added to the brows (which appear bleached) and the lips. Even so the whole look is very clean and minimal. Through the makeup being applied in such a way it emphasises the organic nature of the image by keeping the model clean and as close to her "natural state" as is achievable for the purpose of beauty imagery. The more dramatic elements to the look include the addition of organic matter such as twigs, vines and netting that appears like that of fishing netting and the white clay. All of which can be found on beaches, woodlands and other environments untouched by human interference. What stands out in particular in regards to the makeup of this body of images is the use of the white clay like substance that is applied to the hair and forehead. Realistically this substance is most likely a mixture of paint and natural grit (Adler doesn't specify in her video description) however the fact that it appears to run down the forehead suggests a more liquid based consistency. This method of adding natural matter to the hair line is a reoccurring feature in a few organic based images including that of Alex Box, as demonstrated in my initial inspiration post. This medium however does not appear to be that of Fullers earth due to its more liquid texture and also it's colour. The use of a bright white allows for the models complexion to appear even paler and creates an almost angelic halo effect around the hairline, perhaps to connote the purity of nature. The use of the white also contrasts more heavily against the brown tones of the props and builds a colour palette that follows throughout the whole collection of work. 

This use of the natural substance in the hairline is of high inspiration for my own work, focusing in particular on the earth theme. Although I like the elegance of the textures used within these images I think within my own work I will use Fullers earth as it will be more dramatic and noticeable on camera. By doing so it will allow for the focus to remain on the key texture of the look e.g. The earth and the rest of the makeup will be kept very natural as to not draw away from the organic elements of the makeup. 

Change of Idea - Organic Beauty

'Organic' by John Patrick, featured in ELLE magazine (Denmark) 2013.
http://www.organicbyjohnpatrick.com/blogs/news/8134215-
organic-by-john-patrick-featured-in-elle-denmark

Upon further reflection of my initial ideas I realised that my main concept was heavily focused on how makeup and our perception of beauty reacts to nature. My initial concept was to base my work on how the beauty we create is considered ruined by natural occurrences such as dirt, rain and sweat but to present the images in such a way that they remain beautiful. The use of the elements however inspired me further and I decided that I instead wanted to create a set of images whereby the model was the element, in many ways taking an alternative look at the definition of "Organic Beauty". Although my concept has changed slightly the choice of elements remains unaltered and within my body of work I will focus on creating representations for earth, fire and water. Realistically I would also like to create the fourth element of air, however I cannot think of a way in which this could be done to an editorial standard without it looking tacky. In addition is the use of makeup for this look which would be difficult as all three of the other elements can be artistically created through different makeup techniques. Due to these reasons I will most likely leave this out and instead focus on the 3 solid elements. In relation to the theme of "Organic Beauty" the use of water, heat and earth are all reoccurring elements within natural beauty treatments such as spas etc, reinforcing natures connection to our perception of beauty.
In regards to creating a body of work relevant to an organic focus I think my starting point of "Beauty is Boring" aided my transition greatly. It has allowed me to create a concept that is different from other perceptions of organic beauty, upon first reflection the reason this unit didn't appeal to me was predominantly due to the fact that I presumed it would be focused purely on advertising nature kind beauty products. Although that is a good thing, it doesn't exactly break the mould and demonstrated how limited my creative thought process was at this stage. By creating a concept that didn't work as effectively in the theme that I would have liked it to feature in I was able to push my idea forward into another genre to create an idea that is more abstract and artistic.
From this stage the development of my concept is key to a successful execution, for the creation of the makeup I need to best research techniques for replicating the elements that I have selected, accommodate appropriate lighting and decide on a style that will best compliment my images. I know that I would like to keep the makeup as a whole as natural as possible so that my model appears healthy in her own skin, this will then be accompanied by other selected medias to create my final look. As most of my elements feature a temperature difference my choice of lighting will also matter greatly as it is through this method that the makeup will make the most sense e.g. fire-sweat-warm lighting.

Initial Inspirational Images - Beauty is Boring

Sweat:

'Wet Look' - Institute Magazine
URL: https://www.pinterest.com/pin/479351954067444624/

This was one of the first images that I looked at in regards to creating an image that would connect in some way with sweat. When considering the construction of the skin, sweat is essentially an oil therefore I felt it was important to include this element as a key feature for the makeup look. This image is taken from 'Institute Magazine' for the purpose of creating a wet look makeup, although the makeup is not necessarily wet when you are sweaty, the skins enhanced shine is something that can be interpreted for the purpose of a creative editorial. The skin within this image is definitely something that stands out most dramatically to me. Although within my final photo I do not think I will crop the image in as intensely as this the use of the oil is really inspirational. Other methods that could have been used to create this makeup look could also be the application of glycerin to the skin or maybe even a form of silicon. What becomes noticeable upon closer examination of this image is the way the skins complexion remains visible beneath the high shine of the oil. We can clearly make out the models freckles, pigmentation and small red marks on the skin, therefore the base makeup should have been very minimal and focusing more heavily on skin preparation than coverage. The use of the oil over the top of this creates an almost glossed filter that removes texture without colour. Much like a real life airbrush. In many ways the high shine of the skin also creates a slight barbie doll effect, semi mocking the notion of over processing an image beyond it looking human. This would definitely be the case if the pigment of the skin was not as visible as it is here. Regardless the high shine of the face is something I would love to achieve, or at least in some way mimic within one of my final images for the use of sweaty makeup.

Rain:

http://www.lovethispic.com/image/27802/black

Although I could not locate the photographer or makeup artist for this image, it is still going to be featured as inspiration for the concept of wet look makeup. What stood out about this image, despite the heavy black eye, is the use of the water on the skin. This could be created either through the use of glycerin which when applied to the skin creates a thicker illusion of water, or it could have simply been the use of water itself poured carefully over the skin. This would mean the photo would have been taken on a fast shutter setting to capture the droplets in enough detail. As the water is also visible on the models teeth this is most likely the case, with the effect being created through the use of a sprinkling system e.g. a watering can over the models head or shower device. The main element which seems strange within this photograph is that of the hands, which appear awkwardly detached from the model. This is predominantly due to the use of colour as the skin tone of the hands does not match that of the face. This makes the use of the hands very obvious and unnatural. Hands are notoriously difficult to use within photography without them looking fake. Often a hand model is used but this can create most of the issues. As seen here the tone of the skin can be different but only enough to be visible on camera, hands can also lay flat on areas that would not be able to reach naturally such as the shoulder of the same arm. Regardless the use of the water effects within this image was of great inspiration as it shows a subtle way of creating the effect of rain while retaining that beauty element. In addition the use of the personal framing whereby the image is cropped closely into the face works nicely for focusing the eye onto the details of the makeup.

Alex Box - Fullers Earth
http://thealexbox.com/#/ab0014/

Dirt:
This image taken from makeup artist Alex Box's personal portfolio is a key inspirational image for how clay based materials can be used physically within an image to convey other natural elements, such as dirts effect on makeup. Within this image the substance used on the hair is most likely that of fullers earth, an organic clay matter used to create mud baths and face masks. It can however be used cosmetically and has featured within a few editorial images, commonly being placed on the hair and around the neck. The use of the media is a highly effective and yet minimal effort way of creating a dramatic earth effect. It can also be removed easily with the use of warm water, as like most clay substances it is water soluble. In addition to the use of the fullers earth is that of the colour palette within this makeup design. The overall tone is earthy, yet conveys a sense of warmth through the use of muted golds and rusted browns. The darker tone used on the ears and neck allows them to merge with the background, therefore making the hair and face more prominent. That being said I do not particularly like the style of makeup used on the face in regards to an editorial context. The use of the heavy contouring somewhat takes away from the use of the fullers earth, rendering it less dramatic. That being said within the context of an avant-garde/art focused image it works beautifully, the technique of the dramatic contouring is however slightly alien and would be less fitting for editorial imagery focusing on how elements affect how makeup wears. The colour palette and use of the fullers earth combine beautifully and offer a great deal of inspiration as to how organic matter can be used physically within a photograph.

Digital Beauty & Editorial Writing - Introduction

When it comes to your career as a makeup artist, your portfolio is the most important element to establishing your craft within industry. Second only to your professional skills and behaviour in the work space. Due to this it is vital that only your best work is put forward into your portfolio as this is what show cases your skills to the best of your ability. Your ability to critically decide which elements of your work are the most important will define how your are seen by others, your weakest work will always be the most seen and in many cases, remembered.
The title for this project is "Beauty is Now" and will test our capability as makeup artists to work to a professional level within he fashion and beauty industry. As a result we will be expected to generate and contribute an original theme into an editorial body of work. Within the concept of "Beauty is Now" it is vital to recognise the vast expansion of the online world within the beauty industry and how now, more than ever, the freelance makeup artist contributes a great deal to the promotion of brands, bodies of work and magazines. Equally is the standard for the counter makeup artist which has risen further, now all artists are almost expected to maintain online media platforms to push themselves further forwards in the beauty industry. This stress placed upon social media is an important aspect to include within this project as it is through this platform that our work will be inspired, created and showcased to a worldwide audience.

Themes that can be chosen from include:
- Organic Beauty
- Skin
- Structure & Form
- It's All About The Product
- Beauty is Boring

Initial reflection:
Upon looking at the themes that we can choose from there are two that immediately jump out at me, these include Skin and Beauty is Boring. I feel that it is important not to focus yourself immediately onto one subject as what you originally thought could be a good idea may infact turn out to be limiting. There are a few reasons that these two themes stick out to me in particular which I shall go on to explain in more depth. The first of which being 'Skin'. As a sufferer of cystic acne I have always found the texture of skin interesting and can appreciate how skin texture differers from person to person. In addition to this I understand that no ones skin is the same, each face carries different tones, constructions and textures and this is something that should be embraced. I think it is properly due to the fact that my skin is damaged, something which I still cannot fully embrace about myself that I feel so drawn to other peoples complexion and can appreciate beautiful skin differences, even if the person in that skin cannot. If I was to undertake this project I would most likely want to show a variety of different skin types including dark skin tones, acne skin, pale (almost albino skin) and heavily freckled skin. Although these types of skins do appear within editorial beauty, acne skin not so much, if feel it is something that requires more attention. In particular "problem skin", there is such as stigma surrounding acne sufferers that there skin is "dirty" or "unclean". I do feel passionately that this is due to the fact that it isn't presented as beautiful, someone can still be beautiful and have problems with their complexion. You should embrace the skin your in.
The second choice that I may consider is that of 'Beauty is Boring', within this my initial idea was to feature anti-beauty through the use of creating looks that feature things that typically ruin makeup. For example how the rain makes your makeup run, sweaty skin and dirt. These are all things that are commonly moaned about as ruining beauty during daily life however when transformed into an editorial beauty setting could become incredibly beautiful. I feel with this option there is more opportunity for creative freedom as although 'Skin' would be interesting I feel it would be more a documented photography project rather than a creative outlet. Through doing this option my creative skills would be further tested as I would have to recreate the effects of natural weather but for the purpose of editorial beauty.