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Location incidentals vs lifestyle

• Using location - library to set opener feel for shots

• Juxtaposing shots of location

alone - i.e bookcase detail / door detail / armchair / pile of open books / glasses on buro next to vast lifestyle shots with model small inframe

• Contrasting details textures of

garments / profile head shots against incidentals of library to create feeling of textural nature of garments being relevant to heriatage of location.

• Creating feeling of space and

luxury with shots of model sat wide in landscape frame, allowing situe to add to intricacy of shot.


• Using disconnection of model

from camera (no eyes to camera) to create a voyeristic feel to the imagery.

• Shooting model in relaxed ‘doing’ poses almost contemplating, giving idea of us watching un noticed into the john smedley mans world.

• Composition of shots keeps

detail in background but focus upon what our model may be thinking?

• Allows opportunity to create

interesting depth by shooting through glass / doors / from low angle - sneaking up on model.

Shooting through - FRAMING WITH DEPTH • Continuation from “the voyeur” ideal • Using location - library to shoot through objects creating more interesting depth of field • Positioning books / walls / columns / doors / windows in foreground and acting as soft frame for details of texture and gauge of fabrics. • Utilise soft framing from depth of field to create profile / head shots which can sit against wide shots as in “location incidentals” idea.

Lounging around - RELAXED • Using location props - armchairs / benches / tables / floor / chaise to create very relaxed compositions. • Undressed dressed, using location as it was his dressing room • Create interesting depth with reflections in mirrors / shiny surfaces / shadows • Picking up on textures with natural creases, very relaxed detail shots next to full compostions.

Height matters - SHOOTING FROM ABOVE

• Using location surroundings street / garden / courtyard to shoot down from window / elevated position,

• Creating vastness of perspective for openers / landscape shots to juxtapose next to intricate details shots.

• Utilising natural light advantages e.G beautiful back light with flare at sunset / haze of sunlight on conrete surfaces.

• Using textures such as stone /

gravel / concrete as a clean back drop to accentuate garments set against it, even in dramatic wide shots

Geek chic street snapper • Using location surroundings - street / corridoor /doorways to shoot as if stopped by a steet snapper. • Gives raw, younger feel to shots, instantaneous. • All shot front, eyes to camera, grazia style. • As if John Smedley boy has been stopped randomly in his favourite location.

Perfect profiles • Shot using various texturual backdrops from location walls / bookcases / doors / wallpaper to frame face in interesting colour palettes. • To create expressional details of character to contrast vast lanscape ideas from “height matters”, and “the voyeur” • Mixing eyes to camera, profile and glazed head shots to create varying moods. • Offsetting front and back head shotswith touches of garment almost mugshot like.

The love story - A CHEMICAL ATTRACTION • Using ‘courtship’of model as narrative for story • Connecting with each other and the garments camera (no eyes to camera) continuing voyeristic feel to the imagery. • Shooting models in relaxed ‘doing’ poses as couples do. Giving idea of us watching un noticed into the john smedley world • Ideal for collection of his and hers pieces / occasions for pos eg valentines etc • Shoot in varying crops / locations always physically interacting.

JOHN SMEDLEY. MODEL STYLING CHARACTERS Styling concepts grow from looks created for previous PR shoot in Studio, Creating 4 key characters from the model through changes of Hair and keynote styling points. Characters can be cross referenced over the different shoot style ideas to follow.

Character 1 - Geek chic Character 2 - Business Brain Character 3 - Sophisticated Swing Character 4 - Rockabilly Street


pdf for jonh smedly

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