Initial Idea: Car Prop
As a group we decided we wanted to recreate a film noir scene after looking at some references of fashion photography that are inspired by film noir we noticed how a lot of them use a car as a prop, I looked into the idea of using a car in our photoshoot. First I looked into the symbolism of the use of cars in film noir and why it would be good to use in a film noir inspired photograph:
The car in the film noir is a complex symbol expressing the various kinds of escape its protagonists attempt. It is also a tool of death… But as a symbol of the modern urban landscape, the car comes to mean much more: it functions as the symbol of all that has brought America to this ambiguous state of spiritual anxiety. Taunting us as the apex of industrial achievement with its commercial appeal and status, the car in the film noir has been transformed into an object of dubious distinction, like a desperado of sorts, an accomplice. Whether noir characters use it to escape their pursuers (legal or criminal) or their past, the automobile symbolizes that dangerous flight into the unknown that contrasts with its other importance as a symbol of established success in modern American culture. Desperate people steal perfectly reputable vehicles, transforming them into getaway cars, and in the act they sully the very status of material success that these object represent… In its transformation into an escape device, the car carries out one of the narrative goals of noir cinema: to bring the illusion of freedom for its characters up to its dead end—right up to the place from which they can no longer escape, and where they usually die.
From reading this it made me realise how significant cars are in the film noir genre and how much of a big part they play in the the films. Next I decided to look in to film noir's to find stills from scenes where they include cars to gain inspiration for our own images.
High Wall
High Wall is a film noir where are cars are an important part to the story. This is an extract I found online talking about the use of cars in the movie.
High Wall (MGM 1946) is a film noir where cars are integral to the story and to the noir aesthetics: fast cars screeching to nowhere, dark streets, rain on asphalt, roadblocks, escape, entrapment… ‘crashing out’. Directer Curtis Bernhardt and his DP Paul Vogel in the many scenes with cars in this picture have fashioned indelibly mystic images of the noir car, as these selected frames from the movie attest:
Out of the past
Double Indemnity
The Big Sleep
Dark Passage
The Postman always rings twice
Raw Deal
Mystery Street
Gun Crazy
After I looked into modern photographs of models in cars. I mostly looked into fashion editorials as we are going to be creating a fashion portrait.
Gabrielle Rigon
This image captures the female model leaning out of the car. Rigon has photographed almost all of the car in this image, having the whole of a car in the frame for our picture would be very difficult as we would have to source a whole car and try and transport it into the university's studio's.
This image captures the female model leaning out of the car. Rigon has photographed almost all of the car in this image, having the whole of a car in the frame for our picture would be very difficult as we would have to source a whole car and try and transport it into the university's studio's.
Armani Advert
The pop singer Rihanna recently modelled for Armani, in the advert she is pictured inside the car. These images have a film noir style to them because of the dark shadows and the mysterious atmosphere of the picture. I like the idea of shooting inside a car as it provides a small area for the models to be in making them seem trapped and confined in a small space. If we was to make a set build of an inside of a car we could also design an outside area too so when you look out side the window it sets the scene.
The pop singer Rihanna recently modelled for Armani, in the advert she is pictured inside the car. These images have a film noir style to them because of the dark shadows and the mysterious atmosphere of the picture. I like the idea of shooting inside a car as it provides a small area for the models to be in making them seem trapped and confined in a small space. If we was to make a set build of an inside of a car we could also design an outside area too so when you look out side the window it sets the scene.
Tatijana Shoan
By photographing a model in a car and using a composition where you peer into the window adds a mysterious feel and gives the photo a very film noir feel.
By photographing a model in a car and using a composition where you peer into the window adds a mysterious feel and gives the photo a very film noir feel.
Sofia Sanchez & Mauro Mongiello
This editorial from Vogue was inspired by the 1950's which is the era we are looking into for our project. In these photographs the models have been photographed inside the car in various ways. I like how the photographers have only chose to include only some sections of the car by doing this makes the models look more confined which will add to the film noir theme of our own image.
This editorial from Vogue was inspired by the 1950's which is the era we are looking into for our project. In these photographs the models have been photographed inside the car in various ways. I like how the photographers have only chose to include only some sections of the car by doing this makes the models look more confined which will add to the film noir theme of our own image.
Reinfried Marass
The first image by Reinfriend Marass looks towards the front of the car behind the front seats, I like the idea of having the model look back at you in the mirror as it makes her look as if she is searching for something which adds a feeling of mystery.
The first image by Reinfriend Marass looks towards the front of the car behind the front seats, I like the idea of having the model look back at you in the mirror as it makes her look as if she is searching for something which adds a feeling of mystery.
Cars from the 40's and 50's
I was given the task to research into car's from the 40's and 50's. I focused the search on cars that would have been owned by a rich family as our narrative is to have a femme fatale stealing from a rich man. I also looked into taxi's as we were looking into having the model use her sexuality to control the taxi driver. When I was looking into the cars I also noted some of the dimensions down to gain an idea on how much space we would need for our setbuild.
Chevrolet Car
Cadillac 48
Cadillac 49
1951 Cadillac Series 62 Convertible
Dimensions: this model outside length is 5483 mm / 215.875 in, it’s 2035 mm / 80.1 in wide, 1590 mm / 62.6 in high and has wheelbase of 3200 mm / 126 in.
1951 Cadillac Series 62 Convertible
1953 Cadillac Eldorado Convertible
Taxi's
The Austin FX3 of the 1950s
Dimensions: Wheelbase, 2.81m, track, front and rear, 1.42m; overall length, 4.401m; overall width, 1.715m; height 1.797m
FX4, 1958
Dimensions: Wheelbase, 2.81m, track, front and rear, 1,42m; overall length, 4.566m; overall width, 1.743m; height 1.765m.
1940's
Building of Car
We decided we was going to build the car instead of sourcing one as it was too difficult and would be too expensive to find one and as we were only going to photograph the back end of a car we were told it would be possible. A tutor from a Creative design course helped us make a plan to build the car, we decided we were going to build the base of the car from MDF so the male model had something to lay on and the exterior of the car was going to be made out of polystyrene. To make the car look more realistic we was going to use reals parts from cars such as tyres, logos, and metal pieces. We decided we wanted to make this car as we liked the style of it and it was from the era we wanted the photograph to be from:
Colour of car
The car we have chosen to be included in our set build is a 1951 Cadillac Series 62 convertible. To decide what colour we want to have the exterior I researched into the different colours the car came in to make it look realistic as possible and look as if it came from that time period. 
As a group we first decided we wanted to have our car painted black and to have a gloss finish. However we from the set builder we discussed the issues with having a gloss finish and how it would be a lot more expensive then having it matte. After talking to the set builder we decided to have the car a matte black colour to stop the project being too expensive, we also thought the die fit in well with the narrative of our photograph.
We discussed in depth about what lighting we wanted and felt that if we had the car painted black it wouldn't stand out as much as we wanted to especially as we were doing a night time scene. Because of this we decided we wanted to have the car painted red as we felt it fit in well with the film noir theme and as we were using similar colours in the styling of the image.
The Cadillac emblem that was used on the 1951 series 62 convertible was the one below:
We would have to include this emblem on our car to make it look more realistic, I found images of the emblem on the cars so we know what needs to go on our prop.
After having meetings with our tutor and with a set builder we decided to not include a car in our photograph as we thought the car could look to theatrical and would take too much time to make so we wouldn't focus on the set enough. We decided to keep the same idea of having a street scene but we decided to add more texture and props into the scene to make it more interesting.
Scenic Design
For inspiration for our street scene I have looked into photographers that have captured models at night or on the street, I mostly focused on fashion editorials as we are creating fashion photograph.
Willy Vanderperre
Natasha Poly and Amber Valletta are among several other supermodels in a film noir-inspired editorial in the Love Magazine Spring 2012 issue.
The editorial, titled ‘Prada Archive,’ was styled by Olivier Rizzo and features Elise Crombez, Karen Elson and Guinevere Van Seenus in addition to Natasha and Amber. The shoot showcases the makeup artistry of Aaron de Mey, who favored the signature femme fatale beauty look of voluminous curls, smokey eyes and dark red lips. Prada Archive was shot by photographer Willy Vanderperre for Love. The Love Magazine Spring 2012 issue features veteran model Linda Evangelista in the issue titled ‘After Taste’ with an art deco theme. The After Taste issue will also feature Lindsay Lohan, Azealia Banks and a star-studded editorial by Mario Testino called ‘30 Years of Optimism. The Love Magazine Spring 2012 issue features veteran model Linda Evangelista in the issue titled ‘After Taste’ with an art deco theme. The After Taste issue will also feature Lindsay Lohan, Azealia Banks and a star-studded editorial by Mario Testino called ‘30 Years of Optimism.
Fran Dominguez
Up-and-coming photographers produce some of the most refreshing and intriguingly special photography, and Fran Dominguez’s ‘Black Series’ is a testament to that. Fran Dominguez is a Spain-born photographer who continues to reside and work from his hometown Sevilla. With a specialization in fashion and lifestyle photography, Dominguez works to capture the raw, sensual side of female beauty.
Dominguez is currently studying engineering, but he certainly doesn’t lack photographic talent. Fran Dominguez’s ‘Black Series’ follows a similar pattern with women dressed in predominantly black get-ups, set against the poetic backdrop of pavement. This is one photographer to keep an eye out for.
Implications - Businesses who are struggling to stay afloat during unpredictable economic times should consider ways to substitute expensive props and backdrops for simpler, less expensive ones. Fran Dominguez's 'Black Series' is an example of how artists and businesses can utilize 'free' backdrops -- such as pavement or public areas -- as oppose to expensive alternatives
Derek Wood
Fashion photographer Derek Wood took this photo for a fashion editorial in March 2011. 'Take me into the night' is of model Lyndsay Marie, I was inspired by the way the image has been taken at night and how the only light source is from a street lamp.
Mert Alas & Marcus Piggott
Looking like a love scene from a horror movie, this Interview Magazine August 2011 editorial is full of seduction and mystery.
Photographers Mert Alas & Marcus Piggott capture the models as they tease each other on the park bench with the night time setting also giving the images a mysterious glow. The scene looks like something that would play out in a vampire movie that has recently taken the pop culture world by storm.
Take a look at the Interview Magazine August 2011 spread for some delicious fun.
Terry Gates
Model Ming Xi stars in a creepy Hitchcock-inspired editorial for the Vogue China March 2012 issue. ‘Hitchcock Beauty’ pictures Ming in a variety of looks that recall some of Hitchcock’s women most famous style choices, like the silk scarf worn in the spirit of Grace Kelly, a beige trench coat and an eerie black cat.
The editorial was shot for the March 2012 issue by photographer Terry Gates and styled by fashion editor Yi Guo, and showcases ‘50s femme fatale looks with a serious film noir feel, helped by the damp, dimly-lit and foggy scene of the shoot. The refined looks that Ming Xi wears are some of spring’s most refined and glamorous dresses and accessories.
The Vogue China March 2012 cover features supermodels Natasha Poly and Isabeli Fontana in pretty pastel Prada, which was shot by the legendary Inez and Vinoodh.
Daniel Garriga
Model: Britni Stanwood.
Fantastic styling in this editorial for SCMP Style Magazine. The bright streets at night in mysterious Hong Kong. A city that never sleeps.
Rene Habermacher
“Tribes” was photographed by one of my favorite photographers, Rene Habermacher and styled by Jean Luc Francaise for Sang Bleu #5. The face painting, accessories, wardrobe, street scenes and attitude capture an image of modern tribes that I could only fathom.
Isabeli Fontana for Vogue Italia September 2011 photo editorial
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I also looked into film noir scenes where they have been on a street of inspiration:
The Third Man
The Third Man uses post-WWII Vienna to mix city street scenes with images of civilization in decay. Note the large pile of rubble to the left in this still.
Panic In The Streets
Panic In the Streets (1950) is an interesting documentary-style noir set on the docks of New Orleans: a fast-paced on-the-streets thriller with little time or inclination for deep characterisation. The movie picked up the Venice International prize in 1950, and an Oscar for Best Writing in 1951. Tautly directed by Kazan and with strong street cred: the climax on a ship’s mooring rope is elegantly metaphoric.
Act of Violence
directed by Fred Zinnemann, cinematography by Robert Surtees,
I also looked at some other photographers that have also take images that look inspired by film noir:
Donald Verry
Nat Farbman
The Peters Sisters musical group walking a dog through the streets of Paris. Photograph by Nat Farbman. Paris, January 1950.
The Peters Sisters musical group walking a dog through the streets of Paris. Photograph by Nat Farbman. Paris, January 1950.
Smoke/ Fog
After looking into film noir and photography that has been inspired by it we noticed smoke was a recurring theme in them. We liked the dramatic and mysterious atmosphere smoke can give an image and feel it will emphasise the film noir style in our images. As a group we was inspired by this particular image, we all liked how the smoke has risen in the air as it gives the image a more dramatic feel. To create smoke we decided to look into purchasing or hiring a smoke machine that can imitate this look.
Ebay- £29.99 doesn't include fluid
Smoke/ fog machine 400 Watt for dj disco laser lights wireless and wired remote
For Hire
www.powerhousehire.co.uk
Title: MAGNUM 550/650 Smoke Machine
Description: The Martin Magnum 550/650 smoke machine will enhance any amount of lighting effects, producing fog that will bring moving lights to life. The machine has a cabled remote control and is supplied with 1 litre of smoke fluid, so is ready to use and will last for many hours. Go on, make your party special. WARNING... This machine will set off smoke alarms.
www.rkdosoundandlight.co.uk- £24
Martin Magnum 650 Smoke Machine
Manually operated smoke machine that creates a dense white fog. Comes with fluid.
Brick Walls
Our set build is going to be of a small street, there is going to be one wall running along the left side of the image. To create a brick wall effect we discussed the idea of using special effect wallpaper. I researched into different websites that sell wallpaper that looks like a brick wall.www.wallpaperandborders.co.uk/wallpaper (P&P- £5 for first roll, £3 for additional ones)
Brick 7798-16,
10.5 metres per roll, 52cm in width. £4.50
Lowry Red, Brick wallpaper.
10m by 52cm
£27.97
£11.97
Brick effect embossed wallpaper
10.05m x 52cm
£4.99
After seeing a sample of brick wall wallpaper we felt it didn't look realistic enough and wouldn't look textured in the image so we decided to look into other ways we could recreate a wall. We looked into Pinewood studio's store as they sell vacuum moulds that look like bricks. We felt that they look realistic enough and we knew that they would be good enough as we knew someone who had used them, they would also be ideal for us as we would just have to paint them and staple them to our flats. To cover our wall it worked out that we would need 11 sheets, to add more texture and different shadows to the image we decided to get two different types of wall. We choose to get two sheets of the style PW105 which is a more textured wall:
and we decided upon getting 9 of the PW10 sheets:
I researched into how we could paint the Vacform moulds to make the brick look as realistic as possible. A website suggested the best colours to use are burnt earth colours such as burnt umber, burnt siena and yellow ochre and grey. The website had some tips on how to paint the bricks:
- Use the darker shade to paint the bottom edge of each brick, and the lower half.
- Take another brush, and do the upper half and upper edge of the brick.
- With the same brush, dab over the whole brick and blend the colors.
- Dab lightly, leave some traces, but don't make paintstrokes.
- Divide the colors: more dark on the bottom, more light to the top.
I looked on to DIY websites to see which paint colours would be ideal to make a brick wall effect.
B&Q:
Crown , Umber brown, Matt, £18.98 (or 2 for £22)
Home base:
Sanctuary, Burnt Siena, Matt, £2.29 (125ml)
Home of colour, Delicious, Matt, £14.49
As a group we decided to include a drainpipe along our street wall to add more detail and to make the image look more realistic. I started to look in to ways we could create a pipe.
I looked into buying a pipe from a DIY shop. From Wicke's a pipe that is 3m long would cost £12.49 which would be roughly £2 each. We could paint the pipe if we wanted to, to make it a different colour. The week before our set build we are going to go into Wicke's to buy one.
To decorate our street scene we are going to have an old styled metal bin with ridges to add shadows and texture to the image. We decided to add a bin to our street scene to make it look realistic and so you feel as if you are down a small side street. In another department at the University we noticed a silver bin which we were given permission to use during our set build. We are going to fill the bin with rubbish and have rubbish such as newspapers along the street so it looks even more realistic.
Flooring
The reference for our set build is this image below:
We all liked the smoothness of the flow and liked how it had a shine to it which made it appear wet which adds to the film noir style of the image. To get this effect we decided on painting the floor a dark grey colour which we had permission to do.
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