Furkan is a director based in Berlin and has created a barned called twentyonewhich is a directors duo comprised of furkan cetin & sebastian schuste. They have done advertising for Adidas and Armani 

they mainly work with ARRI cameras, I'm not sure of the model as I am notfamiliar with those cameras but I know it is a cinema camera. All the shots were filmed on location using what looks to be natural lighting for this shot which you can tell by the shadows and how the light looks. I know the short film was shot on a digital camera from the bts photos he has on his Instagram but you can also tell from how sharp the image is and the small amount of grain in the video. The models are all standing at different focal lengths all quite casually which also makes the composition striking and shows depth in the image.

there is quite high contrast in this shot as it looks like the sun was at a high angle with no cloud coverage to create that high contrast. Whilst with the saturation I feel like it might have been a bit unsaturated to give a more old-school look.

This video by Furkan was my first inspiration for the project as I wanted something similar to this with how the models will be perceived.

Mary Harron is a Canadian film director and screenwriter. She co-wrote the screenplay and directed American Psycho. She also directed I Shot Andy Warhol and The Notorious Bettie Page. The film was mired in controversy before production began,[27][28][29] due in large part to the legacy of the book's release. Harron has a liking for darker and more controversial topics, such as Valerie Solanas, but it was the satirical nature of the book that "inspired her film about perfunctory violence and obsessive consumption.

Panavision Cameras and Lenses which were very common for that time with 35mm Kodak film. This film was shot mainly on location, in Toronto, Ontario, but some establishing shots were filmed in New York.  As in films, there was a big mix of indoor and outdoor scenes there was also a mixture of lighting involved, with a mix of very bright scenes and very dark making the movie feel more dramatic. As mentioned before the movie was filmed on 35mm Kodak film in this image that I chose the models are all standing facing the camera looking very sinister. I feel like the use of the car really adds to the aesthetic of this image.  With the composition of the image, I like how there is a mixture of what the models are doing with 2 of them standing on the ground, one on the bumper of the car and the other on the hood it makes the image more interesting, plus the location as well with what they're wearing adds a bit of mystery.

The contrast in this image is quite high with them using additional lighting at night, but it seems to be done quite naturally. The colours of this image, seem very natural and almost a bit unsaturated to give a more mysterious atmosphere to the images.

What I want to take from this movie is a sense of mystery and seriousness as well as the style of the garments and the use of the car in this image.

These images were on the set of the Legend film about the Cray Twins and these were BTS shots on set. Legend is based on the story of the Cray Twins starring Tom Hardy as one of the twins. I like how unserious these photos look and how it could give my FMP a fun aspect.

I think these images were taken on a digital camera and then made to look like film, with a wide lens to capture everyone in the shot and also a large aperture as you can see the background is in focus. These photos were taken on location on the set of Legend. I would say that these were down with natural lighting as they are BTS shots. There are three models in this image all posed like they are taking a selfie,what I like about the images is the context behind them and how its made to look like a selfie but were taken on an actual camera, not a phone.

In this image, there is quite a lot of contrast and as the photo is in black and white this is definitely emphasised more. I feel like it with the image it was edited to look slightly older with it being in black and white and a bit of grain added to it.

I want to do something similar to these images in my FMP with having 3 serious images of the models and in between images I would add a “selfie” to add some character to the book.

David Chase was born in New York and was the creator, head writer and executive producer of the HBO drama The Sopranos, which aired for six seasons between 1999 and 2007. throughout his life, he worked as a Screenwriter, showrunner, director, and producer.

Panavision Panaflex Series Cameras with the Panavision lenses, on 35mm Film Negative Width (Kodak Vision 500T 5279, Vision2 500T 5218, Vision 800T 5289), the series was shot mostly on location with huge sets, in and around Silvercup Studios in Queens, New York City, though New Jersey provided the backdrop for some scenes. As it was shot on location there was a mixture of natural light and continuous light. The series was filmed on 35mm Kodak film.

Overall there is quite high contrast throughout the film as it was shot on a high-contrast film, and the colours in the images are very punchy and saturated, and as it was shot on film it has a grainy texture which adds to the series being quite old.

I've used this as a reference to my work as I am going for that mafia-style for my project with a similar look to it.

•Context of the image

The photographer who took this photo is called Charlie Gray, grey went on to develop a distinct photographic style of portraiture influenced by the history of film. in 2008 he was approached by Bafta to document their awards; this validation won him commissions from international movie studios to create editorial stories on film sets and shoot film and theatre posters. Gray has worked extensively with directors Jamie Lloyd, Sam Gold, and Ralph Fiennes amongst others. Where is their work featured, or where or who do they work for?  His photos have been featured in GQ UK, Netflix, Armani, Vogue Greece and many more.

•How is the image made?

Charlie mainly shoots on a Lecia SL2 which is a full-frame camera and what I think is that he shot on a 35mm lens as the image is wide enough to get Robert De Niro’s whole body in the frame and from what it looks like the room is quite cramped. This image was shot on location like most of his images as he tries to recreate stills from famous films with the same actors. I would say he did use a flash from the side of De Niro, but a very soft flash as the light is not very harsh and the overall image is a bit underexposed. He used a digital camera for this shoot and for most shoots as I found out he uses a Lecia SL2. In this image, De Niro is leaning on a stack of chairs looking into the lens and holding his hands. What I think makes the composition striking is how the background compliments the actor and is not too distracting, also I really how De Niro is slightly off to the right and is not in the center but also with the focal length and how wide the image is with very little compression 

•How is the image graded?

I would say there is a high amount of contrast with the blacks in the images being true and a lot of shadows in the images. The tones in the images are very warm but the face is not too orange and has the right colour. What I like about the grading of the images is how they are very cinematic and very contrasty.

•Self-reflection 

What I will take from this artist is that I want my images to come out stills from a movie and that how I want to portray in my FMP

With the models, I wanted to use professional models so I messaged a bunch of agencies and the one that I liked them most and thought would be great for the shoot was Nevs Models, with a lot of emailing back and forth I managed to secure 3 great looking models that I think would do great for the shoot. 

At the beginning I didn't know where to start with finding a brand, but I messaged one of my contacts that in the industry and after a while of going back and forth she managed to get me in contact with a suit company called G.Connelly which is based just above Hyde Park. I came into the shop and they where more then happy to help, I had a choice from all of there suits but ended up choosing 3 that I thought fit perfectly for the aesthetic of my shoot.

My producer Jolo Antonio, helped me with this side of the project creating a timeline so that we can get everything sorted in time before the shoot happens. We first started with mood boards, creating one for each part of the shoot, concept mood-board, outfit mood-board, location mood-board and a hair/makeup mood-board

I also had also created a shot list for what I want the shots to look like more or less and I wanted it to use on the day to see what kind of shots we need, but I also wanted to take in ideas from the team on the day. on the day we and a mix of both.

Shoot day

The day of the shoot went quite smoothly.

Me, James, Jolo and Aaron got to uni at 8am to collect all the equipment we were going to use for the shoot. we got to the location at 8:45 and most people arrived at 9. all the models went into make-up at 9:15 whilst the crew started setting up the equipment and I was steaming the shirts as the stylist could not make it for the shoot. At around 9:30 Nick (the guy with the BMW) arrived with his car and we set it up in position. 9:45 me, James and Josh were looking though the shots and setting up the first couple. At around 10:30 all the models were finished with makeup and hair and I started fitting them. Then at 10:45 we finally started shooting, we were a bit behind schedule but we made up for it further down the line. 

at around 1:30 we took lunch brake and then back for 2 we started shooting again. At 3:30 we started packing up to get to the second location which we got to as 4. In the second location we didn't have many shots to do (only 3) so we managed to finish just before 5.

My editing process went quite smoothly. At the end of the shoot. At the of the shoot I ended up with around 1500 images to choose from and I managed to bring it down to around around 150 quite quitckly only choosing the images that where sharp and 2-3 from each angel that I shot from, I edited all of them and then brought it down to around 55 images to then arrange into my Indesign doc. 

With the editing style I wanted to make it look cinematic with film characteristic. I like to raise the shadows a bit and then add either green or blue tones into the shadows to emulate a film look and also added warmer tones to all of the images as the came out white cool straight out the camera. the one difficulty we had on the day was the day light was quite strong but I managed to bring the highlights down in post enough to show the detail in the clouds at the end.

Whilst on the B&W images I like to go heavy with the contrast and grain, it was because I have always liked how black and white looks like with heavy tones and makes the images look more aggressive in a way.

I had 3 different iterations of my front cover. with the first one I had a different name for which meant butcher in Italian but after speaking with Geraint about it, we released that it had no relation to the book and made no sense, so I decided on a different name which was Calabresella which is an Italian card game they play in the south of Italy, and it related more to my project as in the book I have some photos of them playing cards.

The inspiration for this front cover was from the Sopranos news paper that I have in my mood board and that's what I wanted to portray in the second edit, but it made the cover look a bit too cluttered so I got rid of the text at the bottom and replaced it with a red line that went into a gradient to green to add a bit more detail to the bottom of the cover.

For the back cover there was not much difference between them, the main thing that I wanted to do was match the tones and the creases to the front cover.

For the book layout I was mainly inspired but the book from the new DUNE 2 movie called Exposures, I liked how they used a lot of negative space, putting there images on one side of the page and not in the centre with a lot of overlapping on the pages and also the use of quite big images next to smaller one which I also did in my book.

I've tried adding the first couple of drafts of the video but Behance wasn't letting me save for some reason, but the drafts weren't that different from each other, just slight changes such as music and and adding sound effects like seagulls, the doors of the car and the text at the front and end of the film.

For this project, I wanted to end my journey in university with a bang and let’s say I wanted to leave a mark. My inspiration for this was from all over the place, from certain films like Sopranos and Godfather to short videos made by small creators. But I’ve always wanted to create a project that was made to a high standard with no corners cut.

The creation of this concept first started with the idea of wanting to show my skills as a photographer and to build a team of people who have the same amount of passion and detail as me, I would say it turned out quite successfully. What I knew I wanted out of this shoot was almost for it to be viewed as a look-book that was shown as stills from a movie. I wanted it to be set in a period like the 1980s so I managed to get a BMW E24 from the 1980s. I chose suits from the English brand Connolly as they perfectly match the style of that era that I was going for.

One of the most important parts for me was being able to work with professional models that brought light to these images. I want to say a big thank you to Nevs Models for helping me with this and lending me a group of models who were amazing at what they do. The second most important aspect was the location, which took me a long time to find. But everything that takes time will turn out well and for good reason. So in the end, I went with the Greenwich Yacht Club, which I think was the perfect setting for the project.

I want to say a big thank you as well to Jolo Antonio, a very good friend and my producer for this shoot, who helped with creating the timeline and the whole logistical aspect of this project. With the team that I wanted on the project, I managed to gather people with a very good set of skills and who had worked on projects similar before, these were people in their third year at university or who had graduated.

On the shoot day, everything went smoothly, and everyone managed to get to the location on time, this was the first time everyone met together including the models, and everyone was a pleasure to work with we had fun doing the shoot, and the weather was perfect as well which helped as we didn’t need to use much lighting just a couple flags.

With the final images, I wanted to give them an old-school film look to create a look from back in the ’80s which I think turned out quite successfully and arranged them in a way to show a story.

What I want to hopefully come out of this shoot is to try and pitch it to some magazine brands or by showing my abilities with this project get some more commissions with small brands or magazines. With the help from Geraint my corse leader and Hanina my mentor I have/will be emailing some magazine brands and hopefully get some positive responses from that.