Sparklewren

aesthetic art corsetry

A rainy afternoon at the studio

As I worked the weekend, I took today partly off. Popped into the studio for a quick bit of secret messy work (will be posting about it on Life Behind the Brand soon!) and to dally about a bit, thinking about workflow for the week ahead. Continued playing with my new camera too, naturally.

The view from the main atelier upstairs. The Jewellery Quarter is full of creative businesses of all kinds, and I love the way these historic buildings are laid out. Quite hotchpotch, but all done with a view to allowing as much daylight in as possible. I'm really shy, so I know barely any of the surrounding craftspeople. I doubt they'd assume there's a corsetmaker on the corner, so I wonder what sorts of artists there are that I can't even imagine? I love being surrounded by work. Loved that growing up, we were always all making something (or in my brother's case, taking things apart and putting them back together). Our last flat more recently was right next door to an electroplater's and so everyday you'd here the soft whirring of machines coming through the hefty stone walls. Loved it.

The view from the main atelier upstairs. The Jewellery Quarter is full of creative businesses of all kinds, and I love the way these historic buildings are laid out. Quite hotchpotch, but all done with a view to allowing as much daylight in as possible. I'm really shy, so I know barely any of the surrounding craftspeople. I doubt they'd assume there's a corsetmaker on the corner, so I wonder what sorts of artists there are that I can't even imagine?

I love being surrounded by work. Loved that growing up, we were always all making something (or in my brother's case, taking things apart and putting them back together). Our last flat more recently was right next door to an electroplater's and so everyday you'd here the soft whirring of machines coming through the hefty stone walls. Loved it.

Upon my troubles getting as close as I wanted yesterday, photographer friend Bri (of InaGlo) recommended zooming in for detail rather than getting physically close with the lens wide, and hey presto, I had more control over where the focus landed! Helpful :-D

Upon my troubles getting as close as I wanted yesterday, photographer friend Bri (of InaGlo) recommended zooming in for detail rather than getting physically close with the lens wide, and hey presto, I had more control over where the focus landed! Helpful :-D

Even so, I still feel like stuff is coming up slightly soft, and will have to think about why. Oh, in case you cannot tell(!), this is the Mink and Red Hearts corset-bodies, layered one atop the other.

Even so, I still feel like stuff is coming up slightly soft, and will have to think about why. Oh, in case you cannot tell(!), this is the Mink and Red Hearts corset-bodies, layered one atop the other.

Textures. Gilded mannequin and Antique Bird corset. I also downloaded a free trial of LightRoom today, all of these pictures (except the two beaded close-ups above) have been played with in some way. I just shot as jpegs and then tweaked things. LightRoom is confusing to a newb! Fun once you get going though.

Textures. Gilded mannequin and Antique Bird corset. I also downloaded a free trial of LightRoom today, all of these pictures (except the two beaded close-ups above) have been played with in some way. I just shot as jpegs and then tweaked things. LightRoom is confusing to a newb! Fun once you get going though.

Also discovered, that the B&W filtered presents in LR are more dramatic than the jpeg presents in the X-E1 itself. Eg: Monochrome +R is still pretty subtle in camera, compared to LR's preset. But perhaps that observation was partly due to the subject matter? Will learn more as time goes on.

Also discovered, that the B&W filtered presents in LR are more dramatic than the jpeg presents in the X-E1 itself. Eg: Monochrome +R is still pretty subtle in camera, compared to LR's preset. But perhaps that observation was partly due to the subject matter? Will learn more as time goes on.

Lots of B&W eh? Colour freaks me out a bit. At least as far as pictures are concerned, in corsetry I handle colour well I think. Though it is easy to get carried away! I certainly did with my early corsets, lots of shot-silks, greens, violets, and so on. Which was lovely, but I prefer more subtle tones now. Am sure that will change again in the future. Re: the above image, I played around a bit in a bid to bring up the gilded mannequin, but couldn't delineate her quite as I wanted. Maybe something for further practice, or maybe a matter of thinking about lighting in the first instance. All of today's shots were just done with the hazy rainy afternoon sunlight (the windows in the showroom are pretty much North-facing).

Lots of B&W eh? Colour freaks me out a bit. At least as far as pictures are concerned, in corsetry I handle colour well I think. Though it is easy to get carried away! I certainly did with my early corsets, lots of shot-silks, greens, violets, and so on. Which was lovely, but I prefer more subtle tones now. Am sure that will change again in the future. Re: the above image, I played around a bit in a bid to bring up the gilded mannequin, but couldn't delineate her quite as I wanted. Maybe something for further practice, or maybe a matter of thinking about lighting in the first instance. All of today's shots were just done with the hazy rainy afternoon sunlight (the windows in the showroom are pretty much North-facing).

Speaking of colour... I think the tones are reasonably true here. I did fiddle with the highlights in LR though, as the Antique Bird corset came up far too pink. The gold seems very true, but I think it's a mildly saccharine-sweet combination, having the Antique Bird's mink and pink tones against that deeply burnished gold. Ah, for backdrops in every colour! I'd love to one day commission Emily Swift-Jones (who made my gold panels) for a set in perhaps pewter or silver. She also does this incredible aesthetic where a fissure running through the gilding can be filled with amethysts or such, like a crack in rock with crystals bursting through. So so beautiful, I would adore to commission something like that one day. I must save my pennies!

Speaking of colour... I think the tones are reasonably true here. I did fiddle with the highlights in LR though, as the Antique Bird corset came up far too pink. The gold seems very true, but I think it's a mildly saccharine-sweet combination, having the Antique Bird's mink and pink tones against that deeply burnished gold. Ah, for backdrops in every colour! I'd love to one day commission Emily Swift-Jones (who made my gold panels) for a set in perhaps pewter or silver. She also does this incredible aesthetic where a fissure running through the gilding can be filled with amethysts or such, like a crack in rock with crystals bursting through. So so beautiful, I would adore to commission something like that one day. I must save my pennies!

I also worked this shot in B&W and do feel more comfortable without colour. I suppose it is simply because there is less to worry about.

I also worked this shot in B&W and do feel more comfortable without colour. I suppose it is simply because there is less to worry about.

And now I must away as I fancy a cup of tea. TTFN!