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High Fashion Photography Biography
Tara Inanloo searched for something beyond ordinary in her early teenage years, by attending Filmmaking school at the age of fourteen. "It was then, that I accidentally came across the dark room for the first time, the room that opened the door to me to another world" She remembers. " It was then, that the thought of photography first occurred to me" She adds. The thought grew stronger when she was inspired by "Blow Up”, a Michelangelo Antonioni movie that narrated life of a nihilistic high-fashion photographer.
At the age of sixteen she made a short movie called “Beyond All Odds”, despite all the difficulties and lack of essential facilities she faced. Although it is believed that Film is a team production, for Tara it turned out to be a personal production. "I did not have access to the facilities I needed, neither my family nor the Filmmaking school wanted to help me, So I borrowed a camera from my friend and started filming myself." she assumes. Bypassing the difficult moments, the film was awarded "The best movie" in Apple Film Festival of Iran.
At seventeen, she made a music video called "I have seen it all" as the final project of filmmaking school which provided her with a new experience through working as a team.
She then entered university at the same early age of 17 to study photography and cinematography. University opened doors to her to other world. But also brought her limitations and boundaries to what she could do, whether it was technical or cultural.
To push the boundaries to the side, it was best for her to move. To another place where she could turn down the bursting flames of her desires. Therefore she moved to England to study photography and work on areas of her desire. One of these areas was music photography. Her first project happened within only two months of her staying in England and grew widely and rapidly onwards. In the short period of six months, she took photos of many musicians such as Gary Numan, IAMX, Roses Kings Castles, and Nick Cave & The Bad Seeds.
The idea she followed behind taking live photos was besides creating a commercial image of the artist to inform people of an event. It was a picture that could represent movement and passion, it was an artistic point of view to look at an event and the musician and make it memorable by many. For her it was important to display the innermost feelings of the artist on stage rather than a commercial celebrity picture.
It was also vital for her to capture image of the artist off stage, where he or she was not surrounded by the crowd, it was then that an artist could be looked at as a person who carries within heart emotions, personality and identity that is unique.
The importance of identity and personality was something that Tara had discovered and intensified a long time ago at the early age of fourteen when she first came across a narrow line of similar thoughts between herself and Richard Avedon the legend of fashion photography. A narrow line that kept growing wider and wider in years to come and shaped the whole ideology of her future works.
"It was surprising for me to first look at Avedon's photos. It felt like he had captured the spirit and thoughts of the subject rather picturing the subject's looks. It was his belief behind printing images in large sizes in order to capture the sentiment from the models' eyes, The contrast of black and white, the sense of movement the models provided, that allowed insight to their characters and created the sense of who they really are rather than who they are pretending to become as models. Although as Avedon points out: “All photographs are accurate, none of them is the truth.”
The astonishment Tara felt looking at Avedon's photos was because of the ideological similarity the shared. “I love taking portraits of people, especially the ones I know. Instead of planning for taking the photo in a situation I desire, I try to take photos thinking who they really are."
The idea of representing individual identities is viewable even in her self-portraits. The idea of self-portraiture first came to Tara's mind at the early age of sixteen, when she searched for a way to take a photo of herself the way she wanted, The answer came to her mind in two different manners; “First was deciding on the main concept, considering composition and lighting, positioning the camera and tripod with the self timer and finally putting myself in front of the camera in the right place and position and counting down the seconds.” She states. “However it was difficult to be in the exact place in a few seconds for the first time without adequate facilities or assistance.” She recalls.
For the second manner, she turned to Avedon, when reading an article in a magazine about the time Avedon was feeling unwell and asked his assistants to take the photos for him, by explaining them the exact position and form he wanted his models to be in. " At that moment it occurred to me that I can do the same with myself portraits, I still was the photographer despite I was a part of it." she assumes.
This ideology as stated by one her lecturer can be considered similar to those of Cindy Sherman's. Although the name Cindy Sherman did not seem familiar for Tara at that time, she turned to be one of the most influential photographers for her afterwards.
Regarding her self-portraits, Armindokht Shooshtari argues,:
"Through her self-portraits she represents the hidden aspect of a life of an Iranian woman that she discovers in herself, the life which is much more complex than what one can see through the media or the produced works which has been represented in the west in the last few years. Inanloo's self-portraits mostly have been produced based on her reaction towards the variety of the matters. She invites the spectator to gaze at her image, to the prohibited body of an Iranian woman. These images will challenge the viewer since she is depicting Iranian women in an entirely different way comparing to what the world has seen through photographs of Iranian photographers till today."
It has also been published in Bloomberg news that Inanloo wears very little comparing to Iranian women who are mainly in Black veils in media images...
In my opinion, when Inanloo put herself in front of her own camera displaying different characters, she had realized that one thing which has helped her approach the specific character was the specific make up and costume that best described the character. In other words, it was Fashion that transformed one person to another. It was then that she became interested in Fashion photography.
Finding the manner to deconstruct her images intensified by her natural ability and desire to model and act, she searched for others that looked as much deconstructive. However, she was still loyal to the idea of displaying the specific identity of each individual.
This led to a project in 2009 called: "Fashioning To Self-escape" The project focused on the role of fashion as a manner to represent one self. How different people intend to fit into a specific character, by creating the looks for it, how looks can express one self. The project was exhibited in a gallery. For Tara it was important to print the images in large format in order to intensify the sentiment of the eyes as pointed out earlier by Avedon, and to create a sense of communication with the viewers.
I believe that it is time to take great faces to galleries and to exhibit them, just like they used to be. It is time to admire legends of our time in spaces with high ceilings and bright white walls under the lights rather than only in pages of magazines.
High Fashion Photography Biography
Tara Inanloo searched for something beyond ordinary in her early teenage years, by attending Filmmaking school at the age of fourteen. "It was then, that I accidentally came across the dark room for the first time, the room that opened the door to me to another world" She remembers. " It was then, that the thought of photography first occurred to me" She adds. The thought grew stronger when she was inspired by "Blow Up”, a Michelangelo Antonioni movie that narrated life of a nihilistic high-fashion photographer.
At the age of sixteen she made a short movie called “Beyond All Odds”, despite all the difficulties and lack of essential facilities she faced. Although it is believed that Film is a team production, for Tara it turned out to be a personal production. "I did not have access to the facilities I needed, neither my family nor the Filmmaking school wanted to help me, So I borrowed a camera from my friend and started filming myself." she assumes. Bypassing the difficult moments, the film was awarded "The best movie" in Apple Film Festival of Iran.
At seventeen, she made a music video called "I have seen it all" as the final project of filmmaking school which provided her with a new experience through working as a team.
She then entered university at the same early age of 17 to study photography and cinematography. University opened doors to her to other world. But also brought her limitations and boundaries to what she could do, whether it was technical or cultural.
To push the boundaries to the side, it was best for her to move. To another place where she could turn down the bursting flames of her desires. Therefore she moved to England to study photography and work on areas of her desire. One of these areas was music photography. Her first project happened within only two months of her staying in England and grew widely and rapidly onwards. In the short period of six months, she took photos of many musicians such as Gary Numan, IAMX, Roses Kings Castles, and Nick Cave & The Bad Seeds.
The idea she followed behind taking live photos was besides creating a commercial image of the artist to inform people of an event. It was a picture that could represent movement and passion, it was an artistic point of view to look at an event and the musician and make it memorable by many. For her it was important to display the innermost feelings of the artist on stage rather than a commercial celebrity picture.
It was also vital for her to capture image of the artist off stage, where he or she was not surrounded by the crowd, it was then that an artist could be looked at as a person who carries within heart emotions, personality and identity that is unique.
The importance of identity and personality was something that Tara had discovered and intensified a long time ago at the early age of fourteen when she first came across a narrow line of similar thoughts between herself and Richard Avedon the legend of fashion photography. A narrow line that kept growing wider and wider in years to come and shaped the whole ideology of her future works.
"It was surprising for me to first look at Avedon's photos. It felt like he had captured the spirit and thoughts of the subject rather picturing the subject's looks. It was his belief behind printing images in large sizes in order to capture the sentiment from the models' eyes, The contrast of black and white, the sense of movement the models provided, that allowed insight to their characters and created the sense of who they really are rather than who they are pretending to become as models. Although as Avedon points out: “All photographs are accurate, none of them is the truth.”
The astonishment Tara felt looking at Avedon's photos was because of the ideological similarity the shared. “I love taking portraits of people, especially the ones I know. Instead of planning for taking the photo in a situation I desire, I try to take photos thinking who they really are."
The idea of representing individual identities is viewable even in her self-portraits. The idea of self-portraiture first came to Tara's mind at the early age of sixteen, when she searched for a way to take a photo of herself the way she wanted, The answer came to her mind in two different manners; “First was deciding on the main concept, considering composition and lighting, positioning the camera and tripod with the self timer and finally putting myself in front of the camera in the right place and position and counting down the seconds.” She states. “However it was difficult to be in the exact place in a few seconds for the first time without adequate facilities or assistance.” She recalls.
For the second manner, she turned to Avedon, when reading an article in a magazine about the time Avedon was feeling unwell and asked his assistants to take the photos for him, by explaining them the exact position and form he wanted his models to be in. " At that moment it occurred to me that I can do the same with myself portraits, I still was the photographer despite I was a part of it." she assumes.
This ideology as stated by one her lecturer can be considered similar to those of Cindy Sherman's. Although the name Cindy Sherman did not seem familiar for Tara at that time, she turned to be one of the most influential photographers for her afterwards.
Regarding her self-portraits, Armindokht Shooshtari argues,:
"Through her self-portraits she represents the hidden aspect of a life of an Iranian woman that she discovers in herself, the life which is much more complex than what one can see through the media or the produced works which has been represented in the west in the last few years. Inanloo's self-portraits mostly have been produced based on her reaction towards the variety of the matters. She invites the spectator to gaze at her image, to the prohibited body of an Iranian woman. These images will challenge the viewer since she is depicting Iranian women in an entirely different way comparing to what the world has seen through photographs of Iranian photographers till today."
It has also been published in Bloomberg news that Inanloo wears very little comparing to Iranian women who are mainly in Black veils in media images...
In my opinion, when Inanloo put herself in front of her own camera displaying different characters, she had realized that one thing which has helped her approach the specific character was the specific make up and costume that best described the character. In other words, it was Fashion that transformed one person to another. It was then that she became interested in Fashion photography.
Finding the manner to deconstruct her images intensified by her natural ability and desire to model and act, she searched for others that looked as much deconstructive. However, she was still loyal to the idea of displaying the specific identity of each individual.
This led to a project in 2009 called: "Fashioning To Self-escape" The project focused on the role of fashion as a manner to represent one self. How different people intend to fit into a specific character, by creating the looks for it, how looks can express one self. The project was exhibited in a gallery. For Tara it was important to print the images in large format in order to intensify the sentiment of the eyes as pointed out earlier by Avedon, and to create a sense of communication with the viewers.
I believe that it is time to take great faces to galleries and to exhibit them, just like they used to be. It is time to admire legends of our time in spaces with high ceilings and bright white walls under the lights rather than only in pages of magazines.
High Fashion Photography
High Fashion Photography
High Fashion Photography
High Fashion Photography
High Fashion Photography
High Fashion Photography
High Fashion Photography
High Fashion Photography
High Fashion Photography
High Fashion Photography
High Fashion Photography
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