I have recently completed a portfolio update for a multi-talented young lady by the name of Cerys Wrigley-Moss.
Cerys Wrigley-Moss, is a 19 year old model and actress. She started modelling at 14 and since then she has walked in many shows, from London Fashion Week to Milan Fashion Week to Paris Fashion Week walking for the likes of Vin and Omi, Chanel Joan Elkayam, Jasper Garvida, and Fashion Scout for designers such as John Herrera, Billie Jacobina, Constanzia Yuraskho and many more. As well as walking in many shows, she has also modeled in many magazine shoots and international designer campaigns, as well as look books, and editorials: She has been in British Vogue, both in the Magazine and online, Vogue Italia, Harper’s Bazaar, Love Magazine, Forbes, Elle, Marie Claire and a range of online publications and Blog posts. Not only this she has been featured on the Piccadilly Circus billboard as well many bus stops around London. On top of all this modeling, she is an agency signed actress having played featured (and extra) roles in films, commercials, educational campaigns, short films, music videos such as the Assassins Creed Movie, BBC Christmas Commercial, MacDonalds Commercial, Case Files and others. She has just finished a year at East 15 Acting School, one of the top drama schools in the UK (as part of the federation of drama schools).
Throughout the Covid-19 Pandemic I have continued to create photographic images but my normal method of being in the same space as the subject had to change to being remotely connected via the internet. There are a number of ways to achieve a virtual/remote photoshoot and I will describe here the main approach I have adopted.
The fundamentals of a remote shoot are the same as are required for a real world photoshoot:- You need a photographer and a willing subject. The photographer needs to know how to compose an image, be able to communicate their wishes, listen to and act on the ideas of the subject, understand how light works. The main difference to a real world photoshoot in the method I use is that an app (e.g. Zoom/Facetime) and the subject’s mobile phone is used instead of a camera (other methods are sometimes available where the subject has a dslr camera and can allow the photographer to remotely adjust settings). To be clear this is not a selfie as the photographer presses the virtual shutter when they want to capture the image, with my method this means taking a screengrab, so the decision of what moment to capture remains with the photographer as it would in a real world shoot. There are many similarities to a real world photoshoot but some things have become very evident to me after conducting so many of these shoots: – A strong stable internet connection is crucial, the photographer needs to be prepared to give lots and lots of polite instructions e.g. where to ask the model to position the phone/camera for each set of shots,as well as direction for poses etc, so it is crucial that both parties know what is involved before participating.
The pandemic has been a nightmare for the creative community as it has been for so many people but remote shooting has helped my creative well being to stay healthy. In addition an enormous helping of fun has been had during the shoots which has been very helpful in these difficult times.
Will I continue with Remote/Virtual shoots when I can return to conventional shooting? Yes, I would love continue in addition to conventional shoots.
Fashion Designer: Linda Blissett
Photographer: Tim Copsey
Mua: Peyton Yoder
Hair: Lisa Ruocco
Model: Cerys Wrigley-Moss
British fashion designer Linda Blissett has derived inspiration for this collection from the Jacobite rebellion and the Battle of Culloden.
The collection takes the heather and earth muted tones of the battlefield at Culloden, using cut up and used upcycled pieces of tartan fabrics, tweeds and old kilts which are mixed up and sewed together to represent the coming together of the clans that fought at the Battle of Culloden (some of whom fought against each other) and aftermath of the battle when tartan was banned. Linda has also incorporated and interwoven real heather, pheasant feathers and ribbons.
For the structure of the the fabrics, she looked to scottish Artist and architect Rennie Macintosh and his wife Margaret MacDonald for the structural works they created.
The clan system was abolished after the battle of Culloden in 1746. This is represented by the mixture of tartans together and the loss of the clans at the time.
Tartan was later to be popularised by King George the IV And Queen Victoria to the modernity of tartan today.
Model: @billiedellios First Model Management
With special thanks to Dan Blake (London College of Style) for organizing the shoot