Sunday, 15 December 2013

Recommended Books for your course

(1). Photography The Whole Story (Hacking and Campany).

This book comes highly recommended because of the way that the information is laid out and concise nature of the each of the photographers and themes covered
Each of the themes or photographers are dealt with in a similar way, with a basic outline relating the photographers work/subjects/themes etc. Many of the pages include (as below in the Horst P Horst section) the "Focal Point" notes which are useful for students in that you get some sense of what could and should be analysed and considered within an image. 
Genres are covered as one of the theme elements within the book, and these come with a time-line at the bottom of the page contextualising the photography with the coinciding historical events.
Overall the book is great for basic information and giving you a feel of why the photography is seen as influential, innovative and important, all of the things that you need to be discussing within your projects in conjunction with your research.
If reading books isn't your thing and you just need to find the photographer that shoots a specific theme/subject - use my list here to find the photographer you need by searching by theme/subject.
(2). Photography Portfolio - (John Ingledew)
For the more practical elements of the course, how to do stuff and what to use and why and how it works, you should use this book - check out the reviews. To be honest it's not one that I own myself, at the moment I would recommend this one here, but I've ordered Ingledews 'Portfolio' a moment ago and once I've got it I'll update the blog, but it is highly recommended by my colleagues and the people that review it on amazon.
(3). The Photograph as Contemporary Art (Charlotte Cotton)
This book is a must for names, genres, ideas and concepts. The book is broken up into several sections which can be read in isolation. Each section deals with a type of genre and discusses the work in very concise terms giving you the basics leaving room for further and deeper research if required. The magic of this books is that it connects photographers, detailing who inspired who and leading you to new avenues and approaches. Concepts and ideas in photography as an under-pinning factor in the way that you approach your photography are fairly unique to FE and HE education, so this book gives you a really useful insight to this way of working with your photography.
(4). Langfords Basic Photography (Michael Langford).
As it says on the cover "The Guide for serious photographers". This book focuses on the actual doing, materials, techniques, processes and equipment aspects of photography. Back in the day if you were doing a level 3 course this was your bible and at the end of the 2 years you'd have absorbed most of what was in this book. For students looking to attain high grades - Merits, Distinctions, B's and A's, this is the book that will fill in for your lecturers inadequacies!

Saturday, 14 December 2013

Approaches to producing images - Typology

Typology (Work in Progress)

This is one of the approaches we cover and teach you about.

Typology is an approach where you focus on 'Types' and produce a series of images in sets, often presented as a composite on one single piece of paper, e.g. an A3 print with 9, 12 or 15 images or more. Alternatively the images can be produced singularly and then displayed as a set at the end of a project.

Within your longer projects, whereby you have to explore and experiment with different approaches in producing your images, this is one of the approaches that you can evidence in your work that has excellent opportunities to link with high quality research that evidences key points in Photography history. Typology also allows you to discuss several other elements in conjunction with the images/approach. If you look at Bernd & Hiller Becher, this will allow you to explore and discuss Objectivity Vs Subjectivity maybe linking with Deadpan and other artists such as Thomas Ruff and looking at the links his work has with Photobooth images and the imposition of a set of rules that takes the subjective elements out of the image taking process.


Other artists that you should look at directly linked to Typology are James Mollison and two of my Favourites Jeffrey Milstein and Alejandro Cartagena.


Jeffrey Milstein (Planes).
 Jame Mollison (James and Other Apes)
The images here all use relatively simple approaches with the exception of the Bechers, the Bechers would have used 10x8 view cameras, film and darkroom approaches. Similarly you have to make decisions as to whether you want to keep things simple and produce the work at the experimental phase using your digital cameras, but once you've produce your work in a number of different ways you might consider shooting your work using the Typology conventions and perhaps explore producing it with another experimental approach, or use film and Darkroom/analogue techniques.
Pinhole camera (As a Typology)
Mixed Media (As a Typology)
Liquid emulsion (As a Typology)
Images & Text (As a Typology)
All of the artists mentioned here have either been featured in recent Journals or have Youtube videos where their work is discussed and explained by either the artists or someone qualified to do so.
In terms of difficulty, this is a relatively easy approach with the potential to produce visually interesting outcomes that meet a great number of your learning outcomes required to attain the higher grades. Needless to say at the end of any work that you produce around the theme of Typology you should then reflect on the work that you've produced and consider it as a possible method of producing your final body of work. Because of the potential of Typology and the fact that it can be easily mixed with a range of different approaches, this could also be the main thing your project could hinge around and explore and could easily serve as your starting point for any independently led project?
Additional photographers that work using the Typology approach can be found here -

Friday, 13 December 2013

Recommended web links

This is probably the best photography website ever...  check out the 2 tabs at the top 'Artists' and 'Browse'.

Dazed & Confused on-line presence?

Learning resource for higher order thinking skills (Generic)

This is a useful link to a blog compiled by a lecturer at a college in the UK

Sean O'Hagan at the Guardian

Massive list of Photographers searchable by theme/subject/content especially useful for students.

Monday, 9 December 2013

List of Photographers and their themes

Whoa! The list has gone!!!

No it hasn't, it's just been updated and improved just click the link below...

If you've been re-directed here via a link in your assignment click on the link above. Once you're there use

CTRL + F to find the name of the photographer you were interested in. Once you've found the photographer, there should be another link to a high quality resource for your research.

Wednesday, 4 December 2013

Experimental/Alternative approaches in Photography

(Work in Progress). Here's a list of suggestions of a variety of different ways you could approach your work moving it away from purely digital and straight photography approaches. On your A- Level there is a requirement to explore a range of different and experimental approaches within your work.

Mixed Media - Victor Sloane, Peter Beard,

Subjective v Objective

Pop Art  - Julian Opie, Andy Warhol

Expressionism - Ernst Haas, Alfred Stieglitz (Equivalents),





Voyeuristic - Merry Alpern, 2,

Deadpan - Tereza Vlckova Thomas Ruff, The Bechers,

Typology - Bernd & Hiller Becher, Jeffrey Millstein,


Pinhole - Barbra Ess, Gina Glover,

Tilt Shift - Slinkachu

Liquid Emulsion - somebloke

Cyanotype - Anna Atkins, Wig Sayell,

Repetition Andy Warhol,

Degrading & Damaging - Ed Burtynsky (Chittagong Polaroids), Sally Mann

35mm & Darkroom techniques -


Joiners - David Hockney

Images & Text - Peter Beard

Found images -

Comic Book - Sin City, Ah Ha (Stand by me video).

Colour - Evzen Sobek a life in Blue

For more check out the list of photographers - CTRL + F and search "experimental"

Monday, 18 November 2013

Gibbs reflective practice in Art & Design

Why use the Gibbs reflective practice model to write up your written responses to your work?

 The reason we recommend you write up your work in this way is simply because it steers you to produce written content that meets the assessment criteria. Almost all photography courses will require written evidence that supports your practical work. Using the six prompts within the Gibbs Reflective Cycle brings structure to your work flow whilst at the same guiding you to write the type of content that meets the assessment criteria.

 When should you use it?

 Daily! Or if the situation suits it - more frequently; generally though, you reflect on your day’s activities and learning, so if you’ve been at college you’ll reflect on what you’ve done that day. If you’re working outside of college you reflect on those activities, the same as you would at college.

 Are there any exceptions?

 At the moment we’re advising that you don’t use the daily reflection approach during your research at the start of the projects. Focus on all aspects of your research ensuring that you get the main part completed in the first week or two. Once you’ve then completed the research, then reflect on your research making sense of it and finishing it off with an Action Plan which will normally include or form your proposal.

The 6 Gibbs Prompts (Click on the titles to go to the detailed desription).

What Happened - Describe what you’ve done/not done. Keep this relatively short.

Feelings – How do you feel your doing are, worried, confident, confused?

Evaluation – What’s been good and bad, again keep this section relatively concise.

Analysis – This is the important section and needs to be written up in detail.

Conclusion – What sense can you make of the situation, be concise?

Action Plan – Again another important section, you need to complete this with details.


Studio Stuff - Basics

Studio basics (For inspiration & ideas check out )

Here's some guidance regarding using the studio.

Equipment - The list here is broken up into 2 sections the first part is a minimal approach and the second section is my recommended full list and the third section is for 'Hardcore' serious students that are seriously interested in learning Studio lighting techniques.

  • Hot shoe adapter
  • Sync lead x 2
  • Sekonic L308 light meter
  • Tripod adapter
  • Tripod
  • Camera
  • Lens with focal length of 55mm or longer

  • Tool box - Pliers, wire, screws, blue tac, string, fishing wire, a range of tapes, long nose pliers, nails, bulldog clips, crocodile clips, pegs, drawing pins,

Work in Progress Sekonic L308 flash/light meter.

 Basic set up in the studio.
You need to set your camera up ready so that it's configured for studio use...
Set your camera to Manual
Set your ISO to 100
Set your white balance to Flash
Use a focal length between 55mm - 70mm (DSLR)
Set your shutter speed to 1/125 (DSLR)
Consider using Manual focus
Now configure the Flash Meter for use in the studio...
1. Set the Invacone so that it is in the position as in the image above (e.g. covering the sensor). The invacone is the white dome on the front of the flash meter.
Starting at the top of the meter - press the power button and the LCD display will come on.
2. "Mode" By pressing the mode button you will see the that the 3 symbols next to the battery power symbol (Top left of the display) are highlighted by a box appearing around them when they are selected. Select the 'Flash Cord' mode e.g the one with the flash symbol and the letter C.
 3. "ISO" On the front of the meter is the ISO button, press this and hold it down whilst pressing the 'Up' and 'Down' arrows on the side of the meter. You'll see that the number next to the word ISO on the front right hand side of the display changes, this will need to be set so that it corresponds with your cameras ISO e.g. 100.
4. "Shutter Speed"; Using only the Up and Down buttons on the side of the meter watch the number next to the T symbol on the left hand side of the display. Adjust these numbers so that they are set to the same shutter speed as your camera e.g in this instance 125.
The meter is now calibrated and ready to go in conjunction with your camera being set up per the instructions above.
Once you've done this, arrange your lights in the manner you desire. Then using the flash meter, make an 'Incident' light-reading. (With white dome in place).
Plug the synch lead into the hotshoe adapter and the flash unit/head...
The Measurement of the light

The basic principle is - you measure the light that is falling onto the subject. This is the "primary" light source, you may introduce additional lights at different stages and the light readings will become more complex. So, in the first instance use one light and take a reading for that scenario.

Hold the light meter close to a key element of the subject. In the example above, it's a portrait, so the light reading is primarily for the face. Therefore hold the light meter almost touching the face (if not actually touching the face) and press the trigger button on the side of the meter at the top. This will trigger the flash and the light meter will register a light reading in the LCD panel next to the F (Largest number in the display). This will be the light reading measured in aperture values F2, F2.8, F4, F5.6, F8, F16 etc.

At this point you make a decision as to what aperture you want to use. Do you want limited minimal depth of field or maximum depth of field? Normally with a portrait, you want as much of the person in focus, so you would normally opt for an aperture of F8 or F11. These are also normally selected because your lens works best at these settings.

Get your assistant now to make the adjustments to the power output of the flash head, whilst you make the light readings.
 Using the dials on the side of the flash unit, your assistant makes adjustments either increasing or decreasing the power output. Each time they make an adjustment...
"Increase the power by 1 stop" They should dump the charge manually via the discharge button on the flash head before you make the next measurement. You make these adjustments until you get the required light output that you're after say for instance F11 (Which will be displayed as the F number on the LCD panel on the flash meter).
Warning - You have to ensure the reading is correct, the F number is recorded in whole values e.g f 8 and 1/10th values e.g. f 83. It is important that you are aware of these tenth values and that you adjust the lights accordingly and you're advised to work with whole values when you're learning the basics.
Don't stand in front of the light when you're measuring the light.
Once you adjusted the lights and they're giving you your reading of F8 and you've checked it, the model will have to stay in that light zone, if they move closer or further away the light reading will change because of Inverse Square Law. Keep control of your models make sure they stay on the same plane of focus, make a mark on the floor and ensure they stay in that zone. If they have to move around you will have to adjust the lights again.
Now set your camera to F8 and away you go!

Sunday, 17 November 2013

Liquid emulsion (Decay)

This is a technique that I'd advise you to use at least a couple of times each year if not more within your projects. This is one of those techniques that you'll only really get a chance of seeing and using if you go to college and therefore if this technique is used and ends up in your portfolio is one that'll be noticed.

Using Liquid Emulsion (Paper Prep)

Initially you'll be introduced to this at a basic level - you'll be instructed to pre-prepare a number of different supports giving the impression that they are degraded/old. You may have already done this before at school, normally in conjunction with making a pirate map...

Get together a number of different types of supports for experimental reasons, make a note of the papers and where you sourced them from - mark the back of the paper with letters maybe and keep a record in your work-book/folders e.g...

a. Cartridge paper from sketchbook.
b. Bockingford water-colour paper.
c. Photo-copy paper.

*Note, it would probably be a good idea to put your name clearly on the back of the paper in a corner at this stage too.

Then at home or in college, prep the paper. Get a large dish and a number of tea bags, run hot water over the tea bags and or use stewed tea from a tea-pot and soak the paper in the tray. If you do several at the same time move them from the top to the bottom so those that are in the centre get a good soaking too.

When you've soaked the paper, screw it up and fold it as you get it ready to dry, as this'll add character and realism to the paper. Then place the paper somewhere where it can dry.

Additionally, once the paper has dried out, you can treat it further. Using vinegar, bi-carbonate of soda in some water, orange juice squeezed from an orange or lemon juice, flick and splash the solution on to the paper in a randon way to make it look like accidental spills.

Health & Safety warning.

This next stage is potentially dangerous and if you're a student you're advised to seek adult guidance when working on this next stage... Once you've treated the paper with one of the afore-mentioned liquids and it's been allowed to dry, the paper can be placed in an oven or beneath a grill on a very low setting so that the paper is heated and singed a little. Before the paper starts to singe, the liquids you've splattered/dripped on the paper should go dark brown, leaving some nice marks that make the paper look even more convincing as aged paper. The other thing that you can do is tear round the edges so that the paper is an irregular rectangle. This is optional.

Unibond (PVA Glue)

To massively increase the chance of your paper working first time, mix Unibond (PVA Glue) at a ratio of 1:4 (1 part PVA, 4 parts glue) and apply this to all of your papers. Allow this to dry fully before applying the liquid emulsion. What this does is seal the paper, the papers you've chosen will all have differing levels of absorbency and if the liquid emulsion is applied direct, the paper will absorb a great deal of the liquid emulsion diminishing its performance.

Once dried you should now have a handful of supports onto which you can apply your liquid emulsion.

Applying and Drying the paper.

As far as I'm aware all or most of the liquid emulsions solidify and become jelly-like under normal room or refrigerated conditions and prior to using them you need to warm the bottles up so that they chemical becomes a fluid again. I simply place the whole bottle in a large graduate (Measuring cylinder) full of hot water and leave it for 10 or 15 minutes.

While that's warming up, I take another graduate and two developing dishes, one of which is a 10"x8" and the other a 7"x5" into the darkroom. On a table set up in the darkroom specially for coating up the paper, I place the larger dish on the table and pour some hot water into the tray. The smaller tray sits in the larger tray resting at one end on something that raises one end up. Once under red light conditions the liquid emulsion is then poured into the smaller tray so that it collects at the warmer end that's partially submerged in to hot water. This keeps the liquid soluble and prevents it from solidifying and returning to its jelly state.

Using a Jaiban brush the pre-prepared paper is then treated with the liquid emulsion. I tend to use two light coats and try and leave an impression of the brush strokes at the top and bottom of the paper. This stage and the effect is something you learn through trial and error and it may take you a couple of attempts before you have a sense of how you like to treat the paper in your style.

Drying the prepped paper

Once the paper is coated, it then has to be dried and stored in a light-proof bag. At our college this is probably the most difficult stage as it takes a good hour or more to get the paper dried to the point where it can be bagged up. You need to liaise with the technician and the lecturers to establish a good time to get in the darkrooms and prep your paper and more importantly dry it without someone turning the lights on!

In one of the Darkrooms you may have noticed there's a piece of string above the enlarger bays, this is there to hang your prepped paper from, using pegs. I would advise that you bring in your own pegs. Speak to the technician and ask him/her if you can have a large fan or a air-con unit to circulate the air in the darkroom, once you're ready, they should come in with the fan and turn it on blowing air around the room. This is a far quicker technique and in some cases, your paper will be dried and ready to bag up in 20 minutes or so.

The paper needs to be completely dry otherwise it'll stick to the next piece of paper when bagged up. Make sure you have two light-proof black bags and double bag the treated and dry paper. I would then put it somewhere dark like a box or cupboard. If your paper is very buckled and un-even at this point maybe consider putting it beneath something very heavy to flatten it.


Printing is done in exactly the same way as you would with normal photo-paper, test strips etc. The only added time might be at the fixing stage 5 minutes and washing might be good for 6 minutes. The only other factor you need to consider at the processing stage is that some of the papers because they are so fibrous may tear very easily. It's advised to make your prints fairly small to combat this eventuality - "7 x "5. The larger the prints are, the more difficult it is to handle the paper without it disintegrating as it's moved from one tray to the next at the processing stage.

Drying the prints

You guessed it, this bits not easy either! This is a lot more difficult than the drying stage in the darkroom (In different ways). One thing you cannot do is dry the paper using a method that puts the paper in direct contact with metal, so metal drying cabinets with metal racks are of no use to you, your drying rack needs to be a wooden one like the ones we use in the prep room.

There are a number of approaches at this stage and things can go wrong, so you need to watch your paper and monitor it at the initial stages. The main thing you need to do is get the excess moisture out off the paper.
(1). Carefully put the paper on a window, place it vertically on the glass, the fact that it is wet will mean that it'll stick. The excess water will then drip off the print and you can move the paper from one place to another and each time you do so, some of the excess is left on the glass (Clean this as you go - so that the window is left clean).
(2). Get together sufficient sheets of paper A3 copy paper for instance, and lay the prints out flat on the paper, so that the paper absorbs the excess water. With this technique you need to move the prints every now and then otherwise they fuse together (Stick) to the paper beneath.

Once the paper is relatively dry and less likely to fall apart and tear, it can then be put in the drying cabinet on a low heat to dry either hanging up using pegs/clips or lying flat in the wooden racks.

At this stage the paper when it dries, tends to screw up badly and may need ironing/flattening out at home.

That's how you do it, the more you do it and the more you experiment the better you'll get at it, as with all things photographic. It is tricky and it is a palava, but if you persevere with it, it produces unique images that are beautiful and allows you as an A-Level photography student to identify experimentation at a very high level and the fact that it will take a couple or more stages to get it right identifies 'Development'. Record what you do and how you do it, using images and a diary approach to identify the 'Recording' aspect of your work.

If it's gone wrong...

Don't worry, in photography and especially with A-Levels a degree of experimentation that doesn't yield results is good, it allows for development of practice and skills. If it has gone wrong it'll probably be due to the choice of paper

Top tip

If you read this all the way through before under-taking the project this bit is going to be helpful. Not all papers work that well with these techniques and you have to go through a process of experimentation/trial and error before arriving at a point where you know what papers do actually produce consistent and reasonable results. Two that do work are... Mount board card; which is thick, but despite this, works really well. The other is Colorama background roll, used in photographic studios. If treated with Unibond before applying the liquid emulsion these are almost guaranteed to produce good quality results.

Another thing you can do to massively improve your chances with all papers is to treat the paper before coating it with the liquid emulsion is to coat it with Unibond/PVA glue this seals the paper and means that far less of the liquid emulsion is absorbed into the support and works better as a light responsive emulsion.

If you don't like the degraded paper approach, try it on the paper without staining it?

If you need to see work that is produced by contemporary photographers using liquid emulsion and other experimental approaches check out and search using  CRTL F and then typing in 'Liquid emulsion'.

Sunday, 10 November 2013

6126 Y01 - UAL Unit 4 & Unit 5 - MTP's Assignment (Portraits).

Work in progress

Unit 4: Introduction to materials, processes and technical skills
Unit 5: An integrated approach to 2D problem solving

In essence this work has 3 key components to it...

(1). The Research section that needs to be completed within the first 2 weeks.

(2). The workshop component (Experimental techniques) which is on-going throughout the duration of the project.

(3). Your own personal project, that must connect to your research and be developed, improved and refined over 3 or 4 stages, culminating in the production of 4 final high quality images that incorporate one of the experimental techniques that you've worked with in the workshops.

Section 1 - Research


Research - quick reference guide

Add the short version of how to order your research ASAP.

How do I use research?

Good research is essential for your A-Level/Level 3 work as it incorporates many of the elements that you're assessed against...

Your ability to record relevant data/information
  "                "    summarise information
  "                "    synthesise information
  "                "   make observations relevant to your intentions

It's also a skill you'll need to take forwards into employment and university, so, if you can come to grips with it now and develop the basic skills at this level it'll set you up for the future. The university point is especially relevant because when you go for your interview at Uni with your portfolio, they'll be looking at your work to see if you've engaged with this aspect of the course. Your research will be reflected in the kind of final outcomes you produce, so if you've accessed diverse and good quality research material and your work is obviously inspired by a range of different approaches and not simply Flickr, it will demonstrate a deeper understanding of what photography is and its potential. It'll allow the interview panel to ask questions such as 'Who is this work inspired by'? And you'll be able to come up with a coherent answer that'll show them your time on your A-Level was spent studying.

Using research...

The most obvious way of using research is by direct association with the theme. Again using the idea your project is about dogs as an example, you should search through journals and books constantly always keeping an eye out for images or articles on dogs for possible use in conjunction with your work. If that's not an option or you've done that and drawn a blank, you might then search my list of photographers and found a few photographers that use dogs as a theme within their work. That's a direct approach and for the most part that should give you enough info to work with, but there is another way that might be useful, especially if you're photographing a theme that is obscure.

Indirect association research...

Keeping with the dog theme... you might have found some direct research either from my list or better still from a journal that you've decided to use. But, because you were using journals you also accessed so much more photography by the process or perusing the magazines and journals and in between looking for the dogs a number of other photographers caught your eye simply because of the way their images looked. For instance you may have seen the work of Don McCullin...
 Whilst this has nothing to do with the dogs project directly, it still may be worthy of a place amongst your research. You may have stopped at this image in the magazine simply because of the starkness and the mood evoked by a number of visual language elements within the image? Having looked at some of the specific dog research material, you may have got lots of ideas and were able to analyse the work of the photographers. But, you can do the same with indirect subject matter such as McCullins image here...
"Looking through the BJP's for dog photographers, I came across the work of Don McCullin. Whilst it doesn't feature dogs, I love the way that he produces these images and the stark effect he produces in his prints and it might be something I could consider incorporating into my own dog images? My dog project to some extent might explore the more menacing aspects of dog ownership and the relationships people have with their dogs and therefore this approach here that McCullin uses might offer a way in which I can evoke more negative connotations through the use of visual language".
As a student you could then (as advised) produce a high quality image of McCullins and then go through the process of deconstructing it and analysing it using the prompts on the Visual Language Analysis page add a few more smaller images to support your observations relevant to your intentions. Have a look at the interviews on Youtube, listen to what he says about his photography, look at the transcriptions of any interviews that are published on the internet (Search Google using "Don McCullin + Interview"), he's virtually guaranteed to say something about why he takes pictures that has some resonance with what you're doing - use some of this as quotes within your research ensuring you record the source in your bibliography.
Then towards the end, when you've identified that you've established as much info as you need to on McCullin, bring it back to your dogs (Or your theme) and reiterate the connection and how you're going to use aspects of McCullins practice in conjunction with your own work.
Other aspects that might drive your work forwards towards that A-Grade is the fact that through your research you might identify that for the most part his work is recognised for his war photography. You might discover that he uses a particular type of film... That then might lead you to conclude...
"Having looked at McCullins work in more depth, I understand that it's all shot on 35mm cameras much like the Pentax K1000's we use here at college. I've been inspired by this work and it's made me want to try and shoot my project in this way using film. Having spoken to our lecturers they say one of the most popular choices of film for this kind of approach is Kodak Tri-X Pan, so I'm going to try that out and see if I can get this affect..."
Which means your research (As intended) now gets you to start experimenting with new and exciting approaches to producing images - picking up on increasing amounts of learning outcomes as you go!

Gibbs - The six prompts + explanations

(1). What Happened? - Section 1 in the Gibbs Reflective Cycle

This is the first prompt of the Gibbs Reflective Cycle and you should use each of the prompts in your blog to break your written work up into clearly defined sections.

Normally this doesn't have to be a long section, because you're simply describing what you've done, don't start to write up why you've done things or any detail beyond a simple description. Keep this short and concise, unless of course you've done a lot of things...


(1) What Happened?
 Saturday 31st. It’s been pretty much a day of reconnaissance, research and preparation. I’ve been out and priced up a lot of the stuff that I’ll need and I’ve found where I can get my prints made cheaply. I’ve done two shoots and done some short term analysis that then led me to conduct the 2nd shoot and develop the work further. I’ve already placed an order for the 1st batch of prints.

(2). Feelings

This is the second prompt and this similarly to the first, is usually a short and concise entry. In this one you're just writing about how you feel and you use terminology that relates to your feelings... Confident, stressed, worried, concerned, inundated, not coping, on top of it, cruising. It's also a good vehicle to highlight some of these concerns, because your lecturers may pick up on them and react to them once read.


(2) How do I feel?
 At the moment I’m feeling okay about things as everything is coming together okay, the only foreseeable problem is the turn around time for my prints, so that a little concerning. I’m unsure about whether to put in the extra effort to make the 3D support, or buy a skull or look at one of the other options?
(3). Evaluation (What was good/bad)
Again the third prompt can be short and to the point. Simply write about some of the good and bad stuff. When you write about the good stuff, try and focus on new learning and new experiences as a priority, but don't go beyond basic describing.
(3) Evaluation
 At the moment the good stuff out-ways the bad stuff, the lessons are all coming together nicely and I feel like I’m learning at a rate that I can keep up with. This lesson in particular was really useful and has made me realise a few things about the light in my flat where I am going to do my location shoot. I also think now if I look at photographs and paintings I’m going to be able to analyse the light at least in terms of where its coming from and whether it is point or diffuse light.
 Bad stuff, is primarily down to me being lazy. The work from the last three weeks wasn’t written up like this and I’ve still yet to use my camera outside of college and I really do need to try it out at my flat. I’ve not been printing off the images from the lesson and these images here are the first to have gone in my book, so I need to catch up.
(4) Analysis - (The details)

This is possibly the most important section where you demonstrate your knowledge and make connections between your research and your own work. You need to question what you're doing and look at how things may be done differently in order to affect improvements within your work. One of the methods I recommend is to build in the frequent use of the question What if?

You should use your own images on the blog and analyse them in terms of their visual language content, describe the changes and improvements from the previous shoots, compare and contrast the images.

Continually refer to the connections between your research and your work, explain what aspects you're borrowing and being influenced by, how and why they work in your images?

Use this section to describe the use of your camera, analyse the use of it... What if? Maybe if the camera was used in another way or even a completely different camera, how might this force improvements?

Analyse the light for definite! You're a photographer, light is your main tool, light is what helps to tell the story, defines your own style.

Generally, all analysis gets beyond mere description and into examination and explanation.

 Analysis is the process of breaking a complex topic or substance into smaller parts to gain a better understanding of it.

Example 1
Example 2


Friday, 8 November 2013

Corrine Day

This is on-going; Research into Corrine Day form a variety of different internet sources all of which are identified. None of this is my work as yet.

If you're looking for a simple intro to the work of Corrine Day have a look at this book here especially if you're a student studying Photography at Level 3

Primarily I'm looking to establish that Corrine Day is up there with David Bailey as one of the most influential fashion photographers ever. One of the other things I'm trying to establish is what equipment she uses. As a reader of the Face magazine prior to its demise, I have this vague recollection of some information that she used compact cameras for some of her shots, but as yet I can't quantify this. At the time of writing Nov 2013, I've established that for her later commissioned work she used Hasselblads and for a lot of the documentary work she used a Pentax 35mm camera. This is evident from the image below (Contact sheet). The image below that shows a set-up image which initially looks as though it's the photographer caught in the image, but it's not the angle is completely wrong and you can see from the way the bloke is holding the camera and therefore not Corrine Day, it's not a photographer at all. But, the question begs - whose camera is it and is one that Day had at the location/in her 'Kit Bag'?

I've contacted one of her assistants who worked with her on some of her shoots and asked him if he ever spoke to her about the way that work was made. I'm still waiting to hear back from him.

1st Oct 2014- I didn't get a response but have added this today...

Check the link and have a read of the text - it's one of the better accounts alluding to how influential Corrine Days work is.

Source -

Some of her work is being exhibited at the moment and I'm hoping to go and have a look.


Corinne Day Biography


Corinne Day (b1965) is a British photographer whose influence on the style and perception of photography in the early 1990s has been immense. As a self taught photographer, Day brought a more hard edged documentary look to fashion image making, in which she often included biographical elements. Day is known for forming long and close relationships with many of her sitters (most famously Kate Moss), which have resulted in candid and intimate portraits. The most notable of these being the photographs of Moss in the 3rd Summer of Love editorial for the FACE magazine in 1990. Days approach as illustrated within the lifestyle and fashion magazines of the 1990s, came to be known as grunge and grew into an international style.


In 1993 Day photographed Kate Moss in her own flat for British Vogue. In the context of a fashion magazine the images appear to have a documentary feel about them and when published caused a certain frisson of discomfort.

For the following seven years Day spent much of her personal time taking photographs for her first book, Diary (Kruse Verlag, 2000), an intensely personal visual record of her life and friends. It is by turns both bleak and dispearing but it is also a tender, poetic and honest chronicle of young lives.

Corinne Day continues to take photographs for fashion magazines. She is regularly commissioned by British, Italian and Japanese Vogue. Days work has been exhibited at the National Portrait Gallery, Victoria & Albert Museum, Tate Modern, Saatchi Gallery, The Science Museum, The design Museum, Photographers Gallery, Gimpel Fils London and included in The Andy Warhol exhibition at the Whitney Museum NY.



Corinne Day wasn't like other fashion photographers. "I like my images to have a certain amount of realness in them," she told me in 2007.

"Fashion magazines," she frowned, "it's all fantasy, isn't it? I've always liked to go in the opposite direction."

In fact, you might say Corinne Day wasn't a fashion photographer. "I've never liked fashion photography," she said. "It's so superficial." She'd never have wanted a limited-edition unicorn-skin designer bag.

One year on from her untimely death at the age of 48, Day's work, legacy and memory are being celebrated with a new exhibition. The venue - a Mayfair gallery - might not have appealed to the non-glam, uncompromising, rock'n'roll-loving artist whose bare, naked, naturalistic photography revolutionised her industry.

But she would have approved of the organisers' model selection. Kate Moss, who features in most of the pictures on show at Gimpel Fils, was a gawky 15-year-old Croydoner when Day first photographed her. Corinne Day: The Face, which opens today, draws together images she shot for the iconic style magazine in the early Nineties.

Day helped Moss become the face of The Face.

My years as deputy editor of the magazine came a few years after the heyday of the Corinne'n'Kate show. But their groundbreaking collaborations continued to help define what our magazine was about long after they had moved on to Vogue, "grunge/heroin chic", supermodel status and international fame.

Moss's first appearance in The Face was on the July 1990 cover. The "3rd Summer Of Love" issue promised "Stone Roses on Spike Island, an A-Z of the new bands, Daisy Age fashion, Hendrix and psychedelia". What better to convey all this than a black and white image of a freckly, toothily smiling teenager in a feather head-dress? Yes, the fashion shoot took place on a beach, but it was none-more-grey Camber Sands. This was British youth culture - British youth - at its buzziest best. The pictures were fresh, fun, carefree of pretension, completely honest and totally now. It was 21 years ago, but they still look totally now now.

Day's visual "style" ­- baggy knickers, no make-up, the bedsit as studio, a radiator as prop - had floated into existence during her own modelling days in Milan. "I'd photograph my girlfriends who were models. We were all so poor, living on bread and wine and spliffs!" she told me. "And I just used to document them in their pyjamas, pissed and stoned, just for fun, just as a hobby."

Moss became Day's muse. They lived together for a while, and worked together for three hectic years.

Later they didn't speak for seven years - "her life went that way, my life went that way" - but in 2007 Day photographed Moss for the National Portrait Gallery's permanent collection.

In 2009, friends of Day announced they were trying to raise £100,000 to pay for treatment for her in an Arizona clinic. At Christmas 1996 she'd undergone treatment for a brain tumour and had fought illness ever since. The "Save The Day" campaign auctioned prints of some of her portraits of Moss. The money poured in but the treatment didn't work. Corinne Day died on August 27, 2010.

She had documented her 1996 operation in her 2000 photographic book Diary. Why had she done that? 

"I just carried on living!" Corinne Day laughed.

"I had an operation, I came out on Christmas Day and I went to a party on New Year's Eve. And just carried on life."

You can see such life, that vivacity, on show at Corinne Day: The Face.



Below is an interview that Diane Smyth had with Corinne Day in 2008. The article was published in the American magazine PDN.

PDN: How did you get into photography?

Corinne Day: It all just happened by accident. I was living in Italy with my boyfriend Mark, and he taught me how to use a camera. As soon as I started taking photographs, I loved it. I felt I’d found my feet.

I took photographs of friends who were models, drinking red wine, smoking joints. I didn’t like Eighties fashion because it was all so fake—shoulder pads and makeup. I’d worked as a model in Italy and I always thought the models looked so much more beautiful in everyday life than in the magazines. I liked it when they were being themselves; they looked so much more relaxed and natural.

Then an old friend of mine in LA, a model agent, saw my photographs and said, “They’re great, go to a magazine.” I said, “I don’t think they’ll like them.” But he recommended me to The Face. So [the] next time I was in London I went to see them. They liked them, but told me to go and do a shoot with a model, but I didn’t know any models, I hadn’t lived in London for years. So I had to go to the agencies, and that was how I met Kate [Moss].

I looked at her and thought, “She’s like me.” I knew how the models felt, especially when they were new, and also she was cheeky, and I really liked that. That’s how it all began. We helped each other out.

PDN: What did you make of the controversy over the 1993 shoot with Kate Moss?

Day: It’s not often that a photograph, especially a fashion photograph, is controversial. I didn’t understand why people were so upset. I thought they [the photographs] were funny.

PDN: Robin Muir [former picture editor of British Vogue] has said that you “opened the door” to photographers such as Juergen Teller, David Sims, Glen Luchford and Nigel Shafran. Do you follow their work?

Day: I haven’t followed what they’re doing—I don’t look at what’s in fashion, I just do my thing. But I would say we’ve all gone in different directions. For example, I’m not sure if Nigel ever really liked fashion, he’s always been the same, just doing what he wanted, taking pictures for himself not anyone else. It’s different for me, I do love fashion, and I enjoy working for Vogue. I’m always inspired by fashion.

PDN: You’ve said that fashion photography is 80 percent casting. Do you still believe that?

Day: Yes. One of the reasons I love shooting fashion stories is that you can create a character, an individual like you’ve never seen before, but you try to bring out the model’s personality and the clothes so that it looks more real. It helps if the subject has a strong personality—that comes through. It comes through much better than the clothes.

It’s easier to shoot if you know the model well because they relax and you get more from them. You don’t have to tell them what to do—it’s hard to explain. Kate and I were very close friends and I could just photograph her and not even talk to her. My fashion photographs of her were really portraits.

I like to see a really beautiful girl who doesn’t know she’s beautiful. It’s a more natural beauty. I’ve always been interested in Kate, and I still am. But when she didn’t know she was such a beauty, she was amazing.

PDN: What was it like shooting Scarlett Johansson [for BritishVogue, May 2004]? Are you comfortable shooting more glamorous images now?

Day: British Vogue asked me to photograph her. I enjoyed it. I’d never shot her before but she was really natural and it was an easy shoot to do. I wanted her to forget I was there and for this lovely face to come through. Inside the magazine, I did get a picture of her when she’d just had her makeup done, with her feet up, looking more real. But the cover shot is very glamorous; they chose the dress, so it wasn’t real.

I find glamour interesting now. When I first started taking fashion pictures, I wanted to go in a different direction to where fashion was supposed to go at the time and take more documentary pictures. At the time, British Vogue only had very glamorous shoots, so I wanted to show models with no make up. But you move on. Now I work in a different way. Holes in jumpers [sweaters] are something I used to like—you go off fashions. I liked it then, but I don’t wear holey clothes any more.

PDN: Your shoot for British Vogue, October 2007, features couture clothes and a photograph of a model posing with a giraffe. Was that a nod to Richard Avedon’s “Dovima and the Elephants”?

Day: It wasn’t a nod to Avedon! I was in the car with my husband driving past the zoo at [London's] Regent’s Park and I saw these giraffes, and thought, “wouldn’t it be nice to do a shoot with them, because they’re so tall and elegant, just like models.” Then I had a call from Kate Phelan, the fashion director at British Vogue, asking me if I’d do a shoot at Victoria and Albert Museum, very glamorous, all couture dresses. It all started from there, it was nothing to do with Avedon.

PDN: Many of your fashion shoots are in unusual locations—everywhere from the Glastonbury festival to Kate Moss’s apartment. Do you enjoy shooting on location?

Day: I like to work in the studio, but I love to work on location. A location can make an image more gutsy, so it doesn’t necessarily look like a fashion shot. It can look more documentary or more arty. My favorite location was a condemned old tower block [public housing project] in Hackney [East London]. It was amazing. My friend Emma found it—she was working for the local council so she got permission for me to shoot there.

PDN: I’ve read that Nan Goldin’s The Ballad of Sexual Dependency had a big effect on you and your work. Could you say a bit more about it?

Day: In 1993 I had just been asked to do a campaign for Barnes & Noble and while I was there I went and had a look at their photography section. I’d never seen a photography book before, but the first thing I picked up was Nan Goldin’s The Ballad of Sexual Dependency. It really opened my eyes—I realized that photography could go wherever you want.

PDN: Did that spark the Diary project?

Day: I’d already started to photograph my life and friends but, as I said, Nan’s book made me realize how far you can go. At that time, I thought everything should be photographed.

The Diary didn’t start out as a book, it became a book about three years after I started taking the pictures. I did the Diary for seven years, photographing everything, but I got bored of it after a while. Now I don’t want to photograph my whole life day by day. It’s a time in my life that wouldn’t happen again. You go through a phase in your life, then you move on.

I’d definitely like to do another book, I’m putting some ideas together now. It’s just a matter of finding the time. I want to do a book and an exhibition—it’s really nice to be in galleries. But again, it’s just getting around to getting the work printed and putting it into the galleries.

PDN: A lot of the images in the Diary are of your contemporaries, but you also included photographs of your grandmother. Why did you do that?

Day: She was such an important person in my life. She was a fantastic person, so stylish and such a massive influence on me.

Maybe it’s because I was raised by my nan, but I really like photographing really old women—in their 70s, 80s, 90s. I find old faces really interesting. They’ve lived a life, these women. You can learn from them.

PDN: I’ve heard you asked your boyfriend to photograph you when you went in for brain surgery. Why did you ask him to do that?

Day: When I was going under I asked Mark to photograph me. I told him, “Stand there so I can’t see the doctors,” but I was also thinking about how he was going to take the picture rather than what was happening. I needed pictures because I was so scared. It took my mind off it.

PDN: Are technical issues important to you?

Day: I use a Hasselblad medium format—I’ve been using it for six months. Before that I used a Pentax for many years; my assistant suggested I try the Hasselblad. I like it because it’s clearer, but the thing I don’t like is the gravelly focus. But I have to say I’m not crazy about cameras. I’m not one of these people who like to talk cameras. I like to make a picture.

PDN: What else have you got coming up?

Day: I recently shot the Hermes catalogue, which I really enjoyed. It was really good fun to take these very classic clothes and show them in a non-classic way.

French Penthouse recently asked me to work for them, and hopefully it will happen. I’ve got a few girls lined up. I shot [model] Rosemary Ferguson for Penthouse. I met the editor at a Vivienne Westwood party and he asked if I’d like to do it. I thought, “That would be fantastic!” It was a title I’d never thought of working for, but there was no doubt in my mind. I do like to photograph girls quite naked, because it’s more natural.

I’ve also been doing some film work, and I’ve been asked to do a perfume commercial. I love film. Moving images are very different to stills, but I’ve always directed people and in fashion shoots you’re always telling little stories.

Something very strange happened to the terminally ill fashion photographer, Corrine Day as she came closer to death.

She discovered glamour. Looking back, it's quite a shocking transformation. Shocking but inevitable at the same time. As Day's life drew to a close, her fashion photographs no longer dealt with the grubby realism of run-down tenements and the strange but fascinating ways of the inhabitants. Most probably she no longer wanted to look at that kind of thing. Almost overnight, rawness was replaced with refinement. It was a natural evolution.

Suffering the torture of a brain tumour – defiantly she had almost every grisly detail documented – was enough reality for Corrine Day. She turned her eyes to elegance. Her most recent work, fittingly entitled "Golden Years" for the October 2007 edition of British Vogue could easily have been taken by Horst. That's how accomplished, refined and breathtakingly beautiful this portfolio of photographs was.

Everyone who is anyone in fashion, and beyond, will know Day's legacy, her former celluloid signature: dirty, wasted, fresh, innocent, real. Council houses, not couture ateliers, were her natural domain. Day was an accidental photographer, an international glamour model with no formal training, but a faultless instinct which she followed until the day she died. Bored out of her mind, waiting for shots to be set up, Day picked up a camera and started to snap the scenes around her. When she was asked by The Face to come up with some fashion shots she trawled through the look books of the London hopefuls and came across a 15-year-old waif from Croydon called Kate Moss. It was a natural pairing, one that was to prove unbelievably fruitful for both. They were kindred spirits, two Cockney adventurers who fancied a mad day out. "I thought. She's like me," Day recalled years later. "She was cheeky, and I really liked that."

The snaps taken on Camber Sands were sublime in their innocence. Moss was running around in a feathered headdress and shod in Birkenstock sandals. "I was just having a laugh," Moss remembered. "Corinne just wanted to bring out everything I hated when I was 15. My bow legs, the mole on my breast, the way I laughed."

This daft adventure, which ended up being featured in the Third Summer of Love editorial for The Face in 1990, propelled both Day and Moss into fashion wonderland. It was a seminal moment, later to become a photographic exhibition at Gimpel Fils entitled simply "Fifteen". They both became world famous, and neither of them were ever to look back.

Day became the uncrowned queen of a new trend. The media gave it a name: Heroin Chic. After The Face came the call from Vogue. In 1993, the new editor, Alexandra Shulman, formerly of GQ, wanted to add some reality to the proceedings. She had a quest to inject more affordable, high street clothes into the magazine and commissioned Day. So the portals of Condé Nast saw something they hadn't entertained before: grubby carpets, visible pubic hair, American tan tights, a PVC sofa and a bare radiator. The model, Moss, looked bleakly into space. The New York Times described her look as "very young and very dead".

It did, of course, cause controversy; some may say of the wrong kind. Susie Orbach, a staunch feminist, said they were "just this side of porn", while the Cosmpolitan editor Marcelle D'Argy Smith called them "hideous and tragic". In truth, the trend, also referred to as "dirty realism", jarred the flow of the Vogue fashion pages and looked utterly out of place.

Following her diagnosis of a brain tumour in 1996, Day turned the camera on herself. Even in periods of prolonged, intense pain and incredible distress she asked for her surgery journey to be recorded. In 2000 she staged an exhibition at the Photographer's Gallery simply entitled "Diary". It was an intermittent photographic record of herself and everyone around her. By then she was extremely ill and was acutely aware of the value of friendship. In a nutshell: the people around her were pulling her through. "Good friends make you face the truth about yourself," she said, "and you do the same to them, as painful or as pleasurable as that is." She held an exhibition which celebrated the life-enhancing qualilties of friendship, epitomised by Tara, her best friend.

Corrine Day's legacy is her honesty, the turnaround in her style a natural consequence of what she was going through. "Fashion photography has always been about fantasy," she said. "I wanted to take it in the opposite direction." Later, in the exquisite Golden Years shoot, her final curtain call for British Vogue, it is telling that one of her most beautiful shots is of a model, wearing a curvaceous black evening dress standing on the platform of the London tube. Chiffon is flying. The train is speeding past, leaving the station.

Corinne Day, model and photographer: born 19 February 1962; partner to Mark Szaszy; died 27 August 2010.



Was Kate Moss exploited as a young model?

In 1990 she was just 16 when a nude photoshoot launched her career. But it wasn't a happy time, says the supermodel


Kate Moss poses nude in 1992, two years after the topless photoshoot that launched her career. Photograph: Alamy

She is laughing, but the body language couldn't be clearer – Kate Moss covers her bare breasts with an arm, and hunches over, trying to conceal the rest of her naked body with a sunhat. The photograph, one of a series taken by Corinne Day that also included a topless photograph, appeared in the Face magazine in 1990 and launched Moss's career, though two decades on she does not remember the shoot as a happy one.

"I see a 16-year-old now, and to ask her to take her clothes off would feel really weird," she says in an interview with Vanity Fair. "But they were like: If you don't do it, then we're not going to book you again. So I'd lock myself in the toilet and cry and then come out and do it. I never felt very comfortable about it."

Moss also tells the magazine that she sought medical help for anxiety two years later. "Nobody takes care of you mentally. There's a massive pressure to do what you have to do."

This happened 20 years ago – and Moss, of course, went on to have a phenomenally successful career, becoming one of the most powerful models, and remained close to Day.

Other models, though, say the industry is not much different now. "Nothing has really changed," says Victoria Keon-Cohen, a model and founding chair of Equity's Models' Committee, which now has around 800 members. "Until we started the union there wasn't any recognition of this kind of treatment in the industry. We wanted to help young models assert themselves and understand what rights they have. Unfortunately what Kate is talking about does still happen and has happened to me."

"It is not uncommon for models who are children to be asked to take nude or semi-nude photos," agrees Sara Ziff. "I started modelling at 14 and there were several occasions where I was put on the spot to take topless photos." Ziff founded the Model Alliance union in the US to set standards, and doesn't think "significant change is going to happen until there are laws that protect child models in the way other child performers are protected". In a previous interview, she described how, when a 16-year-old model complained that a 45-year-old photographer had propositioned her, "her agency said she should have slept with him".

But as Moss's comments show, it isn't only predatory men who are the problem, but a blurring between sexual imagery and fashion, and the models who have to negotiate it are often young – and fear speaking out.

For any model worried about their career, the pressure to keep quiet is strong enough, she says, "And then you've got girls from eastern Europe who are responsible for supporting their families."

"There will always be horror stories, but I think it's a less frequent occurrence now because I think everyone is much more aware of [models' wellbeing]," says Rosie Vogel, bookings editor at Vogue. "These younger girls often have chaperones - their agent would be there." Vogue's minimum age limit for models is 16. "Not everyone has the ethics that we do, and you can't police everyone. There will be people who will exploit girls but hopefully it's getting better. A lot of the girls are more outspoken and they're not as afraid to say they are not comfortable."

Do agencies do enough to support their models? (Storm, Moss's agency since she started, didn't respond for this piece). "Some do look after their girls, but they are a business and they have a lot of models to take care of so it is very difficult to make sure the support is consistently there. That's another reason we started – so models can have their own access to counsellors and a support network. It is improving but it's a long road," says Keon-Cohen



Kate Moss photographed in Borneo by Corinne Day. Photograph courtesy of the estate of Corinne Day and Gimpel fils

Corinne Day, who died last August, will be remembered for transforming fashion with her pictures of the young Kate Moss for the Face.

Corinne Day


Gimpel Fils,



Starts 1 September

Until 1 October

While her famous shot of 16-year-old Moss wrinkling her nose in a feathery headdress was actually the second time the model had been on the cover of the style mag (the first time was two months earlier – improbably, an Italia 90 special), Day's photographs seemed to sum up a new era. The early 90s was a time of hedonism, hope, and change: repressive regimes around Europe were toppled, the Berlin wall came down, and rave culture seemed to offer young clubbers a glimpse of a utopian society.

The photographs in this small exhibition, not featuring that cover shot but mainly culled from two 1991 Face fashion stories, recapture that feeling of optimism: of a coming generation deciding to do things their way. Instead of the imperious busty glamazon you'd find in an 80s fashion shoot, you have Moss.

With lank hair, no make-up and wearing what look at this 20-year distance to be charity shop finds (scuffed boots, tatty jumpers), she's beautiful but fresh and real: recognisably a girl from Croydon. In a series of pictures taken in Borneo, she seems barely older than the local kids. One shot sees her leading a grinning young boy whose face is surrounded by the petals of a giant paper flower, like Barry Mooncult, dancer with early 90s band Flowered Up . In another, she's posed in a tropical location, but wearing a floppy hat and clutching a bottle of beer, more Club 18-30 than Condé Nast Travel.

Day's pictures junk the materialistic trappings of the 80s. Instead of glossy aspiration, she celebrates the ordinary – cracks in the wall, Rizlas on the floor, the grotty carpets immediately recognisable to anyone who's ever lived in rented accommodation. Out go big hair and shoulder pads: in come drainpipe jeans and secondhand shirts (not yet described as "vintage"). A picture of a young man lying topless by a lake as the sun goes down foregrounds the litter, gravel and muddy patches that earlier fashion photographers would have been at pains to remove.

Moss has been so omnipresent over the years that looking at old pictures of her is inevitably a nostalgic experience. A series of 2007 close-ups allows us to compare then and now, although she seems to have escaped with only a few wrinkles in these passport-photo-like shots. (A Juergen Teller shoot in Self Service magazine last year was far more brutal.) The real novelty is seeing close-ups of her talking, since she utters so few words in public.

While Day's aesthetic – of finding beauty in the mundane – soon became commodified by brands such as Calvin Klein, these pictures still have a tangible idealism which is bittersweet in hindsight. Their mood is summed up in the slogan of a brooch Moss is wearing in a couple of pictures. It reads "Heaven is real".




In her early work, Corinne Day candidly documented the private codes and rituals of those around her. Often using her Soho flat (above the former Dazed office in Brewer St) as a backdrop, she shot struggling models sprawled out on her sofa and friends in hazy comedowns. These photos, taken between 1987 and 1996, reveal both the counterculture spirit of post-rave 90s youth and the darker side of the fashion world, and are now being celebrated in May the Circle Remain Unbroken, an exhibition and book by Day’s husband, Mark Szaszy, and her friend and muse Tara St Hill. 

It’s now just over three years since her death. For Szaszy, going through her archive has been difficult. “There were times when Tara and I would both be struck down by a wave of sadness and we had to get up and walk away,” he says. Here, Szaszy shares personal memories of three early works. 


Corinne Day's photographs influenced a generation of fashion and documentary image makers. Her pictures unflinchingly documented her life and relationships with a realist snapshot aesthetic-representing a youth culture set against the glamour of fashion and avoiding fictionalisation or voyeurism. Gaining notoriety both for a scandalous photo of Kate Moss in Vogue in 1993 and for pioneering so-called 'grunge' fashion photography, for a time she was exiled from the mainstream fashion media. Corinne later returned to the fashion and art world with works exhibited and collected in galleries and museums worldwide. Corinne Day died in August 2010, and in her first book since, we celebrate this icon of photography with a series of previously un-published early works.

Included are texts by Charlotte Cotton & Glenn O'Brien
Cover fonts are desgined by Pablo Ferro


Photographer Corinne Day's raw images, including the candids of Kate Moss sprawled across their rented Notting Hill flat in mismatched underwear, define the 1990s. Her iconic The Face shoot with a 15-year-old freckly Moss in a feather headdress ushered in a new rebellious style which came to be known as 'grunge,' as well as launching Kate's career. 

A new retrospective, named after one of her favourite songs ‘May the Circle Remain Unbroken,’ which honours the late photographer opened this week at Gimpel Fils gallery. The exhibition and accompanying book focuses on her early work, with previously unseen photographs taken between 1987 and 1996.

The exhibition was carefully edited by her husband, film-maker Mark Szaszy along with Jackie Haliday from Gimpel Fils gallery, publisher Aron Morel, Corinne’s best friend Tara St Hill and her former agent Susie Babchick. The collection focuses on spontaneous snap shots of Corinne's friends, taken in their Soho flat, with the aim of showing 'the friendships that formed over 20 years ago and continue to endure three years after her passing.' A series of music videos created by Szaszy will also be shown alongside Corinne's photographs.

Corinne Day, who died in August 2010 after suffering with cancer for a decade, is known for her documentary-style photography. As Day said 'photography is getting as close as you can to real life, showing us things we don't normally see. These are people's most intimate moments, and sometimes intimacy is sad'. The photographer is credited with launching Kate Moss' glittering career, as she endlessly shot candid pictures of Kate when they lived together in Day's Soho flat.


Volt Café: How did you first meet Corinne Day?
Tara St Hill: My boyfriend met her at Tooting Bec Lido. She wanted to shoot him. I wasn’t keen initially! But when I discovered she’d worked for The Face I relented. We went to her flat in Brewer Street. She was wearing this epic long denim skirt, cap sleeved tee and battered adidas. I just knew I had to get a skirt like it! We really hit it off and she did several shoots with my boyfriend.

VC: What did you do for a living at the time?
TSH: I was working as a runner on The Word, nothing serious. Corinne and I started shopping together and I started making stuff for shoots. Mark (Szaszy, Day’s boyfriend) suggested I should become a stylist. It was exciting times, Oasis was happening, Mark had shot their video, which I worked on. We discovered Ray-Gun magazine, who were great, they gave us absolute freedom. Her work was so fresh. She was my best friend.

VC: Was it very difficult to edit the images for the book with Mark?
TSH: Very. Some days we just had to leave it, it was too emotional. I don’t think either of us could have done it on our own. It felt like a gift. But doing this book was an opportunity to show it wasn’t all darkness, there was lots of light and laughter, too. I wanted to show the whole picture. She edited her work to only show the dark, I wanted to show it all.

VC: Would you say she was attracted to the dark side? That in a way, that was considered more ‘interesting’ to an audience?
TSH: I think so. She was attracted to the dark side but also very cautious. Some people are natural caners but she always held back. She was never really into drugs although she was around people who used a lot of drugs.

VC: Were any pictures excluded because they were too personal?
TSH: No. They just needed a reason to be in there. To be less like someone’s personal story and more like a documentary. People want to see her work. We had to think ‘what would Corinne have done’? My gauge was, would she have published it? I had to fight for some images – like the one of the little girl on the floor. The publishers were against including it but I remember Corinne always had that image in her flat, she loved it and it was one that very important to her. I hope the book comes across as one that was made by people who loved each other – not overly personal in a cheesy way.

VC: The images she took of you and the people around you look so effortless, so uncontrived. How aware were you of her shooting?
TSH: Never felt like you were ‘on camera’, it was just Corinne. I mean, if I felt she was annoying me shooting, I’d tell her to stop. But it never really felt intrusive, never felt like she was getting in your way. When we edited, it was strange to see the evening unfold in the pictures. She loved the fleeting moment. She’d spend hours getting the shot. So patient. She’d sit there and sit there and sit there! We tried to show that in the book – the 6 – 7 shots that led to THE SHOT. I wanted people to see the process.

VC: Were you conscious of her fame and her working relationship and friendship with Kate Moss?
TSH: We shot Kate for her first book. Kate’s a big girl. I remember the first time I met Kate. Corinne was a funny one. The flat in Brewer Street was such a communal point, you’d be sitting on her sofa smoking a spliff and Jason Donovan would be dropping by to return a video he’d borrowed.

VC: Five words to sum up Corinne?
TSH: Her work doesn’t need words – it just stands on its own. Five words for Corinne would be Really Loving, Loyal, Passionate, Meticulous and Fun. She was fun, different. She was a really good friend. I have moments where I think we’ll never go shopping again or on holiday. Often think how I’d love to call her up right now. When she died she left such a huge hole. Also workwise. I’ve not found anyone to replace her in my work. We bounced off each other. We were really lucky like that.

VC: What do you think Corinne would have been like as a pensioner?
TSH: She’d still be working, shooting, making books. She’d never have stopped. It was something she needed to do. She needed the world to see the beauty in the little details.

For those keen to reacquaint themselves Day’s work, the current exhibition at Gimpel Fils May the Circle Remain Unbroken shows the people that Day’s work brought together and the friendships that formed over 20 years ago and continue to endure three years after her passing. It also illuminates Day’s pioneering approach to photography where the boundaries are blurred to the extent that it is impossible to dissect the constructed from real. Day and long term partner Mark Szaszy’s Brewer Street flat often doubled as a set where friends, models and muses all overlapped. In addition to the photographs, a series of music videos by Szaszy will be screened bringing to life the protagonists in Day’s work.

Accompanying the exhibition is a new publication of the same name by Morel Books. Edited by Mark Szaszy and Tara St Hill, this book documents Day’s progress from the early to mid nineties and stands as the first work since Diary.

May the Circle Remain Unbroken
Gimpel Fils
30 Davies Street
London W1K 4NB

Words by Anna Bang



The Eighties, the decade that fed us the creed of “greed is good”, spawned the fashion “glamazon”. She had supergloss looks and a full décolletage, and, naturally, she wouldn’t get out of bed for less than 10K. In the Nineties, the decade that ushered in grunge and Cool Britannia, an entirely different creature emerged. She was very young, very skinny, and had a look that somehow combined the exquisitely ethereal and the very ordinary. She came in the gamine shape of Kate Moss. Corinne Day is credited with creating her look and of changing the face of fashion

Day, who sadly died of a brain tumour in August 2010, became both a celebrated and a controversial figure. She did achingly cool fashion shoots for magazines that were part of a new youth culture. But much of the mainstream press blamed her for promoting anorexia and “heroin chic”.

But the pictures below, which can be seen in a small exhibition at London's Gimpel Fils Gallery, tell a rather different story. In them, Moss embodies a lively, lovely spirit of girlish innocence. She also looks recognisably like a girl from Croydon. The exhibition focuses on two 1991 fashion stories from The Face magazine: "Heaven is Real" and "Borneo". In the first, Day evoked the intense joys of teenage female friendship, while the second feels like a series of beautifully composed holiday snaps: Moss is seen wandering down the road in flip-flops, wearing a snorkel and making friends with the local kids.

The gallery below (and the exhibition) also features playful images from other shoots, including those with Michael "flea" Balzary from Red Hot Chili Peppers


Corinne Day, Photographer of Kate Moss, Is Dead

Published: September 1, 2010

Corinne Day, whose frank, unadorned photos of a teenage Kate Moss in the early 1990s helped inaugurate a new era of gritty realism in fashion photography that came to be called “grunge,” died Friday at her home in Denham, a village in Buckinghamshire, England.

Dafydd Jones/WireImage

Kate Moss, left, and Corinne Day at the National Portrait Gallery in London in 2007.

The cause was a cancerous brain tumor, said her agent, Susan Babchick. According to her Web site, Ms. Day was 45, but public records indicate she was 48.

Ms. Day’s passion to record the most profound human experiences with a camera was never more evident than the day in 1996 when the tumor was discovered after she had collapsed in New York. She promptly asked her husband to shoot pictures of her, and they continued the project through her treatment and decline.

“Photography is getting as close as you can to real life,” she said, “showing us things we don’t normally see. These are people’s most intimate moments, and sometimes intimacy is sad.”

Ms. Day built her reputation on unrelenting visual honesty. She refused to airbrush the bags from under models’ eyes or de-emphasize their knobby knees. She eschewed pretty locations or even studios in favor of shooting people in their own environments.

It added up to a startling detour from the glossy world of supermodels — “subversion,” in Ms. Day’s own phrase.

There were two defining moments along the way, both involving Ms. Moss. The first was in 1990, when some of the first published fashion photographs of Ms. Moss, taken by Ms. Day, appeared in the British magazine The Face. One showed Ms. Moss topless; another suggested she was naked. She wore a mix of designer and secondhand clothes and no makeup over her freckles, and her expression was sincere. The photos seemed to usher in a new age of anti-fashion style. Artlessness became art. Some called it “grunge.”

The second moment, in 1993, was a shoot for British Vogue that featured a pale and skinny Ms. Moss in mismatched underwear. A public outcry ensued, as some claimed that Ms. Moss’s waifish figure seemed to imply she was suffering from an eating disorder or drug addiction.

On her agent’s advice, Ms. Moss stopped working with Ms. Day, with whom she had become close friends. Ms. Day said she was tired of taking fashion pictures, anyway.

“I think fashion magazines are horrible,” she said in an interview with the British newspaper The Observer in 1995. “They’re stale and they say the same thing year in and year out.”

The grunge aesthetic took hold for several years in designer imagery of the 1990s, most visibly in Calvin Klein’s influential fragrance and jeans campaigns, and also in street fashion, with the throwaway style of flannel shirts and distressed jeans, as popularized by Kurt Cobain and the burgeoning Seattle music scene.

Ms. Day eventually took fashion photos again, including ones of Ms. Moss that are in the permanent collection of the National Portrait Gallery in London. But her aspiration was to document the lives of the people she knew best, and her “Diary,” published in 2000, told visual stories, including those of a single mother struggling to survive.

Corinne Day was born in Ealing, a town in west London. She said that her mother had run a brothel and that her father had robbed banks. They divorced when she was 5, and her grandmother raised her. As a girl, she said, she liked to spend hours in the photo booth at Woolworth’s with her friends.

Ms. Day left school at 16, worked briefly as a trainee in a bank, then flew around the world as an airline courier. A photographer she met on a plane suggested that she take up modeling, and she did, for Guess Jeans.

In Japan she met a filmmaker, Mark Szaszy, who taught her to use a camera — they would later marry — and she began taking pictures of the drab private lives of her fellow models, who seemed so glamorous in public.

“There was a lot of sadness,” she said in an interview with The Guardian in 2000. “We couldn’t buy the clothes we were photographed in, couldn’t go out and do the things we would have liked to do as teenagers.”

She took her work to the art director at The Face, who asked her to shoot some fashion pictures. She prowled the modeling agencies with a Polaroid and found Ms. Moss, whom she likened to “the girl next door.” They lived, worked and prospered together for three years.

“Corinne’s pictures, you might say, made Kate, and Kate made Corinne’s reputation,” The Evening Standard said in 2007.

Ms. Day is survived by her husband as well as her parents and two brothers.

Even at the height of her celebrity, in 1993, Ms. Day told The Guardian that her personal sartorial goal was to look “unstyled.”

“I don’t take fashion too seriously,” she said.

This article has been revised to reflect the following correction:

Correction: September 1, 2010

An earlier version of this article gave Ms. Day's age as 45, but public records indicate it was 48.



'I'm a photography junkie'

Corinne Day was the world's hottest fashion photographer. Then she was vilified for a picture of Kate Moss, got into drugs, and suffered a brain tumour. Her new book of photographs lays her life bare
3 September 2000

In 1996, the photographer Corinne Day collapsed in her apartment in New York and had a seizure. Her flatmate called the paramedics, and when she regained consciousness, she immediately asked him to bring her camera into the ambulance to record it all. Not the first instinct most of us would have in the circumstances, but then Day has never claimed to be ordinary. 'The camera becomes a part of your life,' she says matter-of-factly. 'I'm a photography junkie. I'm just driven. I don't know why.'

And so it is, in her new book Diary, that you can see Day lying in a bed in Belvue hospital looking frightened and confused seconds after being told she had a brain tumour. You can see the needle being pushed into her forehead just before the operation to remove it, and you see her looking terrified in the lift going down to the theatre. These pictures were taken by her boyfriend of 13 years, Mark Szaszy, who says it was hard to do because his hands were shaking with emotion. 'But I knew if I did it, it would take her mind off what was happening.'

Diary consists of 100 photographs taken over a 10-year period, a raw, unflinching look at the lives of Day and her friends. It's a high-quality art book, beautifully presented, but most of the images make uncomfortable viewing. Some are painfully intimate, some unbearably sad, many focusing around Tara St Hill, a single mother in her early twenties, struggling to bring up her baby daughter with little money and the pain of Crohn's Disease.

Nothing is taboo, too private to show in this book. There's a picture of Day pretending to masturbate. Another shows her bloody knickers. We see Day and her friends taking drugs, having parties, in the bath, injured after accidents and fights. We see Tara pregnant, Tara crying, Tara having sex, Tara on the loo. 'To me, photography is about showing us things that we don't normally see,' explains Day. 'Getting as close as you can to real life. What I found interesting was to capture people's most intimate moments. And sometimes intimacy is sad. In photos, we're usually laughing and happy and having a good time. We don't normally see the other side, when we're not having such a good time.'

Corrine Day has always been unconventional. She was bought up by her nan in the village of Ickenham just to the west of London. Her mother, she claims, ran a brothel. Her father was 'in and out of trouble' in his youth, then busy building a legitimate business empire. He wasn't that interested in kids, and she didn't really get to know him until she was older. It was his obsession with money, she says, that made her so indifferent to it. 'My dad was incredibly driven by money, and I felt like I lost him to it. When I was a kid he had a big house, but I hated going there. It never felt like home. There was no love there.'

'Too busy being naughty' to learn much at school, she earned a meagre living afterwards flying round the world as a courier. A photographer she met on a plane suggested she take up modelling, and although she was considered short at 5ft 6in, she did a lot of catalogue work, living in Japan for a while - where she met Mark Szaszy - and then in LA. It was the mid-Eighties, when glamour was compulsory, but Day's face didn't take the required layers of make-up too well.

'I don't have great cheekbones, or huge lips to pile lipstick on - it didn't suit me. I wasn't really a conventional beauty, I was quite plain-looking for a model. When I first saw Christy Turlington, all my hopes of ever getting on the cover of Vogue were gone. So I just made the best of it, and enjoyed it - I loved the travelling. We went to Australia, Spain, and ended up in Milan. That's where I started to take pictures. Mark had a camera, and he taught me how to use it.'

Her subjects were other struggling models, photographed in their own clothes in the seedy hostels where they lived. 'I started to realise that it was ambiguous, the life. Even though you're surrounded by all this glamour, there was a lot of sadness. We couldn't buy the clothes that we were photographed in, couldn't afford to go out and do the things we would have liked to do as teenagers.'

She took her work to The Face's art director Phil Bicker, who was opening up the magazine to a new generation of young, innovative talent at the end of the Eighties. Bicker asked her to shoot some fashion pictures, but having been away from England for five years, she had no contacts with models. So she trawled the London agencies looking for new talent, eventually spotting a Polaroid of a teenager from Croydon. At 14, Kate Moss was 10 years younger than Day, but they connected almost instantly.

'She was a beauty, but there was also something quite ordinary about her: her hair was a bit scraggy, and with no make-up she just looked like the girl next door. I encouraged her to be natural. I'd chat to her and then take the pictures in the middle of the conversation. I was trying to get the person to just bring themselves to the camera.'

Bicker made Kate Moss the face of The Face, and Day's best images of her summed up the mood of British youth after the rave explosion. But Moss and her agency weren't always happy with the pictures. Moss got teased at school for exposing her flat chest in one classic 1990 shoot, and the agency worried that the photographer deliberately left in imperfections like bags under the eyes that others would have retouched. But for Day, this was the point. 'It was something I just felt so deep inside, being a model and hating the way I was made up. The photographer always made me into someone I wasn't. I wanted to go in the opposite direction.'

Working with stylist Melanie Ward, Day and a handful of other photographers such as David Sims began using second-hand clothes and ungroomed, unconventional-looking models discovered in the street. The look they pioneered began to take off, christened 'waif' at first, then merging seamlessly with the US grunge scene. At the Paris shows, Ward and Day would laugh to see the second-hand clothes they'd shot six months before being imitated on the catwalk.

But Day was ambivalent about her growing success. She photographed the couture collections for Vogue, but hated it. She did a shoot with Linda Evangelista, and found it pointless. 'She just didn't excite me. Photographing someone you don't know and never plan to see again is so impersonal. The photograph means nothing. When Kate and I did our first Vogue cover, that was exciting.'

As the look was assimilated into the mainstream, so were the group who created it. Kate Moss signed to Calvin Klein. Melanie Ward moved to New York to work for Harper's Bazaar. The photographers Day had come up with became the new stars of the fashion world, shooting big-budget advertising campaigns. Unimpressed by money or fame, Day instead became increasingly drawn to the kind of documentary art photographs taken by Nan Goldin.

By 1993, she had alienated almost everyone she worked with - although she would probably say that they all let her down. She shot a sad-looking Kate Moss for Vogue wearing cheap undies, baggy tights and no make-up. Published during the summer lull when all news is gratefully pounced upon by the media, the story provoked outrage, with claims that it was promoting anorexia, drugs, even paedophilia. It was the end of her relationship with Vogue, and, for a while, with Moss.

Corinne Day met Tara St Hill in 1991 and began photographing her and her boyfriend. By 1993, they were all involved with a dark, heavy British rock band called Pusherman, and as Day's fashion family fell apart, she replaced it instead with this new gang of friends. Everyone partied and took drugs - cannabis, ketamine, heroin - although Day says she never developed a habit. 'I never liked heroin that much. It's a very overrated drug.'

The pictures she took over the next four years form the basis of Diary, and publishing them seems to have freed her to move on. Day and Szaszy haven't done drugs for over a year. He's making a documentary about her work. She's starting to take fashion pictures again. She did a shoot for Vogue recently, working with Kate Moss for the first time in seven years. It was fun, she says, like no time had passed at all. She's shooting for the magazines now, not for herself.

'My attitude is more businesslike, not so aggressive. I'm keeping within the boundaries. It's interesting - I've actually come to a point in my life where I want to make money.' She laughs. 'I've realised that it can be quite useful.'

She and Szaszy want a dog now. A house with a garden, possibly in LA. And then maybe children. The last shot in Diary shows a beautiful, palm-fringed beach littered with tin cans. It's a metaphor, she says, for the whole book. If there's a message she wants the viewer to take away, it is that life can be beautiful, and yet it's also fragile, and we often trash it. 'We don't realise how precious it is.'

• Corinne Day's work is on show at the Photographer's Gallery in London, 5 Oct to 26 Nov, and at Gimpel Fils in London, 6 Oct to 17 Nov. Diary is published next month by Kruse Verlag. Imperfect Beauty, a collection of pictures by the generation of photographers, stylists and art directors who came through in the early Nineties, includes Corinne Day and is published by V&A Books this month, with an exhibition at the V&A museum. To order Diary for £33.50 or Imperfect Beauty for £20.95, plus 99p p&p each, call Observer CultureShop on









Erika Wall on Corinne Day: 'She made me realise it’s OK to be me.' Photograph: Rex Features

I think we models have a very different view of her – a lot of people have said she was stubborn and difficult to work with and I was really surprised because I never noticed that at all. It might be because she liked to shoot girls the way they were, to capture the person.

I met her on 18 December 1999 when I was 19 and I didn't want to be a model any more because I felt the industry was really harsh, they just saw you like a doll and wanted to dress you up. And the first shoot I did with her was in her flat in Soho, the stylist turned up with the clothes in a binbag and it took about 10 minutes and then we went to the pub – I wasn't used to that. She was so quick when she shot because she knew what she wanted. She was really relaxed about it, she wouldn't really give directions she would just say, 'Go and stand there, that looks beautiful' – and then start shooting.

I used to have really bad acne when I started modelling and she told me, 'I like your spots, it's you'. She saw beauty in people's flaws – she really saw the natural side of people. Most models were bullied at school, we were mostly really skinny and it's not cool to be skinny, back then it was the ugliest thing you could be. So you're really unpopular at school and then all of a sudden you're a bit popular and guys are coming up to you but you still have this anxious thing about your looks.

A lot of the early jobs I did used a lot of makeup and clothes and were quite sexy – but Corinne saw beauty in natural girls. The first pictures she did of me in i-D you can actually see my acne in the pictures. She made me realise it's OK to be me, she gave me a whole different way of seeing the whole business. She is the reason I kept on doing it and I'm so thankful to her. She liked me and kept on booking me over and over again.

She was so respectful, she had a small voice and she was really calm and gentle, she was never harsh with models and never gave you a hard time. I've seen her in arguments with stylists when she'd say, 'I want her in own clothes', and the stylist would say the models have to wear Prada but she'd say no. She shot me in my own clothes so many times – it's not the ideal business for the magazines, but she wanted me as I was.

I've started to take pictures myself now. She's been such an inspiration in not having any fear whatsoever and seeing the person, taking pictures of the actual person – not trying to dress them up as something they're not, not being so obsessed with classical beauty.

More tributes to Corinne Day

Sandy Nairne, curator

"When I commissioned a portrait from Corinne Day for the National Portrait Gallery I wondered if she might tackle someone from a different world – a politician, philosopher or sportsperson – but she wanted to do Kate Moss in a different way. She then produced this brilliant, intimate, multi-part portrait of Kate at home, only possible because of their long and close relationship."

Mario Testino, photographer

"The first time I saw Kate Moss was in a picture by Corinne Day. She was a little girl in all her innocence, laughing away. I bought this image in a charity auction and it has lived with me ever since. Corinne brought a fresh approach to the fashion business. It was daring and gutsy – and effective. It caught your eye and made you feel it was OK to be honest. She, like few others, took fashion photography to new heights.

Jefferson Hack, magazine editor

"One of our first offices for Dazed and Confused was in Brewer Street in a one-bedroom apartment below Corinne's flat. We would meet all the time and she became a really strong influence. She was a purist who refused to play the fashion game. In the late 90s she consciously pulled away from the industry to focus on her personal documentary work – she was shooting friends and young families she knew well. Her work was free from judgment or sentimentality but never far from controversy. Influenced by the likes of Larry Clarke and Nan Goldin, she was part of a new wave of artists whose sincere way of reframing dark and often shunned aspects of society quickly influenced the wider culture."

Rankin, photographer

"It would have been impossible to be a photographer in the last 20 years and not be touched or influenced by Corinne Day's images. She was an artist of true vision and integrity. From her first shots of Kate Moss for the Face magazine through to her amazing book and the work for Vogue recently, her photographs were challenging, beautiful and inspirational. Her death is a sad loss to the world of image-making, and art as a whole."

Corinne Day, who died last August, will be remembered for transforming fashion with her pictures of the young Kate Moss for the Face.
  1. Corinne Day
  3. Gimpel Fils,
  4. London
  5. W1K 4NB
  1. Starts 1 September
  2. Until 1 October
  4. Details:
    020 7493 2488
While her famous shot of 16-year-old Moss wrinkling her nose in a feathery headdress was actually the second time the model had been on the cover of the style mag (the first time was two months earlier – improbably, an Italia 90 special), Day's photographs seemed to sum up a new era. The early 90s was a time of hedonism, hope, and change: repressive regimes around Europe were toppled, the Berlin wall came down, and rave culture seemed to offer young clubbers a glimpse of a utopian society.
The photographs in this small exhibition, not featuring that cover shot but mainly culled from two 1991 Face fashion stories, recapture that feeling of optimism: of a coming generation deciding to do things their way. Instead of the imperious busty glamazon you'd find in an 80s fashion shoot, you have Moss.
With lank hair, no make-up and wearing what look at this 20-year distance to be charity shop finds (scuffed boots, tatty jumpers), she's beautiful but fresh and real: recognisably a girl from Croydon. In a series of pictures taken in Borneo, she seems barely older than the local kids. One shot sees her leading a grinning young boy whose face is surrounded by the petals of a giant paper flower, like Barry Mooncult, dancer with early 90s band Flowered Up . In another, she's posed in a tropical location, but wearing a floppy hat and clutching a bottle of beer, more Club 18-30 than Condé Nast Travel.
Day's pictures junk the materialistic trappings of the 80s. Instead of glossy aspiration, she celebrates the ordinary – cracks in the wall, Rizlas on the floor, the grotty carpets immediately recognisable to anyone who's ever lived in rented accommodation. Out go big hair and shoulder pads: in come drainpipe jeans and secondhand shirts (not yet described as "vintage"). A picture of a young man lying topless by a lake as the sun goes down foregrounds the litter, gravel and muddy patches that earlier fashion photographers would have been at pains to remove.
Moss has been so omnipresent over the years that looking at old pictures of her is inevitably a nostalgic experience. A series of 2007 close-ups allows us to compare then and now, although she seems to have escaped with only a few wrinkles in these passport-photo-like shots. (A Juergen Teller shoot in Self Service magazine last year was far more brutal.) The real novelty is seeing close-ups of her talking, since she utters so few words in public.
While Day's aesthetic – of finding beauty in the mundane – soon became commodified by brands such as Calvin Klein, these pictures still have a tangible idealism which is bittersweet in hindsight. Their mood is summed up in the slogan of a brooch Moss is wearing in a couple of pictures. It reads "Heaven is real".

This is from Day's own website - and includes shed loads of classic lines about the shock aspect of the images.

Corinne Day, right, with Kate Moss in 2007. Photograph: Dafydd Jones/

It was never comfortable to look at the photographs taken by Corinne Day, who has died aged 48 from a brain tumour. Her documentary work was plain, and plaintive. Her fashion shots, even her recent, formally glamorous sequences for Vogue, have a sense that the girls, the gowns, the gorgeous locations are transient, and likely fake anyway. And the promise that Day had perceived in a Polaroid image of a 14-year-old aspirant model – Kate Moss – was her potential for wistfulness. "In photos," Day said, "we're usually laughing and happy and having a good time. We don't normally see the other side, when we're not having such a good time." It was always visible through Day's lens.
Day told interviewers that her "nan" had brought her up – her portrait of her grandmother shows tough tenderness – in Ickenham, west London. She claimed her mother had run a brothel, hence, perhaps, Day's unimpressed attitude towards sex, while her tearaway father had become respectable and successfully pursued serious money, but was distant from her emotionally.
Day's first job after her failed schooldays was as a courier, catching planes around the world as casually as buses, surviving on snacks squirrelled away from inflight meals. She became a model because a photographer on a flight suggested it, but knew she was not a cover girl diva: melancholy already muted her face. Still, it was a better living – appearing in adverts in the US and Australia, and catalogues in Japan. There she met her lifetime partner Mark Szaszy, who taught her how to use his camera, which she did while modelling in Milan.
She shot what she knew: kids who wore couture on the catwalk and for the camera, but who dressed in old tat, dossed in cheap rooms and "couldn't afford to go out and do the things we would have liked to do". Fashion employed progressively younger models from the early 1960s, and by the late 80s 16-year-olds were commonplace: the sad contrast intensified between their reality and the affluent arrogance they were paid to project. Day knew her pictures were original, and Phil Bicker, the art director of The Face, recognised that her teen strays suited his magazine, and commissioned a fashion shoot. Day went round the London agencies looking for a model who reflected her images from Milan, and found her in a snap of a scraggy-haired Croydon schoolgirl, Moss.
Their first great success, the Face cover sequence The 3rd Summer of Love, was published in July 1990, with Moss, barely 16, in bits of quality ready-to-wear and Portobello market finds – and, in the two most famed images, nothing but headgear, despite the chill of Camber Sands, in East Sussex, where the shoot took place. Moss's half-combative, half-pathetic attitudes are suffused with laughter. Moss's agency, though, disliked Day's refusal to retouch the pictures. As a model, she explained, she had hated being made "into someone I wasn't. I wanted to go in the opposite direction." (She was protective enough of Moss to share a flat with her for three years.)
With the stylist Melanie Ward, Day took the aesthetic further, wrapping shaggy, sometimes druggy, youngsters dragged off the street in mismatched vintage clothes: this became the "waif look", the visual equivalent of Seattle's grunge music. Day shot Moss almost unadorned for a Vogue cover in 1993, did collections for the magazine and supermodel sittings – at first this was an ambition achieved, but she later said: "They're stale, just about sex and glamour, when there are other elements of beauty." However, she felt no thrill, not even a rebel's excitement at the outraged response to her heroin chic Underexposed Vogue sequence, with Moss in saggy tights, looking as if she were in rehab. By then, many of Day's London friends really were in rehab, or should have been. In 1991, she had taken up with a group based around a heavy rock band, Pusherman. They were into cannabis, ketamine and heroin (although Day did not always join them; drugs clouded the camera vision she valued – she was "a photography junkie" ); they were badly off in that recessionary era.
For almost a decade, Day, influenc- ed by the documentary art of Nan Goldin, photographed their messy lives, particularly that of Tara St Hill, an impoverished, sick, single mother, shown in sex and pregnancy, in tears and tinsel, and at parties, or wasted in her Stoke Newington squat: "What I found interesting was to capture people's most intimate moments. And sometimes intimacy is sad."
Day was included in the imagery – "the camera becomes a part of your life". When she collapsed in New York in 1996, she told Szaszy, who had called the medics, not to forget her camera as he joined her in the ambulance to Bellevue hospital. His hands shook as he took the shots she requested – of her in a bed just after being told she had a brain tumour, in a lift on the way to the operating theatre for its removal – yet she felt having those moments pictured gave her control. A hundred of these images were collected in Diary, published in 2001 and much admired for its hard, but never cruel, candour.
She and Szaszy left drugs behind, and she made a pact with fashion and its finance, mellowing her visuals, even working with Moss again for Vogue. Later she accepted a National Portrait Gallery commission for a sequence of nine close-ups of Moss. Just as on Camber Sands, they chatted, so that Day could capture Moss's animation.
Day's photographs, fashion and not, were exhibited at the Victoria & Albert, Science and Design museums, Tate Modern, the Saatchi Gallery, and the Photographers' Gallery, and Szaszy spent a devoted decade making a documentary of her at work, which was shown on BBC Four in 2004.
Her tumour returned two years ago. To pay for specialised chemotherapy in a clinic in Arizona, her friends raised more than £100,000 through a Save the Day campaign, by selling limited-edition photographic prints, including a set featuring Moss, some signed by the model. Day completed the treatment last year, but it did not arrest the disease.
She is survived by Szaszy.
Corinne Day, photographer, born 19 February 1962; died 27 August 2010