Begin without a camera: cut out a window in a piece of card.

Look, discover, choose what you are going to photograph

Alexei Brodovitch; , art director, harpers bazaar 1938 - 1954

Photography: Tim Walker, British Vogue March 2009

fashion: constructed image

BA(hons) Photography, Contemporary Practice 2014 Stage 1 - Terms 2 & 3 Unit RPHC4004

fashion: constructed image

2014 Stage 1 - Terms 2 & 3 Unit RPHC4004 Location: Rochester Level & Credit Level I, 30 Credits Duration Weeks. 17 Learning hours 150 hours Tutors: Jonathan Simms

INTRODUCTION In truth, fashion photography has earned itself a varied and misunderstood reputation. At its most commercially intense, narratives are reduced to a relentless and ubiquitous mass-marketing mirror held up to the consumer. It may (without apology) be a shallow but beautiful pursuit, justified by its own sublime end. Equally at its most entertaining and inspiring, fashion photography may be pure inspirational narrative and fantastical story telling. Its theatre is writ large upon the pages of venerable fashion journals such as Vogue, Harpers Bazaar and more recently the culturally challenging Tank, Dazed and Confused and W Magazine. The genre can blur the boundaries of art and scultpure. It envelopes portraiture, mimicking and satirising the secular canons of celebrity. It can speak of the mundane and domestic whilst engaging with the epic and fantastic: regardless, the narrative is a wholly invented artifice placing and staging the figures into fabricated contexts and environments. Elaborate sets, cohesive styling, sympathetic casting and evocative lighting designs all help to heighten our emotional responses to the predetermined narratives. Unlike reportage and much art photography (disciplines which are more often lone pursuits) fashion shoots are collaborative offers generated with a range of interelated art directors, creative artists, set builders, hair & makeup and fashion stylists. The project therefore asks you to demonstrate an effective and reflective approach to project management: independently, collaboratively and as a member of a wider team of sourced talent. The successful fashion photographer needs to have the ability to move comfortably between all of these creative disciplines. Working in teams, you are asked to create a series of constructed fashion images in the studio. The main aim of the project is to encourage you to analyse the nature of photography and to increase your understanding of the way in which you and others create and construct meaning using the photographic medium. The project also aims to develop an appreciation of the importance of research, testing, pre-production and conceptual development prior to a photographic shoot. The level of Professional Practice will dictate the success of your project and will be an indicative part of the assessment process.

UNIT CONTENT This unit encourages students to speculatively explore the cultural and visual contexts for fashion photography. The unit considers fashion as a territory that is influenced by cultural ideas and genres of representation. The relationship between genre, narrative and audience are introduced as students working in groups use a cultural idea and an aesthetic source of inspiration as the foundation from which to engagement with fashion narratives. Students are challenged to navigate this clash between cultural ideas and cultural references. Drawn from engagements, outside the subject area of fashion, this unit challenges students to investigate different reference points, such as social and political contexts, and the cinematic, for example. Students will develop a coherent narrative as a conceptual response to a brief that is based upon cultural research, analysis of fashion narratives, characterisation, and aesthetic speculation and judgement. The project will involve investigating and interrogating the collaborative world of fashion. It will cover key disciplines such as shoot production, creative direction, casting, set design, propping, styling, hair and make-up. Following previous units, the unit methodology requires students to establish genre, characterisation, mise-en-scene, lighting, scale, relationships, movement, angles of view, gesture, action, set and special effects from which the fashion image will be selected. This creative approach requires students to conceive of the fashion image as developed from clearly identified sources of inspiration. The constructed fashion image relies upon strong imaginative abilities, consistent art direction and understanding of cultural montage.

Photography: Nick Knight Visionaire

fashion: constructed image

BA(hons) Photography, Contemporary Practice 2014 Stage 1 - Terms 2 & 3 Unit RPHC4004

ASSESSMENT REQUIREMENT Assessable Components  Concept development/Research/ Production folder/Creative Project 

Weighting 100%

ASSESSMENT CRITERIA On completion of this unit you will have produced evidence of: Knowledge of applied knowledge and understanding of fashion narratives (such as genre and narrative) Understanding through application of analytical skills and research in support of project progression An understanding of how visual concepts can be realised through the use of appropriate photographic techniques. Technical and applied skills through: Appropriate project management: planning and organisation Technical and applied skills through: Effective application of technical skills to realise visual objectives (set build, styling, lighting, shooting and post-production)

UNIT AIMS A1 To provide a critical and creative understanding of the fashion image: encouraging you to analyse the nature of photography and increase your understanding of ways to perceive and then construct meaning. A2 To develop an awareness and understanding of genre and narrative: considering visual language and semiotics (ask if you dont understand!) in story telling. A3 To develop a creative and effective working methodology that enables the generation and definition of project concepts: critically appreciate fashion photography in terms of historical, cultural, social, economic, political and technological contexts - leading to the exploration of your own narratives. A4 To develop the ability to visualise your ideas as images and control all aspects of their construction to realise your intentions. A5 To develop the ability to project-manage: helping you to understand the holistic view of creating images through critical path planning, organisation, team management, execution of shoots and post production.

LEARNING OUTCOMES LO1 A growing critical understanding of the fashion image LO2 The ability to use research and analytical skills to support speculative approaches to the characterisation and mise en scene of fashion LO3 A growing knowledge, and understanding of the of visual language LO4 Ability to control the photographic medium in order to successfully realise your ideas as images. LO5 Developing project management skills. INDICATIVE TECHNICAL CONTENT Shoot Production Workshops Set Design & Concept-Boarding workshops Lighting & Exposure Workshops Camera Format (Digital/RAW) Digital Production TEACHING AND LEARNING METHODS the unit is supported by: Project supervision Lectures Seminars Tutorials Practical classes & workshops Workshops

fashion: constructed image

BA(hons) Photography, Contemporary Practice 2014 Stage - 1 Terms 2 & 3 Unit RPHC4004

TASK (A) - Group Task In order to fully understand the complexities of the task undertaken by artists, we must deconstruct each individual element used to create the illusion. Camera control, lighting design and the nuance of performance all have to be carefully considered and understood. Atmosphere is a key element in creating emotive imagery. From the Reading List, research, analyse and deconstruct what you consider to be an iconic fashion series and give careful consideration to what makes it such. Your image may be historical or contemporary. The team should take into account all the elements making up the narrative within this singular frame: the characterisation of the sitter or model, the garments & costume worn, the setting and context, the style of hair and make-up, the use and meaning of props and the lighting and photographic techniques employed. If the series is implicity commercial, account for the influence and importance of the market place upon the above factors. Note the groups findings in a sketch book / blog and have a Powerpoint available for discussion when we next meet. Task deadline; Friday 31st January. Please present a PowerPoint for the meeting.
Photography: Corrine Day: British Vogue

Photography: Mario Testino

fashion: constructed image

BA(hons) Photography, Contemporary Practice 2014 Stage 1 - Terms 2 & 3 Unit RPHC4004

Photography (top left/bottom right): Philippe Halsman, David LaChapelle, Annie Leibovitz, Norman Parkinson, Annie Leibovitz, Guy Bourdin, Irving Penn

fashion: constructed image

BA(hons) Photography, Contemporary Practice 2014 Stage 1 - Terms 2 & 3 Unit RPHC4004

TASK (B) - Individual Task Characterisation is perhaps the key to great image making since it can wholly define the subject and context. Street casting and portraiture is as much cultural documentary as fashion reportage. We ask you to carry out a simple street casting and return with an image of a chosen character or model. This person may be known to you or a stranger encoutered in public. They may be conventionally beautiful or their appearance and character may rest outside of what the mainstream media my consider the norm. Whatever the reason for your choice, they must inspire you in some manner, whether by the the way they stand, dress or behave. In creating your image you must consider not only the characterisation, but also costume and context of the sitter. Be prepared to verbally account for your choice. In casting for a specific fashion shoot further practical considerations exist. Will the model move well or do they seem self- conscious or awkward? Can they inhabit the required role and take directions? Finally (and perhaps rather obviously) do they fit the clothes? Street casting has become widespread (and somewhat ubiquitous) online and in print. See the following websites for inspiration: http://facehunter.blogspot.com/ http://www.thesartorialist.com/ Note your experiences in your sketch book / journal and have a printed hard copy of your final casting image available for discussion when we next meet. Task deadline; Friday 31st January. Please print your image on an A4 sheet of paper and pin it on the wall before the meeting.

From; Go-Sees: Girls Knocking on My Door by Jergen Teller

From; Face Hunter by Yvan Rodic

fashion: constructed image

BA(hons) Photography, Contemporary Practice 2014 Stage 1 - Terms 2 & 3 Unit RPHC4004

TASK (C) - Group Task You are asked to assign roles for each team member, giving careful consideration to individual skill-sets within your group and the abilities each individual brings to the task. Your team will need a broad spectrum of skills from negotiation and organisation to practical construction and lighting. All team members should contribute to all aspects of the task, however due to the complexities of the project we require you to assign lead role(s) to each member of your group: shoot co-ordinator lighting lead building lead budget controller props master casting lead camera master health & safety representative post-production lead Think carefully when assigning roles; play to the strengths within your team and consider how some tasks may overlap or conflict, especially during the shoot production. It will also be helpful if your team members share a similar taste in genres and styles. Task deadline; Friday 31st January. Please present roles & responsibilities to JS

Photography: Mert Alas & Marcus Piggott. Model: Naomi Campbell

fashion: constructed image

BA(hons) Photography, Contemporary Practice 2014 Stage 1 - Terms 2 & 3 - Unit RPHC4004

PART ONE: THE CONCEPT DEVELOPMENT Working in teams, you are asked to construct a series of fashion photographs which responds to the materiality and design language on the project presented to you by the fashion designer. The photographic series, should consist of 6 editorial shots constructed in the studio. The images must be generated under controlled studio conditions. Collaborate with your team and pre-visualize a series that looks at portraiture, still-life and the space created. In order to facilitate creative exchange and dialogue within your team and define a reference document to pass on to external collaborators and tutors, respond to your thematic by constructing visual concepts or mood boards. This process should enable you to begin the visual mapping process of your concept and establish the understanding and significance of your submission. When interogating your subject you must thoroughly critique associated contemporary cultural references. Develop a concept in terms of historical, cultural, social, economic, political and technological contexts. Refine and distill your concept into a series. At the first group tutorial you are asked to present your initial concept on Thursday 6th February (Room 712)

INTERIM CRIT: PRESENTATION DELIVERABLES: Once you have agreed your fashion series, you must; create a visual concept exactly as you plan to photograph it create a proposed floor plan with dimensions (metric cm/m) 3D Model, both virtual (using SketchUp) and a Scaled Foamboard Model. Ensure you photograph the model for your PowerPoint. create a proposed lighting plan include position, source and details of their qualities produce detailed drawings of any scenic elements you plan to construct complete a props list including sourcing information create a production schedule / critical path for your team highlighting key dates and deadlines than affect your project produce a budget plan, detailing the breakdown of expected costs for all elements of the production PART THREE: STUDIO BUILD & POST PRODUCTION SHEDULE OF THE WEEK During the studio production weeks, teams will work at the same time across two studios. Each team will have five days in the studio: Monday - Scenic Build Tuesday - Pre-light & Scenic Build Wednesday - Scenic Design & Propping Thursday - Shoot Friday - Strike Set & Post- Production Meeting HEALTH AND SAFETY As part of the overall project, important Health & Safety factors will be taken into account and assessed. During each of the workshops the health and safety concerns of studio setbuilding will be discussed. In advance of the build weeks each team will be required to complete a Risk Assessment of their production. In addition to this, during the build week each team will be subject to a Health & Safety spot-checks.

PART TWO: PRE-PRODUCTION - TEST SHOOTING / PRESENTATION / PITCH - H&S APPROVED The key to a successful production is to carefully plan and set yourself interim stages, which must be timetabled for each team member. Be aware that casting and finding props will take longer than you expect. Likewise external collaborators must be sourced where needed, briefed and informed of your schedules. Key tasks are detailed below. Post these to your Online Production Diary as you complete them. Define individual roles within the team. When working on large projects assigning roles and responsibilities within a team is essential. Cast your models and characters Source the required costume, clothing or styling. You may take this task yourself or may choose to commission and collaborate with an external fashion designer or stylist. (Network with students from the BA(Hons) Fashion Promotions course) Consider further skills you may require on set, such as hair and makeup, set-build assistance and even catering should you and your team believe it necessay for your shoot production. Further research and refine your concept. Always consider how the casting, styling and set building effect your constructed narrative. You will be required to present, pitch and discuss your planning and concepts during tutorials at key stages throughout the project.

The creation of a photographic set and props taxes your ability to achieve maximum illusion. Obtaining materials, planning ahead and organising your team will demand a high level of professional skill. Negotiation, mediation, delegation and decision making all need to be undertaken with the clear respect of each individual both within the direct photographic team and the wider creative collaborators.

Photography: David LaChapelle

fashion: constructed image

BA(hons) Photography, Contemporary Practice 2014 Stage 1 - Terms 2 & 3 - Unit RPHC4004 DELIVERABLES AT FINAL DEADLINE PRODUCTION BLOG Whilst you will be working in a team, your personal Blog will again be the vehicle for collating evidence of your research, organisational process and overall engagement. Each team member must maintain a new blog category, eg. Fashion: Production Management, for their posts. Use the Blog to keep a record of your work within the team. Every member must post at each stage of the production Therefore the Unit Blog must contain the following, but highlight the personal lead responsibility: Concept / Storyboards / Optics Characterisation and Casting Studio mockups & Setbuild Propping & Scenic Design Lighting Design & Exposure Risk Management & Budget Shoot Production & Communications Teamwork & Professionalism REVIEW CRITIQUE The finished project will be assessed both individually, using your own Blog and as a Group in the form of a presentation. Students are asked again to produce a Critical Appraisal. Through Peer Review and Selfevaluation, students establish those points of the assignment that have been most successful and consider any points that you feel need to be addressed should you repeat the project. DELIVERABLES: FINAL DEADLINE A fully labelled CDR/DVDR & Proof-print must be delivered to John Sullivan/Bjrn Veno, in the Digital Lab on the following dates: FRIDAY 2ND MAY (3.30pm) Grps: 1,2,3 THURSDAY 8TH MAY (3.30pm) Grps: 4 For assessment the final submissions must be retouched digital PSD files. These will be used to produce a large format Gicle prints For reference we require you also submit the original RAW digital files from the camera (the CR2 file). It is important that work is undertaken in a fully colour-manged environment. Using the colour calibrated Eizo monitors wiould be recommended. Do not use a laptop. The following image files have to be submitted: Minimum of 3 x (landscape format) images or a maximum of 6 x (portrait format) images. All images: Final retouched images to be supplied as layered/ unflattened PSD 1 x InDesign file with either a minimum of 3 x double-page spreads or a maximum of 6 x single page images. A combination of double-page and single pages can be used. A4 Proof-Prints - Indication exact colour and density, include Digital Test-Strips. (Paper surface: Satin) The untouched camera RAW files (.FFF / 3F file) JPEG, Final Retouched image, 6Mb. JPEGs low-resoultion, 1Mb, folder of all images. Photoshop advisory settings: Colourspace: Adobe 1998 Format: PSD (unflattened) - Mode: RGB 8bit - Resolution: 300ppi, EXAMPLE SPREAD

Photography: Javier Vallonrat, Stylist: Lucida Chambers, British Vogue, 2013

EXAMPLE FLATPLAN

Use the supplied InDesign file, shooting for either a minimum of 3 images using double-page spreads or a maximum of 6 images images using single page images. A combination of double-page and single pages can be used. Think very carefully about your editorial choice. Consider whether is it repetitive? Can you use juxtaposition to emphasise a particular narrative. What is rationale behind the number of images you have used?

MATERIALS For the production week each team will be provided with 6 wooden flats (4 of which need to be returned in a usable state for the next weeks production). There will also be tool-box available on extended loan before the studio production starts. We strongly suggest you pre-build as much of your scene as possible.

Photography: Miles Aldridge, Evening Dress Code, Italian Vogue, April 2011

fashion: constructed image

BA(hons) Photography, Contemporary Practice 2014 Stage 1 - Terms 2 & 3 - Unit RPHC4004

PROJECT SCHEDULE Week 16 Project Briefing & Networking Monday 27th January Production Meeting: Roles & Responsibilities Tuesday 28th January Mood-Board Development & Group Presentations Friday 31st January

Week 17 Lecture: A Question of Beauty Monday 3rd February Lecture: fashion Styling & Awareness (Olivia Pomp) Tuesday 4th February Workshop: Fashion Styling Tuesday 4th February Concept Development Tutorials (Grp.1,2,3,4) Thursday 6th February Pre-Production Meetings (Grp.1,2,3,4): Research & Mood-Board Develoment (Student-led) Thursday 6th February

Week 21 Lecture: Fashion Stories Monday 3rd March (All Grps.) Part 2: Production Presentations: Crit & Formative Assessment & Review (Jonathan Simms) Tuesday 4th March Pre-Production Meetings (Grps.1,2,3,4): Research & Mood-Board Develoment (Student-led) Wednesday 5th March Friday 7th March - (All Grps) Deadline - Risk Assessment Forms: Email to Colin Jackson Friday 7th March - (Grp.3,4) Photoshop Composite Workshop Friday 7th March - (Grp.3,4) Retouching Surfaces & Skin Workshop Week 22 (Grps.1,2,3,4) Post-Production: Digital Consultancy: Checklist - Blog post Digital Strategy - Monday 10th March - Bjorn Veno Fashion Unit Pre-Production Tutorials & Studio Mock-Up Tuesday 11th March - (see iCal) - Jonathan Simms Week 23 Sign-Up: Pre-Production Review Tutorials. (Jonathan Simms) Tuesday 18th March - (see iCal) Weeks 24, 25, 26 - Shoot Production Schedule: (please see iCal for specifics) Monday 24th March - Friday 28th March - (Grp. 1) Monday 31st March - Friday 4th April - (Grps. 2,3) Monday 7th April - Friday 11th April - (Grp.4)

Week 18 Workshop: (Grp.1,2) Scenic Design - Basic Principles & Risk Assessment Tuesday 11th February Workshop: (Grp.1,2) Digital Capture: Intro. Shooting Tethered with Lightroom (Subject as Focal Point) Tuesday 11th February Wednesday 12th February - Production Team Meetings (Student led) Friday 14th February - (Grp.1,2) Photoshop Composite Workshop Friday 14th February - (Grp.1,2) Retouching Surfaces & Skin Workshop Workshop: (Grp.3,4) Scenic Design - Basic Principles & Risk Assessment Friday 14th February Workshop: (Grp.3,4) Digital Capture: Intro. Shooting Tethered with Lightroom (Subject as Focal Point) Friday 14th February Week 19 Self-Study Week (Grp.1,2) Fashion Unit Test Shoot - Lighting and Set Mock-Up Wednesday 19th February - Student-led (see iCal) (Grp.3,4) Fashion Unit Test Shoot - Lighting and Set Mock-Up Thursday 20th February - Student-led (see iCal)

DEADLINES Digital Media Submission Deadline - Grps.1,2,3 3.30pm, Friday 2nd May Digital Media Submission Deadline - Grp. 4 3.30pm, Thursday 8th May Unit Assessment Presentation - Group Presentations 10am, Tuesday 13th May

Week 20 Fashion Unit Test Shoot: Grps to organize models & clothing. 10am (Grp.1,2) Fashion Styling & Casting Test Shoot Tuesday 25th February 10am (Grp.3,4) Set Design: 3D Sketch-Up Model Workshop Tuesday 25th February - Teams to bring foam-board scaled models 2pm (Grp.3,4) Fashion Styling & Casting Test Shoot Tuesday 25th February 2pm (Grp.1,2) Set Design: 3D Sketch-Up Model Workshop Tuesday 25th February - Teams to bring foam-board scaled models Pre-Production Meetings (Grp.1,2,3,4): Research & Mood-Board Develoment (Student-led) Wednesday 26th February (Build list to be compiled with costings) Workshop: (Grp.1,2) Scenic Design - Textures & Surfaces Friday 28th February Workshop: (Grp.3,4) Scenic Design - Textures & Surfaces Friday 28th February

Photography: Miles Aldridge, So Poetic, Italian Vogue, April 2006

fashion: constructed image

BA(hons) Photography, Contemporary Practice 2013 Stage 1 - Terms 2 & 3 - Unit RPHC4004 ESSENTIAL READING Begleiter, M (2001) From word to image: storyboarding and the filmmaking process, California: Michael Wiese Productions Bright, S (2007) Face of Fashion, Aperture Carter, G (2008) Vanity Fair: The Portraits, NPG Campany, D (2008) Photography and Cinema, Reaktion Books Cotton, C (2000) Imperfect Beauty: The Making of Contemporary Fashion Photographs, London: V&A Publications Cutler, R (2009) The September Issue (DVD) De Beaupr, M (2002) Twenty Years of Fashion Photography: Archaeology of Elegance, London: Thames & Hudson. Golosorkhi, (2002) Tank: Best of Tank Magazine, London, Thames & Hudson Lehmann, U, (2002) Chic Clicks: Creativity and Commerce in Contemporary Fashion Photography, Hatje Cantz McAssey, J / Buckley, C (2011) Basics Fashion Design 08: Styling, Lausanne, AVA Academia

RECOMMENDED READING Glebas, F (2009) Directing the story: professional storytelling and storyboarding techniques for live action and animation, Focal Press Klein, S (2007) Steven Klein. Stern Fotographie Knight, N (2009) Nick Knight, Collins LaChapelle, D (2003) Hotel LaChapelle, Bulfinch Leibovitz, A (2008) Annie Leibovitz at Work, Jonathan Cape Lindbergh, P (1999) Peter Lindbergh: Selected Work 1996-1998 Maxwell, K (2007) Career Diary of a Fashion Stylist: Thirty Days behind the scenes with a Professional, Gareth Gardener Company Newton, H (2006) Helmut Newton, Photofile, Thames & Hudson Shrinkle, E (2008) Fashion as Photograph: Viewing and Reviewing Images of Fashion, IB Tauris Storaro, V (2011) Vittorio Storaro: Colours - Writing with Light, Mondadori Electa Talon, D.S (2007) Panel discussions: design in sequential art storytelling, Talon, TwoMorrows Publishing Townsend, C (2002) Rapture: Arts Seduction by Fashion, London: Thames & Hudson Verthime, S (2010) Guy Bourdin: In Between, Steidl Walker, T (2008) Tim Walker: Pictures, Te Neues Technical: Digital Practice & Studio Lighting Adobe (2011) Adobe Photoshop CS6 Classroom in a Book, Adobe Press Box, H (1999) The Gaffers Handbook, Focal Press Evening, M (2011) Adobe Photoshop CS6 for Photographers, Focal Press Fraser, Schewe (2009) Real World Image Sharpeming, Peachpit Schewe, Fraser (2010) Real World Camera RAW, Peachpit

fashion: constructed image

BA(hons) Photography, Contemporary Practice 2013 Stage 1 - Terms 2 & 3 - Unit RPHC4004

ONLINE RESEARCH & RESOURCES Photographer & Stylist Agencies (References) www.mapltd.com www.artandcommerce.com www.art-dept.com www.wefolk.com www.smiletoo.com www.streeters.com Fashion Magazine & Blogs (References) www.125magazine.com www.anothermag.com www.dazeddigital.com www.fantasticman.com www.nowness.com www.purple.fr www.sefservicemagazine.com www.showstudio.com www.tankmagazine.com www.thegentlewoman.com www.thelovemagazine.co.uk www.vogue.co.uk www.vogue.it www.wmagazine.com www.wonderlandmagazine.com Fashion Designers www.londoncollections.co.uk www.agiandsam.com www.alexandremcqueen.com www.astridanderson.com www.chanel.com www.comme-des-garcons.com www.craig-green.com www.helmutlang.com www.j-w-anderson.com www.prada.com www.stellamccartney.com www.yohjiyamamoto.co.jp Lighting Rental www.cirrolight.com www.directphotographic.com Digital Asset Management Kasson, J, The Last Word, http://blog.kasson.com/?page_id=3060 ASMP, File Mangement, Naming, Storing http://dpbestflow.org/links/38 Scenic Design & Set Construction (References) www.shonaheath.com www.andyknight.co.uk www.tcsetbuild.com www.themodelunit.co.uk www.scottpask.com Propping & Scenic Suppliers www.thestudiostore.co.uk www.cosprop.co.uk/company www.angels.uk.com Managing & Organising Andreatta, B (2013) Delegating Tasks to your Team, www. lynda.com Crenshaw, D (2011) Leading Productive Meetings, www.lynda.com Concepting & Moodboards French, N (2014) Developing a Mood Board, www.lynda.com Digital Post-Production Sexton, T (2013) Photoshop Retouching Techniques: Fashion Editorial www.lynda.com Sexton, T (2013) Photoshop Retouching Techniques: Faces, www.lynda.com Sexton, T (2013) Photoshop Retouching: Skin, www.lynda.com Sexton, T (2013) Photoshop Retouching: Hair, www.lynda.com Blatner, D (2012) InDesign CS6 Essential Training, www.lynda.com