Home Editorial Fashion Fashion Editorial: TARDISPECTIVE
Fashion Editorial: TARDISPECTIVE

Fashion Editorial: TARDISPECTIVE


I am a photographer from Germany and taking photographs has been my passion for three years now. This seems to be a rather short time period, but if you’re doing something with passion, you will improve your skills pretty quickly. When I started with fashion shooting in a studio environment, I missed something. Everything looked so clean and clear but simply usual. I needed to change something. Aside from fashion photography, I am also excited about searching for abandoned places like old castles, mansions, sanatoriums, and of course shooting on these locations. But here it is similar to taking fashion photos in a studio. Just the abandoned places without people weren’t the thing I wanted to create. That’s why I have started to combine these two contradictions in photography to one.

When Esther, the designer, sent me the first pictures of the clothes she had designed, my first thought was that I have to create something special. The clothes are mostly white, simple and clear. They do not have a lot of structure and are pretty straight-lined. Esther describes her own work with the following words: Perceptions of the past, revealing designs of the future. In the 50s & 60s of the proceeding century people were more optimistic about the future of the world than nowadays. The collective optimism of the „Wirtschaftswunder“ and the fascinating first steps in space travel created a specific view of a possible future, of a „Morning, that never dawned“ – an almost unshakable belief in technological progress and future wealth.

The collection „Change of Shifts “follows this retro futurism. Tarnish firm fabric but with a velvety surface, fixed edged cuts, sharp corners but organic details. Transparent areas which reveal reality and a firm fabric softly veiling it, letting you believe. White like an empty linen cloth, without a story, but once created to get one.

Another important point for a shoot is the search for the right location. It finally led us to a junkyard. Although it is not that easy to get a permission to shoot in such a place, my partner Oliver Thom is well-connected and so we were able to shoot in our favorite location. The junkyard created exactly the right distracting effect I wanted to have in the background in contrast to the white pure clothes. Both models were really tough, although it was freezing cold outside. Luckily they could change clothes in the office of the junkyard. For the makeup we chose two different looks. I put some eye-makeup on Michelle, that was a bit stronger and kind of a smoky look. For Lisa I chose copper-colored makeup that matched to the surrounding of the background colors.

Some of the pictures were photographed just with natural light, but the majority had been taken adding an extra light source. We took with us a porty by Hensel and a small softbox with a grid, which creates directed light. In this way, we received stronger shadows on the models to give the whole story a more dynamic look. I shot with a Canon 5d Mark II and most of the time with the Canon 100 mm f/2.8 L and the 35 mm 1.4 Sigma Art. While editing this editorial I focused on keeping the natural look but adding a slight blue-tone in the shadows and a reddish golden tone in the highlights. It was a lot of fun creating this fashion editorial and I want to thank the whole team: Michelle Weber, Lisa Höhn, Esther Arend and Oliver Thom.


Photography: Virginia Pronobis www.virginiapronobis.de
Models: Michelle Weber, Lisa Höhn https://www.facebook.com/gklush
Makeup: Lisa Höhn, Virginia Pronobis
Designer: Esther Arend, Master of Fashiondesign, Cologne www.cargocollective.com/estherarend
Assistance: Oliver Thom www.oliver-thom.de