As with the Previous Shoot I saved one picture to surprise the client as a little bonus and this was no exception. I loved this image from the moment I saw it in Camera and knew straught away it was going to be Dark, Moody and Monochrome. It seems there's just something very encapsulating about stripping away the distraction of colour in Portrait Photography or any Photography for that matter. It feels so intense, focused and atmospheric no matter the subject. I really pushed the Contrast here to try exacerbate that exact feeling. Hopefully you're not too displeased with how intense I've made you look @boag_olly but I had to go with my gut on this one. #monochrome #blackandwhitechallenge #moodyshoot #portfolioshoot #modelshoot #stripitback #50mmportrait #guyswithink #inkaddict #monochromemodel #adbphotography #collab #portfolioservices #photographerforhire #Scarboroughmodels #strikeapose #tattoosleeve #tattoomodel #intensephotoshoot #moodphotography #followme #followforphotos #brandcollab #promoteyourbrand (at Scarborough, North Yorkshire) https://www.instagram.com/p/BtGQjYsAd2_/?utm_source=ig_tumblr_share&igshid=koy0w74i4sua

#monochromemodels Richard Phillips’ hyperrealistic paintings from the 1990s foreshadowed an era of visual culture synonymous with photoshopped perfect and the flat, monotony of celebrity. Taking on familiar faces and poses with disturbing precision, his images transformed the knowable into something stranger. Juxtaposed with art history’s preoccupation with the portrait, Phillips images pushed back on their subject matter to reveal their shallowness of their representational nature and richness of what they mean in the abstract. In Monochrome Models, Phillips latest body of work--the artist does not seek the same ends. His images may feel familiar in the way they are flattened in a photograph, but this is the crux of the artist’s newest investigation, which centers around the mistranslation of images into the plane of the screen, which is now an ubiquitous extension of the first world. Like his recent paintings of Mussolini's Roman statues and California wildfires, Phillips plays with the way the construction of an image can undermine its authority and urgency. In Monochromatic Models, the term model does not refer to Phillips subject matter, although they are, but rather the sketchiness of their existence. In a photograph or from afar, the woman’s features looked resolved but as one edges closer the composition denies itself. The bristles and ridges of paint appear in a network of strokes and gestures. The artist’s hand supersedes the composition of the face shifting the conversation from one about identity to one about authorship. A departure from his early paintings, the Monochrome Model series reflect upon ideas of authenticity in a reality where maker and consumer are one and same.