BEN HASSETT: Considering Beauty

(c) Ben Hassett 2021

 

1/2-DAY WORKSHOP

Monday, April 26th: 9:00am – 12:00pm. 

THE BEN HASSETT 1/2 DAY WORKSHOP:  Ben will take you into his studio on a live shoot to show you what goes on behind the camera. He will discuss his approach to making photographs for both editorial and advertising clients and will perform a hands on demonstration of some of his most successful lighting techniques. Attendees will be able to select from multiple cameras to watch the progress during the class.

Ben Hassett is an English photographer based in New York City. He is well known for the visceral, highly polished photography that are the hallmark of his work today. A large number of Ben Hassett’s best known editorial photographs are categorized as “beauty” pictures, conceived to illustrate concepts related to cosmetics.

As such he is one of today’s most sought after photographers. His photography is prized by a wide range of luxury brands, advertising agencies and magazine editors.

Hassett is a regular contributor to Vogue magazines worldwide. His clients include Dior, Givenchy, Revlon, Cartier, Estee Lauder, Tom Ford, Chanel, and Calvin Klein.

This will provide participants with an unprecedented look into the way a top photographer thinks about photographing beauty and approaches his photographic processes, covering everything in his work flow from concept to prep, shooting and editing, retouching, and digital archiving.

Q&A will take place during and following the live class for full price attendees. 

PRICE: $285 (includes Q&A)

PRICE: $165 (Observer Only Q & A not included)

Plus $25 Admin Fee for each day of attendance (not per class).

Includes daily registration for the full days of the class, models, class transportation and a boxed lunch for each full day of the workshop.

LISTEN TO THE BEN HASSETT INTERVIEW ON PSPF PODCAST #4

 

 BlueBox_White-Trim-REGISTERtif

BIOGRAPHY

At the age of fourteen, Ben Hassett took a photography class at school, learning the basic principles of camera, film, and process. This was 1989, and the class took a field trip to the Royal Academy of Art where he would see the seminal “The Art of Photography” exhibition, celebrating the first one hundred and fifty years of photography.

It was here that he was to encounter for the first time many of the people that would later become his heroes.

As an enthused youth, he spent all of his free time making photographs and engaged in the photo pursuit. He explored half frame, 35, 6×6, and 4×5 camera formats, borrowing equipment wherever he could, and he was to build his first darkroom, much to the chagrin of his parents, in a corner of their basement. At that time, he was particularly inspired by the more personal work of commercial photographers David Bailey and Irving Penn, in their landscape and still life studies respectively.

Young Hassett went on to study Fine Art at University, and while there found himself experimenting with film and video in addition to his photographic practice. Ultimately he was disenchanted with his work as a Fine Artist and believing that his future lay in commercial photography, he devoted his energy to the making of reportage and landscape photography and began to seek representation in earnest. It was this early body of work that led him to win his first editorial assignment with British GQ magazine.

Following early success, he was commissioned to make a number of photographic portraits, which caught the attention of British Vogue. As a consequence they convinced him to try his hand at photographing models in a studio. His relationship with Conde Nast flourished. He moved to Paris, where he found himself working steadily for the French, German and Japanese editions of Vogue. He contributed also to a slew of other magazines, among them The Face, i-D, and Dazed and Confused in London, even though as a fashion photographer he felt that perhaps he had still not settled into a genre that best suited him.

Realizing that he was more interested in people than fashion, he made a conscious decision to work only on beauty assignments. Making these images allowed him a greater freedom creatively than he had making fashion pictures, which typically had been dictated by fashion editors keen to see their looks presented from head to toe.

His has been a lifelong love affair with photography. He continues to explore the creative possibilities of his own work, making bodies of work of personal interest both in and out of the studio. Hassett maintains an avid and sincere interest in the work of others, amassing an impressive collection of photo-books and prints along the way.

1/2 DAY WORKSHOPS