photography application


Last week I shot with photographer, Martin Higgs on a new set of beauty images. We used to shoot together a lot, creating OTT beauty looks using mediums such as paint, treacle, prosthetics and Fullers Earth, to name but a few.

We thought it was time we got together again and produced some stunning work to update our portfolios.

I’ve seen this blown-out lip look trending recently, so I knew I wanted to recreate it within one of the 4 makeup looks.
I combined metallic pigments with Pearl pigments and used them in a variety of ways to achieve different levels of glow to the skin, eyes and lips.

On the décolletage I mixed the pearl pigment with water and painted it onto the chest, shoulders and neck. I knew once the water dried it would leave behind the pigment in an even finish.

For the eyes I mixed the metallic pigment with a mixing medium and layered it over a cream coloured eyeshadow. Then, I gently feathered a touch of pearl pigment mixed with a clear body gloss to the very centre of the lids so it would catch the light. 

I also added this same mix to the Cupid’s bow of the lip and to the centre of the bottom lip.

The rest of the bright colours were cream eyeshadows blended over the foundation which hadn’t been set. This means the product had some slip and made blending the products a dream!

The team:
Makeup - Shonagh Scott (Me)
Photographer - Martin Higgs
Model - Caitlin Burles
Retoucher - Stefka Pavlova


B E A U T Y   M A K E U P   -   B E H I N D   T H E   S C E N E S

A few weeks ago I shared with you some images from my professional portfolio which were taken from a recent Beauty shoot with model, Caitlin Burles.
FYI, Caitlin was a stand-in for Gal Gadot on the Wonder Woman film. Pretty cool huh? 

During the shoot my makeup assistant, Yasmin Lovece, kindly filmed some behind the scenes of the makeup and I filmed some of the products used. So this week I edited and uploaded the footage for those of you who are interested in seeing how these looks came together.



Neural Photo Editing with Introspective Adversarial Networks

Proof of concept application by Andrew Brock uses neural network trained data to modify features in portrait photographs:

We present the Neural Photo Editor, an interface for exploring the latent space of generative image models and making large, semantically coherent changes to existing images. Our interface is powered by the Introspective Adversarial Network, a hybridization of the Generative Adversarial Network and the Variational Autoencoder designed for use in the editor. Our model makes use of a novel computational block based on dilated convolutions, and Orthogonal Regularization, a novel weight regularization method. We validate our model on CelebA, SVHN, and ImageNet, and produce samples and reconstructions with high visual fidelity. 

More Here


Frida Gustavsson photographed by Lachlan Bailey for “Seeing Stars” in Vogue UK, Dec. 2010. Styled by Miranda Almond with makeup by Lisa Eldridge.


Thermoplastic Pricing Guide and Behavior Cheat Sheet

 -These prices are based off of US stores and shipping rates. These prices are consistent across many websites and discounts are offered on bulk orders. Prices vary depending on shipping country.

*Sintra is offered in many sizes and shapes. The prices listed are from . More sizes than these exist. Sintra is a company name for foamed PVC. You can often find cheaper sheets of “sintra” by looking for “foamed PVC” or “extruded PVC”

* Worbla

-  The most well-known thermoplastic in the cosplay community. Available from multiple vendors online and from a few physical stores.
-  Thermoplastic capable of multidimensional shaping
-  Has no internal mesh
-  Can be heated with a hair dryer or heat gun (better results from heat gun)
-  Capable of reusing scraps by reheating them
-  Smooth adhesive side/rough exterior side – can adhere to itself
-  Relatively thin, often requires a supporting material in armor (craft foam sandwich)
-  Most expensive of the thermoplastics
-  Requires priming (wood glue, gesso, ect.) to remove texture



-  Only sold by Tandy Leather. If you live near a store this product has the benefit of no shipping costs and the ability to pick up same day its needed
-  Thermoplastic capable of multidimensional shaping
-  Has no internal mesh
-  Can be heated with a hair dryer or heat gun (better results from heat gun)
-  Capable of reusing scraps by reheating them
-  Smooth adhesive side/rough exterior side – can adhere to itself
-  Relatively thin, often requires a supporting material in armor (craft foam sandwich)
-  “knockoff” of Worbla, if you have Tandy Leather membership cards, it makes it a fair bit cheaper than Worbla
-  Requires priming (wood glue, gesso, ect.) to remove texture
-  Has a scent, smells like graham crackers when heated


-  Contains an internal mesh
-  The mesh provides additional stability to thermoplastic
-  Can be heated with a hair dryer or heat gun (better results from heat gun)
-  Smooth adhesive side/rough exterior side – can adhere to itself
-  Internal mesh prevents multidimensional shaping without puckering
-  (mesh can be picked out- extremely work intensive)
-  Relatively thin, often requires a supporting material in armor (craft foam sandwich)
-  Requires priming (wood glue, gesso, ect.) to remove texture


-  Comes in a variety of thicknesses
-  A UNIDEMNSIONAL material. Is incapable of making compound shapes – i.e. can only bend in one direction without cutting darts.
-  Can be brittle if cut when cool or across large pieces of material
-  Needs to be heated with a heat gun or large heat source like an oven to work with uniformly
-  Does not adhere to itself. Requires glue to bond pieces together
-  Smooth texture doesn’t require priming like Worbla, Terraflex, or Wonderflex
- Due to variety of thicknesses, it can be used on its own for armor pieces (no foam sandwiches)
-  Cheapest of the thermoplastics, but limited in some areas. Great for things like pauldrons and vambraces, not so much with breastplates and curves.
-  Because it is PVC, it is strongly recommended to wear a respirator and have ventilation when heating this material due to fumes.

* Transpa Art

-  Transparent thermoplastic
-  Needs to be heated with a heat gun and only workable within a small temperature range
-  Does not adhere it itself like other thermoplastics. Requires cyanoacrylate glues to stick pieces together.
-  Not a strong as Worbla, Terraflex, ect.
-  Cannot be reformed with scraps
-  Great for accents and LED applications
-  Elemental Photography and Design, and Kamui Cosplay do excellent videos showing more of how Transpa behaves


Tili Tili Bom (тили тили бом) - Russian Lullaby

Thinking about using this as the base song for my Sadness Mood-aesthesia video.. I think it could be a bit too far onto the creepy spectrum.. 

Going to add in the other sounds that people found sad, and hopefully that should shift the mood of it

Update: I think I managed to find the russian lyrics in english text format

Zakroy glaza skoreye,
Kto-to khodit za oknom,
I stuchitsya v dveri.
Krichit nochnaya ptitsa.
On uzhe probralsya v dom.
K tem, komu ne spitsya.

On idet… On uzhe blizko…

Ty slyshish’, kto-to ryadom?
Pritailsya za uglom,
I pronzayet vzglyadom.
Vse skroyet noch’ nemaya.
Za toboy kradetsya on,
I vot-vot poymayet.

On idet… On uzhe blizko…

Ty slyshish’, kto-to ryadom?
Pritailsya za uglom,
I pronzayet vzglyadom

Jacob van Loon (on Tumblr) & Chad Wys (on Tumblr)


CW: Furthermore, Jacob, I think you’re a fantastic photographer. That said, do you feel as intimated behind the camera as I do? I think my intimidation stems from the surrender of control involved with taking a picture. I mean, relative to painting a work from scratch, snapping a photograph requires a significant mental shift from musician, so to speak, to composer. To belabor the analogy: we’re relying a lot more on the mechanics of the orchestra as oppose to performing the notes ourselves. I think this could be a controversial statement I’m making. Someone on Facebook recently shared the Ansel Adams quote, “You don’t take a photograph, you make it.” I think Adams is correct in many ways, and in some ways he was a modernist—and like all modernists he was thoroughly, almost exclusively, invested in the materiality of his medium. Can you express your feelings toward photography, especially in relation to the other mediums you employ?

JVL: The weight of a brush stroke, the colors, the thickness of the paint, and the motion it has each create a simple language to consume. Thick is bold, bright is happy, arbitrary combinations are “pop,” rough and fast is angry, dark and heavy is sad (whether or not it actually is). You can look at an Adams photograph and say, “Here is Ansel Adams showing me he was once at Yellowstone.” He was showing in his photographs exactly what he saw in those places, not what those places actually look like. The amount of calculation and manipulation that made his photographs match a memory is hardly an automatic process, nor is it a process led by the camera.

I guess we can trade contentious statements here—A lot of visual artists have a profound lack of understanding towards photography. That misunderstanding comes across as phobic and immature. I think disenchantment with photography comes from how industrious the application of photography can be, it came into popular commercial use around the same time other mechanical devices started replacing the human hand in the workforce. I guess painters and illustrators in the commercial fields over a hundred years ago had more reason to resent photography—some of those artists were making six digits annually and then had to compete with photographs, which facilitated the already blossoming idea of mass production and immediacy. More recently, cameras with the capacity to make great art are in the hands of everyone with a phone. Not many are slaving over a tray of chemicals in the darkoom anymore, tweaking test prints and blowing through expensive silver-gelatin coated paper. The accessibility and ease of photograph-to-print demystifies the medium. That somehow doesn’t cross over into being able to buy a portable pan of watercolor paints and a pad of paper at Wal-Mart—after all, painting takes time, photography is just clicking a button, right?

For the record, the two and a half years I spent in the darkroom developing film and photographs was the messiest and probably most dangerous studio experience I’ve had in my life.

CW: Photography is tricky in that it seems to be both utilitarian and artistic in ways, and to a degree, never before seen. I think early photographers had to fight hard to imbue the technology with some legitimacy in the art scene—resorting, it would seem, to creative measures to convey “reality” in impressionistic, often lyrical and surreal ways (as you said, Adams was photographing an impression more than a reality). The results were often dreamlike and stunningly beautiful.

I think photography’s ubiquitous today because the technology has allowed it, but I also think everyone seems to want to take pictures and to be in pictures. It’s narcissistic but it’s also a legitimate way to archive one’s experiences. What’s more, applications like Instagram seem to blur the boundaries between artistry and utilitarianism even further: superimposing artful filters and sharing publicly the creative results of otherwise commonplace, private images. It causes one to question: what is “fine art photography” today and what sets it apart from every other photo? Are the differences important? Is the “battle” between film and digital effectively the battle between dedicated artists and armchair photographers? These questions might be more rhetorical than answerable. On a more personal level, you seem to lament the darkroom somewhat; are you remorseful about the diminished presence of film, or are you accepting of the sea change to digitalism?

JVL: No resentment whatsoever, I’m just very proud to have had the experiences I did with photography because process has always been important in my work. Since a lot of the popular software is modeled after analog processes, I think my transition has been marked that way and some of my decision-making is anchored in that relation. In contrast, some of the ways younger artists not exposed to traditional process manipulate the same software in a much different way, with an entirely different intuition. I see technology playing a greater role in my work and profession in the future, especially if I get time to learn CAD.

CW: I’ve always felt more at home at a computer than with a pencil or brush in my hand. My father has been instrumental in that regard; since my earliest memory there was always a PC in the house. But unlike the pencil or brush, one often must adapt to changing technologies. There’s something exciting there, I think, but also a sense of constant, impending obsoletism. I think that’s very good for art in general, though. There’s no worry, at least in my mind, that art will never not be fresh and experimental.

(to be continued)

Jacob van Loon, Untitled (from Weird Love), photograph (2013)
Jacob van Loon, Untitled (from Weird Love), photograph (2013)
Jacob van Loon, Untitled (from Weird Love), photograph (2013)
Chad Wys, At The Museum 1. c-print, 20"x30" (2010)
Chad Wys, Burqa. c-print, 30"x30" (2010)
Chad Wys, Cover. c-print, 30"x30" (2010)

[art discussion hosted by Artchipel]


For his new book of photographs, “Cycle & Recycle,” the photographer Paul Bulteel travelled to recycling plants in Belgium, Luxembourg, Germany, the Netherlands, and France. He wanted not only to document the “volumes and variety of waste streams,” which photographers and artists have been doing for decades, but also to illustrate and encourage efforts “to recycle waste on an unprecedented scale.”

See more of his photographs.

Accepting donations for the Black Girl Project Sisterhood Summit in October

 if you want to donate anything to put in our giveaway bags for Black girls please be in touch! We’ll need about 75 items. We are open to coupons (so if you have an online store or brick and mortar one in NYC or elsewhere please send along they love coupons!), other items the young women have requested:


-chapstick/lip balms (sample sizes)

-lotions and body care (small sample sizes)

-coupons! (they really said that!)

-compact mirrors, hair accessories, jewelry, etc.

-stickers, pins

-t-shirts, canvas bags, water bottles, etc.

we are down for supporting and promoting POC and Black owned/run businesses. If you create things that are handmade (crochet, art, media, baked goods, etc.) or have services to offer (overnight stay in bed & breakfast, editing, hairstyling, counseling, make up application, photography, books, zines, etc.) we will be having a fundraiser towards the end of the year and will have a silent auction and are so happy if you could donate something of the like if interested!

we are a 501©3 so your donation is tax deductible. Please be in touch and follow us @bgptumbles and twitter @blackgirlproj