Half
What comprises beauty? The most approachable layer is on the surface - the physicality of the body. However, even this layer is more complex than it is often perceived. The uniqueness of gestures, facial expressions, something in the eyes - are important components that build a character.
The team behind Half explores the mannerisms and the aura each person brings on set. Personality is portrayed through the small day to day decisions of physical existence, and the seemingly insignificant motion of hands, the walk, the turn of the head, or the thoughts that pass as seen in expressions.
Half is an editorial shot by a team of creatives from Hong-Kong. We speak with Tung, a photographer, and Michael Cheung, producer and fashion stylist about the main idea behind shooting the story. As Tung explains, “I realized that we all couldn’t be perfect, and these so-called imperfections are what make us unique.” Michael tells about the day of the shoot and the decision to let models move freely. We speak about the importance of diversity, styling, and shooting on black and white film.
Photography Tung Producer and Stylist Michael Cheung Makeup Lavinia Tang Hair Jair Tsou Styling Assistant Cissy Chan Talents Hugues de Drouas Jasmine Frehner Jonathon Wong Neo Sarraf Sho Giersztein Umi Sakai-Stoute
‘I like to perfect things, but it’s also a growing habit that brings an element of agony. After much contemplation, I realised that we all couldn’t be perfect, and these so-called imperfections are what make us unique.’
— Tung
What is the main idea you present in Half?
Tung: I like to perfect things, but it’s also a growing habit that brings an element of agony. After much contemplation, I realised that we all couldn’t be perfect, and these so-called imperfections are what make us unique. With this series, I wanted to capture those individualistic traits that set each model apart. In the process, I recalibrated how I perceive things.
‘The intention behind black and white is to strip away the 'noise' of colour and spotlight each model’s emotional build-up. Film has that raw quality that digital can never replicate.’
— Tung
How do you think gestures, personal characteristics, mimics add to the uniqueness of a narrative in an editorial shoot?
Michael Cheung: Every person moves differently, and so I told each model to move freely. Models are often instructed to play characters that are based on someone’s vision. For once, I’d like them to let loose and show off those little quirks and mannerisms that add to their natural beauty.
What were the guiding principles to work with black and white imagery? How did this impact styling decisions?
Tung: The intention behind black and white is to strip away the 'noise' of colour and spotlight each model’s emotional build-up. Film has that raw quality that digital can never replicate. Also, there’s an element of uncertainty when shooting in analogue that fits perfectly with the theme.
Michael Cheung: With colour reduced to just black and white, I gravitated towards clothes with texture, such as knitted fabrics and garments with visible seams. As an accent, I pulled in jewellery that was unpolished and textured to emulate that rawness that’s at the essence of this shoot.
‘Being Asian, I find it essential to address diversity, so I chose different ethnicities to show a broader beauty spectrum.’
— Michael Cheung
What was the process of casting for this shoot? What were the characteristics or personal traits you were looking for?
Tung: The first impression is critical.
Michael Cheung: I was adamant of not using all agency models and leverage on street-cast in the mix. I wanted to find faces that had distinct features and are leaning towards androgynous. Being Asian, I find it essential to address diversity, so I chose different ethnicities to show a broader beauty spectrum.
What is the most memorable moment from the shooting day or the preparation for it?
Michael Cheung: I enjoyed each sitting with all six models. What I think was different from this shoot than other editorials I’ve been doing lately is that sense of anticipation. Knowing that the film photos came out stronger than we envisioned is the best feeling any creative can ask for.
