Fashion Photography

Navid Farid

Introduction

Fashion photography
Fashion photography is a genre of photography which is devoted to
displaying clothing and other fashion items. Fashion photography is most often
conducted for advertisements or fashion magazines such as Vogue, Vanity Fair,
or Elle. Fashion photography has developed its own aesthetic in which the

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clothes and fashions are enhanced by the presence of exotic locations or
accessories.wikipedia

Understanding the Fashion Industry

Understanding the Fashion Industry A dedicated fashion photographer knows the

fashion industry inside and out. That does not just mean what the trends are
now, but also the industry’s history and how fashion has evolved over the
centuries. Come armed with a deep understanding of fashions and styles from
many different eras. Have an understanding of key fashion designers, fashion
houses, and various image-makers through the years. Know the makeup and
hairstyle trends throughout history, and study fine art and portraiture to know how
fashion was portrayed before photography. Magazines such as Vogue and
Harper’s Bazaar are considered the industry standards when it comes to fashion
editorial photography. You should also look through more niche and independent
fashion magazines, where fashion editors are making bold choices, like The
Gentlewoman, Fantastic Man, CR Fashion Book, Purple, AnOther, and AnOther
Man. See what style of fashion photography resonates with you. Create a
moodboard using the pages and images in these magazines—that will help
inspire creativity for your own photoshoots. Pay attention to who the
photographers are, as different magazines have a different roster of professional
photographers. Looking through a wide variety of magazines will give you a
better idea of who is photographing for which magazines and what photographic
styles different magazines tend to select. You can also look back in time at old
magazines or books dedicated to the old masters of fashion photography. Helmut
Newton, for example, is known for his groundbreaking lighting techniques and
use of shadow in black and white photographs. Meanwhile, Mario Testino made
a name for himself by marrying bold, colorful, and sometimes controversial
imagery with luxury products and high fashion models. Other photographers to

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look for include Richard Avedon, Annie Leibovitz, Irving Penn, Peter Lindberg,
Rankin, Ellen von Unwerth, and the duo Inez and Vinoodh. Looking through
images of past great photographers provides touchstones when developing your
own style. New York, Paris, London, and Milan are known as the world’s “Big
Four” fashion capitals—not just because of the abundant street style but because
they are home to the fashion designers, fashion editors, magazines, and, most
important, the monoliths of the multi-trillion dollar fashion industry. If you are
looking for a career as a fashion photographer, these are the best places for
finding work with the fashion industry. These four cities, and specifically New
York, Paris, and London, all have a very high cost of living and frequently top
“World’s Most Expensive Cities” lists, so starting a career as a professional
photographer, and particularly a fashion photographer, will not be easy. As you
build a name for yourself, you will need to take jobs for little or no pay,
supplementing your income with a day job. The jobs that you do get in one of
those big cities, however, will most likely have more creative freedom and name
recognition. If you cannot move to one of these cities, that does not mean your
career as a fashion photographer is over before it began, it just means you will
need to be more creative in finding fashion shoots. Los Angeles has recently
become the epicenter for cutting-edge fashion in the United States, and has an
industry size nearly on-par with that of New York. Many mid-sized cities, like
Columbus and Nashville, also have very robust fashion industries. In secondary
markets like these, an up-and-coming fashion photographer may have an easier
time breaking into the industry, with quicker access to national fashion brands
and regional fashion magazines. Keep in mind, however, that the amount of work
may be less and the creative scope might be more limited. Producing a Fashion
Shoot

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Beginnings of Fashion Photography

19th Century Trends

By the mid-1800s some commercial photographers became known for portraiture focused on
aristocratic and fashionable women, a practice that would set the pattern for the development of
Fashion Photography. The Countess di Castiglione Virginia Oldoni, mistress of the Emperor
Napoleon III and a celebrity of the court, became, in effect, the first fashion model when, in
1856, she began working with the photographer Pierre Louis Pierson. Their collaboration (the
Countess, or La Castiglione, as she was more popularly known, played an active role in
designing the photo shoots, selecting theatrical scenarios and dressing to play various roles)
spanned four decades and resulted in some 800 images, including photographs of her
modelling her custom made "Queen of Hearts" dress. Other celebrities, such as the actress
Sandra Bernhardt and the socialite Gertrude Vanderbilt Whitney, modelled for a number of
photographers while wearing the latest fashions. From its very beginnings, then, Fashion
Photography was to have a symbiotic relationship with celebrity portraiture that has continued to
the present day.

The birth of the fashion model (that is, a fashion model who was not already a celebrity)
can be traced back to as early as 1853 when Charles Frederick Worth, a French
designer, hired Marie Vernet to exclusively model his clothing range. In the late 1890s
Lady Duff Gordon recruited a number of tall statuesque women to model
her Lucille brand of clothing in a series of fashion parades. And in the early 1900s,
Jeanne Paquinn became the first designer to send her models to public events, and,
with Paul Poiret, organized fashion parades featuring their own studio models
throughout Europe and the United States.

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 Virginia Oldoini, Contessa di Castiglione -1856- Pierre-Louis Pierson

Edward Steichen

In the early 20th century, Paris was the leading center for fashion design and French
designers were warming to the creative potential for Fashion Photography. By 1910,
Jules, Louis, and Henry Seeberger, who had begun their business as postcard
photographers, started to publish portraits of aristocratic and fashionable women in
prominent French journals. Around the same time, Lucien Vogel, who had founded two
new fashion-oriented publications, La Gazette du Bon Ton and Les Jardin des Mode,
challenged the fine art photographer Edward Steichen to bring his creativity to fashion
photography. Steichen rose to the challenge and in 1911 he took thirteen images

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featuring Paul Poiret's fashion designs for the Art et Decoration magazine. As
photographic historian Jesse Alexander noted, Steichen's intervention is "now
considered to be the first ever modern photography shoot. That is, photographing the
garments in such a way as to convey a sense of their physical quality as well as their
formal appearance, as opposed to simply illustrating the object."

Edward Steichen's photographs for his 1911 fashion shoot were published in luxury fashion
albums and displayed next to the designs of Paul Iribe and Georges Lepaper.

The Rise of the Fashion Magazine

The history of the fashion magazine predates the 20th century. A potential prototype for
fashion illustrations began as early as the 17th century, when, in 1672, Jean Donneau de Vise
founded Le Mercure galante. Publications like The Lady's Magazine, which published in Britain
between 1770 and 1818, also included fashion illustrations. In France, 19th century publications
like Le Costume Francais and Journal des Dames et des Mondes carried fashion illustrations
too but these relied upon hand-colored engravings for their effect. With its debut in
1867, Harper's Bazaar became the first American fashion magazine, and Vogue followed soon
after in 1892. Their emergence coincided with technological advancements that made it
possible to reproduce photographs, and by 1890 new printing techniques allowed for text and

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photograph to appear on the same page. This development boosted the popularity of fashion
magazines and radically transformed the format of the leading women's magazines. Indeed, by
the early 20th century, and with the beginnings of proper of modern
photography, Vogue emerged as the leading fashion publication with Harper's
Bazaar positioned as its leading rival.

baron adolph de meyer

Vogue and Condé Nast

It was, above all else, inspired leadership that informed the rise of the modern fashion
magazine. In 1905 Condé Nast bought Vogue and Vanity Fair and directed the magazines
toward a greater emphasis on women's fashion and photography. He introduced inspired
innovations such as the two-page spread and, later on, color photography. Nast also appointed
Baron Adolph de Meyer, a photographer renowned for his celebrity photographs, as the
first Vogue head photographer. Depicting glamorous women in compositions that emphasized
mood and atmosphere, de Meyer set the aesthetic standard for the magazine. However, it was
the appointment of Steichen in 1923 as house photographer for Vogue and Vanity Fair, a post
he held for the next fifteen years, that defined both magazines' visual style. Employing the sharp

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focus of Straight Photography, he created an indelible image of what it was to be a chic,
contemporary, woman.

Harper's Bazaar and Carmel Snow

Harper's Bazaar became a distinctive and pioneering fashion influence in the

1930s. Vogue's fashion editor Carmel Snow left Vogue for Harper's in 1932. A huge
personality - she was rumored to hardly ever eat or sleep and functioned on a daily
"three-martini-lunch" habit - Snow took to the task of reinventing the magazine. Viewing
it as a reference "for well-dressed women with well-dressed minds," she created a
distinctive American look. In 1933 she hired the Hungarian photojournalist Martin
Munkacsi to shoot the swimwear "Palm Beach" issue. Munkacsi photographed Lucile
Brokaw running along Piping Rock beach on Long Island and, as Harper's critic
Stephen Mooallem noted, the action shot that resulted "would turn out to be a defining
one for Bazaar [and soon] Bazaar was filled with images of women in motion and in the
world."

baron adolph de meyer

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Surrealism Cultural Movement

The Post War Revival

Following the "make do and mend" attitude that took hold during World War II,
designers consciously attempt to re-embrace femininity and glamour and to revive
France's fashion industry. Financed by Marcel Broussac, a clothing and textile
manufacturer, Christian Dior launched a new spring/summer collection in 1947,
intended as he said, "to bring back beauty, feminine clothing, soft rounded shapes and
full flowing skirts."

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Dubbed the "New Look" by Harper's chief Carmel Snow, the feminine "rebranding"
reached its apex a decade later with the Hollywood musical Funny Face (1957). The
film starred Audrey Hepburn as a bookish modern woman (she prefers to dress in black
slacks and sweater) who travels to the jazz clubs of Montmartre in search of
philosophical conversation with the father of Existentialism, Jean-Paul Sartre. She
doesn't meet Sartre but becomes involved with a fashion photographer, played by Fred
Astaire. He slowly "re-feminizes" Hepburn (she of the "funny face"!) who he
photographs in a series of fashion shoots in the shadow of Paris's most famous
landmarks. Astaire's character was modelled on Richard Avedon who also worked as
advisor and photographer on the film (and photographed Hepburn for the film's iconic
poster) while the fashion editor, played by a flamboyant Kay Thompson, was modelled
explicitly on Diana Vreeland. Givenchy's designs also played a leading role in the film's
"New Look" leading critic Pamela Hutchinson to describe Funny Face as "nothing if not
a fashion show." The film's musical centrepiece "Think Pink" (sung by Thompson)
features the following lyric:

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It was Dior (rather than Givenchy) that became the leading fashion house and
contributed most to the revitalization of Paris as the world center for fashion. The Dior
look became so iconic in fact that it has continued to influence later designers including
Miuccia Prada, Vivienne Westwood, Thom Browne, and Alexander McQueen. Yet, at
the time, the "New Look" was criticized by some women who found the corseted look
and its emphasis on male definitions of femininity as repressive. Coco Chanel was
amongst those critics: "Only a man who never was intimate with a woman could design
something that uncomfortable" she complained.
The post-war era also saw the emergence of leading women fashion photographers,
most notably Lillian Bassman. Beginning her career as an assistant to Alexey
Brodovitch, Bassman became art director for Harper's where she was an important
mentor to Richard Avedon, Robert Frank, and Paul Himmel. Turning to fashion
photography in 1947, she experimented in the darkroom, using bleach and burn
techniques, and printing through unusual materials to create photographs that were, as
art historian Lisa Hostetler noted, "memorable for their emotional atmosphere,
impressionistic mood, and subtlety of intimate gestures." Bassman's individualistic
approach often clashed with fashion's commercial purposes, however, and Carmel
Snow felt compelled to remind her employee that "You are not here to make art, you are
here to show the buttons and bows." (Bassman was to leave fashion for fine art
photography by the 1970s, though her work has endured through several monographs
and retrospectives including one in Hamburg, Germany in 2009.)

Concepts and Trends

Fashion and the City

In 1947, having arrived in Paris to photograph Dior's "New Look," Richard Avedon's
photography took a dramatic turn toward a photojournalistic approach, as he
henceforward photographed models on city streets and against skyline backdrops. As
art critic Colin McDowell described it, Avedon "broke away from the decades-old
traditional way of photographing fashion [...] His photographs were about action. What

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[he] did was to introduce movement to some of the most formal clothes in the world and
to give them a spirit that made them exciting for young women - a first in formal couture
[...] It is no exaggeration to claim that it was Avedon who matched Dior's masterstroke
with his own masterstroke which was to make visible the possibilities of the new way of
dressing. And he did so by Americanising its presentation."

The photojournalistic approach, which emphasized dynamism and spontaneity (over

studio portraiture), was enthusiastically promoted by Alexander Liberman, art director
at Vogue, and Alexey Brodovitch at Harper's. Photojournalism dominated fashion
photography in the 1950s and was even mimicked in Funny Face (under Avedon's
advice). Martin Munkacsi, the Hungarian photojournalist who turned fashion
photographer for Harper's in the 1930s, influenced Avedon's innovative approach. In his
essay "Think While You Shoot" (1935) Munkacsi had written, "Never pose your
subjects. Let them move about naturally. All great photographs today are snapshots."
And as art critic Colin McDowell added, by introducing "movement to some of the most
formal clothes in the world," Avedon had "made them exciting for young women."

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The Swinging Sixties

In the 1960s fashion became less formal, as youth culture demanded a "hip" and "trendy" look.
Sixties fashions employed new materials, bold colors, and styles that emphasized the liberation
of the body. In London, three iconoclastic fashion photographers from working-class
backgrounds: David Bailey, Terence Donovan and Brian Duffy -dubbed the "Black Trinity" by
photographer Norman Parkinson - pioneered the "Swinging London" look. The three men
became the first celebrity fashion photographers. In particular, the "Swinging London" look took
on international significance when Bailey's photographic feature 'New York: Young Idea goes
West', starring the then unknown model Jean Shrimpton, appeared in Vogue in 1962. Shrimpton
became in fact the first "supermodel," followed soon thereafter by Twiggy, Veruschka, and
Penelope Tree. In the 1960s, new fashion trends included androgynous styles, unisex
minimalistic designs, and hippy fashions, all reflecting the alternative, or counter culture, youth
movement that was in the ascendance. The British magazines Queen, emphasizing the
celebrities and fashion of "Swinging London," and Nova, combining innovative fashion with
social issues for the "liberated woman," became trend-setting publications.

David Bailey's swaggering London East End persona was fictionalized in Michelangelo
Antonioni's Blow-Up (1966). Just as Funny Face had captured the zeitgeist of the 1950s
fashion magazine, so the "X-rated" Blow-Up encapsulated the mood of freedom and
promiscuity that characterized the London fashion scene during the sixties. The film is
focused on a hedonistic young fashion photographer (played by David Hemings) and
the personal and professional relationships he shares with his models. Featuring a
Hitchcockian subplot (Hemings might have inadvertently photographed a dead body on
one of his location shoots, which only becomes visible once his image is "blown-up" in
his darkroom), Blow-Up drew praise and criticism in equal measure for its artistry and a
new youth sensibility that allowed for nudity and scenes of fornication. In America,
indeed, Blow-Up opened without the approval of the Production Code Administration
and with a "C" rating ("condemned for Roman Catholic viewers") from the National
Catholic Office for Motion Pictures (neither of which, incidentally, prevented the film
from becoming a cultural event and a box office hit).

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Celebrity Culture

From its earliest beginnings, fashion photography has been closely linked with celebrity
portraiture. That trend kept pace with the rise of silent movies in the early 20th century
(sound arrived in 1927) and fashion photographers often took images of silent film stars,
as exemplified by Edward Steichen's famous 1924 portrait of Gloria Swanson for Vanity
Fair. Aristocratic women and social movers and shakers also modelled for the camera,
as exemplified in Man Ray's equally iconic 1924 portrait of the art collector and
socialite Peggy Guggenheim. Images of public figures went some way to promote
fashion as an aesthetic pursuit and helped focus fan and consumer attention on
designer garments and accessories.
Indeed, the fashion industry has enjoyed a reciprocal relationship with the entertainment
and art industries. For instance, the photographer Louise Dahl-Wolfe is credited with
discovering Lauren Bacall who was offered her first screen test after appearing in Dahl-
Wolfe's cover shot for Harper's Bazaar. And in the 1950s, Hubert de Givenchy, then still
relatively unknown, designed Audrey Hepburn's wardrobe for the film Sabrina (1954).
Since the sixties, Fashion Photography has turned its attention towards pop musicians,
as seen, for instance, in Annie Leibovitz's photograph Untitled (Yoko Ono; John
Lennon) (1980) and Stephen Meisel's extensive working relationship with Madonna that
began with her album Like a Virgin (1984).

Celebrity culture also gave rise to the birth of the supermodel. Though the idea of a
"super" model can in fact be traced back to Lisa Fonssagrives whose career began in
the 1930, it is generally understood to be a more modern phenomenon initiated by the
likes of Jean Shrimpton and Twiggy in the sixties. Peter Lindbergh's British Vogue cover
image in 1990, that brought together Naomi Campbell, Cindy Crawford, Linda
Evangelista, Tatiana Patitz, and Christy Turlington, had such an impact on the public
that the models became known collectively as "The Big Five". Male supermodels
appeared during the 1980s with Markus Schenkenberg often cited as the first. He was
soon joined by Mark Wahlberg, Joel West, John Pearson, and Renauld White, while

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more recently fashion magazines have made stars of androgynous and transgender
models, including Andreja Pejic and Valentina Sampaio.

Fashion Film

While the fashion industry has provided rich source material for commercial cinema, a
rather more complex relationship has existed between fashion photography and
experimental cinema (to which the fashion industry came relatively late). Erwin
Blumenfeld, a German Dada artist who began working as a fashion photographer in the
late 1930s, was an early pioneer of the fashion film, though his efforts made little wider
impact. He made a series of short films, named Beauty in Motion (1958-64), and
promoted them to his clients Helena Rubinstein and Estée Lauder who rejected them as
being too experimental. Subsequently, Richard Avedon, whose interest in movement
was influenced by commercial cinema, and Guy Bourdin had both explored the grainy
quality of Super 8 film. While the experimentations informed their photographic stills,
they were not meant to be viewed by the general public and became known only much
later in archival collections (such as the 2002 collection Compulsive Viewing: the Films
of Guy Bourdin).

Connection to Modern Art

Always attuned to the leading trends in the art world (it can be argued
that Steichen's Straight Photography and Man Ray's Surrealism established the look of
fashion photography in the 1920s and 1930s) the fashion world has been most strongly
influenced by Surrealism and Pop Art. Vogue featured the paintings of Giorgio de
Chirico and Salvador Dali, along with a series of Man Ray's rayographs published in the
early 1920s. Photographers including Cecil Beaton, George Hoyningen-Huene, and
Horst P. Horst also explored Surrealistic treatments well into the late 1930s. However,
the avant-gardist component often conflicted with the commercial needs of Fashion

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Photography, as in 1938 when Vogue editor Edna Woolman Chase directed her
photographic staff thus: "Concentrate completely on showing the dress, light it for this
purpose and if that can't be done with art then art be damned. Show the dress."
Despite their conflicts of commercial interest, art movements continued to inform the
fashion world, and fashion photographers often drew upon the avant-garde for
inspiration. In the post war era, for instance, photographers like Irving Penn and Erwin
Blumenfeld reflected an emphasis on simplification and abstraction, as seen in
Penn's Black & White Cover (Jean Patchett) (1950), and Blumenfeld's "doe eye" 1950
cover for Vogue where Patchett's face is evoked with a single glamorous eye, red lips,
and a beauty mark.
It was Pop Art, however, that had the widest ranging impact on the fashion world.
Coinciding with the rise of 1960s youth culture, Pop Art's brash colors and its emphasis
on glamourous consumer culture influenced contemporary fashion design and
photography with the likes of Andy Warhol and Roy Lichtenstein providing potent
inspiration. At the same time, the fashion industry has influenced some art movements
including the Fourteenth Street School whose images of middle-class women shoppers
from the 1920s to the 1940s was influenced by the concept of the "New Woman" as
promoted by Harper's Bazaar and fuelled by the rise of the department store. Later,
fashion photography's preoccupation with celebrity culture and its glamorous depictions
of consumer culture informed Pop Art as demonstrated in Warhol's many images of
Marilyn Monroe. More recently, Barbara Kruger's Conceptual work appropriated images
taken from fashion magazines to create a feminist critique of consumerism, as seen, for
instance, in her iconic I shop therefore I am (1990).

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Types Of Fashion Photography

Fashion photography is the key to a successful portfolio of many

models. Fashion photographers are the one who passionately works behind the
lens is showcasing fashion apparels and accessories in the way that they
appear even the more enticing. Fashion photography has been able to set
benchmarks in the segment of Beauty, clothes, models, accessories, etc. using
technologies and skills, Right from choosing exotic locations, storylines,
background, photographer’s tricks, and techniques during fashion photography
infuses life in the static photo shoot.

There are various styles to the fashion photography genre such as Editorial,
catalogue, high fashion, and street. Street fashion photography is the latest
addition in this category and is gaining prominence owing to its simplicity and
connectivity with commoners. Catalogue and Street style fashion photography
are quite distinguishable, whereas Editorial and high fashion photography are
quite similar in style.

Listed below is a brief idea about the different style of fashion photography :

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Editorial fashion photography

This kind of photography is featured in fashion magazines, books, posters, etc.

The styling here plays the lead role, and the story runs through the photo shoot.
Different stories, articles, publications, and ideas are combined with visual
content, which is further published. Editorial/ fashion models are photographed
throughout the day on different locations and in different wardrobes. The storyline
of the fashion photoshoot is explained to the model, and he/she is responsible for
enacting the role given to them via expressions. The idea behind such a shoot is
to create a powerful statement regarding the product. All the details of editorial
photo shoots are essential right from the hairdo to the makeup and from clothing
to the photography props and locations. These photo shoots are rarely done with
the white or plain background.

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High Fashion photography

Often the big brands and label advertise their products using high fashion
photography for which different models are chosen. This kind of photography
revolves around supermodels, celebrities be it actors, singers or reality TV show
personality. High fashion models chosen for the product has certain prerequisites
to qualify. The clothes and the accessories showcased in this photo shoots are
often at bay from reality. The designer uses the model to showcase their
creativity to their clients. The apparels and accessories of the models are
exaggerated and extraordinarily designed to grab the attention of the selected
audience. Over-the-top lighting, location, hair-do, styling, wardrobe, and the
location works together to create flawless images of the model, which are further

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published for big fashion brand’s promotion. This, in other words, is purely
fashion and glamour photography away from reality.

Catalogue photography

Print media companies use this style of photography. The product images are
printed to market them to their clients. The informational pictures clicked under
this style where the model is made to pose against a specific background and the
clothing or the accessories that have to be promoted can be seen In the photo
shoot. The styling here takes the back seat, and the background usually is white
or grey. The photographs are clicked in such a manner that every detail of the

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clothes is visible. Photo shoot for this category is usually done in the studio or
any other location ideal for the same. Professional Portfolio Maker and fashion
photographers alone can do justice to these kinds of photo shoots.

Street fashion photography

Street Fashion Photography is the most relatable kind of photography. In this

style, the essence of fashion that exists on the street captured. It showcases
what typical people wear, how they can see the style, and how their regular
clothes make the fashion statement. The photoshoot is usually done outside the

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studios, and the photography revolves around daily chores like walking on the
street with various shopping bags and wearing trendy clothes. This kind
of fashion model photography highlights the trend in the real world.

Alternate Fashion Photography

Ever heard about alternate fashion? Fashion is a very volatile business. A type of
dressing which is popular today may go out of trend in some weeks. But some
legendary trends became popular in their time and stayed in the market for the
longest time. Alternate Fashion photography tries to revive these lost trends. It is
the genre of fashion photography that puts a spotlight on independent models
and photographers who still love the style of the 1970s and 80s. They try to
recreate and carry the feel of the past using the mix techniques of clothing,
makeup, setting, and lighting. Past trends like Grungy, Gothic, and Hip Hop are
popularly featured as well as mixing these trends and creating a new style is also
encouraged in this style of photography. Such photography rarely appears in a
mainstream fashion magazine and is published online, but sometimes it is
featured exclusively in period movies and TV series.

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Some other popular sub types of Fashion Photography

Beauty Editorial–

Beauty Editorial photography is the subtype of Editorial photography. It has a

precise approach towards the elements like jewelry, makeup, hairstyle, and
headwear. The style is more focused and has close up frames of these elements
along with a story running through. It is published in mainstream magazines and
work as a catalog for jewelry, makeup or lipstick brands.

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Look Book-

The Look book is a type of Fashion photography that combines the style of
Portfolio-catalog and editorial. It consists of a model dressed up in a line of
clothing featured by a particular brand and this is used as a catalogue by that
brand. The Look Book can be used independently by the photographers and
models as their portfolio displaying their abilities.

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Advertising Fashion Photography –

Advertising Fashion photography has a tiny scale and qualified approach. It may
include only one exclusive picture of a model dressed up in a particular dress.
Such photography is done by major brands for outdoor advertising to display it in
the hoardings and other exclusive areas.

Outfit of the Day

This photography style is popular among bloggers and influencers. It doesn’t
advertise clothing like the other ones on this list. It serves as an individual’s
fashion journal.
O.O.T.D. is a great way to create content for social media and fashion blogs.
Plenty of socialites and celebrities do it. But the majority of people who do it are
amateur fashionistas.

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This particular style is an informal way of documenting clothing. A lot of the
images of this kind involve simple backgrounds such as city streets or even
bedroom walls. It’s also common to see pictures taken with phones instead
of professional cameras.
The clothes featured in O.O.T.D.s often belong to the wearer. In most cases,
they’re a mishmash of brands that showcase the individual’s style. And thrift
store finds are common.
In general, O.O.T.D.s are personal rather than commercial. But some people
also use it for marketing. And there are times when brands sponsor a blogger to
feature specific products.

Do’s and Don’t of fashion photography.

Do’s

 The photographs should be of high quality.

 The model should convincingly fit into the product story.
 Respect the models and don’t try to get physical without permission.
 Maintain a good rapport with the model.
 Communicate and clearly define the guidelines to the model so that
conflicts in the futures are minimized.
 Always check the previous works of the selected/potential models as
this will give you an idea about the variety of styles and look he/she can
accentuate.
 Examine the environment/location carefully and find out unwanted
shadows as they can spoil the Beauty of the shoot.

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  Pay attention to the scene before taking photographs as it would result
in saving image retouching time.
 Always be creative and think out of the way to narrate the story via
fashion photoshoot.
 Always hire professional photographers for fashion photography

Don’t

 Don’t compromise with the lighting source. A variety of lighting

equipment is needed for fashion shots.
 Fashion photography is teamwork, so every team member is it, clothing
stylist, hairstylist or makeup artist, let everyone demonstrate their
creativity and add more vibrancy to the shoot.
 The storyline should be obvious in fashion photography as everyone on
the sets should be well informed about what is demanded from them.
This will help in delivering better-finished images coupled with natural
emotions.
 The story in the fashion photo shoot should be brief and
understandable.
 There is no need to give every detail in the story and highlight only the
most critical moments. Never try to copy the style of famous and
successful photographers.

Fashion Photography- Introduction Navid Farid Navidfarid.official