Fashion photography is carried out in order to sell clothes; it is a part of the wider advertising industry and exploits desires and aspirations through reference to lifestyles. As such, it is an unapologetic appropriator of styles and techniques. This poses questions about the meaning of street photography ­ if it includes fashion photography ­ and about its place, too, in the canon of art photography. While you might at first see fashion photography as different because it is commercial, perhaps it is rather a good example of the need to contrive in all photography. Looking at fashion photographs we wonder to what extent other, apparently spontaneous, photographs were contrived. The idea that fashion photography represents a debasement of the medium must be challenged at a time when the visual language of advertising has permeated “high” art. In any case, the “captured moment” in its diversity and manipulation, is the basis for all photography.

Perhaps categories of photography exist not only because of context or subject but because of the need for definitions within a medium that has been widely employed by amateurs, technicians and professionals in many fields. Bourdieu sees that problems of definition in photography place it outside the cultural hierarchy. The “uneducated” consumer ­ his phrase ­ feels able to view and judge photographs without having to acquire the kind of specialist knowledge necessary for mainstream art. His view that photography falls outside the “consecrated arts” does not prevent those inside attempting to appropriate and/or marginalise it. Fashion photography falls between art and commerce. Donovan, Klein and Tillmans have worked in the fashion business. Donovan, although his work was not confined to fashion, worked in the commercial world. Klein and Tillmans have moved between the commercial and art worlds. Klein’s preoccupation in the 1950s with intervention ­ in relation to his subjects and during processing ­ can be seen in his fashion and street photos. He got into the action and later, during processing, bleached and cropped his images for a highly contrasted, grainy effect. That he was influenced by documentary photo and cinéma vérité is clear, but, in the fashion shots, vérité has given way to cinema. He actually acknowledged being influenced by Cecil Beaton.

Even the greatest and most original of photographers must respond to the commercial imperative. Klein’s extremely and obviously contrived fashion photos have a formality that is not seen in Tillmans’ images. Tillmans, like Klein, has done a lot of fashion work and, according to Russell Ferguson, “all of his various types of photos can be shown together producing an over-archingly structural view of urban life. He has been working through the past decade at the same time as certain fashion photographers have aimed at a particular realism that reflects aspects of urban life.” Corinne Day’s photographs of Kate Moss caused a sensation in the 1990s ­ they were too realistic, even though carefully staged and no more “real” than Mike Leigh’s films.
The acceptance of photography as part of the art world took place in the 1960s and, since then, it has come to displace painting. As a result, artists such as Cindy Sherman and Jeff Wall can now bring narrative into fine art photography. Their styles are very different: Jeff Wall building a kind of realism and Cindy Sherman working within a fantasy world. We can see both approaches mirrored in contemporary fashion photography. So I seem to be coming down on the side of fashion not being separate from mainstream photography; how can it be otherwise when Tillmans won the Turner Prize last year? Fashion may be regarded as a category of photography, but it has had a symbiotic relationship with art photography, both through its practitioners and as a reflection of movements and styles.
An article by Catherine Atherton

While on a variety of locations, Bob will share his vast knowledge of photography and Nikon digital SLRs to educate you on:

· Camera settings for best quality in various situations
· Lens choice for creative and practical shooting
· Utilizing the Retouch Menu for in-camera editing
· Exposure fundamentals and shooting options

During the day’s shooting, Bob takes us to familiar situations around the home and demonstrates a variety of creative photographic opportunities. Understanding Digital Photography covers the use of the Nikon Creative Lighting System, using Nikon Speedlights for portraits and small groups. Bob continues removing the mystery of overcoming photographic challenges in a variety of environments including the difficulties encountered with twilight portraits and landscapes.

This DVD offers valuable instruction to anyone interested in digital SLR photography, particularly those who have some familiarity with a digital SLR’s basic functions. For those unfamiliar with basic digital SLR operation, I recommend beginning with the Nikon School© DVD, Fast, Fun& Easy: Great Digital Pictures.

If you can find $1500 USD to work with then the answer is pretty simple: go Lowel. A Lowel Tota/Omni Core kit comes with three decent lamps with a lot of varied usage. They will work, no matter how much people fade them.

Tota/Omni Core 44 Kit (Soft Case): $1345.00 (list)

Used/New Mafer Clamp $20-40
The mafer clamp is a do anything clamp, that attaches to your stand and accepts a stand pin connection (a “spud”) for lights, arms, whatever.

Photoflex/Flexfill $50
You’ll see these EVERYWHERE, from photo studios to film sets. They’re fairly cheap and extremely versatile. They can be puchased from just about any online photo store (B&H, Calumet, etc).

Tyvek (yeah, the stuff in your walls) $10
Tyvek has an aluminum coated side that has UNBELIEVABLE reflectivity. It will catch and reflect a TON of light. You can find it at any building supply store.

Avenger Articulated Arm (with clamp) $75
Attaches to your stands and can hold most any light modifier… cardboard, gels, whatever.

Assorted Black and White “Backerboard” Scraps (Free!)
Go to your local frame store and ask from their backboard and matte board scraps. The white and black types are usually color neutral and hold up to a lot of abuse, while easily cut to your own needs. Sometimes stores will have entire sheets they’re willing to part with for free.

Go Tube Kit (Soft Case) $685.00

Windshield Heat Reflector $10
You can find these things at auto parts stores and department stores, for very little money. They have one shiny side, aluminum, and one white side. They are essentially the same thing as a photoflex/flexfill. Just take them and repeatedly crush them into a little ball to distress the material (provides a more even and defect free quality of light).

4′x8′ Foam Core $55
You might have to search a bit for this, but it’s simply unmatched in giving large areas of fill, and can always be cut down for your needs. I use them constantly, on location and in the studio.

Cheapest solution

So, you’re really poor (like all of us) and you can’t spare more than 250 bucks for your lighting needs. Well. Okay. I’ve got a kit for you. You can’t complain about the way it looks, but it might just get the job done. I have to admit, this kit is the coolest because it’s just so ridiculously cheap.

CTB Photofloods (250w) x3 – (each) $3.00
White Photofloods (250w) x3 – (each) $3.00
Clamp Lamps x3 – (each) $9.00
China Balls/Lanterns x2 – (each) $10.00
Tyvek – $10.00
4′x8′ Foam Core – $55.00
Gaffers Tape – (each) $25.00
Used C-Stand (With Arm) – $80.00
QuikClamps – (each) $5.00
Assorted Backerboard/Matte Board – $Free
Windshield Heat Reflector – $10.00
Duffle Bag – $Free

That’s 250 bucks for a working kit. It ain’t pretty, but it will do the job. You can usually find a duffle bag for free or nearly free at Goodwill, or from some company outing, or some sort of corporate merchandizing. I know you can find one for free.

China balls/lanterns can be found at most cheap stores, like “BigLots” or “Ocean State Job Lot” (if that exists still, I don’t even know). I’m sure there’s international equivalents of all these places. China lanterns are just paper wrapped around a metal frame, either as a sphere or a rectangle. Both are extremely versatile. And combustible. So keep an eye on them.

Here is my story with 4 easy advices for everyone to use.

During the past 3 years, each summer, I had the chance to attend medieval festivals and actors shows dressed in medieval clothes. As a result I came with a collection of pictures under the title of “Medieval Fashion Photography”.

Advice 1 – Be careful at the background, advertising may ruin the photos

Some of the actors were playing on a scene with advertisements at the back, resulting in a busy colorful background, not proper for fashion shooting. This is why after the play I toked my shots behind the scene, having the medieval city as a perfect environment.

Advice 2 – Follow the actors like a cat is following a mouse

In one other situations, the artists came with they’re own studio: a black carpet on a vertical board and other carpet on some horizontal surface. The only exception was “Robin Hood” who had no trouble sitting with the forest behind him.

Advice 3 – Shot the “movement” for creating a dynamic effect

What is really important in fashion photography, no matter of the clothes, is the cooperation between the photographer and the model. With actors it’s allot easier: they know how to pose according to what they wear and play. The pictures with the black background depict “living statues”. For an actor it’s probably the easiest but unfunny type of acting. Other pictures reflect the movement of the interpretated subject. Even if it’s all about the fashion and not the acting, the movement is as important as the position because the purpose of fashion photography is to make you wish to get dressed like that.

Advice 4 – Catch a scene not a lonely rider

Placing one model in a photo is OK. But placing 2 or more is allot interesting, eye catching and dynamic. However, this means that the position of each of them must be related to the others (not just for the sake of composition, but for the sake of a story-telling photograph). You can try this at home with some friend by borrowing costumes from the theater or acting school.

Tags: fashion photography, medieval fashion, photo tutorials, photo tutorial, photo tips