Image shot by Kent Miller
In conjunction with New York Fashion Week 2014, the fall segment of which runs from September 4-11 this year, we interviewed three professional fashion photographers to give you a clearer idea of what it’s like to be a fashion photographer, and glean some hints and tips for those brave enough to consider entering this outwardly glamorous, but fiercely competitive arena. The first Fashion Week, then called Press Week, was held in 1943 during World War II when fashion industry insiders were unable to travel to the French fashion shows in Paris. In 1994 the event moved to its former site in Bryant Park, and later Mercedes-Benz became the official sponsor. Fall Fashion Week events will be held all over New York City and you may rest assured that the world’s top fashion designers, and celebrities of all stripes will be there, along with a profusion of fashion fans, aspiring fashionistas, and, of course, hordes of photographers.
A commercial photographer based in New York City, Kent Miller specializes in fashion, music, and product photography. He is passionate about the beauty in all things and is determined to capture the essence of it in his subject. He discovered photography in the late ‘80s when he moved to New York, got into bands as a drummer, and started shooting the music scene. He soon sold some images and began freelancing, catapulting him in a new direction, and immersing him in an experimental journey in pursuit of his art. As the medium continues to rapidly evolve, Kent is more passionate than ever about learning innovative ways to deliver high quality creative results to his clients.
“I started shooting portraits in the 1990s,” recalls Kent. “And I got into fashion when some of my clients suggested I check out the various fashion shows. I jumped at the chance and was soon making friends with independent designers. Shooting fashion is very fulfilling for me and you’re on the cutting edge of motivational trends. Coming up with new ideas is challenging since pretty much everything has been done, and it’s awesome to see how people manage to come up with something truly innovative. Fashion shows are exhilarating—everything happens in 13 minutes and then it’s over. It’s just like shooting a band and I love the burst of intensity. When I’m shooting a runway show, I’m a very intense person for 13 minutes. Since I bought a Leica M MonochcromI’ve been discovering that the intensity backstage is equal to what’s out front—the transformations of the models by the make-up people and hair stylists is incredible and the number of people involved in making a pro runway show happen is simply unbelievable.”
Image shot by Kent Miller
“Over the last 4 years I’ve been rebranding myself,” says Kent. “I now concentrate on the alternative youth style the fashion phenomenon represents, not just straight down the runway stuff. I use lots of side-angle and high-angle perspectives and I’ve been using a black-and-white-only Leica M Monochromand shooting with lenses from the ‘50s for a more creative approach in documenting the show from start to finish. Shooting runway fashion is a mess because everyone is shooting in a giant photo pit and you either get the shot or you don’t. My images are a little more alternative than the ‘money shot’ straight down the runway. They show what’s happening outside the runway so designers are enjoying seeing this look. I’m differentiating myself from the run of the mill. I enjoyed doing the conventional stuff, but I like this much better.”
Kent’s advice for emerging fashion photographers:
“Fashion photography is a super-competitive field,” observes Kent, “and you’ve got to have the passion in your heart because it’s a tough row to hoe. Before you even get into it, you really need to assemble a team of amazing models, make-up artists, hair stylists, and assistants, and line up locations. You need to network, develop relationships and contacts with colleagues in the field and build up an awesome portfolio by calling in favors. You have to have a scene that’s happening, test, test, test, and keep on shooting until you start getting what you want. Most successful fashion photographers specialize in shooting either women or men, not both and that’s the fastest path to success. If you’re not already established in some area of photography, such as events or portraiture, signing on as an assistant to a successful fashion photographer is the best way to get a hands-on education, practice and learn the craft as an insider, and make lots of new contacts. You also get to see many different ways to do the same thing, and compare different styles, so you can take the pieces you like and make them your own.”
“Another great idea is to go to Adorama’s rental department and try different equipment before you buy it,” notes Kent. “A good basic outfit for an aspiring fashion photographer would be a full-frame DSLR and a 24-70mm f/2.8 lens or an equivalent APS-C-format outfit. Some fashion shooters like fast prime lenses such as a 50mm f/1.4 and an 85mm f/1.4 or f/1.2. Whatever you use, you should always be thoroughly familiar with your camera, lenses, and what they can do before you embark upon this challenging genre.”
“Personally, I do a lot of my most creative work with a Leica M Monochrom, a classic 50mm f/2 Summicron-M, 35mm f/2 Summicron-M, and an old 90mm f/4 Elmar. My favorite DSLR is my new Nikon D4Swith Nikon lenses from a 14-24mm f/2.8Gto a 300mm f/2.8. My Nikon lens arsenal also includes a 35mm f/1.4, 85mm f/1.4, 24-70mm f/2.8and a 70-200mm f/2.8. Finally I have a Phase 1 camera with several lenses. Invest your money in the best and you’ll never be disappointed!”
Image shot by Scott Morvay
An emerging fashion photographer based in Boynton Beach, Florida Scott Morvay initially specialized in shooting cars, motor sports, and landscapes professionally, but for the past two years he’s been concentrating on breaking into the fashion field. He began taking pictures at the tender age of 7, but his passion for photography was kindled when he started to travel on his own as a young man and was motivated to take better travel pictures. His background as a visual artist helped him to appreciate the creative potential of photography and once he started sharing his images he was asked to shoot pictures by friends and that led to photographic assignments, but not initially in the fashion genre.
Scott’s advice for emerging fashion photographers:
“I built my fashion photography portfolio on my own dime,” says Scott, “and my advice for those breaking into this field is that you have to supplement your fashion photography with other types of photography to finance your fashion portfolio. You have to have great books to make any headway with the leading agencies. Landscape and automotive photography not only pay the bills—they also honed my ability to see what’s happening in the frame and to use every bit of it effectively to capture dynamic images. Fashion photography is all about precision, and to become a successful fashion photographer you have to master light. My advice is to master natural light before you learn how to use lighting to do the same thing. I shot available light for the first year without using any artificial lighting. Then I started working with an assistant who had a lot of experience setting up lights and that was extremely beneficial. Get an assistant who knows lighting and he or she can really show you how to do it. I also learned a lot on the Internet by watching Mark Wallace on Adorama TV. His videos are excellent. I learned some really useful techniques from this guy, and I eventually bought my Profoto B1strobe from Adorama.”
“Working with an agency and shooting for yourself really entail two entirely different approaches,” observes Scott. “Agencies are trying to please the client, but when I shoot for myself I’m trying to create my own personal art and the only person I have to satisfy is myself. A good fashion photographer has to be able to do both. What separates me from other photographers is that I work very hard finding locations, work closely with the models on their wardrobe, and always shoot manually—I make the decisions, not the camera, depending on the location, time of day, etc. I have used sites like Model Mayhem to find models and use the Internet to access fashion photographers’ portfolios to see what others are doing and get ideas.”
Image by Scott Morvay
“The cameras I use for all my work, including fashion are a Leica M, Type 240with 35mm f/2 Summicronand 50mm f/0.95 Noctilux lenses, and a medium-format Leica S2 with 35mm f/2.5 Summarit-ASPH, 70mm f/2.5 Summarit-S, and 120mm APO-Macro-Summarit f/2.5lenses. Suggestion: Don’t use zoom lenses when you’re learning, but zoom with your feet and move around the model to assess different perspectives. I also use a Sekonic Touschscreen light meter, a gray card, and a Profoto Beauty Dishand Zoom Reflector. I don’t often use a tripod, and I have Tenba Roadie, an awesome bag I’d recommend to any photographer. I think a good basic outfit for any budding fashion shooter would be a full-frame DSLR and prime lenses. And as I said, master available light before getting into lighting setups.”
“Another good strategy is pitching your work to small fashion publications that are more likely to accept submissions,” says Scott. “Fashion photography is not what people think it is,” he continues. “You have to be in it for the love and passion of it, and it’s not all glamorous. When you shoot for agencies a lot of your stuff winds up on websites and comp cards. That can lead to work, but not all work is worth doing, and if the money isn’t there and the creative opportunity isn’t there you’re best off not taking the assignment. Also it seems that these days everyone is showing their portfolios on iPads and laptops. This is not acceptable. You need a high quality printed portfolio if you want to send the subliminal message that you care and that you’re a real professional. As they turn the page they can envision your work appearing in a magazine.”
“My images have appeared in South Florida fashion magazines, and while I aspire to see them in some of the top fashion magazines someday, you have to keep shooting, evolving and sending out your best work. Automotive photography is what pays the bills, but I also use it to fund and fuel my passion for fashion photography. When I travel to Paris and London to shoot fashion the expenses come directly out of my pocket, but I use it as a springboard to take myself to the next level. As I said, you really have to have a passion for it, and that passion must be manifested consistently. You have to continually move forward, improve you skills, have the ability to self-edit, and put only your best work out there. That’s the only way you’ll have a fighting chance for success.”
Image shot by Richard Warren
An acclaimed New York based fashion photographer with a stellar track record going back 38 years, Richard Warren earned a degree in Graphic Arts from Western Washington University in Bellingham, WA, moved to New York City at the age of 21, and began assisting such photographic icons as Bill King, Helmut Newton, Denis Piel and Robert Mapplethorpe. He quickly learned how to set up photo shoots all over the world gaining priceless hands-on experience in the fashion photography business. His first big break came when he was 26 and living in Milan—creating a 30-page couture editorial for Italian Bazaar showcasing the creations of Valentino and other top European designers. In 1990 he returned to New York and started a successful career as a top fashion photographer, working for such prestigious clients as Kenneth Cole, Harper’s Bazaar, Elle, Australian Vogue, and Hanky Panky, a purveyor of high-end lingerie.
“What’s distinctive about my style is that I go for an un-posed look that’s quite different from typical stylized fashion model poses,” observes Richard.“ Usually that means using simple, flattering natural light, and trying to include an engaging visual element such as the strawberry that appears in one of my images to add a thought-provoking element that makes the viewer do a double-take and engage with the image. I also work with the creative juxtapositions of scale to make things visually interesting.”
Image shot by Richard Warren
Richard’s advice for emerging fashion photographers:
“My advice for up-and-comers in the fashion field is straightforward,” Richard says. Keep it simple. Don’t get overwhelmed buying equipment because any good camera can do the job. Try to tell a story with your pictures, and within that story try to reflect some cultural trend or to reference a popular movie or celebrity, something topical, to create a narrative people can relate to. Young photographers should do their best to get a job assisting a knowledgeable and successful pro because fashion is still an industry where hands-on knowledge is not acquired in schools, but by interacting directly with the old masters. I often build on the confidence and self-awareness of the model to make her look strong and provocative, because that’s the real essence of creating an alluring image that stands out and gets noticed.”
“The equipment I use is a Canon 5D Mark IIIplus Canon 24-105mm f/4L, 24-70mm f/2.8L, 50mm f/1.2and 85mm f/1.2lenses,” notes Richard. “I like wide-aperture lenses because they provide a brighter viewing image and shooting them at wide apertures softe4ns the background, which directs the viewer’s attention to the subject. For the longest time I didn’t buy that 85mm f/1.2because I couldn’t justify the cost so I rented it from Adorama when I needed it—but I finally took the plunge.”
“When it comes to making money in this profession, I often paraphrase a quote from Douglas Kirkland,” Richard recalls. “Do whatever you can to make money, but always have as personal project in the works, because people won’t remember how much money you made but they’ll always remember your outstanding images. And after all, creating images that are memorable and resonate with the viewer is really the underlying goal of all advertising and promotion. When you’ve created a fashion image that resonates with people, one they will remember and associate with the project, then you’ve succeeded, not only as a fashion photographer but as a creative artist.”
Thank you to all of the wonderful photographers that allowed us to showcase their images with permission.
