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How to become a fashion photographer and Professional photographer

A career in fashion photography doesn’t have to be an impossible dream. With its huge audience, high pay-checks and glamorous international lifestyle, fashion photography may seem like one of the world’s most sought-after professions. But for every fashion photographer who makes it through the door of a top magazine, a thousand others find their niche fashion advertising, art photography, celebrity portraiture or even paparazzi work to make a living.

Sydney photographer Eva Mueller agree that breaking into the industry can be hard. But they have some tips for beginners on setting up a portfolio, submitting work to magazine picture editors, choosing the right photo agency and even getting shown in a gallery.

Setting up a portfolio

A photographer’s most important tool is her portfolio, and this is particularly true for beginners who don’t have an established reputation.

“Having been around, I know how hard it is to get in the door,” says Allure magazine photo editor Clio McNicholl, who receives around 50 unsolicited portfolios a month. Conde Nast’s Allure, with a monthly circulation of almost 900,000, is a prime target for beginners wanting to get their work seen. “If I don’t know who the person is, I ask them to send me some promotional material. Generally I only see people who are coming with a direct recommendation from somebody I know,” she says.

Many photographers find that websites offer an inexpensive way to showcase a relatively large quantity of images. Eva Mueller a Munich-born fashion and beauty photographer who has been living and working in Manhattan for ten years, points out that computer editing is also a method of keeping down retouching and printing costs.

But despite the medium’s advantages, most industry professionals will still need to see an old-fashioned book before they hire you. By all means use the web as your calling card, but have something to show them when they call you in for a meeting.

Many fashion photographers find the sharp, bright imaging of 4 x 5″ transparencies show off their work to best effect. Tear-sheets (literally, pages ripped from a magazine) are great if you’ve been published, but good quality, 8 x 10″ prints are also OK. Have at least 20 in your book, and be prepared to leave them for at least a week.

“I like to see a common thread throughout the book,” says Clio McNicholl, who says she can tell within three images whether she likes a photographer’s style. “Tell a story: not necessarily having all the pictures relating to each other, but I like to have some sort of sense at the end of it that I’ve seen that photographer’s personality come through in the pictures.”

The images you choose to showcase in your portfolio should be thematically linked to the job you’re trying to get – still-lifes or product shots if you’re going for an advertising gig, for example. But also throw in one or two other images to demonstrate your range. Strong portraits are always a safe bet, as they tend to stay in the mind of the viewer.

Once you’ve got your portfolio together, the next challenge is to get the picture editor to use you.

Picking your picture editor

“Most people who cold call me haven’t done their research, which is the world’s biggest mistake,” says Clio McNicholl. “The single biggest thing that people should do is their research. They should know what the magazine does, and see how you can apply that to what you do. And they should at least know the name of the photo editor.”

When you submit work to photo editors, remember that you’re “showing” rather than “selling”. Editors almost never buy the specific image they see before them; they’re looking for a photographer who can execute future commissions. You’ll need to be persistent in sending out your work, and ruthless in editing what you choose to show.

The best way to grab an editor’s attention is to show previously published work. But there’s a down-side. “Because there’s such an over-supply of photographers, a lot of magazines really take advantage of that fact,” says Eva Mueller. “Some mags have a decent budget, but a lot of magazines just cover your expenses, they don’t pay for your time or anything. And a lot of magazines don’t pay at all.” McNicholl says Allure’s rates start at $350 a day for unknown photographers, up to $130,000 for a fashion spread.

A photograph is a document just as much as an article or an essay, and picture editors are looking for concise images which clearly communicate an idea or an emotion. Celebrity portraiture, for example, should reveal an aspect of the subject’s character, preferably one that is in harmony with the accompanying written profile. Women’s magazines all over the world buy hundred of stock shots every month – typically young women having fun with their boyfriends, hanging out with friends, or maybe moping home alone with their stuffed toys – all of which express a sentiment commonly dealt with in feature articles. If your work speaks clearly, you’ll stand a much better chance with picture editors than with vague or ambiguous images.

When you’re submitting your work, remember:

Call the magazine ahead and get the name of the person to whose attention the submission should be marked Label everything with your name and telephone number Send working prints or transparencies, not originals Include a stamped, self-addressed envelope if you want the work back

Eve Mueller has one last warning about dealing with magazines: “Another bad thing is not getting paid in ages – months and months and months. Some clients really take advantage of the fact that there are so many photographers out there: they make you pay for the whole shoot, they alter your pictures and don’t tell you when they drop the story. Sometimes they’re just really disrespectful toward the photographer.”

There is a way to avoid having to deal with photo editors, however: and that’s to have a photo agency do the selling on your behalf.

Finding a photo agent

Photo agencies exist to liaise with clients and sell photographers’ work on their behalf. They benefit everyone from start-out photographers, who may not have many industry contacts, to seasoned professionals, who are too busy to take care of business dealings themselves.

“First of all, it’s vital to be known, and an agency is in daily contact with clients and publications,” she says. “That’s the best way for a young photographer to be able to have a connection with them, because usually the photographer is busy taking pictures, and the agent is busy talking to clients. And that’s the way it should be. Usually the photographer doesn’t have enough time to take care of everything.”

Agencies can also re-sell your work in several different markets, acting as a mini publicist and giving career advice. There are so many agencies – and so many photographers – that Cappelletti says it’s important to research which one may be right for you before making an approach.

“The young photographer has to understand their target, in terms of their personal goals the direction the photographer wants to take,” she says. “Everyone is different.”

Agents recommend treating your first contact with them as seriously as if it were a job interview. You should also consider whether they already represent someone whose style is significantly similar to your own – there may not be enough work for both of you, and the other photographer could resent the competition.

A photo agency is not the only place that can sell your work. If you’re more interested in concentrating on your personal vision than taking commercial work, you can also considering exhibiting in a fine art photography gallery.

Getting a gallery

Once derided as a scientific curiosity with no artistic value, photographs are now one of the hottest

growth areas in the international fine art market.

While gelatin silver prints are the staple of fine art photography, you’ll find a healthy interest both in contemporary photos using antique methods (such as Chuck Close’s daguerreotypes), as well as modern printing methods, including Cibachromes and C-prints.

Like any artistic undertaking, art photography is unlikely to pay you a living wage for many years. Although many artists sell their work directly from the Internet, critical attention and the strongest sales come from a relationship with a Gallery. While there is now at least one photo gallery in most major cities, the center of the world art photo market is Sydney. Sydney boasts around 100 galleries dealing in photographic prints, and prices there tend to be strongest. A comprehensive list of Sydney and international galleries is available at the websites of the bimonthly listings guide Photography in Sydney , as well as the Association of International Art Photography Dealers.

Before approaching any gallery with your work, you should telephone and request details of their submissions policy. Many galleries review new work only at set times of the year, and even to get in the door of some places you will need the recommendation of somebody known to the gallery directors. (Sometimes it helps to drop the name of a well-known critic or museum director, even if your connection to them is tenuous.)

If a gallery is interested in taking you on as an artist, they’ll probably want to see a representative sampling of your work. Even if you have one or two knock-out images in your portfolio, a gallery will want to know that you have a mature body of work with a consistent standard throughout. Remember that many artists join a gallery simply by having their work go into the back-room inventory, where it will be shown to specific collectors, rather than having a public exhibition. Not everyone is offered a solo show.

The most important thing to remember about working with a gallery is to maintain a proper business relationship. Every print you give to a gallery should be inventoried by you – not them – and you should understand when and how you can expect payment in the even of a sale. Industry standard is that the artist receives 50% of the retail price of a photo.

You should also discuss whether you are free to have relationships with other galleries, or if your gallery expects exclusivity. If you have a New York gallery, for example, but then arrange to have a show in Los Angeles, sometimes the New York gallery will expect a cut (typically 10%). However, in return for that, they are expected to deal with details like paperwork and shipping. Each relationship between artist and gallery is unique, and you should get as much as possible in writing at the beginning.

The growth of digital photography had made it feasible for everyone to capture the perfect moments of their lives better than ever. The big improvement in shutter speed and photo resolution, make it convenient and easy for both beginners and professional photographers to take good pictures. In addition, photo editing can now be done to create a more creative and artistic photos.

Digital photography has also been a huge plus for many online and offline businesses. A stock or image is used by a photographer to purchase images. These stocks are then purchased on different prices, depending on the license. But since they are digital, and they can be acquired outright from different companies, they can be modified, manipulated and edited using sophisticated editing software.

Today, digital photography is known to boost the fashion industry. Digital fashion photography far off different from doing television footages and taking photos on films. For digital photographers, it is a more challenging field to work on.

The ultimate purpose of digital fashion photography is to capture every detail in the ramp. It will focus on the figures of the stunning ladies, in their most fancy, magnificent and extreme fashion outfits. Digital fashion photography will capture the various outlooks essential to gratify the acceptance in world wide fashion trends.

While digital fashion photography is a meticulous field, a photographer should be creative enough to know the hottest craze each year.

Like fashion designers, digital fashion photographers should also work in high end ease, filed with beauty and glamour. The latter should really come up with the fashion’s great photos.

Here are few points to consider on digital fashion photography:

1. Keep focused

2. Ensure that your camera is always with you

3. Know and set your objective

4. Don’t let go of the opportune moment

5. Envision on how could come up with a creative and interesting pictures

6. Make use of various distance and angles for each shot

7. Show contrast by giving blurry parts and sharp emphasis over your photos.

8. Organize your subject

9. Put weight on the shapes and lines of interest.

10. Create good impact that you are giving information on your audience

A digital photographer should also be conscious that whatever output he delivers will uncover the care, readiness and awareness of the many vital points to remember in taking pictures.

Requirements for a Flourishing Digital Fashion Photography

1. Proper Lighting- The photographer should use curtains and reflectors. Use a tripod and set light to either left or right side of the object at an angle of 45 degree. As much as possible, avoid bright lights, or else use polarizing filters. And lastly, never underexpose parts or expose the whole photo(e); never expose the entire photograph, underexpose other parts.

2. Good Color Harmony- Photographers can make use of backdrop materials to give emphasis on tint and color. Use reflectors, filters, see-thru transparency, and diffusers to neutralize colors. It is recommended to use gray and white backgrounds.

3. The Artistic view of a Photographer – As a professional photographer, your audience may not see what you see in the picture. People pay value to the subject and not on the background. It should connect each other.

If you have even a slight interest in fashion, the industry may offer what you need to have an engaging, exciting career. This industry caters to a range of interests, including fashion photography, merchandising, marketing, buying, fashion stylists, and fashion design.

Some have what it takes to survive in the fashion industry. Some don’t. Some say success in fashion depends on talent, others sure will power. One thing is for sure- very few make it to the top echelon of fame and fortune to design fashion couture. But one may succeed in the fashion industry on a smaller scale.

Merchandising, marketing, and buying skills will most likely be the part of the same job description, unless you work for a large company that can afford to employ specialists in each area. A fashion merchandiser makes sure a storefront puts on a strong front. They are in charge of the presentation of items- the placement of clothing on mannequins- what jewelry highlights which outfit, for example. A fashion merchandiser is a trend spotter in a sense- they keep up on latest trends so they may know what to stock the store with.

Fashion merchandising requires more than a knowledge of what’s hot in fashion. A merchandiser must also be business savvy- they have to make sure the clothing bought by the store is in the target customer’s price range, that the store itself can afford to purchase the clothing at a certain price, and how much of the clothing will sell. And a merchandiser will need a few marketing tricks up his or her sleeve. A fashion merchandiser must also know how to negotiate with the suppliers of the clothing. Negotiating skills involve excellent communication and possibly ability to wheel and deal.

Fashion photographers must have the best job in the photography business. The high end photographers get to meet famous people. Fashion photographers must go where the shoot is, so they may take many expenses paid vacations.

A fashion stylist is the bridge between fashion and psychology. Stylists match clothing to people’s personalities. A good stylist is able to ensemble an outfit that will list the spirits of the wearer. A fashion stylist may work for individuals and prepare outfits for special events and occasions, or they may work for television shows or on a movie set.

Fashion styling requires pure talent. A stylist must choose clothing that is a flattering color as well as the right fit and shape to flatter the individual’s body type.

An entrepreneurial nature is a bonus in the fashion industry. Many jobs require you to work for yourself and your success will depend on your ability to market yourself. An entrepreneur must be self-motivated and able to network socially.

The fashion industry is always changing. This makes for a lot of work for someone working in this field, albeit a perfect field for anyone who becomes bored easily! Competitiveness and creativity are perfect personality matches in fashion related occupations. If you have what it takes the fashion industry has a lot to offer.