whole; this is particularly true in fashion photogra-
phy. Fashion photography does so by concentrat-
ing on the best and most perfect parts of both the
‘‘real world’’ and photographic practice. In photo-
graphy, the choice of the right equipment, the cor-
rect angle of the shot, lighting, film, and even the
studio or location environment creates a compelling
image. In the arena of fashion there are additional
requirements: it is the choice of the model, the
make-up, hairstyling, the costume, and precisely
what part of the garment is to appear in the final
photo in addition to the inherent photographic
requirements that determine a successful image. It
is not enough for the photographer to be a master-
ful observer, he or she must also be a director of
sorts, creating the image as it is captured.
The world of fashion is in a constant state of flux.
A successful fashion photographer must learn to
live with change (which ironically he or she may
have introduced only to see it be abandoned
as ‘‘last-year’s-style’’) and adapt to it. Despite the
achievements of towering figures in the field and the
ideals they exemplify, there are no formulas to
adopt. Constant reevaluation and searching for
new ways to look at a familiar subject is required,
thus experimentation is the constant companion of
the fashion photographer. But experimentation can
bring success as well as failure. Success will mean
travel into new territories; failure will mean starting
over again. For this reason many fashion photogra-
phers experiment through their fine art work, with
successes translated back into their commercial
work and failures left behind. The result is both ar-
tistic growth and exciting new images for consump-
tion in the fashion industry.
The twentieth century has seen the shift in fash-
ion photography from the selling of a specific pro-
duct to the adaptation of a lifestyle. Baron de
Meyer’s photographs depicted a garment and a set-
ting that the reader of fashion magazines could
aspire to, but seldom achieve. Few could afford
the clothing the haute couture designers created.
Following World War II, the direction of fashion
changed in perceptible ways. Ready-to-wear was
featured along with couture creations; movie stars
and other celebrities continued to be used as mod-
els, but more ‘‘average’’ women were also featured
in fashion layouts. Athletic models in motion,
exemplified by Lisa Fonnsagrives became more
popular. In the latter decades of the twentieth cen-
tury, the feminist movement that demanded equal-
ity in rights and income, the mass marketing
techniques of such companies as the Gap or Ralph
Lauren, and the sudden rise of the Internet as an
avenue of commerce and information, all contrib-
uted to the change in the point of view of the fash-
ion photographer. Designer labels became available
in discount department stores, and magazines reg-
ularly feature the side-by-side comparisons of the
couture design and the affordable knock-off. The
growth of new fashion magazines, art, music, and
the increasing emphasis on youth culture were sig-
naled by a new form of fashion photography. The
new fashion photography delves deeply into narra-
tive, telling stories that are not necessarily glamor-
ous, including the anxieties and fears and realities of
everyday life. In some ways the pictures of Juergen
Teller with their ‘‘flash-on-camera’’ look, are closer
to the average snapshot that the reader of the maga-
zines have made themselves. Similarly, California-
based Larry Sultan’s photographs for designer
Kate Spade of fictitious families visiting various
locales, including New York, have become the
family snapshot album of this century. Philip-
Lorca diCorcia also uses this technique, blurring
the lines between fashion and documentary photo-
graphy. These approaches infused new authenticity
to fashion photography by mimicking vernacular
styles and promoting lifestyle over a focus on items
to be acquired.The Business of Fashion Photography
There are two major segments to fashion and
beauty photography. One is the advertising side,
the other is often referred to as editorial work. The
difference between the two can be stated in one
word—control. In advertising photographs it is
the client, the art director, or the agency that con-
trols the final content of the photograph. The
photographer is often chosen based on who can
most closely interpret the style and content of the
ad or the ad campaign. While the photographer can
suggest, it is the client who decides.
In editorial work it is the collaborative work
between the magazine editor and the photographer
that produces the end result. In editorial photogra-
phy, the selection of who will be the photographer
often depends on who can best interpret the editor-
ial viewpoint of the magazine, offering a certain
amount of artistic freedom.
The business of headshots and model composites
is another major element of fashion photography,
and studios producing this kind photography can be
found in almost every town in America. The typical
headshot for fashion modeling is almost always
done with large light sources such as umbrellas or
soft boxes. This approach minimizes any skin
blemishes and tends to flatten the perspective. The
skillful application of make-up can open up the eyesFASHION PHOTOGRAPHY