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Brigette Lundy-Paine by An Le

American actress Brigette Lundy-Paine is photographed by An Le for the April 2019 issue of Vogue Turkey; with styling by Konca Aykan, hair by Kylee Heath and makeup by Pati Dubroff.


Source: Fashion Photography

Natural Photography Lighting And The Golden Hours

As an avid photographer it always used to irk me that I was so open to the elements and my

Source: Fashion Photography Blog

Natural Photography Lighting And The Golden Hours

As an avid photographer it always used to irk me that I was so open to the elements and my

Source: Fashion Photography Blog

Natural Photography Lighting And The Golden Hours

As an avid photographer it always used to irk me that I was so open to the elements and my

Natural Photography Lighting And The Golden Hours

As an avid photographer it always used to irk me that I was so open to the elements and my

Instagram is All You Need to Promote Your Photography Business

When I first started, every professional photographer at least did the printed mailers once or twice a year, and a combination of various sourcebook advertising.  It was the go to standard, and if you had a photography rep it was mandatory.

The printed mailers could be very simple, for instance a basic post card sent out to 500 hundred potential clients that would cost you in the neighborhood of $2,000.  Generally it was recommended to do that 6 times a year.  And generally 99.9% of those mailers ended up in the potential client’s trash. 

Or they could be extremely ambitions (and expensive)… entire 40 page magazines of a single photographer’s work, or giant gallery quality prints. This was a once a year promo at the most and I saw photographers spend over $30,000 on just one mailing!  It’s a huge investment not just in money but also the time to put it together. But I suppose if that photographer got one big advertising job from it, well then it was totally worth it. 

But if you didn’t think it through, it could be a disaster.  Like the photographer that sent out a stainless steel saw blade with his logo and contact information printed on it, buried underneath sawdust inside a raw wood box…  a nice presentation and it fit his construction product advertising niche.  Sounded like a great idea…. until art directors all around the country dug their hand into the sawdust only to rip open the tips of their fingers on the extremely sharp saw blade!   

Sourcebooks were another expensive but ubiquitous option.  Every fashion photographer advertised in LeBook, from the most established and successful to the brand new and ambitious. For a young photographer it felt almost prestigious to be in it…. even though you were paying a hefty fee for the privilege at around $5,000 for a two page spread.  And if you weren’t Meisel or ripped by the biggest agencies you could pretty much be guaranteed that they would bury you in the very back of the book.

Later in my career the next big thing was email promos.  It’s from around $150 to $450 a month for an email list service like Agency Access depending on which client lists you sign up for and how many emails you send.  One of the nice things about the service is that you can see who clicked through your emails… but the numbers were abysmal and have only been getting worse and worse through the years.  If you sent 1,000 emails and 10 people clicked through to your website that was considered a success!  But we all know how much we love getting spam and I guess art director’s are no different..

I put a profile on Instagram around 2012 and really didn’t do much with it… some behind the scenes photos, lots of vacation pics.. I didn’t really know what it was all about so I didn’t pay too much attention to it.  It seemed like it was more a social place to share with your friends and I just didn’t want to put any time into it… I was busy shooting, and retouching and doing all the other things photographers have to devote their limited time to.

But then things changed… it started to become an important outlet for discovery, and the whole influencer thing took off… nothing has been the same since.

I saw that clients more and more were talking about Instagram constantly… how they discovered new models, or photographers, talent of every kind… even locations, and props… everything! 

About this time I removed the vacation snapshots, all the superfluous crap that had migrated there over the years, and just concentrated on displaying my latest fashion work. 

Quickly my profile went from a couple thousand followers to 10,000. And then I got a booking directly from a client that found me through Instagram… a 3 day catalog on a beach in Mexico!

I wanted more jobs like that so I started to invest more time and effort into Instagram.  I tried a couple apps that allowed you to more easily search and follow people that had an interest in photography, and my following grew a bit more.  I researched other techniques to grow my following, and it grew even more.

But when I signed up for a social media growth service, things really caught on fire.  It wasn’t buying fake followers or likes, and it wasn’t magic or some super secret sauce.  It was just hiring someone that really knew how Instagram worked, how to research the right audience, and then could make my account active 24 hours a day.

My following went from 15,000 to 80,000 in less than a year!  And more importantly, I was getting regular bookings from clients that never heard of me until they saw my work on Instagram.  Those jobs took me all around the world… Moscow, London, Armenia.  And all from a $100 a month investment..

The service I recommend is called Liked Lab.  They have a great promotional and research system, and they are more involved in the process than any other service I have seen… they provide me with analytics so I know the best days and times to post, and what kind of posts work best, what are the strongest hashtags to use.  They even give me advice on the look of my profile.  It’s been a big help, saved me time, and really helped my career. 

So at the beginning of 2017 I wanted to try an experiment… I stopped all other forms of promotion and only used Liked Lab for Instagram.  No emails, no sourcebooks or printed promos.  What happened? I didn’t see any drop off in activity.  In fact, just the opposite. Not only was I getting more work from client’s noticing me on Instagram, now my following and engagement on Instagram was getting so strong that I was getting offers to promote products as an influencer. Ok, that’s not something I am interested in now, I am still busy shooting. But it’s definitely something I can think about for the future or as a side hustle. 

So what does it mean?  I think the entire photography industry is changing, and the old ways of getting noticed don’t work anymore. You don’t need to spend $5,000 on a sourcebook ad, or $400 a month on emails, or $12,000 on printed promos. I haven’t cracked open a sourcebook in years, all the spam emails I get go automatically to the trash.  I think the best thing you can do as a photographer now is just shoot as often as possible, get your work in every magazine or website you can, and then promote promote promote on social media.

What do you think?  I’m still experimenting with the best promotion methods so I want to hear what works for you!

The Liked Lab News

More Inspirational Fashion Images

NJAL’s Katja Horvat questions whether fashion photography has a future amidst the radical shifts in publishing. How does our current technological milieu fundamentally alter fashion photography as we know it? Is the ubiquity of smartphones, advance in-image editing applications, social media, and the rise of fashion film rendering the canonised medium of fashion photography obsolete?

The evolution of photography over the last two centuries demonstrates the medium’s capacity for vigour and until recently, it’s showed no sign of internal exhaustion. Yet, if we focus on fashion photography today, one could say it’s visibly exhausted in an era of constant technological acceleration. What’s going on right now is the paroxysm of styles, and an array of new publishing formats redefining what was formerly known as photography, to the contemporary realm of “image-making”. Where there is no a priori criterion and where there is no enshrined narrative for fashion imagery, everyone can become a photographer, and with the right resources, a successful one. Yet “success” doesn’t always equate to “skill”.

Now more than ever, our current technological milieu is altering the market, but the majority of buzzy young names in fashion photography will not pass the test of time. Simon Rasmussen, Stylist & Creative Director/Editor in Chief of Office Magazine NYC, says: “Everybody can overnight become a fashion photographer and we see younger and younger photographers shooting editorials and executing look books and such. The successful ones already have a huge following due to their knowledge of how social media works and the power within.” It would seem that though these young photographers might not lack the talent or the creative mindset, it remains increasingly difficult for these photographers to sustain the momentum of their social-media accrued hype for more than a fleeting moment. If these photographers are making work for the immaterial age, and it solely relies on the currency of “likes”, will they have the energy to pursue their practice in the long run?

Hype in the most contemporary sense is a product of social media. Internet based social media has made it possible for one person to communicate with thousands of other people and migrate content to micro-communities aggregated under niche, and organised hashtags. In the context of mass-marketing, social media has reoriented our economy of attention and the entire landscape of traditional advertising and publishing has had to rapidly adapt.

Proenza Schouler’s Jack McCollough, while speaking to BoF Founder Imran Amed even said, “Blogs posting things about us, going viral, spiraling throughout the internet and it has an extraordinary impact on the business.” So, what we are witnessing can be described as a revolution – one that can be felt all around us, even if we are not actively involved in it. It’s dominating all aspects of our world, even the way we use Internet.

Saša Štucin, Co-Founder of Soft Baroque and Editor at Large at POP Magazine, recounts an opinionated post by Matthews Leifheit on Facebook. Leifheit referenced New York Times photography critic Teju Cole in conversation with Geoff Dyer, Ivan Vladislavic and Laura Weller. The conversation addressed Instagram and the impact of mass imagery on social media will have on photography. Leifheit responded to the photographer’s negative response to their contemporary condition and questioned, “If you’re tired of the billions of photographs that the kids are taking, then maybe you’re tired of photography?”

Though Štucin doesn’t wholly agree, she did say that Leifheit’s statement is the “realest thing I’ve heard in response to that conversation.” Štucin does believe that society has to progress in tandem with technology. “This is 2015, and there’s a very rich, intense and incessant output of photography going on around us, and all the time. Photography is not just, you know, black and white stuff made with plate glass cameras by old white dudes,” she says bluntly. Štucin alludes to a distinction between “high” and “low” photography today that seems somewhat ironic, given the historic struggle photography endured to become a rarefied artistic medium in the first place. At its inception, photography was never considered art and firmly sidelined to the realm of science.

Today, the medium of fashion photography is fractured, given the rise of fashion film as the industry’s new medium of choice for both artistic expression and campaign advertising. Yet, there will always be true grit photographers committed to preserving the art of still photography, even when the very notion becomes archaic. There will be photographers invested in the medium’s rampant technological acceleration, as there are photographers committed to preserving by-gone analogue aesthetics and their outdated apparatuses. Today, the large proportion of photographers working inside in fashion, have to be more flexible with their skills and knowledge, as well as aware of the effects, and the social-media applications which will proliferate attention, and once again adapt to new shifts in the industry’s parameters for fashion photography.

Social media democracy, and its inherent accessibility has made the fashion industry, and the consumer as diverse as ever. The fashion industry, largely because of social media is defined only by front-end, consumer-facing innovation. No longer are the rarefied print pages of a niche fashion bible ripe ground for brands to visually communicate with their customers. Today, 91% of all consumer engagement happens on Instagram, and it’s this very application as well as its limitations that have redefined the parameters of traditional photography and presentation. Tech-enabled methodologies deliver different results as we know it, all visual information is pushed, pulled and shared on every media platform there is, and as a result, quality is no longer heralded over quantity. This era of accelerationism churns out content at an aggressive rate, and discourages smarter, and informed decision-making by its very design.

Simon Rasmussen says, “I truly believe that traditional photography is still alive and it’s a part of my job as an Editor for a print magazine to maintain a high level and demonstrate excellent quality of control in all images we put out there.” While Rasmussen is quick to champion emerging talent across all creative disciplines, he also notes the “huge difference between young, self-taught photographers versus an experienced photographer who went through school and assisted for a decade.” The distinct differences separating these creative generations isn’t just quality, but everything from professionalism, technique, aesthetic affinity, and a more general approach.

Perhaps the most glaring difference for Rasmussen is the younger photographer’s propensity for social media, “I hope that younger photographers aren’t just booked for their Instagram clout anymore,” he says.  There’s no doubt a social media “clout-score” will be important to some, but Rasmussen explicitly prefers that his young photographer do not even have an Instagram account. “Luckily taste and aesthetics is still something you have to have and cannot just simply copy and repost,” adds Rasmussen.

Do the fundamental changes in fashion photography as a medium reflect the paradigm shifts unfolding in wider society? The context of creativity has drastically changed; it’s no longer simply about the medium or a single artistic discipline but a cross-pollination. Photography can readily align itself with fine art, architecture, politics, just as fashion photography emerged as a distinct medium amongst photography’s wider interdisciplinary engagement. However, what has changed is that the formula of skill, knowledge and process is no longer a criterion for the medium’s success. Instead, its ruled by an immediate currency of reaction, and its ability to capture and harvest data, which in a fashion context—translates into sales.

It’s this unapologetic commercial alignment that’s also driving a younger generation to preserve the archaic process and practice of traditional photography. Though it’s less about conservation for these younger creatives, the tanglible labour, and mosaic processes of physical photography is a bold, artistic statement in the age of immaterialty. It’s about carving out a niche aesthetic and cultural cachet that sets you apart from the Instagram-ready masses. This cross-pollination of process and practice, and by-gone aesthetics with metaphysical modernism is resulting in a hybrid of new aesthetics and anti-aesthetic styles, where traditional techniques and contemporary technological freedoms intermingle. Saša Štucin adds that these contemporary conditions are symptomatic of, “thinking about what photography could be if we forget what we know about photography entireley.”

The metamorphosis of the photographic medium is forgetting its preconceptions without ignoring them. While we can’t necessarily predict what the fashion industry will look like in the future, one thing remains certain, and that’s documentating fashion will become even more intricate and complex in its design and dissemination.

The Liked Lab News

Beautiful Photography


Here are some images from my archive of favorite photography.









Melvin Sokolsky, Simone wears fashion by Venet, River Seine, Paris, American Harper’s Bazaar, March 1963, © Melvin Sokolsky/Victoria and Albert Museum, London

Melvin Sokolsky, Simone wears fashion by Venet, River Seine, Paris, American Harper’s Bazaar, March 1963, © Melvin Sokolsky/Victoria and Albert Museum, London

The photographer David Bailey described a fashion photograph simply as ‘a portrait of someone wearing a dress’. The roots of the profession are found in Victorian society portraiture. From as early as the 1840s, debutantes, actresses and dancers posed in their finery for portrait photographers, just as their mothers had sat for the great portrait painters of their day.

Yet Bailey’s own work shows the transformative power of the camera lens. Irving Penn, the photographer with the longest tenure in the history of Vogue magazine, saw his role as ‘selling dreams, not clothes.’ Beyond the simple recording of fabric and surface detail, the most memorable images fulfil or challenge the desires and aspirations of the viewer.

Fashion photography has never existed in a vacuum. Photographers have continually pushed boundaries, and the tension between artistic and commercial demands has generated great creativity and technical innovation. Whether as fashion shoots or advertisements, these images reflect contemporary culture, world events and the dramatic shifts in women’s roles throughout the 20th century.

Cecil Beaton, In the Manner of the Edwardians, Mary Taylor wears Channel, American Vogue, 1935. Museum no. PH.191-1977, © Victoria and Albert Museum, London

Cecil Beaton, In the Manner of the Edwardians, Mary Taylor wears Channel, American Vogue, 1935. Museum no. PH.191-1977, © Victoria and Albert Museum, London

A glittering new century

In 1911, at the height of Europe’s golden age of prosperity and elegance, the American photographer Edward Steichen photographed models wearing dresses by the designer Paul Poiret. Thirteen soft-focus images were printed in the magazine Art et Décoration, and Steichen later proclaimed them ‘the first serious fashion photographs ever made.’

In an earlier, pre-photography age, fashion magazines such as Le Costume Français and Journal des Dames et des Modes had included engraved illustrations but had only a limited readership. Advancements in printing processes in the 1890s allowed photographs to be printed on the same page as text, and fashion magazines became more widely available.

In 1909, the publisher Condé Nast bought an American social magazine entitled Vogue. He transformed it into a high-class fashion publication with international aspirations. Swiftly followed by the re-launched Harper’s Bazaar, Vogue sought to capture the spirit and fashions of New York, London and Paris through innovative photography and a growing supply of glamorous models.

Ilse Bing, Salut de Schiaparelli, Perfume Advertisement, 1934, © Estate of Ilse Bing/Victoria and Albert Museum, London

Ilse Bing, Salut de Schiaparelli, Perfume Advertisement, 1934, © Estate of Ilse Bing/Victoria and Albert Museum, London

Challenging perceptions

The cultural movement of Surrealism had a profound impact on fashion magazines in the 1920s and ’30s. Paintings by Salvador Dalí and Giorgio de Chirico featured in Vogue alongside avant-garde photographs by Man Ray. Some fashion photographers adopted their revolutionary principles, attempting to give visual expression to the unconscious mind. New techniques and unexpected juxtapositions were used to challenge perceptions of reality, to amuse and to disturb.

Such bold experiments riled Vogue editor Edna Woolman Chase, who wrote angrily to her staff in 1938:

‘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.’

As chief photographer of French Vogue, and later of Harper’s Bazaar, Baron George Hoyningen-Huene inspired a generation. His own work reflected a painterly fascination with light, shade and classical forms. His protégé Horst P. Horst produced similarly inventive images, fusing surreal and classical motifs.

Erwin Blumenfeld, Model and Mannequin, American Vogue Cover, 1 November 1945, © Estate of Erwin Blumenfeld/Victoria and Albert Museum, London

Erwin Blumenfeld, Model and Mannequin, American Vogue Cover, 1 November 1945, © Estate of Erwin Blumenfeld/Victoria and Albert Museum, London

Post-war revival

During the Second World War ‘make do and mend’ was the prevailing approach to fashion. As the world gradually recovered from the horrors of war, a fresh cohort of designers emerged. The desire to embrace glamour and femininity after years of wartime austerity found its most extreme expression in Christian Dior’s New Look, launched in 1947, with its nipped-in waists and extravagantly full skirts.

The elegantly sensual vision of photographer Lillian Bassman complemented the new fashions. She pioneered an approach in which evoking a mood took precedence over depicting the details of the clothes. Bassman’s grainy images frustrated Harper’s Bazaar editor Carmel Snow, who warned her in 1949,

‘You are not here to make art, you are here to show the buttons and bows.’

Erwin Blumenfeld also pushed the boundaries of experimental fashion photography. He favoured Kodachrome colour film, which enabled his vivid images to leap from the magazine page.

John French, Skater wears a Digby Morton fur trimmed velvet coat, city gentleman, Michael Bentley in the background, London. Daily Express, 1955, © Victoria and Albert Museum, London

John French, Skater wears a Digby Morton fur trimmed velvet coat, city gentleman, Michael Bentley in the background, London. Daily Express, 1955, © Victoria and Albert Museum, London

Shooting in the city

In the 1950s a fresh dynamism infected the major fashion magazines as photographers adopted a more spontaneous, photojournalistic approach. Models spilled out onto city streets, studio backdrops were replaced by city skylines.

In 1957 Richard Avedon photographed a model striding along the Place François-Premier in Paris for American Harper’s Bazaar. She appears mid-step, her Cardin coat billowing behind her. Both feet are off the ground, as though a gust of wind has lifted her into the air. Avedon titled the photograph In Homage to Munkácsi, a reference to one of the first fashion photographers to work primarily outside the studio. Writing ahead of the trend in his 1935 article Think While You Shoot, Martin Munkácsi advised:

‘Never pose your subjects. Let them move about naturally. All great photographs today are snapshots.’

This new cinematic vision was vigorously promoted by the powerful art directors Alexey Brodovitch at Harper’s Bazaar and Alexander Liberman at Vogue.

Ronald Traeger, Twiggy wears Twiggy Dresses, Battersea Park, London. Unpublished Fashion Study for British Vogue, Young Idea, July 1967, © Estate of Ronald Traeger/Vogue The Condé Nast Publications Ltd/Victoria and Albert Museum, London

Ronald Traeger, Twiggy wears Twiggy Dresses, Battersea Park, London. Unpublished Fashion Study for British Vogue, Young Idea, July 1967, © Estate of Ronald Traeger/Vogue The Condé Nast Publications Ltd/Victoria and Albert Museum, London

Sixties liberation

In the 1960s the feminist movement gathered pace as women campaigned against inequality. In the fashion world, the structured formality of 1950s designs gave way to a more youthful look and the body was liberated from constricting undergarments and corsetry. New designers and photographers emerged, their work showcased in magazines such as Queen (relaunched 1957) and Nova (launched 1965).

Photographer David Bailey was employed to revamp the ‘Young Idea’ section of British Vogue. His vivacious documentary approach, and those of other London-based photographers, turned teenage models such as Jean Shrimpton and Twiggy into international stars, the embodiment of Swinging London. The mood was captured in Michelangelo Antonioni’s film Blowup (1966), in which David Hemmings starred as a character partly based on Bailey.

From 1966 onwards, exotic fabrics, clashing patterns and colours were boldly combined. Penelope Tree’s unconventional looks made her the ideal model for the hippy fashions popular in the latter part of the decade.

Arthur Elgort, Wendy Whitelaw, Park Avenue. Personal picture taken on American Vogue fashion shoot, July 1981, © Arthur Elgort/Victoria and Albert Museum, London

Arthur Elgort, Wendy Whitelaw, Park Avenue. Personal picture taken on American Vogue fashion shoot, July 1981, © Arthur Elgort/Victoria and Albert Museum, London

Picturing femininity

In the 1970s photographers increasingly tested the limits of acceptable fashion imagery. They engaged with society’s changing attitudes towards femininity and sexuality, and the potentially controversial themes of religion and violence often informed their work.

These fashion images invited viewers to be voyeurs of highly charged scenes. Helmut Newton’s work brought together themes of emotional ambiguity and sex, capturing confident women in glamorous and contrived settings. Guy Bourdin and Gian Paolo Barbieri created darkly provocative images, which focused less on garments and more on the character of the woman beneath.

The notion of ideal beauty broadened in mainstream magazines with the more regular use of black and androgynous models. The photographers Deborah Turbeville and Sarah Moon were both former models and their engagement with the female form was distinct from that of their male counterparts. Their contemplative images provided female perspectives on the themes of beauty and sexual objectification.

Corinne Day, Woman dancing at a London club, 1992, © The Estate of Corinne Day/Victoria and Albert Museum, London

Corinne Day, Woman dancing at a London club, 1992, © The Estate of Corinne Day/Victoria and Albert Museum, London

Capturing real life

In the 1980s, new style publications aimed at both sexes emerged as a counterpoint to the airbrushed perfection of the major glossy magazines. They featured articles on contemporary music, culture and emerging trends. Their pages were populated with figures representing alternative types of beauty, who were often not professional models.

Portraits by Steve Johnson of punks and New Wave youth appeared in i-D magazine. The images became known as ‘straight ups’ as they showed the figure in full. The approach garnered many imitators, keen to capture personal and innovative street fashions.

In the 1990s, the leading exponents of this naturalistic, documentary approach to fashion photography included Corinne Day, David Sims, Craig McDean and Jason Evans. At the heart of their work lay an interest in everyday life and real people, celebrated for all the flaws that make them individual and uniquely beautiful.

Miles Aldridge, Blooming #3, 2007, © Miles Aldridge/Victoria and Albert Museum, London

Miles Aldridge, Blooming #3, 2007, © Miles Aldridge/Victoria and Albert Museum, London

Fiction and fantasy

Today’s most dazzling fashion images are rich with colourful and poetic narratives. Big budgets, set designers and multiple stylists are employed to create elaborate fantasies. Photographer Miles Aldridge describes the process as akin to making a film:

‘If the world were pretty enough, I’d shoot on location all the time. But the world is just not being designed with aesthetics as a priority. What I’m trying to do is take something from real life and reconstruct it in a cinematic way … condensed emotion, condensed colour, condensed light.’

Just as fashion designers reinvent and recycle the trends of decades past, photographers often look to their forebears for inspiration. Tim Walker conjures a whimsical, technicolour England, inspired by the opulence of Cecil Beaton’s early work and classic children’s fairytales.

For the past century women’s fashions have dominated magazines, but in recent years more publications aimed at male readers have emerged. The V&A is now consciously collecting men’s fashion images to reflect this growing area.

This content was originally written to accompany the display Selling Dreams: One Hundred Years of Fashion Photography, on at the V&A South Kensington 28 March – 4 May 2014

Liked Lab for Social Media


Today I took another dive into my folder of inspiration, years of gathering images that have particularly captured my attention. 


What is Fashion Photography?

The term “fashion photography” describes a type of fine art photography devoted to the promotion of fashion items such as haute couture clothing, as well as mass-market clothes, shoes, perfume and other branded products designed by fashion houses around the world. Practiced by many of the world’s greatest photographers, “fashion photography” should be seen primarily as a form of visual art, rather than an applied art, since the images created do not serve a utilitarian function. Furthermore, 21st century fashion photos – like mainstream TV commercials – are primarily concerned with the promotion of a brand (that is, a concept), rather than a physical product. (Please see also: Is Photography Art?) Whatever its precise meaning or aesthetics, “fashion photography” is closely linked to contemporary art and popular culture. Not only does it reflect popular attitudes, aspirations, and tastes, it also reflects the views that women have, about their self-image, gender and sexuality. In addition, “fashion photography” is inextricably linked to the media. Emerging initially to satisfy the needs of women’s magazines published by Conde Nast and Hearst, such as Vogue and Harper’s Bazaar – today augmented by publications like Elle, Cosmopolitan, Vanity Fair, W, Grazia and Seventeen – it now has instant worldwide impact thanks to the digital computer revolution and the Internet. Although New York replaced Paris as the the mecca of fashion photography as far back as the 1940s, Paris and Milan remain important creative centres, while Far Eastern cities in India and China will no doubt emerge as international fashion centres before long.



History of Fashion Photography

The earliest fashion photos were produced in the 1860s, to document the creations of the leading Parisian fashion houses. The idea of employing professional models was thought to be repugnant, so fashion photographers were reliant upon social celebrities, such as Gertrude Vanderbilt Whitney or Sarah Bernhardt, to act as models. Even when full-time models were later employed, they were sketched by artists rather than photographed, because couturiers and designers thought that photographs would give away their secrets. It wasn’t until the late 1880s that photographs of models were used and then printed in fashion magazines, following the invention of the halftone printing process by Frederic Eugene Ives (1856–1937). This new print process made it possible to reproduce fashion photographs in mass-circulation journals and market fashion to a mass audience. (See also: 19th Century Photographers.) The two most important fashion magazines (both founded in America) were Harper’s Bazaar (founded by Harper & Brothers, first published 1867, later bought by Hearst) and Vogue (founded by Arthur Turnure, first published 1892, later bought by Conde-Nast). These journals and their expanding readership, together with rapidly advancing American technology in the area of photography and printing, made the United States an important centre in the area of fashion photography.

Paris Culture and Fashion (1880-1930)

But despite America’s technical edge, Paris remained the centre of Western culture, notably in the areas of fine art and printmaking. Indeed with the emergence of major artistic trends like Impressionism (1873-83), Post-Impressionism (1880-1900), Art Nouveau (1890-1914), Fauvism (1905-6) and Cubism (1907-14), Paris was the Mecca for all serious artists involved in painting and sculpture. Berlin was another important centre of avant-garde art and design, thanks to the influence of German Expressionism, as well as the influential Sturm Gallery (1912-32), the later Bauhaus Design School (1919-1933), and the activities of photographers like John Heartfield (1891-1968), Raoul Hausmann (1886-1971), Hannah Hoch (1889-1978), Heinrich Hoffmann (1885-1957) and Laszlo Moholy-Nagy (1895-1946).

It was the same in fashion. All the major trends emanated from Paris and Berlin, and it was these French and German fashion trends that were showcased in Harper’s Bazaar and Vogue. And since most of the major couturiers and fashion houses were located in Paris, it was here that most of the pioneering fashion photography was done. Indeed the first serious fashion photo-shoot was done in Paris in 1911 by the American photographer Edward Steichen (1879-1973), when he photographed a series of gowns made by the couturier Paul Poiret, so as to convey their physical quality as well as their formal appearance. Published in the magazine Art et Decoration, Steichen’s images were seen as the first modern fashion photos ever published. Other French magazines that employed fashion photography during the prewar years included La Mode Practique and La Gazette du Bon Ton, while other early 20th-century Parisian fashion photographers include: the Seeberger brothers – Jules Seeberger (1872-1932), Louis Seeberger (1874-1946) and Henri Seeberger (1876-1956) – Maison Reutlinger, Boissonnas et Taponnier and Henri Manuel.

Note: Modern French fashion photography originated with three Parisian postcard photographers known as the Seeberger brothers (Jules, Louis, Henri), who began taking portrait photos of the upper echelon of French society around 1910 onwards. As these casual portraits of beautiful women, clad in the latest fashions at horse races, holiday resorts and cafes, began to appear in journals and magazines, couturiers such as Chanel, Hermes, and Madeleine Vionnet rushed to send their fashion models to be photographed by the brothers.

Although hit hard by The Great War (1914-18), France retained its position as the centre of art and fashion throughout the 1920s and 30s, thanks to the birth of Surrealism in 1924, as well as the rise of couturiers such as Chanel, Balenciaga, Schiaparelli, and Lanvin, each of whom became known for their distinctive styles. As a result, the city continued to attract top camera artists including Horst P. Horst (1906-99), Man Ray (1890-1976), Cecil Beaton (1904-80), George Hoyningen-Huene (1900-68), Erwin Blumenfeld (1897-1969), Brassai (1899-1984) and Andre Kertesz (1894-1985), as well as the design-genius Alexey Brodovitch (1898-1971).

Note: On both sides of the Atlantic, the emergence of department stores greatly increased the accessibility of women’s fashion. In Paris the leading fashion stores included Le Bon Marche, La Samaritaine, and the Grands Magasins Dufayel, while in America they included Macy’s, McCreary’s, Abraham & Straus, AT Stewart Dry Goods Store (all New York), Marshall Field & Company, Carson Pirie Scott (both Chicago), and Wanamaker’s (Philadelphia).

Fashion Photography in America (1900-1930)

Such activity in Paris did not prevent American fashion photography from progressing also. The country’s growing wealth, the power of Harper’s Bazaar and Vogue, as well as its tradition of photographic art – exemplified by the work of Alfred Stieglitz (1864-1946), and later Paul Strand (1890-1976), Charles Sheeler (1883-1965), Dorothea Lange (1895-1965) and Walker Evans (1903–1975) – all combined to make New York a hotbed of innovation.

The first notable American fashion photographer was Baron Adolf de Meyer (1868-1946) – best-known for his elegant portraits of celebrities such as Mary Pickford, John Barrymore, Lillian Gish, Ruth St. Denis, Britain’s King George V and Queen Mary – who in 1913 became the first official fashion photographer for the American magazine Vogue, now owned by Conde-Nast. De Meyer was the first to imbue his fashion photos with a sense of “mood”, by bathing his shots in a limpid atmosphere and shimmering light. This refinement opened the way for fashion photography to evoke a wide range of feelings in the viewer, thus abandoning the traditional convention of using fashion photos for illustration purposes only. (For the evocative effects created by early portrait photographers, see the work of Julia Margaret Cameron: 1815-79.)

During the early part of the 20th century, another significant factor in the growth of the American fashion industry (and thus American fashion photography) concerned the rise of the “ready-to-wear” clothes industry, and the contemporaneous development of an independent US style quite unconnected with Parisian fashion. In effect, the American fashion market switched from Parisian couture to individualized ready-to-wear clothing, marketed and promoted through magazines like Women’s Wear Daily (founded 1910), Harper’s Bazaar, and Ladies Home Journal (founded 1883 – and in 1903 became the first American magazine to reach 1 million subscribers).

In 1924, Adolf de Meyer’s ‘soft-focus’ effects were superceded by Steichen’s clean geometric style of photographic modernism, which substituted simple but sleek backdrops for de Meyer’s rococo settings. Like the smooth lines, geometric shapes, and streamlined forms of Art Deco – the hugely influential design movement developed in America – Steichen’s photos showed that US fashion photographers intended to lead Europe, not follow it. The fact that America was the land of European emigrants, liberated from the traditional and old fashioned values of their homelands, was an added advantage. Thus Steichen was able to portray the modern woman in a modern style of clothing that reflected her new-found freedom from the corset – a situation later portrayed by Horst P Horst in his seminal Vogue image, entitled “The Mainbocher Corset” (1939). See also Steichen’s series of photographs of Marion Morehouse, who embodied the archetypal “contemporary” woman, the flapper.

Another important development was engineered by Carmel Snow, editor-in-chief of Harper’s Bazaar, who arranged for the Hungarian sports photographer Martin Munkacsi (1896-1963) to shoot some photos for a swimwear spread, out in the open on a windy beach. As Lucile Brokaw, the model, ran towards the camera, Munkacsi photographed her in motion, blurred and hair streaming, and in that instant shattered the convention that fashion photographs could only be taken inside a controlled studio environment. Munkacsi’s spontaneous realism revolutionized the aesthetics of fashion photography, and opened the way for others to follow.

Also important was the invention of Kodachrome a type of colour film introduced by Eastman Kodak in 1935. One of the first camera artists to use colour in fashion photography was Louise Dahl-Wolfe (1895-1989), best-known for her outdoor photo-shoots for Harper’s Bazaar. She was also one of the first to use natural light, and to use exotic locations for her photography.

Surrealist Fashion Photography

Presided over by its chief theorist Andre Breton (1896-1966), the Paris-based Surrealism movement, with its fantastic, dreamlike attributes, had a significant influence on fashion photography. This is best exemplified by the work of Man Ray, the American camera artist who charted an entirely new direction for fashion photography, mostly because he disregarded the conventions and experimented with surreal, expressionistic imagery in his dark room. In effect, his contrived, indoor, pictorialist style of work represented the opposite end of the spectrum to the spontaneity of Munkacsi. Another important pictorialist fashion photographer was Erwin Blumenfeld (1897-1969) who employed numerous techniques including solarization, overprinting, juxtapositioning of colour transparencies, and even chilling wet negatives in the refrigerator in order to achieve his surreal effects. Other camera artists who incorporated surrealist ideas in their photos included the Englishman Peter Rose Pulham (1910-56), the Frenchman Andre Durst (1907-49), the American George Platt Lynes (1907-55), and the inimitable Cecil Beaton.


World War II and 1950s

The advent of war prompted numerous European painters, sculptors and photographers to move to the safety of the United States. The trend began during the 1930s and accelerated from the time of Hitler’s rise to power in Germany, in 1933. Thus, for instance, the designer and photographer Alexey Brodovitch (1898-1971) emigrated from Paris to New York in 1930; Martin Munkacsi did it in 1934; George Hoyningen-Huene moved in 1935; and Erwin Blumenfeld (1897-1969) in 1941.

Fashion in the United States during World War II was a depressing business. Not only was there a serious lack of fashion materials, designers and models, but people had lost interest in clothes in the face of so much tragedy and uncertainty. Fashion was considered a frivolous and unnecessary form of self-indulgence. To reconnect with their readers, fashion magazines profiled women’s role in the war, promoted fashion as morale building, replaced society columns with war reports, and championed tailored but plain uniform-style clothing. Studio photography with its expensive lighting systems and intricate setups disappeared almost entirely. Many photographers (Lee Miller in Paris, Cecil Beaton in London, Louise Dahl-Wolfe in New York) adopted a direct, straightforward style almost like a documentary.

By the end of the war, the global centre of fashion photography had shifted from Paris to New York, where the rivalry between Harper’s Bazaar and Vogue was in full swing. The most important photographers were now Martin Munkacsi, Louise Dahl-Wolfe, Irving Penn (1917–2009), Richard Avedon (1923-2004), all of whom would make significant contributions to fashion photography, although Penn and Avedon would dominate the genre for years to come. Like many great modern artists they had the ability to reinvent themselves with almost every decade.

Avedon’s photos were marked by their chic insouciance and boundless vitality. He also had a unique gift for inventive risk-taking and imaginative experimentation, and was a perceptive talent-spotter, always finding the “face” that best captures the “look” of the moment, such as Dorian Leigh, Suzy Parker, Twiggy, Jean Shrimpton, Brooke Shields, and Nastassja Kinski. In contrast, Penn’s photography was all about beauty and form – elements that combined most perfectly in his later series of still life photos. He was the first to use austere grey and white backgrounds, and his studio arrangements were both aesthetic and meticulous. If Avedon’s work can be described as “immediate”, Penn’s is “monumental”. In addition to their fashion work, both men produced outstanding portrait art – see, for instance, Penn’s immortal portrait of Pablo Picasso, or Avedon’s portrait of the model Dovima wearing a Dior dress surrounded by African elephants.

Another major postwar talent was the British camera artist Norman Parkinson (1913-90), who joined Vogue (International) in 1946 and began working for US Vogue in 1949. Parkinson’s “action realist” style and larger-than-life personality helped to transform conventional fashion photography.

In general, one can say that by the mid-1950s, a new fluid and energetic aesthetic had emerged to replace the more static prewar approach. In a sense this was no more than a reflection of the growing confidence shown by both business and consumers as prosperity began to take hold across America. With a rekindled interest in clothes, boosted by the stylish image and outfits of movie-stars, American women began to want more fashion and the magazines duly obliged. In addition to Avedon, Penn and Parkinson, other leading fashion photographers of the 1950s included, William Klein (b.1928) and Lillian Bassman (1917–2012).

Note: Harper’s Bazaar and Vogue competed strongly for the most innovative fashion editors, art directors and designers, many of whom had a huge effect on the development of clothing and other fashion photography, through their influence over their staff photographers and freelance cameramen. The two best examples include: Alexey Brodovitch, art director at Harper’s Bazaar (1934-56); and Mrs. T. Reed Vreeland, fashion editor at Harpers (1936–1962), later editor-in-chief at Vogue.

Fashion Photography in the 1960s

While the 1950s introduced a fresh, adventurous spirit into fashion camera art, the 1960s witnessed a total change. A whole new world of fashion opened up as a result of the 60s cultural revolution. New forms of pop music, pop art, greater leisure time, a more liberal attitude to sex, and of course the sudden “generation gap”, all combined to make fashion intensely relevant for the young – a phenomenon reflected in the emergence of new words like “trendy” and “fashion-conscious”. A widespread urge to be seen as “hip” or “cool” fuelled a demand for new styles, shapes, materials and colours. Other important influences on attitudes to fashion (and thus fashion photography) included the Vietnam War, the NASA Space Program, the women’s liberation movement, and the issue of “race”. Although not 100 percent dominated by youth culture, 60s fashion was redefined by the demands of young people.

This widening demand for fashion, allied to changing social and moral values, had a major impact on fashion photography. The best young photographers – such as the London trio of David Bailey (b.1938), Terence Donovan (1936-96) and Brian Duffy (1933-2010) – enjoyed skyrocketing fees and iconic status; Bailey became almost as famous as the celebrities he photographed. Models, too, like Jean Shrimpton (Bailey’s muse), Twiggy, Lauren Hutton and Veruschka, became household names.

If 1960s fashion photography had any unifying aesthetic, it was “novelty”. Magazines needed new and exciting images in order to compete. David Bailey was bold, direct and undeniably focused; Terence Donovan pioneered the use of stark and gritty urban environments; Yasuhiro Wakabayashi (b.1930), better known as Hiro, used unusual lighting, creative juxtapositions and a unique feel for colour to create a monumental, surreal style; Bob Richardson (1928-2005) put sex, drugs and rock ‘n’ roll into his photos, as did Art Kane (1925-95) – at 26, the art director for Seventeen Magazine, while Diane Arbus (1923-1971) produced some of the most disturbing children’s fashion images ever published.

For a brief explanation of camera and photographic terms, please see: Art Photography Glossary.

Fashion Photography in the 1970s

During the 1970s, the exotic, hippy styles of the 60s were replaced with more practical apparel. Jeans became “the” signature item of casualwear, and demand for ready-to-wear (pret-a-porter) clothes exploded. Fashion spread from the young to all ages, and this newly-found consumerism propelled fashion into a multi-billion dollar industry, reinforced by slick advertising campaigns and cutting-edge TV commercials.

French Vogue now took the creative lead in fashion photography thanks to camera artists such as Helmut Newton (1920-2004) and Guy Bourdin (1928-91). Newton was best-known for subversive and erotic imagery that somehow maintains an ironic tone, while Bourdin was renowned for his highly artistic, colourful, occasionally surreal images. Deborah Turbeville (1932-2013) was the first to use overweight and unsightly models. All three helped to transform conventional, well-lit fashion-imagery into something much more edgy and offbeat.

Fashion models continued to make it big in the 70s. In 1975, Margaux Hemingway signed the first million-dollar contract as the face of Fabergé’s Babe perfume, while Lauren Hutton appeared on cover of Vogue 25 times(!). Black models also hit the big time, as exemplified by Iman, Donyale Luna, Naomi Sims and Beverly Johnson, who was the first African American model to feature on the cover of American Vogue in 1974. Other top models of the 70s decade included Cybill Shepherd, Patti Hansen, Penelope Tree, Grace Jones and Jerry Hall.

Fashion Photography in the 1980s

While some of the most creative fashion photography of the 1980s continued to be produced by ‘old-timers’ like Richard Avedon – see, for instance, his narrative advertising campaign “The Diors,”or his nude shot of Nastassja Kinski entwined with a snake – younger photographers also emerged into the limelight, including: Herb Ritts (1952-2002), best-known for his iconic shot of “Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood, 1989” which appeared in Rolling Stone Magazine; Bruce Weber (b.1946) who presented a new outlook on masculinity through his photo-shoots for Armani and Calvin Klein, as did Robert Mapplethorpe (1946-89) with his homoerotic shots; and Gian Paolo Barbieri (b.1938), noted for his work for fashion designers Armani, Versace, Dolce & Gabbana, Pomellato, and Giuseppe Zanotti. At the same time, women’s independence was emphasized in various settings, by photographers like Denis Piel (b.1944) and Bert Stern (1929-2013).

Controversy, always a handy tool with which to boost flagging commercial fortunes, reared its head as a result of Benetton’s fashion campaign, shot by Oliviero Toscani (b.1942). Images included one of a patient dying of AIDS in front of grieving relatives, while others incorporated references to racism, war, religion and the death penalty.

The leading supermodels of 1980s fashion photography included: Gia Marie Carangi, Ines de la Fressange, Cheryl Tiegs, Christie Brinkley, Paulina Porizkova, Brooke Shields, Heather Locklear, Carol Alt, and Elle Macpherson, among others. It was during this decade that supermodels stopped being seen as individuals and started to be regarded as images, just like movie stars. Witness the celebrity party shots taken by fashion photographer Roxanne Lowit (b.1965) of supermodels like Elle Macpherson, Naomi Campbell and others.

Fashion Photography in the 1990s

Fashion during the 90s turned almost Mannerist, as consumers embraced shabby grunge styles, as well as tattoos and body piercing. Later in the decade there was a revival of certain late 60s/ early 70s styles, although the 1990s retained an edginess all of its own. Long established artists like Irving Penn and Helmut Newton continued to dominate the field, while Ellen von Unwerth (b.1954) introduced viewers to her unique brand of erotic femininity. In addition, Peter Lindberg (b.1944), noted for his monochrome photos, achieved fame with his January 1990 Vogue cover featuring Christy Turlington, Cindy Crawford, Naomi Campbell, Linda Evangelista and Tatjana Patitz. Meanwhile his younger contemporary Steven Meisel (b.1954) was praised for his shots of Madonna in her 1992 book “Sex” and for Vanity Fair. The Peruvian fashion photographer Mario Testino (b.1954) also received attention for his 1997 Vanity Fair cover photos of the late Lady Di, Princess of Wales.

A key photographic trend (dubbed “heroin chic”), perhaps reflecting the gender ambivalence of the age, was the use of pale emaciated androgynous-style models, exemplified by the photo-shoot for Calvin Klein’s “Obsession”, by Mario Sorrenti (b.1971), which featured a waifish Kate Moss.

The 1990s saw the apogee of fashion model-power, as embodied by the photographic superstars cited above – Naomi Campbell, Linda Evangelista, Christy Turlington, Claudia Schiffer and Tatjana Patitz. The Heroin Chic style flared briefly in mid-decade, but petered out with the rise to fame of the Brazilian model Gisele Bundchen, in 1999. The 90s also witnessed the growing use of established celebrities in fashion photo-shoots, as exemplified by Julia Roberts, who became the face of Lancome.

Fashion Photography in the 21st Century

The twenty-first century has already been marked by three things: the 9/11 bombings; globalization and the impoverishment of the Third World; and the economic downturn (2007-2014). This appears to have influenced fashion in numerous ways. Ethical trading practices and green policies are shaping buying policies. Ready-to-wear clothes are now largely manufactured in China. Escapism to mitigate financial and political uncertainties has encouraged a revival of surrealistic or kitsch-style fashion photography, as well as the continued use of celebrities and long established supermodels. Growing disatisfaction with established values in the the wake of worldwide austerity continues to stimulate the use of controversial elements in the design of fashion photoshoots, although not to the extent of Oliviero Toscani’s confrontational 1980s fashion-shoots for Benetton.

With the deaths of Herb Ritts (in 2002), Richard Avedon, Helmut Newton, Francesco Scavullo (in 2004), and Irving Penn (in 2009), today’s leading fashion photographers include Patrick Demarchelier, Steven Meisel, Mario Testino, Peter Lindbergh, Oliviero Toscani (b.1942), Annie Leibovitz (b.1949), Nick Knight (b.1958) and David LaChapelle (1963). Younger camera artists include Christophe Kutner, Glen Luchford, Craig McDean and Javier Vallhonrat.

Although Kate Moss, Naomi Campbell, Gisele Bundchen and other ‘established’ models continue to lead the field, the new crop of professional fashion models of the 21st century – as cited in American Vogue (May 2007) – include: Agyness Deyn, Lily Donaldson, Chanel Iman, Doutzen Kroes, Sasha Pivovarova, Hilary Rhoda, Coco Rocha, Jessica Stam, Caroline Trentini and Raquel Zimmermann.

Meantime the leading fashion magazines (aside from Vogue and Harper’s Bazaar) now include Elle (the world’s best selling fashion magazine), Cosmopolitan, Seventeen, W, Vanity Fair, GQ, Grazia, Marie Claire, as well as Dazed and Confused, and Sleaze Nation.