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FASHION
PHOTOGRAPHY
FASH ION
PHOTOGRAPHY
LUCILLE KHORNAK

AM PHOTO
An Imprint of Watson-Guptill Publications, I n c / N e w York
I w o u l d like to t h a n k t h e f o l l o w i n g : R a n d e e B e n e d i c t , l o r her
d e v o t i o n to t h i s p r o j e c t , (or h e r c r e a t i v e i d e a s , a n d for b e i n g a
f r i e n d . S u s a n Hal a n d Liz Harvey, for their e n d l e s s e n e r g y a n d
e d i t i n g ; S a b i n o C a p u t o a n d F r a n k M u r p h y , for their s u p p o r t a n d
s p e c i a l a t t e n t i o n at o d d h o u r s ; N i t a B a r n e t t . A l i s t a i r Gillett, J o e
Hunter. B a r b a r a L a n c e , F r a n k M a r e s c a , M o n i q u e Pillard. a n d O l g a
Z a f e r a t o s . for their i d e a s a n d o p i n i o n s ; N a n c y A l u s i c k , Peter B r o w n .
Barbara Laga. Grant L e D u c . A b b y M a c F a d d e n . Arthur Marks.
S c o t t Taylor. A d r i e n n e W e i n f e l d . a n d N a n c y W o l f s o n , for their
s p e c i a l e x p e r t i s e ; C h a r l e s B r o d e r s o n a n d C y n t h i a A l t o r i s o of
C h a r l e s B r o d e r s o n B a c k d r o p s . M o r d e c h a i C y n g i e l of T e k n o / B a l c a r
S t u d i o s . C h a r l e s Tarzian of T h e C o l u m n s , a n d Ernst W i l d i of
Hasselblad for the u s e of their e q u i p m e n t a n d / o r l o c a t i o n s ; a n d
C l i c k . Elite, F a c e s . Flaunt. Ford. H V M o d e l s . Idols, L ' E x c l u s i v e
I n f l u e n c e , M a r g a r e t M o d e l s , Pauline's. S e l e c t . W i l h e l m i n a , a n d Z o i i ,
for p r o v i d i n g t h e w o r l d ' s b e s t m o d e l s a n d for their " n e v e r - s a y - d i e "
scheduling attempts.
I w o u l d a l s o like to e x p r e s s m y g r a t i t u d e to t h e fine m o d e l s a n d
artists w h o c o n t r i b u t e their t i m e , e n e r g y , a n d c r e a t i v e t a l e n t s to
m a k e this b u s i n e s s p o s s i b l e .

Edited by Liz Harvey

Graphic Production by Andrew Hoffer

C o p y r i g h t 1989 b y L u c i l l e K h o r n a k

First p u b l i s h e d 1 9 8 9 in N e w York b y A M P H O T O ,
a n i m p r i n t of W a t s o n - G u p t i l l P u b l i c a t i o n s ,
a d i v i s i o n of B i l l b o a r d P u b l i c a t i o n s . Inc..
1515 B r o a d w a y . N e w York, N Y 1 0 0 3 6

Library of Congress Cataloging-in-Publication Data

Khornak. Lucille.
Fashion p h o t o g r a p h y / Lucille Khornak.
Includes index
ISBN 0-8174-3848-3 ISBN 0-8174-3849-1 (pbk.)
1. F a s h i o n p h o t o g r a p h y . I. Title.
TR679.K48 1989
778.9'9391dc20 89-33214
CIP

Ail r i g h t s r e s e r v e d . N o p a r t of this p u b l i c a t i o n m a y b e
r e p r o d u c e d or u s e d in a n y f o r m o r b y a n y m e a n s g r a p h i c ,
e l e c t r o n i c , or m e c h a n i c a l , i n c l u d i n g p h o t o c o p y i n g , r e c o r d i n g ,
t a p i n g , or i n f o r m a t i o n s t o r a g e a n d retrieval s y s t e m s w i t h o u t
w r i t t e n p e r m i s s i o n of t h e p u b l i s h e r

M a n u f a c t u r e d in H o n g K o n g

1 2 3 4 5 6 7 8 9 / 97 96 95 94 9 3 92 91 9 0 89
 To my husband, Robert,
for his understanding,
encouragement, and love

In memory of Ron Heck and

Andrew I.eit, my friends

mi.-.:
CONTENTS

INTRODUCTION 8

1 UNDERSTANDING THE FASHION

PHOTOGRAPHY MARKETS 11

2 WORKING WITH MODELS 19

3 ASSEMBLING THE TEAM 42

4 DECIDING WHERE TO SHOOT 60

5 PUTTING A SESSION TOGETHER 82

6 DEVELOPING YOUR STYLE 113

7 ESTABLISHING YOUR BUSINESS 124

8 MANAGING YOUR BUSINESS 135

CREDITS 142

INDEX 144
 INTRODUCTION

F
J L . ashion is an expression of individual taste and a
form of communication. Our wardrobes can define our age, status, taste, and profession. They
reveal to others how we see ourselves. While our wardrobes are, to a certain extent, a reflection of
our tastes, the clothing we choose is, to a much larger extent, predetermined by designers. Fashion
dictates; we follow closely SJF Throughout the centuries, both women and men of sufficient means
have dressed according to the "style" of the moment. Historically; style was restricted by religion,
custom, and even law Until the beginning of the twentieth century fashion was created exclusively
for the wealthy: It separated the upper class from the less fortunate who by necessity spent most of
their time trying to survive. The poor could not afford to be fashionable. The Industrial Revolution
changed this. With the invention of the sewing machine, the general public was able to afford to
dress fashionably The market for "fashion" grew; and with it came the demand for fashion
innovators. # Fashion trends became more visible as the camera glamorized them. Affluent women
were photographed at social events, and newspapers used photographs to illustrate stories about
the lives of the rich and famous. Soon, designers began using photography to document their
collections. As technological advances increased in number and complexity; fashion magazines
replaced illustrations with photographs. The rise of fashion photography brought about many
changes in the fashion industry A person no longer had to be part of society to know what was
fashionable. Thanks to magazines, women could visualize themselves wearing the latest styles.
 T h e twentieth c e n t u r y has s e e n d o z e n s of fashion
trends c o m e and go: the mini, t h e midi, full skirts,
cinched waists, n a r r o w lines, p a d d e d shoulders, the
oversized look, t h e unisex look, w i d e ties, n a r r o w
lapels, and zoot suits. All of these, n e e d l e s s to say,
have b e e n meticulously d o c u m e n t e d by the fashion
photographer.
A relatively small g r o u p of d e s i g n e r s decide what is
fashionable a n d dictate trends. They g u i d e the public
f r o m season t o season, researching fabrics, defining a
mood, and creating themes.
Then, each season, t h e p r e s s is invited, along with the
buyers, to view t h e designers' new collections. Fashion
editors c h o o s e which styles they will present t o the
public. These g a r m e n t s are p h o t o g r a p h e d for t h e
editorial sections of major magazines, including Vogue,
Harper's Bazaar, Gentlemen's Quarterly, Town & Coun-
try, File, a n d Mademoiselle. As undeniably powerful as
these forces are, it is still t h e c o n s u m e r s t h e w o m e n
and m e n w h o buy t h e f a s h i o n s w h o d e t e r m i n e
whether a t r e n d will s u c c e e d o r fail.
Women turn to m o n t h l y fashion magazines to dis-
cover the fashions for the u p c o m i n g season. True, many
w o m e n can b e influenced by the p h o t o g r a p h s they see.
but invariably s o m e styles will s u c c e e d while o t h e r s will
b e rejected.
Like many o t h e r w o m e n , I am attracted to t h e beauty
of fashion. I also e n j o y t h e endless evolutions that k e e p
my work interesting. Even t h o u g h I have b e e n involved
in the day-to-day operation of fashion p h o t o g r a p h y for
eleven busy years, there is still magic in it for me. Every-
day brings with it different o p p o r t u n i t i e s a n d respon-
sibilities. Many times, I am faced with the challenge of
taking a fairly o r d i n a r y garment and transforming it in a
beautiful p h o t o g r a p h . I am never b o r e d .
1 also have a c o m m i t m e n t t o beauty. While the news
media focus o n harsh realitiesthe tragedies and
brutalities of h u m a n b e h a v i o r I c h o o s e t o focus o n
beauty. Fashion p h o t o g r a p h y presents an idealized
world. 1 love fantasy: t h e idea of beautiful p e o p l e
d r e s s e d in elegant clothing in s u m p t u o u s surroundings.
I expect p e o p l e t o want t o "live" in my p h o t o g r a p h s
or at least fantasize about b e i n g in them.
But fashion p h o t o g r a p h y is not portraiture. T h e true
portrait p h o t o g r a p h e r attempts to capture the p e r s o n
ality and essence of the subject. I have found, however,
that the truth is not necessarily what a p e r s o n is looking
for w h e n h e o r s h e c o m m i s s i o n s a portrait. I can create
a realistic, artistic portraithut if it d o e s not show the
subject off t o best advantage, it may not delight my
client. After all, e v e r y o n e wants t o look attractive.
For these reasons, I e m b r a c e the idealization that is
the essence of fashion photograph): I prefer to present
my subjects in t h e best of all possible lights a n d to
photograph a sensitive m o m e n t that will capture their
beauty forever. I also like to make o r d e r out of chaos.
Striking models, g l a m o r o u s clothes, strong colors,
different fabrics, exotic shapes, a n d perfect accessories
. . . these are the elements 1 bring together into an
unexpected unity: t h e finished photograph. I transfer
my o w n instinctual taste into a visible reality on film
I also love the energy that h a p p e n s on a shoot. T h e
creative exchanges a m o n g the art director, model, hair
and m a k e u p artist, stylist, and p h o t o g r a p h e r make
fashion photography, like the theater, a richly collab-
orative art. I ; ashion g o e s a step beyond clothing. Hair,
makeup, t h e right jewelry, a n d a certain look contribute
to a good fashion p h o t o g r a p h . And, s o m e subtle
element- -the choice of a lip color, an accessory; a
hairstyle, or particularly expressive eyescan make the
difference b e t w e e n ordinary and special. An advertise-
ment can depict a single model in a studio o r a
complicated location shot using d o z e n s of p r o p s a n d a
n u m b e r of models. Everything must relate; everything
must make s e n s e both visually and emotionally. The
fashion p h o t o g r a p h e r is responsible for pulling together
the energy and creativity of t h e m e m b e r s of the
production team, w h o s e efforts help to establish the
style and tone of the p h o t o g r a p h .
T h e fashion Held is exciting. Glamour, beauty, models,
money, a fast-paced life, t h e rich, the f a m o u s all are
part of the world of t h e successful fashion photogra-
pher. While working o n my first book, /AS/HON 2001. I
had the o p p o r t u n i t y t o travel t o several countries,
including Italy, France, and Venezuela; to meet and
consult with t o p fashion designers from all over the
world, a m o n g t h e m Oscar d e la Renta. Emanuel t 'ngaro,
Pierre Cardin, Claude Montana, Donna Karan, Giorgio
Armani. Karl Lagerfeld, Gianni Versace, and Issev
Miyake; t o p h o t o g r a p h their garments; and to discuss
the why's and how's of fashion with them.
Like most o t h e r photographers, you may wish to
e n t e r the field *>f fashion because you are drawn to its
prestige and glamour. Attractive faces and alluring
garments are part of the make-believe world from which
m o d e l s s e d u c e their audience. But this business also
involves long hours, continual rejection, intense pres-
sure, tight deadlines, and explosive temperaments.
If. after weighing t h e pros and cons, you remain
convinced that this is the field for you, then you are o n
your way to an exciting and potentially lucrative career.
As a fashion photographer, you will play a role in
constructing the images that not only sell products, but
also create a fantasy world of ideal beauty and style. The
b o u n d a r i e s of that world will b e d e t e r m i n e d only by the
richness of your imagination. T h e garments you photo-
graph will b e delineated bv t h e variables of color, form,
line, and movement, but your o w n imagination will
govern these elements from the m o m e n t you accept an
assignment t o the last click of the shutter.
Fashion is an ever-changing barometer; it reflects the
social and political conditions of the world. As a fashion
photographer, you will always have to b e alert to
trends -preferably not after they happen, but just
before. You will n e e d to anticipate the next significant
step in fashion. You will have to b e sensitive t o the
prevailing attitudes that s h a p e such trends. For a good
fashion photographer, these skills are second nature.
Fashion exists in a n d of the m o m e n t . Days of
preparation and planning c o m e together for o n e brief
instant. How you capture that instant and what you
instinctively register o n film is what will make your
work unique. This special personal style makes o n e
fashion p h o t o g r a p h e r different from any other.
 Chapter I

UNDERSTANDING THE FASHION

PHOTOGRAPHY MARKETS

~ D

J L - / e f o r e you embark o n a career as a fashion

photographer, you must c o m e 10 realize that it won't always he an avenue for self-expression. If you
are like many other fashion photographers, you will hope that 25 percent of your assignments will
be ideal and end up in your portfolio. But you may find that you will accept percent of your
assignments just to pay bills. 0 To enter the field of fashion photography and b e c o m e successful,
you first need to know that fashion photography is divided into three broad areas: editorial,
advertising, and catalog. Each specialty has its own specific requirements. The editorial market
enables photographers to express themselves rather freely; however, the corresponding fees are low
Beginning fashion photographers often must decide which is more important to them: creativity
and exposure or a substantial income. The advertising field offers photographers just the opposite.
While the fees are usually quite high, photographers must subjugate their personal vision to the
ideas and instructions of the client and the art director. In addition, photographers rarely receive a
credit line for their efforts. Finally; the catalog market falls in between the editorial and advertising
fields. Fashion photographers are not allowed much flexibility when shooting catalog assignments
as they follow the guidelines established by the client. Also, photographers can rely o n this market
for steady income. H The following information about these three distinct areas of the fashion
photography world will help you to cluxxse the specialty best suited to your individual style, talent,
and needs.
EDITORIAL PHOTOGRAPHY the tastes of the fashion editor. As a photographer, you
T h e editorial pages in fashion magazines consist of will b e c h o s e n for editorial assignments based o n your
articles and c o l u m n s illustrated with p h o t o g r a p h s ; they style; obviously, you will not b e selected for an
represent the fashion editors' point of view If y o u assignment if your individual style is incompatible with
r e m o v e the advertisements, these pages form the c o r e the style of the magazine.
of the magazine. They s h o w c a s e the fashions the editors When c o m p a r e d to advertising, the editorial market
have d e c i d e d to s h o w to their readers that season. T h e allows you m o r e f r e e d o m to u s e your style (assuming,
term editorial photography applies to all the photo- of course, that y o u r style m e s h e s with that of the
graphs that a c c o m p a n y articles and c o l u m n s . Although publication) and m o r e time t o express y o u r ideas.
these p h o t o g r a p h s are not specifically meant to sell I lowever, the fee f o r such assignments is low, and can be
specific garments, the outfits get w e l c o m e publicity as little as SI SO a page. (Models and stylists are also paid
(Don't c o n f u s e editorial p h o t o g r a p h s with advertise- very little.) D e s p i t e the m o d e s t fees, p h o t o g r a p h e r s are
ments. The latter are paid for by the d e s i g n e r or a eager to d o editorial work for prestigious magazines
particular s t o r e and f o c u s o n selling t h e product. The because they usually receive a credit line: that is, their
m o n i e s paid hv the advertisers t o the magazines cover n a m e a p p e a r s alongside their p h o t o g r a p h . This assures
the publication's p r o d u c t i o n costs. Ads are s u b m i t t e d to them of a great deal of valuable e x p o s u r e . Everyone in
the magazine in final form, w h i l e editorial pages are the advertising b u s i n e s s scans the m a j o r fashion maga-
d e s i g n e d by the staff of t h e magazine. ) zines to k e e p abreast of the latest trends. As a result,
Editorial sections have a particular style that reflects credit lines help build a p h o t o g r a p h e r ' s reputation.

In t h i s p h o t o g r a p h , t h e m o d e l l o o k s r e l a x e d , n o t s t i f f l y p o s e d . E d i t o r i a l p h o t o g r a p h y o f t e n c o n v e y s a m o o d b u t d o e s n ' t n e c e s s a r i l y s h o w
every l i n e of a g a r m e n t . Here, t h e b r i g h t e x i s t i n g light a d d s a crisp f e e l i n g to this p h o t o g r a p h .
This p h o t o g r a p h s h o w s s o m e
of the e l e m e n t s t h a t I i i k e t o
i n c l u d e in my work a n d t h a t
d e f i n e my style: a b e a u t i f u l
m o d e l , a p r o v o c a t i v e expres-
sion. a c l a s s i c l o o k , a n d w a r m
 ADVERTISING PHOTOGRAPHY
The p u r p o s e of p h o t o g r a p h i c advertisements is to sell a
product. Advertising agencies are hired by clients to
shape the image of their p r o d u c t for successful market-
ing. T h e p r o d u c t s that o f t e n call for fashion photogra-
phy are large in n u m b e r a n d include cosmetics (lipstick,
eye and face makeup, nail polish, skin care treatments),
fragrances, and hair products. Photographic advertise-
m e n t s are also u s e d by d e p a r t m e n t stores t o sell various
items o r to b e i n c l u d e d in in-store product promotions.
Because advertisers use t h e latest fashions to sell a
variety of products, your clients might not b e limited to
the fashion business. Even s o m e advertisers of products
that are not fashion-related may r e q u i r e fashion-ori-
e n t e d advertising: appliances, cigarettes, liquor, fur-
niture, and real estate.
The advertising agency receives a m a r k e t i n g proposal
stating an objective. Agency representatives confer with
the client until e v e r y o n e a g r e e s o n a c o u r s e of action.
Layouts, or visual plans, may b e r e d o n e d o z e n s of times
b e f o r e an a g r e e m e n t is reached. S o m e t i m e s as many as
ten m o n t h s can g o into the planning of a single ad or
campaign.

D u r i n g t h i s s h o o t for a
Richelieu jewelry advertise-
ment. I took advantage of the
natural light t o b r i n g o u t t h e
soft l u s t e r of t h e pearls. Once
you e s t a b l i s h g o o d rapport w i t h
the client or art d i r e c t o r , you
may be g i v e n t h e f r e e d o m t o
e x p e r i m e n t if t i m e p e r m i t s
This u n p l a n n e d p h o t o g r a p h
w a s u l t i m a t e l y u s e d for the a d ,
w h i c h is s h o w n a b o v e .
 O n c e (he agency has p r o d u c e d layouts that are
approved by the client, the agency's art director calls in
the supplier h e o r s h e c o n s i d e r s best suited for the
objective: you, the photographer. Because the art
director must carefully match the p h o t o g r a p h e r s talent
with t h e approved campaign plan, many variables affect
this decision. Keeping in m i n d the best way t o effect the
layouts, the art director may c h o o s e a p h o t o g r a p h e r
based o n style, technical ability, or, perhaps, t h e rapport
between them.
Because a p h o t o g r a p h e r s skill in handling lime a n d
production details is p a r a m o u n t , an art director may
prefer an established photographer. Time is m o n e y to
the client. Models, hair a n d m a k e u p artists, and stylists
are paid top dollar, so a great deal of m o n e y is at risk.
Consider the following lees for a typical one-day shoot
for an advertisement.

F e e s for a O n e - D a y A d v e r t i s i n g S h o o t

Photography fee

3 Models, each w i t h a day rate of 84,000

1 Hairstylist with a day rate of S I , 2 5 0

1 Makeup artist with a day rate of 51,250

Even t h o u g h I s h o t t h i s p h o t o g r a p h in a s t u d i o , t h e i m a g e
1 Stylist
w a s c r o p p e d in o n the m o d e l . It c a p t u r e s t h e m a s c u l i n i t y of t h e
2 Days of preparation 1,500 type o f m a n w h o w e a r s Alfa R o m e o e y e g l a s s e s . The c l i e n t w a n t e d
to e m p h a s i z e t h e p e r s o n a , n o t t h e f r a m e s , in t h i s ad. The c l i e n t
I Day o n set 750
a l s o w a n t e d a m o d e l w h o c o u l d w e a r t h e f r a m e s w e l l a n d look
Rentals 300 r u g g e d , h a n d s o m e , a n d sexy.
Messengers 150

Film and p r o c e s s i n g 1,200

Total $23,400

You can s e e that even with just t h e bare essentials,

costs a d d u p quickly. Only w h e n t h e film is delivered lo
the art director and receives a favorable r e s p o n s e can
the p h o t o g r a p h e r relax. While t h e advertising field is
both g l a m o r o u s and lucrative for fashion photogra-
phers, it also requires a great deal of responsibility. And.
credit lines a r e rare. However, if the client's budget is
small a n d you are expected to work for less than the
standard rate, you could probably negotiate for a credit
line. Only such top p h o t o g r a p h e r s as Avedon, Horst,
Scavullo, and Pcnn are paid h a n d s o m e l y and receive a
credit line, too. These p h o t o g r a p h e r s are chosen be-
cause the client or the agency feels that the photogra-
p h e r s n a m e l e n d s prestige to t h e advertisement.
For a n a d v e r t i s e m e n t f e a t u r i n g D e n a k a v o d k a , t h e c l i e n t r e q u e s t e d
O n c e assigned, you are expected t o execute the
a black f e m a l e model who could convey a slightly haughty attitude
layout precisely: T h e art director lets you k n o w if there To c o m p l e m e n t t h e copy for t h e a d , t h e m o d e l w a s t o s e e m a s
if s h e h a d it all and w a n t e d only t h e b e s t . This m o d e l w a s p e r f e c t :
is r o o m for any self-expression; at this point, t h e agency
she looks beautiful, sophisticated, self-assured, and wealthy.
may have onlv a few weeks to finalize the ad.
CATALOG PHOTOGRAPHY
When you are hired as a catalog p h o t o g r a p h e r , y o u will
b e s h o o t i n g for mail o r d e r h o u s e s , s u c h as Spiegel and 'rea4ur0A
Avon, o r for d e p a r t m e n t stores, s u c h as Macy's and
B l o o m i n g d a l e s . T h e s e b u s i n e s s e s ship their catalogs to
t h o u s a n d s of p e o p l e o n their mailing lists, including
c h a r g e account customers. The ultimate objective for
any catalog is to sell product. In fashion catalogs, the
g a r m e n t is always the focus of attention, and the
presentation is crucial. Today, w e are also s e e i n g an
interesting t r e n d t o w a r d an "editorial" feeling in catalog
work, as s e e n in the LIMITED chain store catalog. Here,
the clothes are e n h a n c e d by a certain m o o d a n d
a t m o s p h e r e ; in conventional catalog approaches, gar-
m e n t s are p r e s e n t e d without these e l e m e n t s .
What w o u l d the ideal catalog assignment be? T h e
client would h i r e y o u f o r y o u r flair and then allow y o u
c o m p l e t e creative license: you could c o m p o s e angles maj
and c h o o s e lighting s e t u p s without restriction. The
mechanics of the catalog w o u l d then b e d e s i g n e d
a r o u n d the p h o t o g r a p h y I have had a f e w assignments
that w o u l d qualify as i d e a l b u t these situations
are rare.
You can b e creative e v e n w h e n y o u have strict
g u i d e l i n e s to follow. It is in the n a t u r e of s h o o t i n g
catalogs that s o m e assignments are m o r e challenging
than others. You must p e r f o r m u n d e r tight t i m e
constraints and apply your organizational skills to their
utmost. This in itself is a creative ability You have to b e
g o o d , and you have to be fast. Working o n catalogs
might n o t b e as g l a m o r o u s as editorial or advertising
photography; and many p h o t o g r a p h e r s d o not c h o o s e
this line of endeavor. But, catalogs can b e a steady
s o u r c e of income.
Billing is d o n e customarily bv the day or p e r shot. A
large s t u d i o is necessary since most of t h e garments,
props, a n d accessories are sent o v e r in advance. Kates
for catalog w o r k are not nearly as high as those in the
advertising business. As with advertising photography,
credit lines are rarely given. However, you may get
consistent b o o k i n g s f r o m the s a m e client, and o f t e n
several days and even w e e k s may b e b o o k e d at a time.
Many fashion p h o t o g r a p h e r s think of catalog assign-
m e n t s as bread and b u t t e r accounts.

I f o l l o w e d t h e s k e t c h a t the t o p o f t h i s page w h e n s h o o t i n g a
C h r i s t m a s c a t a l o g f o r Dillard's d e p a r t m e n t store. The c a t a l o g
s h o w e d f o r m a l l y d r e s s e d m o d e l s h o l d i n g b o t t l e s of p e r f u m e and
c o l o g n e . B o t h t h e cover and t h e i n s i d e s h o t s e c h o t h e c l i e n t ' s
desire for a f e s t i v e h o l i d a y m o o d .
This p h o t o g r a p h b e c a m e t h e c o v e r o f t h e D i l l a r d C h r i s t m a s c a t a l o g . Here, I u s e d an O p a l i t e to i l l u m i n a t e t h e m o d e l f r o m t h e f r o n t , a
h a i r l i g h t t o h i g h l i g h t her h a i r , a n d a t h i r d l i g h t t o c a p t u r e t h e d e t a i l in t h e crystal v a s e . This i m a g e is e l e g a n t a n d r o m a n t i c .
FOLLOWING YOUR INSTINCTS
W h e n executing s o m e o n e e l s e s layout, you, the artist,
face the challenge of r e m a i n i n g faithful t o the original
concept while still infusing the p h o t o g r a p h with y o u r
style ( s e c Chapter 6). A layout can b e e x e c u t e d in any
n u m b e r of ways, but it is y o u r instinct that transforms
the art d i r e c t o r s c o n c e p t s a n d thoughts into a fully
realized statement.
As the p h o t o g r a p h e r , you are e x p e c t e d to b e a skilled
professional, an a c c o m p l i s h e d technician, and a prob-
lem solver. You must b e a b l e to p r o d u c e what is
c o m m u n i c a t e d to you orally and in layout f o r m
w h e t h e r the c o n c e p t will b e s i m p l e to e x e c u t e o r will
call for complicated lighting situations or special effects.
With just a few direct lights. I was able to achieve a dramatic effect
for t h e s e s h o t s f e a t u r i n g Givenchy f u r s . The w h i t e s e a m l e s s back-
drop p r o v i d e s a stark c o n t r a s t for the R u s s i a n s a b l e p o n c h o s h o w n
above a n d t h e v i o l e t s h e a r l i n g c o a t s h o w n on t h e r i g h t . The f i n a l
ad is s h o w n b e l o w .
G I V E N C H Y
" " <C<<H<IUH*
I find that advertising p h o t o g r a p h e r s w o u l d like to d o
editorial work, and vice versa. Of course, the ultimate
situation, w h e r e m a n y fashion p h o t o g r a p h e r s would like
to be, is to work in b o t h advertising and editorial
markets. This is not an easy feat. Like actors, photogra-
p h e r s tend t o get "typed."
T h e following c h a p t e r s will lead you step-by-step into
the fascinating but t u r b u l e n t world of fashion. You will
e n c o u n t e r the challenges of day-to-day working situa-
tions: the t e m p e r a m e n t a l cast of characters you will
work with, the time pressures, t h e frustrating deadlines,
the fast pace, a n d t h e split-second decisions you will
have to make. This will h e l p you to d e t e r m i n e w h e t h e r
or not fashion p h o t o g r a p h y is right for you.
 Chapter 2

WORKING WITH MODELS

MJ L J L o d c l i n g offers a wide range ol benefits to

both the lucky young women and m e n w h o are able to make a career out of it. First, it is probably
o n e of the most lucrative fields young women can enter: they can potentially earn hundreds of
dollars in an h o u r and thousands in a single day And, because they have the opportunity lo appear
in fashion magazines all over the world, their faces can b e c o m e internationally recognizable.
Beautiful models are also always in great demand and are welcomed by a sophisticated and elite
level of society # In addition, models lives can be filled with adventure: the models may travel
extensively; working and living in such romantic meccas as Paris, Milan, Rome, and 'Ibkyo for
months at a time. Life after a modeling career can be equally rewarding. The profession can b e used
as a steppingstone to a n u m b e r of other careers. In fact, s o m e famous top actresses and actors were
originally modelsthink of Grace Kelly; I-auren Bacall, Cybill Shepherd, Ted Danson, Corbin
Bernsen, and Tom Selleck. Other models often use their earnings to start businesses of their
own. # Men approach the business of modeling for somewhat different reasons. First, modeling
offers more freedom than a conventional nine-to-five job. Enjoying all the din and glamour, male
models can earn a substantial amount while preparing for other careers, such as acting o r owning
and managing a restaurant. In fact, several successful restaurants in New York City are o w n e d and
run by former male models w h o invested their incomes in their businessesand then had a ready-
made clientele. So, while male models might not cause quite the sensation that their female
 To be s u c c e s s f u l , m o d e l s h a v e t o b e a t t r a c t i v e , as w e l l as have a s t r o n g p r e s e n c e and s t r i k i n g
f e a t u r e s . The n a t u r a l l i g h t i n g a n d t h e s h a d o w s it c r e a t e d d r a w a t t e n t i o n t o t h i s m o d e l ' s w e l l - d e f i n e d
c h e s t , b u t his i n t e n s e , b r o w n e y e s are c o m p e l l i n g , too.

c o u n t e r p a r t s d o , they are c o m p e n s a t e d by the realiza-
tion that male m o d e l s usually last longer in the busi-
nessassuming they age wellthan female models do.
As g l a m o r o u s as a model's life seems, only a few-
dozen beautiful w o m e n a n d h a n d s o m e m e n manage to
make it to the top of this profession. Even fewer have
careers that span m o r e than five o r six years. T h e
personal sacrifices that a successful modeling career
d e m a n d s can also b e daunting. Taking care of and
maintaining an attractive body can b e almost a full-time
job. Every o n c e in a while you will read about a model
w h o gorges on chocolate and spaghetti, never exercises,
a n d g o e s to clubs until t h e wee h o u r s every night. But
these m o d e l s are rare exceptions. Out of necessity, most
models lead spartan lives. They have to keep track of
every calorie and every o u n c e of fat. They exercise daily
and protect their faces a n d b o d i e s f r o m injuries that can
cost t h e m h u n d r e d s of d o l l a r s in lost bookings. Model-
ing exacts an e m o t i o n a l toll as well: p e r s o n a l tragedies
can n e v e r b e allowed to s h o w o n m o d e l s faces. W h e n
m o d e l s walk into the s t u d i o o r arrive o n location, they
must p e r f o r m . T h e w o r k itself can be g r u e l i n g and
u n c o m f o r t a b l e . O f t e n , layouts for fur coats are shot in
the summer, w h i l e b a t h i n g suit a d s are p h o t o g r a p h e d
d u r i n g the winter m o n t h s .
O n their "time off," f e m a l e m o d e l s o f t e n look
surprisingly ordinary. Because they want t o give their
skin s o m e rest f r o m the heavy m a k e u p they w e a r o n
assignments, they u s e little if any m a k e u p ; they also
wear far less g l a m o r o u s clothes than y o u might expect.
O f t e n , clients c a n n o t believe that the plain-looking
m o d e l w h o walks into t h e s t u d i o o n the m o r n i n g of the
s h o o t is the ravishing b e a u t y s e e n earlier in a com-
posite. But that's what m o d e l i n g is all about: put o n the
m a k e u p and turn o n the lights, a n d s o m e t h i n g extraor-
d i n a r y h a p p e n s . This t r a n s f o r m a t i o n is n o t as a p p a r e n t
with m a l e m o d e l s : t h e y look very m u c h the s a m e in
front of the c a m e r a and in their private lives.
T H E MAKINGS OF A SUCCESSFUL M O D E L
What m a k e s a g o o d model? Nature h a s a great d e a l to
d o with it, since t h e p r i m a r y p r e r e q u i s i t e s for a female
This m o d e l s t r i k e s a s t r o n g p o s e in a s i m p l e s e t t i n g . Her b e a u t y a n d c h a r i s m a m a k e t h i s p h o t o g r a p h a s u c c e s s .
m o d e l are that s h e b e fairly tall and s l e n d e r a n d have
s t r o n g b o n e structure. She must also have charisma, that
indefinable s o m e t h i n g that m a k e s h e r interesting and
not merely pretty; s h e must have o n e of t h o s e faces that
the c a m e r a "loves." (As all p h o t o g r a p h e r s know, the
camera m a k e s its o w n rules in c h o o s i n g which faces it
will flatter a n d w h i c h it will reject, r e g a r d l e s s of
apparent beauty)
Male m o d e l s must b e taller than average b e c a u s e they
must b e taller than the w o m e n they are p h o t o g r a p h e d
with. T h e t e r m good looking is m o r e loosely d e f i n e d
w h e n a p p l i e d t o m a l e m o d e l s . They can look rugged,
carry a little extra weight, a n d don't n e e d t o have perfect
features.
I believe that talent is definitely involved. Top m o d e l s
reach the height of their profession b e c a u s e they know-
h o w to "turn o n " in front of the camera a n d relate t o it
on cue. T h e best m o d e l s also have a personality that
captures t h e imagination of t h e viewer. E x p e r i e n c e d
m o d e l s k n o w h o w t o move. They also k n o w h o w to
deliver a variety of looks a n d convey a w i d e r a n g e of
e m o t i o n s . T h e y take direction. W h e n you work with an
e x p e r i e n c e d m o d e l , you can relax a little and d o y o u r
job. I have w o r k e d with s o m e t o p m o d e l s w h o w e r e s o
skilled at t u r n i n g o n in front of the c a m e r a that I c o u l d
u s e almost every f r a m e I shot.
Professional models who know
how t o m o v e c a n s h o w a gar-
m e n t t o its b e s t a d v a n t a g e . In
this photograph, the model
plays t o t h e c a m e r a and w o r k s
with t h i s Bob M a c k i e gown,
s w e e p i n g t h e skirt i n f r o n t o f
her in o n e s m o o t h m o t i o n .
This m o d e l w a s a p l e a s u r e t o work w i t h . S h e is b e a u t i f u l a n d I p h o t o g r a p h e d t h i s c l a s s i c d e s i g n a t t h e C h r i s t i a n Dior show-
d r a m a t i c - l o o k i n g , a n d s h e is a b l e t o s t r i k e a variety of p o s e s in r o o m in Paris. The m o d e l w a s c h o s e n b e c a u s e her p r e s e n c e a n d
s p o n t a n e o u s , f l u i d m o t i o n s , m a k i n g her a s u c c e s s f u l m o d e l . s o p h i s t i c a t e d look r e f l e c t e d t h e c o m p a n y ' s i m a g e . She c a r r i e s t h e
garment gracefully and elegantly.
 You might feel thai using a less e x p e r i e n c e d m o d e l
with a lower h o u r l y rate will save you money; hut 1 have
f o u n d that this rarely happens. Seasoned professionals
can save you time a n d m o n e y b e c a u s e you shoot less
him w h e n you w o r k with t h e m . Models n e e d m o r e than
an attractive face and a perfect body
S o m e m o d e l s a r e g o o d for fashion shots, w h i l e o t h e r s
are g o o d for beauty shots. S o m e m o d e l s carry g a r m e n t s
well and are best suited for full-length fashion layouts;
o t h e r s have perfect features a n d m a k e their living d o i n g
c l o s e u p beauty shots. S o m e m o d e l s m o v e freely but
can t hold a p o s e for long; o t h e r s are m o r e static but can
strike a p o s e a n d stay that way for h o u r s . Models w h o
d o catalog work k n o w h o w t o m o v e correctly for this
particular type of assignment: unlike o t h e r k i n d s of
fashion photography, in w h i c h f r e e d o m of m o v e m e n t is
desirable, catalog assignments r e q u i r e m o r e static pos-
tures that reveal the details of t h e g a r m e n t s .
m
dmi
mm
<n
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'I
This i m a g e e x e m p l i f i e s what m a k e s f a s h i o n
p h o t o g r a p h y so a p p e a l i n g : a n a t t r a c t i v e m o d e l
d r e s s e d in a b e a u t i f u l g a r m e n t , s t r i k i n g a pose
that s h o w c a s e s the d e s i g n .
Beyond hereditary assets and on-camera talent, how-
e v e r m u c h of a m o d e l ' s success h a s to d o with timing.
Just look at magazine covers f r o m only a few years ago,
and you will see that p r e f e r e n c e s in facial features
c h a n g e as often as styles of fashion. Blue-eyed b l o n d e s
may b e in great d e m a n d o n e year, but exotic b r u n e t t e s
will b e favored t h e following year.
A MULTITUDE OF SHAPES, SIZES, AND AGES
The m o d e l i n g business is b o o m i n g . Fees a r e skyrocket-
ing, and m o r e agencies and special d e p a r t m e n t s within
agencies have o p e n e d . T h e s e changes have evolved
b e c a u s e clients b e g a n to realize that there must be a
consistency b e t w e e n p r o d u c t and image. Until recently, a
female m o d e l s career was o v e r by the time s h e reached
thirty; but n o w t h e b u r g e o n i n g market addressed t o
m o r e m a t u r e w o m e n has e x p a n d e d the d e m a n d for
o l d e r models. Modeling agencies have created divisions
When a n a s s i g n m e n t c a l l s for you t o p h o t o g r a p h a d u l t s a n d c h i l d r e n t o g e t h e r , you
may f i n d y o u r s e l f w o r k i n g w i t h m e m b e r s of t h e s a m e f a m i l y . You c a n b e a l i t t l e
more relaxed and creative d u r i n g such sessions: because the children feel comfort-
able w i t h o n e o f t h e i r p a r e n t s near t h e m , you can readily c a p t u r e w a r m t h and
e m o t i o n . Usually, however, m o d e l s aren't r e l a t e d , and you will n e e d t o coax the
c h i l d r e n into c o o p e r a t i n g a n d i n t e r a c t i n g w i t h t h e a d u l t s .
to meet the market n e e d s of b u s i n e s s w o m e n , petite
w o m e n , oversized w o m e n , and o t h e r specialty groups.
Research has proven that w o m e n in these g r o u p s want
t o s e e w o m e n like themselves in ads.
In response, c o m p a n i e s have b e g u n to address the
various desires of their potential customers. For exam-
ple, clients n o w put larger g a r m e n t s o n large-size
models. This strategy increases sales b e c a u s e this image
is believable. Larger w o m e n look at t h e ads a n d say;
"That outfit looks great o n her. It will look great o n me,
too!" For t h e d o z e n s of catalogs and specialty stores that
cater to the oversized w o m a n , there are agencies that
represent m o d e l s w h o wear size twelve or larger.
Traditionally, major agencies r e q u i r e d a female model
to be 5'8" o r taller. O t h e r agencies w o u l d accept shorter
models, s o w h e n height w a s not an important factor for
the product, you could b o o k a s h o r t e r model if you
wished. Today; t h e r e are m o r e o p p o r t u n i t i e s for petite
models. They are o f t e n cast for cosmetic ads. Many-
fashion d e s i g n e r s have started their o w n petite lines a n d
work with smaller models. Some major agencies n o w
have separate divisions for female m o d e l s u n d e r S'6".
T h e s e n e w divisions have not yet e x t e n d e d to the
male markets. Although t h e r e are many male types,
including the traditional "tall, dark, a n d h a n d s o m e , "
preppy. Ivy League, rugged, and junior types, n o catalogs
are devoted exclusively to larger o r o l d e r m e n .
Also, preconceived ideas about racial a n d ethnic types
have relaxed d u r i n g t h e last d e c a d e o r so. Black m o d e l s
u s e d t o b e c o n s i d e r e d a p p r o p r i a t e for Essence or /bony
magazines only. Now, every magazine a n d p r o d u c t
from Vogue to Ivory s o a p u s e s black models. Similarly,
Oriental m o d e l s are c o n s i d e r e d "cosmopolitan." The
n e w attitude toward a n d appreciation of the variety of
m o d e l s available has e n r i c h e d a n d e x p a n d e d the world
of fashion p h o t o g r a p h y

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M a l e m o d e l s are d e f i n e d by t h e i r l o o k , j u s t as t h e i r f e m a l e c o u n t e r -
parts are. This m o d e l ' s c l a s s i c a l l y h a n d s o m e f e a t u r e s a p p e a l
kk/
to most clients, but other types, such as rugged and preppy males,
are o f t e n r e q u e s t e d a l s o .
S u c c e s s f u l m o d e l s a r e n o l o n g e r l i m i t e d by s h a p e , s i z e , or c o l o r .
Attractive m o d e l s who can convey different attitudes and ideas
t h r o u g h s i m p l e b u t e f f e c t i v e e x p r e s s i o n s , g e s t u r e s , and p o s e s
are sought after.
When an assignment calls for
mum
two or m o r e m o d e l s , t h e i r l o o k s
s h o u l d be c o m p l e m e n t a r y . A n d ,
a l t h o u g h they m a y m e e t f o r t h e
f i r s t t i m e on t h e s e t , t h e y may
have t o a p p e a r t o b e involved
w i t h one a n o t h e r . The rela-
tionship between the "couple"
in t h i s i m a g e is m y s t e r i o u s a n d
provocative: t h e m a n w a t c h i n g
the woman arouses curiosity.

M o d e l s w h o s p e c i a l i z e m a y s e e m t o have relatively easy, g l a m -
o r o u s j o b s , b u t t h e i r w o r k is o f t e n q u i t e d e m a n d i n g . The h a n d
m o d e l cast for t h i s p h o t o g r a p h , t a k e n for the " S e r v i n g Up t h e
B a h a m a s " c a m p a i g n for B a h a m a s A i r , had t o h o l d t h e tray in
t h i s p o s i t i o n for an hour.
.Specializing. Models w h o specialize in "body parts"
remain a n o n y m o u s to the general public. Hand models
are very much in d e m a n d for h a n d care products,
jewelry, and o t h e r accessories. There are also specialties
within this specialty You may want an elegant, long-
fingered, youth fill-looking hand; a "housewife" hand
with shorter nails and fingers; o r a "character" hand that
shows s o m e age. A "weathered and rugged' m a n s hand
can b e ideal for a b e e r o r ale advertisement, and a
manicured, graceful hand for an expensive watch.
Models with perfect feet are difficult t o find because
of all the a b u s e feet take from exercise, high heels, and
ill-fitting shoes.
A m o d e l with a perfect b o d y need not have a perfect
face. Muscles s e e m to b e enjoying a popular period, and
b o d y b u i l d e r s b o t h male and f e m a l e w h o never con-
sidered m o d e l i n g its a career before work all the time.
Another area is the runway model, w h o in the past
was used for fashion shows only Runway models must
b e tall and striking, and have a great stage presence. But
they n e e d not b e photogenic, and neither their skin n o r
their features have to b e perfect.

M u s c u l a r b o d i e s are in g r e a t
d e m a n d for s p o r t s - o r i e n t e d ad-
vertisements. Bodybuilders like
t h e m o d e l in t h i s s h o t a r e q u i t e
adept at p o s i n g and flexing to
s h o w o f f t h e i r h a r d - e a r n e d phy-
siques.
WORKING WITH CHILDREN

You may assume that your work in models have certain needs that you everything under your control was
fashion photography will be with should attempt to accommodate. executed properly and legally
beautiful, sophisticated models. On the day of the session, have In New York State, these papers
Howerer, there will be occasions some toys around to interest them. are called Model Permits. To apply
when you may work with children Since their attention span is lim- for this permit, the child's parents or
It's always best, and certainly less ited, you have to work fast. Some guardian must furnish the child's
time-consuming for everyone in- children are shy in front of the social security number, birth certifi-
volved, if "professional" children camera, but with a little coaxing cate, and a doctors note with a
are used. They are accustomed to and encouragement, you can get legitimate signature stating that the
being in front of the camera and some endearing results. When you child is in good health. If the child
know how to take direction. They photograph young children, always is of school age, a note from the
are also aware that they have to be cast and book backup models. This school is also required. The permit
careful with wardrobe and props. way if one child is uncooperative expires every year
Modeling agencies try to teach or becomes sleepy or hysterical, the
Children may work only a lim-
them what will be expected of them. backup can take over
ited number of hours. The time they
(While larger agencies work with a
Strict rules govern the use of can work increases as they get
limited number of children and
children as models. When working older They can work more hours
handle them exclusively there are
with children, you must adhere to during the summer than the school
many "managers' who represent a
these standard practices and reg- year Children must be accom-
number of children and work with
ulations. Each child under the age panied by a guardian.
several agencies.) Despite the ease
of sixteen must have working pa- Because of past abuses, there are
of working with professional child
pers. It is your responsibility to now laws protecting the child's in-
models, I have had some great
check them, either during a go-see come. Checks are written in the
photo sessions with "kids off the
(see page J J J, a casting call, or a child's name. Legally, the parents
street," too.
photo session. Many photographers may not cash them: they must put
will not even allow a child in the them in a custodial account. The
During a shoot, / like to let
studio without these papers. If there parents are allowed to take out
children be themselves. This is the
is an accident, your insurance only a small percentage of the
best way to capture their person
company will ascertain whether money for expenses they incurred
alities. Like adult models, child

As a p r o f e s s i o n a l c h i l d m o d e l , t h i s l i t t l e These c h i l d r e n a r e n ' t p r o f e s s i o n a l m o d - Photographing children requires you to

girl k n o w s h o w t o p o s e , h o w t o g e t o n els; they're j u s t kids b e i n g kids. I gave r e s p o n d q u i c k l y . I c a u g h t t h i s b a b y in
her m a r k s , a n d h o w t o s h o w g a r m e n t s . t h e m soap bubbles as a prop, hoping to m o t i o n a s s h e ran a c r o s s t h e b a c k d r o p ,
keep t h e m occupied and their attention c o m p l e t e l y u n a w a r e of t h e c a m e r a .
focused during the shoot.
WORKING WITH ANIMALS

Several agencies in New York City Baby animals, such as puppies, insurance for any large animal
book animals, from aardvarks to chicks, and foals, tire easily don't you bring into the city. You may
zebras These agencies usually like to be away from their mothers, also have to get a one-day rider
don V produce the same quality of have a short attention span, and from your insurance carrier to
beautiful books (see page 32) that are not particularly reliable. You protect yourself against any dam-
"human " agencies do, but they do will usually double-book a baby age done to equipment, property,
keep and continually update large animal, so that while one sleeps, or personnel. Remember, even
tooseleaf notebooks containing you will be able to work with the though these animals are trained,
photographs of the animal models backup. Keep in mind that agencies accidents can happen.
available. require a two-hour minimum for Every animal on a set, even
When you first contact an ani- booking animals. domesticated house pets, must have
mal agency and describe the ses- Working with larger or more a handler or trainer. You wouldn 't
sion you are planning. the booker exotic animals is a little more want a puppy running around
will send over the notebook. You complicated. New York City re- loose near electrical equipment or
can then narrow down your quires you to get a certificate of a cat pawing wires.
choices over the phone. If the ani-
mal must be able to perform tricks,
the booker must know. Even simple
commands, such as "Sit," can take
hours if the animal hasn't been
trained. If you freed the animal to
be able to complete a more difficult
task, the booker will ask whether
the animal's trainer can teach the
stunt in the time available If you
need a newborn puppy or kitten,
the booker can tell you which of the
agencys "clients" are expecting.

The personnel at these agencies

are quite helpful. They know that
the average client will be no more
specific than asking for "a f l u f f y
red puppy "but the booker will
help customers find precisely what
they need The booker might even
suggest a go-see. Because an ani-
mal can t "hop on the subway "
there will be a nominal charge for
this service.
The booker will also suggest dif-
ferent breeds, and, in some cases,
advise against a particular breed.
For example, I once shot an ad that
ret/uired tchile doves. The booker
explained that white pigeons are
larger, easier to handle, and, be-
cause they are not as rare or
fragile, are much cheaper / used
the pigeons, and I don 't think
anyone knew the difference. A l t h o u g h the i n c l u s i o n o f t h e d o g m a k e s t h i s i m a g e m o r e a p p e a l i n g ,
t h e f o c u s r e m a i n s on the s u b j e c t o f t h e a s s i g n m e n t : the eyeglass
frames.
MODELING AGENCIES
T h e m a j o r New York City a g e n c i e s are Elite, Ford,
Wilhelmina, and Zoli. Like their c o u n t e r p a r t s in o t h e r
cities a r o u n d the world, these a g e n c i e s not only b o o k
elite II/. \tori M n o n X (
Jolin < ' a v a h b i t r a
I I I Fat ' 2 n d S t r e e t . New Y o r k . N e w Y o r k 10010

Tel. S29-9800, T . V . 529-4555, Telex: 428546 Book. Fax 475-1332

assignments, but also o v e r s e e their m o d e l s ' careers.
They continuously scout n e w talent. They look f o r
p h o t o g r a p h i c ability as well as s u c h intangibles as
p r e s e n c e , m a g n e t i s m , spirit, and energy. If they spot that
"certain s o m e t h i n g , " they will work closely with that
person. They will i n t r o d u c e the m o d e l to p h o t o g r a p h e r s
and h e l p h e r build a portfolio. They will g u i d e the
m o d e l s t e p by step, starting h e r o u t with easy assign-
m e n t s in o r d e r to b u i l d h e r c o n f i d e n c e . They will go
o v e r e a c h test session with t h e m o d e l , slide by slide,
pointing out p r o n o u n c e d i m p e r f e c t i o n s and working Sophie B i l b r d Kertfi l k i i e r _ Carrie Marilyn Cj.uk < iiidv < " r j - f o r d

with the m o d e l t o correct t h e m . They will h e l p h e r put

t o g e t h e r a c o m p o s i t e and line u p potential clients.

The m a j o r agencies r e p r e s e n t most of t h e highest

paid a n d successful m o d e l s in the country. Female
m o d e l s w h o work t h r o u g h t h e s e agencies are usually
tall, 5'7" a n d over, beautiful, and b e t w e e n the ages of
s e v e n t e e n a n d twenty-live. Male m o d e l s are ordinarily
b e t w e e n 6 ' a n d 6'2", a size forty; a n d h a n d s o m e .
Because of t h e o v e r w h e l m i n g a b u n d a n c e of m o d e l s ,
t h e r e are also m a n y s m a l l e r agencies that r e p r e s e n t t h e
multitudes of m o d e l s w h o a r e w o r k i n g but will never b e This h e a d s h e e t s h o w s s o m e of t h e m o d e l s r e p r e s e n t e d by the
superstars. S o m e m o d e l s feel they get lost in the shuffle Elite m o d e l i n g a g e n c y . The m o d e l s ' p h o t o g r a p h s , n a m e s , a n d
s t a t i s t i c s , i n c l u d i n g h e i g h t , d r e s s a n d shoe size, a n d coloring,
in a big agency a n d p r e f e r t o w o r k with a smaller o n e . are i n c l u d e d .

A G E N C Y COPY
Invoice T o Oat*

Address t aO II iI
Z Modal

City & State Rata Time Amount

M A N A G E M E N T INC.
146 EAST 56th STREET Fr To
Att. Of NEW Y O R K , N.Y. 10022 Overtime Rate Time Amount

BOOKKEEPING Fr To
Studio/Client Dept. T E L . (212) 758-6182 Fitting Date Time Amount

Fr To
TOTAL
C # subject to
M#
service charae
UNIFORM MODEL RELEASE (PRINT)

I n c o n s i d e r a t i o n o f r e c e i p t o f t h e f e e ( i n c l u s i v e o f s e r v i c e fee) n e g o t i a t e d w i t h m y m a n a g e s . I h e r e b y sell, assign .kmI y r . m t to

^Advertising A 9 c n c y or Publication) and <Ciient or Advertiser)

t h e u g h t a n d p e r m i s s i o n t o p u b l i s h o n e p h o t o g r a p h o r likeness o f m e in w h i c h I m a y b e i n c l u d e d m w h o l e o r i n p o r t o r r e p r o d u c t i o n s t h e r e o f in color or otherwse

for for fo< a p e r i o d t e r m i n a t i n g

(Usa90 (Product) ' "
N O T E : C e r t a i n p r o d u c t s , p a c k a g i n g usage, billboards, c o u n t e r cards, a n d s i m i l a r special usage r e q u i r e s s e p a r a t e n e g o t i a t i o n N o t v a l i d f o r T V use
A c c o r d i n g l y I release a n d discharge t h e c o m p a n i e s a n d persons n a m e d above and persons acting for or o n behalf of them f r o m any liability by virture of any
b l u r r i n g , d i s t o r t i o n , a l t e r a t i o n , o p t i c a l i l l u s i o n , o r use i n c o m p o s i t e
f o r m that m a y occur or be p r o d u c e d m the t a k i n g o f said p i c t u r e o f in any processing thereof
through completion of the finished product
A l l o t h e r releases n o t v a l i d unless c o u n t e r s i g n e d b y m o d e l ' s m a n a g e r
(Model's Signature)

c/o Zoli Management. Inc.

Address of
(Client's Representative) Manager 146 East 5 6 t h Street
New York. N Y 10022
T r i l l R o I m s o not vaild until p a y m e n t in l u l l received fry Zoli M o d e l s
Rriejie jppcarpd I n t e m a t x x i a i Model Managers Association

This u n i f o r m m o d e l voucher, w h i c h t h e Zoli a g e n c y s e n d s t o its m o d e l s b e f o r e they are booked for a n a s s i g n m e n t , c o n f i r m s i n w r i t i n g t h e

number of hours they are s c h e d u l e d t o work a n d t h e a g r e e d - u p o n rate. The f o r m m u s t be s i g n e d by t h e m o d e l a n d t h e art director, or by
the client or agency's representative. If neither individual is o n t h e set. t h e photographer a c t s as t h e representative.
STARTING O U T
Initially, m o d e l s must m a k e t h e r o u n d s and s e e almost
every p h o t o g r a p h e r in t h e fashion business. This is
m a d e easier f o r t h e m by the testing b o a r d s within their
agencies. Ii is t h e sole j o b of t h e b o o k e r s w h o c o m p r i s e
testing b o a r d s t o set u p a p p o i n t m e n t s for the agency's
newest m o d e l s t o test with a variety of p h o t o g r a p h e r s
a p r o c e s s that gives t h e m o d e l s e x p o s u r e within t h e
p h o t o g r a p h i c c o m m u n i t y ( s e e Chapter 6. page 120).
The agencies act as liaisons b e t w e e n p h o t o g r a p h e r s
and m o d e l s , setting u p s h o o t d a t e s and discussing with
each p h o t o g r a p h e r exactly what type of p h o t o g r a p h a
particular m o d e l s n e e d s f o r h e r portfolio. This p r o c e s s
r e q u i r e s give a n d take. For e x a m p l e , if I a m planning a
test using lingerie, I will ask the b o o k e r s to r e c o m m e n d
a m o d e l or t w o w h o w o u l d b e interested. Of c o u r s e ,
w h e n m o d e l s are just starting out. they n e e d most types
of shots and arc usually available o n s h o r t notice.
At first, b o o k i n g s may b e f e w and far between. O n c e
established, g o o d m o d e l s can expect their b o o k i n g s to
b e m o r e f r e q u e n t . But, to e a r n repeat b o o k i n g s and t o
build a successful career, m o d e l s must always b e profes-
sional by s h o w i n g u p o n time and b e i n g ready t o work.
T h e m o d e l w h o s e attitude reflects a n unwillingness to
c o o p e r a t e o r w h o s e work habits disappoint photog-
raphers will s o o n b e chronically u n e m p l o y e d .
MODEL PROMOTION
Agencies p r o m o t e their m o d e l s o n an o n g o i n g basis
several ways. T h e s e p r o m o t i o n s k e e p e v e r y o n e in the
fashion b u s i n e s s up-to-date o n the m o d e l s currently
available and i n t r o d u c e n e w talent.
Modeling agency books are
usually u p d a t e d a n d d i s t r i b u t e d
t w i c e a year.
A g e n c y B o o k s . Twice a year. I receive beautifully
p r o d u c e d b o o k s f r o m m o d e l i n g agencies showing
p h o t o g r a p h s of the m o d e l s they currently represent.
Agencies s p e n d a great deal of m o n e y o n these books,
which are sent gratis to w o r k i n g p h o t o g r a p h e r s , adver-
tising p e r s o n n e l , and o t h e r professionals w h o might b e
interested in hiring models.
Each a g e n c y s b o o k has a specific style. Traditionally
each m o d e l is allotted a single page that consists of a
half-page beauty shot, which is a c l o s e u p of t h e model's
face, and half a page of smaller p h o t o s showing various
p o s e s a n d / o r actual ads in which t h e model has
a p p e a r e d . The page also includes the model's height,
weight, dress/suit size, s h o e size, bust/'waist/hip mea-
surements. hair/eve colors, union affiliations, and any
o t h e r specialties, such as "excellent hands." (You s h o u l d
pay close attention t o this data w h e n you a r c hiring a
model; s u c h details as hair color can b e essential since
lighting may alter t r u e hair color.) S o m e books are
p r o d u c e d totally in black a n d white; o t h e r s include a
mixture of c o l o r and black a n d white.
Along with the books, t h e agencies s e n d a large pull-
out s h e e t s h o w i n g all of their models' faces. This pull-
out is suitable for h a n g i n g o n a wall as a ready
reference. It serves as a r e m i n d e r to potential clients
and reinforces t h e agency's name.
C o m p o s i t e s . A composite is a card that shows several
different p h o t o g r a p h s of the s a m e model, usually shot
by various p h o t o g r a p h e r s . Designed like the pages in
the agency books, c o m p o s i t e s ordinarily include a h e a d
shot, a body shot s h o w i n g the m o d e l s wearing swim-
 I c a s t t h i s m o d e l b e c a u s e of her fresh f a c e , w h i c h is p e r f e c t for c o s m e t i c l i n e s t a r g e t e d a t t h e t e e n a g e
m a r k e t . This y o u t h f u l l o o k is a p p r o p r i a t e for a d v e r t i s e m e n t s in s u c h p u b l i c a t i o n s a s S e v e n t e e n .
wear o r lingerie, a n d , p e r h a p s , a c o u p l e of shots
s h o w i n g the m o d e l in various poses. T h e c o m p o s i t e s
also list t h e m o d e l s m e a s u r e m e n t s , as well as t h e o t h e r
data f o u n d in t h e agency books.
C o m p o s i t e s serve as the m o d e l s calling card. If
m o d e l s are o u t of town o r o t h e r w i s e unavailable for
inclusion in t h e s e m i a n n u a l books, the agencies s e n d
out m o d e l c o m p o s i t e s f r o m t i m e t o time. C o m p o s i t e s
may also b e sent out o n n e w m o d e l s w h o c o m e to b e
r e p r e s e n t e d by the a g e n c i e s b e t w e e n mailings. They a r e
left b e h i n d o n each casting call, s o that the client and
p h o t o g r a p h e r will r e m e m b e r t h e m o d e l a n d have his or
h e r vital statistics o n h a n d . Models f r e q u e n t l y u p d a t e
their c o m p o s i t e with their most recent "looks."
As a w o r k i n g fashion p h o t o g r a p h e r , I receive hun-
d r e d s of m o d e l c o m p o s i t e s in t h e mail. I k e e p those 1
like for r e f e r e n c e and have the most c u r r e n t agency
b o o k s within easy reach.
G o - S e e s . Occasionally, I s c h e d u l e g e n e r a l go-sees. T h e
t e r m m e a n s exactly that: the a g e n c i e s s e n d any n e w
m o d e l s they r e p r e s e n t to "go s e e " m e at my studio.
Bookers at the agencies call m e t o s c h e d u l e sessions to
meet their n e w p e o p l e . I k e e p the n u m b e r of m o d e l s at
each go-see to a m i n i m u m , s o that I can r e m e m b e r . m y
reaction t o each m o d e l . I s c h e d u l e m o d e l s f r o m several
agencies in a t w o - h o u r p e r i o d at t h e b e g i n n i n g o r e n d
of t h e day. I l o o k at their b o o k s , k e e p their composites,
and m a k e n o t e s if I think I w o u l d like t o cast t h e m in
the future. 1 also ask if they are willing t o test. 1 t h e n
have a p o o l of m o d e l s to c h o o s e from.
CASTING MODELS
Casting t h e right m o d e l is essential. Of all the e l e m e n t s
involved in fashion photography; 1 believe that y o u r
c h o i c e of a m o d e l c o m p r i s e s 90 p e r c e n t of a p h o t o -
g r a p h s impact. It is t h e m o d e l s appeal that will sell
garments.
You must b e exacting, specific, and s o m e t i m e s tech-
nical w h e n y o u cast. You have to k n o w what you are
looking for in t e r m s of height, b o d y m e a s u r e m e n t s , a n d
type. You w o u l d n ' t select a flat-chested m o d e l to w e a r a
provocative g a r m e n t , o r a young, fresh-faced junior to
m o d e l a $30,000 ballgown. Conversely, it w o u l d b e a
disaster to c h o o s e a strong, sophisticated-looking m o d e l
to sell a p r o d u c t m e a n t for t h e junior market. And, y o u
w o u l d not cast a rugged, " o u t d o o r s y " m a n w h e n h i r e d
to p h o t o g r a p h a classically tailored suit.
 T h e first discussion with t h e client and the art
director about c h o o s i n g the most appropriate model for
an assignment s h o u l d b e centered o n defining the type
of model they envision for t h e ad. I lelp t h e m narrow-
d o w n their choices. Are they looking for a junior, an ail-
American type, an ethnic type, o r a sophisticated type?
Ask detailed q u e s t i o n s about hair color and length, and
any o t h e r important distinguishing features o r consider-
ations they feel are necessary.
From y o u r agency b o o k s a n d composites, c o m p i l e a
list of those m o d e l s w h o might b e suitable. Next,
s c h e d u l e a time t o g o o v e r your selections with the
client and art director. Because most art directors have
their o w n copies of t h e agency books, you can review
your choices of m o d e l s over the telephone. Notice t h e
type of m o d e l h e o r s h e gravitates to. Unless the client
wants to book a m o d e l directly f r o m t h e agency book,
you may have to hold a casting call.

The m o d e l w e a r i n g t h i s g o w n , p h o t o g r a p h e d in Paris a t t h e House o f Nina Ricci. w a s cast by the d e s i g n h o u s e . S h e w a s s e l e c t e d

b e c a u s e her h e i g h t a n d s o p h i s t i c a t e d look e n a b l e d her t o carry t h i s b i l l o w i n g g a r m e n t w e l i .
 This session may h e necessary for various reasons:
T h e art d i r e c t o r a n d / o r t h e client may r e q u e s t a
specific m o d e l w h o is unavailable. They may wish t o
s e e other, similar m o d e l s f r o m different agencies.
You might n e e d to s h o w clients pictures of m o d e l s
with lower h o u r l y rates if the p r e f e r r e d m o d e l s fee
e x c e e d s the a m o u n t b u d g e t e d .
At times, clients o r art directors have n o idea what
type of m o d e l they n e e d a n d ask to see "every model
in New York City!" If this h a p p e n s , y o u must call
almost every agency a n d set u p a h u g e casting
session, o f t e n r e f e r r e d to as a cattle call. T h e s e can b e
o v e r w h e l m i n g f o r the m o d e l s , for you, and for the
clients. However, having s e e n every type of m o d e l
available, the clients can t h e n d e t e r m i n e which
qualities best suit their ad.
For cattle calls, have at least o n e assistant with you. If
you are n o t well o r g a n i z e d , the casting session can b e
chaotic and fruitless. When viewing the m o d e l s , make
two piles of c o m p o s i t e s : o n e with pictures of m o d e l s
w h o are b e i n g c o n s i d e r e d and o n e for those w h o aren't.
After each m o d e l leaves, jot d o w n a f e w n o t e s directly
o n the c o m p o s i t e to have s o m e t h i n g to refresh y o u r
m e m o r y later.
Top m o d e l s are t o o heavily b o o k e d to go to casting
sessions, s o their agencies s e n d o v e r the models'
portfolios; however, t h e client may still ask to see the
m o d e l in o r d e r to lit the product. In this case, a time
convenient for both will have t o b e a g r e e d u p o n .
C o m m u n i c a t i o n with v o u r client is the kev
When casting for certain jobs, the client will ask you
t o take Polaroids of each m o d e l . If the job requires the
m o d e l to hold a p r o d u c t , it's a g o o d idea to place it in
t h e p r o p e r position b e f o r e s h o o t i n g the Polaroids.
Attach the Polaroids t o the c o m p o s i t e s and s e n d them to
the advertising agency to be reviewed and decided on
by t h e creative team.
S o m e assignments call for the m o d e l s to have certain
specific outstanding features. For example, if y o u will be
working with a product for w h i c h lit is important, such
as eyeglasses, you s h o u l d request m o d e l s with great
faces a n d n o s e s w h e n s c h e d u l i n g a casting session. If
t h e client is n o t a b l e to attend, you may b e asked to take
a Polaroid of each m o d e l w e a r i n g the product.
If you d e c i d e to d o catalog assignments, you will
s o m e t i m e s discover that t h e catalog h o u s e has a list of
p r e f e r r e d m o d e l s and will cast and b o o k the m o d e l s
itself. When the c o m p a n y leaves t h e c h o i c e of the m o d e l
u p t o you, b e careful to ruthlessly scrutinize every detail
of t h e models' features. If several m o d e l s qualify
technically, c h o o s e s o m e o n e you think is "special." Use
your instinct w h e n d e t e r m i n i n g which model best
p e r s o n i f i e s the qualities you want. T h e emotional p o w e r
of a p h o t o g r a p h d e p e n d s o n an e l e m e n t you can't
always identify o r d e s c r i b e y o u simply feel it.
With e x p e r i e n c e , you will d e v e l o p p r e f e r e n c e s about
m o d e l s you want to work with and w h o s e look is right
for a particular assignment. If I have an o p i n i o n , g o o d
or bad, about a m o d e l I have w o r k e d with, I feel it is
important that I share it with both the client and the
art director.

PICTURES CAN LIE

Models may look great in their
composites, hut there's no guaran-
tee that "what you see is what you
get " This is a major reason why
you should see models before hook
ing. If they recently returned from
a vacation, they might hare a tan,
which can cause problems. Also, the
model 's composite may list her dress
size as seven/eight which was true
when that picture was takenhut
when she shows up for the shoot,
she is a size twelve.
Another problem you might en-
counter is a change in hair length
or style. Even if you saw the model
on a general go-see a month ear-
lier, you can never he sure that her
hairstyle is the same. The difference
can he extreme, and there you are,
expecting a model with long hair
and someone with a hob arrives.
The matter of height is especially
important when bookhig two or
more models. / once wanted to
photograph two models posing as a
couple. The client handled the cast-
ing without consulting me and
booked models hut neglected to
consider their comparative heights.
The male model was nearly a foot
taller than his female counterpart.
To overcome this problem, we
ended up standing the woman on
a telephone book. Nevertheless, he-
cause she was tiny and he was big
boned, she looked quite out of
place next to him. While many real
couples are not nearly or exactly
the same height, a big difference
will throw off the balance of a
photograph.
Although it is the agency's respon
sibility to make certain that its
models composites are current,
you should check models care-
fully before casting them for an
assignment.
 To o v e r c o m e t h e p r o b l e m o f a n o t i c e a b l e h e i g h t d i f f e r e n c e b e t w e e n t h e m a n a n d t h e w o m e n i n t h i s
i m a g e . I a s k e d t h e m a l e m o d e l t o s t a n d a g a i n s t t h e w a l l in t h e b a c k g r o u n d . T h e n I t i l t e d t h e c a m e r a
s l i g h t l y t o c h a n g e the l i n e s of a n d to a d d i n t e r e s t t o t h i s p h o t o g r a p h , t a k e n for a l i n g e r i e
advertisement.

BOOKING MODELS find o u t which m o d e l s o n y o u r list are available. Unless

l( is standard practice for p h o t o g r a p h e r s or their s t u d i o
m a n a g e r s t o b o o k m o d e l s . To d o this, d e t e r m i n e h o w
many h o u r s y o u will n e e d with each m o d e l and. even
m o r e important, the p u r p o s e of the p h o t o g r a p h s . T h e
first q u e s t i o n t h e b o o k e r will ask is: "What is this for?"
If y o u n e e d to h i r e just o n e m o d e l f o r an assignment,
start with y o u r first choice. Call t h e agency and ask f o r
that model's b o o k e r . W h e n b o o k i n g a m o d e l for a m a j o r
client with a m a j o r p r o d u c t , check with t h e agency to
s e e that the m o d e l has n o conflicts. A conflict arises
w h e n t h e m o d e l ' s face h a s a p p e a r e d in an ad f o r a
competing product.
For a catalog s h o o t , you will p r o b a b l y b e interested in
m o d e l s f r o m several different agencies. The first s t e p in
this p r o c e s s is t o contact e a c h agency. Because every
m o d e l y o u are interested in may work with a different
booker, you must ask for e a c h b o o k e r i n d i v i d u a l s to
you are lucky, many of the m o d e l s will b e unavailable
for o n e r e a s o n o r another. As m e n t i o n e d earlier, m a n y
m o d e l s s p e n d m u c h of t h e year traveling in Europe,
w o r k i n g fashion s h o w s a n d b u i l d i n g portfolios. S o m e
are u n d e r exclusive contracts. O t h e r s will be b o o k e d .
Expect this, a n d don't despair: b o o k e r s will gladly
suggest alternatives.
O n c e y o u have f o u n d a suitable m o d e l w h o is
available at the s c h e d u l e d lime, you a r e ready to place a
tentative hold. In this situation, you have the first o p t i o n
o n that block of t h e m o d e l ' s time. Of c o u r s e , since all
the potential clients a r e trying t o juggle s c h e d u l e s , the
m o d e l s y o u want may already b e o n a tentative hold.
You may t h e n get a secondary, w h i c h m e a n s that if t h e
first client releases t h e m o d e l f r o m that time, you will
b e notified a n d asked if y o u want t o c o n f i r m the
b o o k i n g t i m e or to put t h e m o d e l o n a tentative hold.
 When you are certain that all the o t h e r p e o p l e
involved are available for the p h o t o g r a p h y session, you
then c o n f i r m the b o o k i n g with the m o d e l i n g agency.
You will release any oilier m o d e l s y o u have o n tentative
and s e c o n d a r y h o l d at this time.
Usually; t h e agency r e c o r d s t h e confirmation and asks
you for t h e d a t e you are confirming, time slot, client,
usage, and billing information. If the advertising agency
has n o credit history with the m o d e l i n g agency and,
therefore, is not in its c o m p u t e r , the agency will either
run a credit c h e c k o r ask that the m o d e l fees be paid
u p o n c o m p l e t i o n of the shoot.
Next, tell t h e b o o k e r what y o u expect the m o d e l to
bring to t h e session, such as pantyhose, s h o e s , ties,
s u s p e n d e r s , and any o t h e r w a r d r o b e items. Specify that
a female m o d e l s h o u l d c o m e to the s h o o t with clean
hair a n d n o m a k e u p , w h i c h m e a n s that a m a k e u p artist
and hairstylist will b e at the studio, o r with hair and
m a k e u p ready, which m e a n s that s h e s h o u l d c o m e with
h e r hair styled a n d m a k e u p applied. Precious t i m e is
wasted if the m a k e u p artist has to r e m o v e old m a k e u p
b e f o r e the application of fresh m a k e u p can begin. Also,
if y o u want the m o d e l to have h e r nails m a n i c u r e d in
advance, y o u must m e n t i o n it b e f o r e h a n d . Similarly, if The c l i e n t w a n t e d a " c o u p l e " for t h i s s h o t , so t h e s e p a r t i c u l a r
s h e is to w e a r nail polish, you must specify the color. m o d e l s were b o o k e d b e c a u s e t h e i r natural l o o k s s u i t e d t h e c a s u a l
a t t i r e and p o s e , as w e l l as e a c h o t h e r - and b e c a u s e they h a d n o
If you a r e p l a n n i n g t o s h o o t o u t d o o r s , indicate scheduling conflicts.
"weather permitting." T h e n , if o n the m o r n i n g of t h e
session, y o u o r y o u r client feels that it is raining or notification t h r e e working days prior to booking, you
s n o w i n g t o o h a r d for the s h o o t to take place, you will will b e c h a r g e d t h e full fee. This policy is certainly
have t h e o p t i o n of canceling t h e s h o o t and will b e u n d e r s t a n d a b l e . Both the agency and the model would
c h a r g e d only half of t h e a g r e e d - u p o n fee. I s o m e t i m e s stand to lose substantial a m o u n t s of m o n e y if the agency
ask for a weather permit w h e n I a m s h o o t i n g d u r i n g t h e p e r m i t t e d r a n d o m cancellations.
winter m o n t h s a n d k n o w that the client must travel a A n o t h e r standard practice is for the client or art
distance to get to the session. By d o i n g this, I a m telling director to sign the model's v o u c h e r at the e n d of the
the agency that if a rainstorm or a s n o w s t o r m prevents booking. This c o n f i r m s the a m o u n t of t i m e the model
the client f r o m getting to t h e s h o o t . 1 will have t o cancel has w o r k e d and the a m o u n t of m o n e y that is due. O n e
it. Of c o u r s e , I explain this t o the b o o k e r w h e n I copy is given to the client. If the client or art director is
confirm the date. not o n t h e set, you will sign t h e voucher, acting as the
Clearly, b o o k i n g m o d e l s s o m e t i m e s b e c o m e s an advertising agency's representative.
e x e r c i s e in organization a n d persistence. T h e p r o c e s s
can b e quite complicated, especially o n a catalog shoot DETERMINING FEES
for which y o u have to c o o r d i n a t e the s c h e d u l e s of Although m o d e l i n g agencies have set fees for particular
several m o d e l s f r o m different agencies, o r with different jobs, every price is negotiable. If business is s l o w and
b o o k e r s within the s a m e agency, b o o k i n g each m o d e l you are working o n a tight budget, the agency might
for only a f e w hours. suggest several m o d e l s w h o w o u l d b e willing to work
You will find that o n c e you have c o n f i r m e d a model, for less than their customary fees. Standard hourly rates
agencies are quite reluctant to let you cancel o r range f r o m $300 p e r h o u r to $5,000 p e r day, but you
r e s c h e d u l e without a penalty: Although each agency h a s will also c o m e u p o n special situations that must be
its o w n policy regarding cancellations and rescheduling, negotiated separately:
most policies state the following: If the agency is
notified of the c h a n g e m o r e than five w o r k i n g days E x c l u s i v e C o n t r a c t s . When o n e c o m p a n y wants a
prior to booking, y o u will b e charged half the fee. For particular m o d e l to b e associated solely with its product,
it negotiates an exclusive contract: (he m o d e l is not
allowed to accept any work f r o m competitors. S o m e
companies, such as Estee Lauder a n d Lancome, fre-
quently want o n e m o d e l to represent their cosmetics
and/or fragrance exclusively D e p e n d i n g o n the contract,
the m o d e l may o r may not h e allowed to work for
products o t h e r than cosmetics. Major d e s i g n e r s also
have exclusive deals with models; they can't work for
any o t h e r designer. Models must b e c o m p e n s a t e d
handsomely for signing an exclusive contract because
they are giving u p the potential i n c o m e they would b e
earning by working for o t h e r clients.
L i n g e r i e . Although rates vary radically, d e p e n d i n g o n
t h e model, lingerie m o d e l i n g still c o m m a n d s m u c h
higher hourly rates than regular assignments do. An
agency will usually charge d o u b l e the hourly rate for
the actual time the m o d e l s p e n d s in front of the camera.
Makeup time, travel time, and fitting time are still
charged at the standard rate, however. Be aware, though,
that not every m o d e l will a g r e e t o p o s e in lingerie
because of t h e stigma formerly attached t o this type of
modeling, despite society's m o r e relaxed attitude toward
it. Even television c o m m e r c i a l s n o w include advertise-
ments in which m o d e l s wear bras, panties, and briefs.

D e s p i t e t h e c u r r e n t r e l a x e d a t t i t u d e a b o u t p o s i n g in l i n g e r i e , n o t every m o d e l will d o so. T h o s e w h o d o . h o w e v e r , r e c e i v e h i g h e r f e e s for

t h i s type of a s s i g n m e n t . Be s u r e t o a d v i s e the m o d e l i n g a g e n c y t h a t you a r e p l a n n i n g a l i n g e r i e s h o o t . This w i l l prevent a l a s t - m i n u t e
d i s a s t e r : h a v i n g a m o d e l s h o w u p o n t h e day of t h e s e s s i o n a n d refuse to w o r k .
 N u d i t y . Unlike lingerie modeling, there is still a stigma
attached t o posing in the nude. Accordingly; m o d e l s
w h o agree to p o s e n u d e charge very high fees. You can
expect to pay $5,000 or m o r e for such work o n an ad.
Even though m o d e l s a r e paid top dollar, not too many
will d o it. They are c o n c e r n e d about w h e n and w h e r e
n u d e p h o t o g r a p h s might turn up later. Large agencies
that care about a m o d e l s long-term career d o not
e n c o u r a g e their m o d e l s to p o s e nude.
T h e release form for a n u d e shoot must specify
exactly the way the p h o t o g r a p h s will b e used and for
h o w long. Models are advised not to sign a photogra-
pher's release on this type of shoot because un-
authorized shots could fall into the wrong hands. T h e
agency must sign a release for the photographs actually
used in an advertisement a n d stipulates that n o o t h e r
photos from that session are permitted t o b e used for
any o t h e r p u r p o s e whatsoever.
T h e r e is not m u c h call for nudity in fashion photogra-
phy because magazines have restrictions o n nudity
I lowever, if you are hired for just such an assignment,
you ask the model to p o s e n u d e o n the set and then
crop the shot to work properly in the ad, s o that
magazines are able to publish it.

B o n u s e s . These additional fees are paid to models

w h o s e faces a p p e a r o n products, packaging, point-of-
I wanted to create a s e n s u a l m o o d t o c o m p l e m e n t t h i s sheer
purchase displays, billboards, b u s shelters, a n d o t h e r
g a r m e n t , as w e l l as t o try a n unusual a p p r o a c h for a lingerie
advertisement I a s k e d t h e m o d e l to lie on the floor, a n d t h e n I mass transportation spaces. T h e m o d e l is paid an hourly
p h o t o g r a p h e d her from various a n g l e s . or daily rate for the session, a n d a usage fee is a d d e d for
the first three- or six-month period. T h e agency usually
gets three six-month options at t h e s a m e rate.

BOOKING CONDITIONS B u y o u t s . A model is given a lump sum as a complete

A l model rales i k . luring t n g e n o u n t t n a a r m l Bp pUrtShed sepaialely
All L i . i j c i r u s l b e negotiated .>s rate*. -irf'V K> 5l">0Ong time o ' l y buyout for the use of a particular picture or pictures.
TRAVEL TIME; Full FB
IIAIHOHESStNG T I M t : M l l o e She then signs a release stipulating that s h e will not
I I M E A N D ONE-HALF 9 0 0 a m d'J Jfler S 3 0 1 : "
Clay i x e DocfrnQS aie e t f i l hotss 9 CO a t and 6 30 p m
receive any additional m o n e y regardless of future usage.
There is an a o e i x y serv<e chatqc- o l 20" o<> all USA b t w n g s and
usage te At v j r ^ q n w i o g H , b e oia'<^<! a i ? 0 - . According to the m o r e prestigious agencies, buyouts d o
A lira-tee C 1 W <f 2% l e ' m o ' i n -vli t * apit>eO 10 al n . r x c s '-ol
pa>d v " i i i 30 <la>^
PROOUCTS Ple.mr chec all n v r e u m w product tirxi<*)', *itt> u s l<*
not exist; they feel that there must always b e a cutoff
e f i l l e t s a r r l rales No liookogs tar nxis-amer pfoducl parkaqtis riser
c j ' 0 * . posters use ol m M e l s names h a r g i.jqs or an,1 Hi splay
time for usage. T h e agencies strongly advise models not
i>,ick.*je u s e r l s e l r may tie r r . y l r A-lhni/ speoftc r l c a W K P
CANCELLATIONS Caivei^ions <f ce'>"iie oco- i q s villw% lite s o r t i n g to sign such an agreement unless they intend to leave
days o' ihe b e g m i n g c i m e tociiii'Q t * d u r g e d ai 'tan -vwlur
IMee AO'ki"Q It," I f f the business.
TENTATIVE B O O K I N G S "enlali.e boc*mgs may b e CWKCHM al anytime
by eit'ier Vie m o t i f or Ihe e l e n l al ri charge II Ihe client noes m l release or r c n l u m
teolaliw t * H * i i g s Ihe a g o ' i i y reserves Ihe rql-f toc.incrt
WEATHER PERMITS Al v t m e day cantellaKms- hall fee
Veather p*-imrts c a o f e l l a l c * . V i f t W Id 'ic-inai D i r e c t i n g M o d e l s . T h e relationship you have with a
carcr-lalici 0O<y
VIOEO 4 FILM Al t>oc*irgs rnvd^Kj m t f o - i p c t u ' e liVn or ,deo 'eco-dng model d u r i n g t h e few h o u r s h e or she is in front of the
mus! !* eegcAtfed m achance
DOUBLES. TRIPLES: W o n b c o . n g i r r ^ v . mere than w m r x l e l il is Ihe camera is crucial to the o u t c o m e of t h e photograph. The
clients rcspor^il.'H, lo nVirrr f i e arjpncy
LINGERIE UNDERWEAR M i C e o n (.Used SCI J"I >e C l * i rapport you h a v e o r don't havewill most certainly
n>',i sceoty type <f "'Oei *
C H A N G I N G FACILITIES C l e n l must l x o . d e pr vale O l A N G l N O . b e apparent. Your relationship is u n i q u e and intimate.
FACILITIES d J I l x x * i i g s mcludrcg x.on
You are asking the model to expose his or her feelings
to you and your camera. Do everything you can to
Each m o d e l i n g agency h a s a set of b o o k i n g c o n d i t i o n s like t h o s e create a relaxed atmosphere.
of the Ford agency.

O n the set, you s h o u l d give m o d e l s direction. If they
are e x p e r i e n c e d , they will move freely and skillfully;
bringing their o w n instinctive talents into play. Experi-
e n c e d m o d e l s k n o w their faces a n d b o d i e s well a n d are
aware of their flaws. They k n o w which positions work
for them. However, t h e r e are o f t e n technical reasons
why a certain position that is unnatural o r seemingly
awkward must b e assumed. Experienced m o d e l s are
familiar with such situations a n d will c o o p e r a t e with
you without any hesitation.
Often, you will s p e n d m o r e time p r e p a r i n g m o d e l s
for the shoot than actually p h o t o g r a p h i n g them. When
directing models, notice their hand placement. T h e
hands s h o u l d have a natural, fluid movement. T h e
m o d e l s s h o u l d also m o v e their feet without any
awkwardness. Be careful 10 avoid an artificial, p o s e d
look. Tell the m o d e l s w h e t h e r you want t h e m to look
directly at the camera o r off t o its side.
You should also inform each m o d e l what t h e day's
plans are and, if possible, have a s c h e d u l e available for
all complicated shoots. Make sure that e v e r y o n e o n the
team u n d e r s t a n d s your concept in advance. T h e m o d e l s
will already have received certain basic information
from their b o o k i n g agencies, but creative concepts have
a tendencv to b e misunderstood.
In b e t w e e n s h o t s , t h e m a k e u p
artist adjusts this model's
m a k e u p . It's i m p o r t a n t t h a t t h e
models are not unnecessarily
distracted during the shoot:
they w i l l l o s e t h e i r f o c u s . Pho-
tographers must make sure
t h a t t h e y a r e t h e only o n e s w h o
give m o d e l s d i r e c t i o n ; t o o
m a n y i n s t r u c t i o n s will only con-
fuse them.
A c c o m m o d a t i n g M o d e l s ' N e e d s . Music is important;
it relaxes the m o d e l , establishes a m o o d , and blocks out
distractions. It is essential, however, to play t h e kind of
music that is right for each session. Rock is great if you
n e e d e n e r g y Bach o r o t h e r classical music works well if
you want to create a s e n s e of elegance o n t h e set. I
avoid Muzak, o r "elevator" music, b e c a u s e it doesn't
help create the a t m o s p h e r e necessary for a high-energy,
bursting-at-the-seams editorial shot.
During a meal break, the m o d e l s must b e careful not
to upset their hair o r disturb their makeup. You can
make this easier for them by providing drinking straws.
Such consideration is greatly appreciated.
Finally; k e e p in mind that m o d e l s are sensitive,
emotional people. When I was a model, I was often
treated like a p i e c e of furniture o r a m a n n e q u i n . To
prevent any offense, ask the art director to tell you
exactly what the m o d e l s s h o u l d do; then you and you
alone, as t h e director of the shoot, s h o u l d relay these
instructions to the models. O t h e r m e m b e r s of your staff
s h o u l d b e cautioned not t o give any instructions directly
t o the m o d e l s b e c a u s e they can lose their focus quickly
in the face of confusing, conflicting, or overlapping
instructions. Models s h o u l d look forward to c o m i n g to
your studio a n d s h o u l d enjoy working with you.
 Chapter 3

ASSEMBLING THE TEAM

T J L he final photograph for a fashion assignment

represents a team effort that displays the creative and artistic input of everyone involved, from the
client to the model. But long before this photograph becomes a reality; the photographer has a great
deal of preparatory work to do. This includes the very important task of putting together the best
people for the assignment. The members of the photographer's team are the fashion stylist, the hair
and makeup artists, and the assistants. # As the photographer for the assignment, you are in charge
of and responsible for the smooth running of the production. You have to ch<x>se the members of
your team carefully While you will, of course, be most interested in their individual skills, you must
give some thought to the way in which they will work together and interact. For example, you
should select a makeup artist who does a very fine, clean makeup to complement a hairstylist who
specializes in natural styles (if this is the look the client and art director wish to achieve). # The
result of your individual team members work should look cohesive, consistent, and appealingand
should reflect a carefully organized and orchestrated effort. #
STYLISTS
O n e of t h e most invaluable m e m b e r s of the fashion
p h o t o g r a p h e r ' s team is the stylist. This position r e q u i r e s
imagination, foresight, a n d r e s o u r c e f u l n e s s .
O n c e the decision to h i r e a stylist is m a d e , t h e n e x t
step is to discuss w h o will c h o o s e t h e stylist. T h e art
d i r e c t o r may ask you to select s o m e o n e you feel is
qualified for t h e assignment, o r may suggest s o m e o n e .
Every situation is different.
The stylist is h i r e d t o accessorize and pull t o g e t h e r
the "look" that will b e p h o t o g r a p h e d . S h e is r e s p o n s i b l e
for the f a s h i o n s a n d accessories (any item worn by t h e
m o d e l s , including g a r m e n t s , hats, gloves, a n d jewelry )
as well as f o r the p r o p s (any object that isn't w o r n , such
as furniture, e q u i p m e n t , knick-knacks, a n d set dressing B e f o r e t h e day o f t h e s h o o t , t h e art d i r e c t o r r e q u e s t e d a v a r i e t y o f
c o l o r s t o c h o o s e f r o m . Here, o n t h e s e t , h e a n d the s t y l i s t d i s c u s s
w i n d o w treatments, wallpaper, a n d anything else per- which shirts he prefers.
ceived as a d d i n g a t m o s p h e r e to t h e set).
D e p e n d i n g o n the job, t h e stylist may b e r e s p o n s i b l e
for g a t h e r i n g e v e r y t h i n g n e e d e d , o r just specific items.
When s h e is h i r e d as an "on-set" stylist, h e r respon-
sibilities may begin and e n d at the actual session.
O n e of the stylist s most essential talents is an i n n a t e
a n d well-informed s e n s e of style. She must b e out in the
market c o n t i n u o u s l y to k e e p abreast of the n e w
fashions, a n d s h e must k n o w what c o l o r s the d e s i g n e r s
are s h o w i n g e a c h season. T h e stylist must also f o c u s at
all t i m e s o n the final result: t h e c o m p l e t e d p h o t o g r a p h s .
She must b e sensitive t o t h e balance, color, form, and
textures working t o g e t h e r in the images.
F u r t h e r m o r e , a g o o d stylist is able to solve h u n d r e d s
of p r o b l e m s that arise d u r i n g a shoot. She k n o w s h o w
clothing s h o u l d lit a n d can swiftly fasten and pin an S t y l i s t s s p r e a d o u t and o r g a n i z e all t h e i t e m s t h e y b r i n g t o t h e
s h o o t , so t h a t t h e art d i r e c t o r a n d c l i e n t c a n c h o o s e a c c e s s o r i e s
ill-fitting d r e s s until t h e p r o p o r t i o n s are right f o r the
easily.
model.
O n a m o r e p e r s o n a l level, the stylist must b e self-
c o n f i d e n t without b e i n g arrogant; s h e must also b e
c o m p a s s i o n a t e , calm, a n d a b l e to h a n d l e any crisis.
T h e r e is n o r o o m for t e m p e r a m e n t . She m u s t have the
ability to u n d e r s t a n d a n d analyze divergent p o i n t s of
view. At p r o d u c t i o n meetings, s h e listens to t h e client,
the art director, and o t h e r m e m b e r s of t h e team w h o
may articulate conflicting ideas. It is t h e n u p t o the
stylist to translate the e s s e n c e of their ideas into p r o p s ,
accessories, and clothing.
Having a lively imagination is imperative, as is the
ability to think fast. T h e stylist m u s t r e s p o n d quickly t o
impulses, p e r f o r m i n g magic o n the s p u r of a m o m e n t
and o n d e m a n d . With n o m o r e than a large p i e c e of
fabric and a f e w accessories t o work with, s h e s h o u l d b e Here, a s t y l i s t c h e c k s d e t a i l s r e g a r d i n g t h e m o d e l ' s a p p e a r a n c e
able to c r e a t e a spectacular outfit. l o o k i n g for p r o b l e m s a n d m a k i n g n e c e s s a r y a d j u s t m e n t s .
 In o r d e r t o h o n e h e r skills and broaden her base of
knowledge, the stylist s p e n d s a great deal of time
canvassing stores, developing resources, a n d working
o n her craft. If s h e had to p r o d u c e a prop, such as a
valuable antique, a smart stylist would get permission to
use it at n o cost in exchange for a credit line o n the
advertisement it is n e e d e d for. This is the kind of
diplomatic bargaining that b e c o m e s second n a t u r e for a
top stylist. She must also maintain a variety of contacts
with her sources and k n o w what s h e can retrieve
through them. In fact, b e i n g able to locate p r o p s f r o m
the simplest t o the most extraordinaryis an essential
skill.
During the shoot, the stylist must make sure that the
p r o p s are not mistreated o r abused; after the shoot,
she must return all b o r r o w e d g o o d s in their original
condition.
Only a few stylists have that "extra something. During
o n e of my shootings, I wanted t h e stylist to accessorize
the model's hair with s o m e t h i n g different, but nothing
o n hand s e e m e d appropriate. T h e stylist took a black
dress, twisted it into a c r u d e rope, and wound it around
the m o d e l s head. \*>ila! A fabulous turban instantly!
B u y i n g , R e n t i n g , a n d B o r r o w i n g . For each assign-
ment, the stylist has to d e t e r m i n e what s h e must buy-
outright, what she can rent, and what she can b o r r o w in
exchange for a credit line. (A typical credit line might
read: "Dress by John D o e ") While s o m e clients prefer t o
buy everything n e e d e d for a shoot rather than give a
credit line, the credit line is a customary point of
negotiation with suppliers.
When a stylist b o r r o w s items in exchange for a credit
line, I feel m o r e comfortable w h e n s h e puts the
agreements in writing. Often, a stylist will p r o m i s e a
credit line to a s o u r c e but will not follow up to make
sure it appears. This is unfortunate, a n d o n c e the ad
runs without t h e credit line, the omission is hard to
rectify. Such disasters may discourage a particular
s o u r c e f r o m ever lending garments, props, or accesso-
ries again. To prevent these problems, sources have
b e c o m e m o r e d e m a n d i n g w h e n lending their garments,
and clothing manufacturers w h o are experienced with
stylists will o f t e n request a letter from the client o r
s
3
3
<D

Many n e w c o m e r s e n t e r this field believing it offers a

great lifestyle, easy money, and the opportunity to s h o p
continuously Many novice stylists also think that they
n e e d only a portfolio to call themselves stylists. Be
careful w h e n you hire, a n d r e m e m b e r , n o fashion
sources lend expensive clothing to just anyone w h o
walks in and calls herself a stylist. She must have
credibility

D e v e l o p i n g S o u r c e s . A novice stylist may have a

u n i q u e s e n s e of fashion, but s h e will need time to
develop p r o p a n d garment resources. Usually, a w o m a n
interested in b e c o m i n g a stylist works for s o m e o n e
in a similar capacity; p e r h a p s as an assistant to an
in-house stylist at a c o m p a n y o r a magazine, o r for a
photographer.
In large cities, the stylist must b e familiar with the
flower, antique, trimmings, a n d millinery districts, as
well as the garment center. She must k n o w which
fashion houses carry which types of clothing. When s h e
finds a d e p a r t m e n t store or b o u t i q u e that carries items
she likes, s h e must introduce herself t o the public
relations staff. Stylists must also k e e p current by
attending the various "expos," trade shows, and fashion
shows.
Many e x p e r i e n c e d stylists s p e n d years building their For t h i s S a f i l o e y e g l a s s p r o m o t i o n a l c a m p a i g n , t h e stylist was
contacts. Having a s o u r c e for a specific type o r color of a s k e d t o c r e a t e several c h a r a c t e r s t h r o u g h t h e use of different
o u t f i t s and props. The stylist r e l i e d o n a n u m b e r o f sources,
garment or a chair that is "just right" is as important as g a t h e r i n g e v e r y t h i n g f r o m a t u x e d o a n d a rose t o a golf shirt
the stylists inherent taste. and c l u b s .
advertising agency stating that the manufacturer will
definitely receive a credit line.
Renting o r e x c h a n g i n g s h o e s for credit s e e m s to b e
universally difficult for stylists. Luckily, t h e large n u m b e r
of stores that sell less expensive shoes has eased this
problem, without straining budgets. If a stylist d o e s
manage t o b o r r o w expensive shoes, m a k e s u r e that s h e
covers the soles entirely with masking tape b e f o r e the
m o d e l wears them; this prevents the soles from getting
scratched o r scuffed. Even a clean studio floor will mar
b r a n d - n e w soles.
A few large d e p a r t m e n t stores have a "studio service"
that is a great c o n v e n i e n c e for the fashion stylist. She
makes an a p p o i n t m e n t to c h o o s e m e r c h a n d i s e s h e
thinks the client will approve. After t h e stylist signs out
the items s h e wants, t h e client has five working days t o
c h o o s e pieces for the shoot. T h e client is obligated to
purchase a m i n i m u m of 20 p e r c e n t of t h e merchandise.
O n c e the m i n i m u m is reached, t h e client can return any-
u n u s e d m e r c h a n d i s e at n o cost.
Some stylists make a practice of buying an article of
clothing f r o m a retail s h o p a n d returning it for a refund
after the shoot. 1 try to discreetly ask potential stylists if
they u s e this approach; I am unwilling to hire such
stylists b e c a u s e 1 think that the practice is dishonest and
unfair t o the retailer.
Finally, while t h e p h o t o g r a p h e r o r advertising agency
involved with a shoot s h o u l d r e m e m b e r to send
tearsheets to t h e p e o p l e w h o supplied the props,
fashions, and accessories, it is u p t o t h e stylist t o make
sure that this is done. Thanking sources is a wel-
c o m e touch and h e l p s stylists maintain professional
relationships.
W o r k i n g o n a n A s s i g n m e n t . Understanding the
concept that g u i d e s an assignment is the stylists first
task. She t h e n must c o m m u n i c a t e with t h e essential
individuals involved in t h e execution of t h e layout. To
fully utilize the stylist s talent, you may n e e d t o s c h e d u l e
o n e o r m o r e p r e p r o d u c t i o n meetings.
Preproduction Meetings. Before you confirm a booking
with a stylist, you must discuss the layout. A simple job
will probably require only a single day of preparation. If
the assignment is complicated, allow for additional time.
You must also consider a n d d e c i d e u p o n in advance the
n u m b e r of preparation days required.
A stylist might have o n e o r m o r e preproduction
meetings with you and t h e art director to discuss
specific color t h e m e s and to plan the session. She can
have a t r e m e n d o u s inlluence o n the final p h o t o g r a p h
because she, m o r e than anyone else involved, knows
exactly what is available. Stylists are g o o d sources of
information. They a r e e x p o s e d to various situations with
many different m o d e l s a n d have firsthand knowledge
that can affect your o w n decisions. T h e stylist might
know if a specific model has a tan, or she might b e
aware of o t h e r p r o b l e m s that wouldn't appear on a
composite.
If you have flexibility in scheduling the shoot, check
with your stylist to learn w h e t h e r the date in m i n d falls
during 'market week." This is w h e n manufacturers w h o
would otherwise lend their clothing n e e d their samples
to sell t h e line. A stylist may b e forced to obtain clothes
from the last season and, in general, may have fewer
garments a n d styles t o c h o o s e from.
The budget must also b e discussed. T h e stylist should
have a realistic idea of what s h e is truly capable of
getting for credit, a n d what she must rent.
After l a y i n g o u t a n d o r g a n i z i n g
the o u t f i t s n e e d e d for a s h o o t ,
t h e stylist k e e p s a n e x a c t in-
ventory, noting w h i c h sources
provided w h i c h g a r m e n t s . A f t e r
the s h o o t , t h e s t y l i s t m a k e s
sure that no garment has been
damaged, checks the inventory
list, p a c k s t h e g a r m e n t s n e a t l y ,
and returns e v e r y t h i n g t o t h e
various s o u r c e s .
Preparation. D e p e n d i n g o n t h e scope of the assign-
ment, the stylist will s p e n d part of a day, o n e whole day,
or even m o r e time gathering props, fashions, and
accessories.
Preparation days are hectic and involve a great deal of
legwork. If the stylist has several shoots to prepare for at
once, s h e will try t o consolidate them. I ler first task
might b e to make a list of all t h e resources s h e wants to
cover, such as showrooms, manufacturers, and depart-
ment stores. Next, s h e will make personal appointments
if necessary and try to allot blocks of time in specific
geographic areas, keeping in m i n d that although s o m e
retail stores remain o p e n after 6 o'clock in the evening,
most s h o w r o o m s a n d manufacturers close at 5 o'clock.
When s h e finds items that she would like to use
garments, for e x a m p l e s h e has several options: s h e
can take Polaroids for the client to review a n d make
choices; she can s e n d the garments t o the photographer
o r client for approval several days in advance; or she can
send the clothing t o the studio the night before the
shoot, giving t h e clients a w i d e variety to choose from.
Every situation is different.
T h e schedule o n the next page represents a typical
preparation day for a stylist in New York City. The stylist
has to gather the items n e e d e d for the shoot: o n e
woman's formal gown, with accessories; o n e woman's
cocktail-length evening dress; o n e man's dress suit, with
shirt and accessories; o n e tuxedo; and sheer drapery.
One-Day Preparation S c h e d u l e
n

8 A.M.9 A.M.
&
-Look through files for a p p r o p r i a t e s o u r c e s

9 A.M.-10 A.M.
- M a k e t e l e p h o n e calls t o s c h e d u l e a p p o i n t m e n t s
- M a k e 3:45 RM. a p p o i n t m e n t with art director t o review
Polaroids of clothing

10:00 A.M.-10:30 A.M.

-Travel t o g a r m e n t district

10:30 A.M.-12-.30 RM.

- K e e p a p p o i n t m e n t s with f o u r contacts in two different
buildings in garment c e n t e r
Take Polaroids of six women's formals, three cocktail
dresses, a n d f o u r silk shawls

12:30 RM.1 RM.

- E a t lunch o n t h e r u n while walking t o fabric center

I RM.1:30 RM.
- S c o u t fabric sources
- T a k e six swatches

1:30 RM.1:45 RM.

-Travel to jewelry center

1:45 RM.2:30 RM.

- K e e p three a p p o i n t m e n t s in jewelry s h o w r o o m s in t h e
s a m e building
- S i g n rental form for five pairs of earrings, two
bracelets, four rings, a n d three necklaces
2:30 RM.-2:4() RM.
-Travel t o m e n s w e a r s h o w r o o m
2:40 RM.3:30 RM.
- K e e p a p p o i n t m e n t s in m e n s w e a r s h o w r o o m
- S e l e c t three navy suits and o n e black t u x e d o
-Call car m e s s e n g e r from s h o w r o o m a n d arrange for
delivery of suits and t u x e d o t o p h o t o g r a p h e r s studio
3:30 PM.3:45 RM.
-Travel t o art d i r e c t o r s office
3:45 RM.4:30 RM.
-Review Polaroids of clothing with art director
- A f t e r clothing selection is d o n e , a r r a n g e for pickup of
garments at s h o w r o o m s and delivery to p h o t o g r a p h e r
- S e n d check to cover jewelry rental
- S e n d jewelry via m e s s e n g e r to p h o t o g r a p h e r s studio
-Ask for check t o cover the cost of t h e d r a p e r y
- C a l l fabric store, and o r d e r d r a p e r y
- S e t up a p p o i n t m e n t t o pick up t h e d r a p e r y at
8 o'clock t h e following m o r n i n g
D u r i n g a s e s s i o n , a s t y l i s t h e l p s a m o d e l c h a n g e q u i c k l y into t h e
next o u t f i t s h e is s c h e d u l e d t o p o s e in. S t y l i s t s m u s t pay c l o s e
attention t o small but important details, such as wrinkles and
obtrusive pins and clips.
Duties on the Set. T h e stylist is responsible for the
clothing w h e n it is at t h e photographer's studio. O t h e r
duties include p i n n i n g a n d clipping; taping u p a collar
or a belt e n d , s o that it lies flat; o r clamping the back of
a jacket, so that it doesn't move every time the m o d e l
shifts positions. T h e stylist must iron any wrinkled
g a r m e n t s without b u r n i n g or damaging them.
A p r e p a r e d stylist brings scissors, a pincushion, and
double-sided tape that will not ruin a garment. Small
details requiring a m i n o r adjustment can actually b e
quite costly During a shoot, o n e of my assistants was
trying t o b e helpful by using black masking tape to hold
d o w n t h e e n d of a belt w o r n with a silk dress. Without
realizing that h e had d a m a g e d the dress, we returned it
to the designer. When t h e designer e x a m i n e d the $1,500
garment, h e was quite upset. I le expected t o b e
r e i m b u r s e d for the full cost of t h e dress. Luckily, I was
able t o have t h e d r e s s c l e a n e d and t h e adhesive
r e m o v e d for a m e r e $60.
 During the shoot, t h e stylist remains o n t h e set and, Advertising. Stylists w h o help to execute commercial
standing b e h i n d t h e photographer, watches t h e model, advertisements must have an eye for detail and great
s o that s h e can view the s c e n e at the same angle as the contacts. T h e s e stylists ordinarily have a budget for the
camera. She must focus her attention o n such details as rental of clothing and accessories because most clients
the placement of clamps, pins, and double-sided tape. If don't want to s h a r e their advertising space or to give
any of these fasteners start to show, she should alert the credit to o t h e r manufacturers. Stylists w h o d o advertis-
photographer. When t h e session is rushed, the photog- ing work are freelancers a n d must b e b o o k e d in
rapher can't always b e responsible for seeing every advance.
detail. It's aggravating to have to t h r o w away an entire
roll of film because n o o n e noticed that a blouse was Catalog. When you are b o o k e d t o shoot an assignment
b u t t o n e d incorrectly o r that a clamp showed from for a fashion catalog, the garments have already been
behind. selected by the mail o r d e r h o u s e o r department store. A
Clearly, an on-set stylist has to work well u n d e r stylist can p r o p a n d accessorize, as well as locate, such
pressure. I o n c e had t o stop a flustered n e w assistant items as shoes, gloves, scarves, hats, and handbags. If
stylist from steam-ironing a sweater directly on a model. working for a d e p a r t m e n t store, the stylist may requisi-
tion p r o p s directly from the store itself. Photographers
S t y l i n g f o r t h e F a s h i o n Markets. As fees increase w h o s e catalog work comprises the major portion of
throughout t h e fashion p h o t o g r a p h y world, there is their business e m p l o y a full-time stylist. Also, many
m o r e a n d m o r e specialization. Each client, and each job, catalog houses supply a stylist for the session.
requires u n i q u e elements. Fashion stylists are b e c o m i n g
experts in individual areas and, as such, are identified Production Coordination. For s o m e assignments, you
by different titles (see below). will n e e d a production coordinator, a stylist w h o
Freelance stylists work for individual photographers, organizes the entire shoot. This situation usually occurs
catalogs, magazines, and advertising agencies 011 a by-
assignment basis. Some freelance stylists are repre-
sented by agencies that also represent freelance m a k e u p
artists and hairstylists.
Established freelancers o f t e n have their o w n staff.
They can work o n several jobs concurrently by having
o n e o r m o r e assistants to d o the legwork. If the stylist is
s c h e d u l e d t o b e o n t h e set, her assistant can b e in t h e
field gathering p r o p s for the next assignment. T h e
assistant can pack a n d return garments, thereby freeing
the stylist to start o n a n o t h e r project.
In general, a fashion stylist can work in any of t h e
following areas.

Editorial. In the editorial market, top magazines fre-

quently have stylists o n staff w h o are sometimes called
sittings editors, o r editorial stylists. These individuals
style t h e fashions that a p p e a r o n the editorial pages.
They also attend all d e s i g n e r fashion shows and are
familiar with t h e latest collections. Within a magazine,
there may b e specialists w h o cover a specific area, such
as shoes, clothing, o r accessories. T h e sittings editors
then put it all together.
As trendsetters, they play an integral role in develop-
ing t h e fashion outlook for t h e magazine. And, because S t y l i n g c a n a l t e r the e f f e c t of a f i n i s h e d p h o t o g r a p h . Here. I
p h o t o g r a p h e d t h e s a m e m o d e l in t h r e e d i f f e r e n t o u t f i t s t o a c h i e v e
magazines offer a credit line for the use of clothing and various looks. In t h i s s h o t , the w h i t e b l o u s e a n d w h i t e hat w i t h
accessories, sittings editors rarely need a rental budget. g o l d t r i m c o n v e y a s e n s e of e l e g a n c e .
with jobs that have large b u d g e t s a n d with layouts that
require many models, n u m e r o u s props, a n d close
attention t o countless details. T h e production coordi-
nator, the photographer, and the art director c o m m u n i -
cate continuously b e t w e e n t h e p r e p r o d u c t i o n m e e t i n g
and the session.
D e p e n d i n g o n t h e situation, t h e p r o d u c t i o n coordi-
nator may b e r e s p o n s i b l e f o r scouting locations, casting
models, b o o k i n g t h e hairstylist a n d m a k e u p artist, a n d
bringing a diverse selection of clothing, accessories, and
props. This is an e n o r m o u s , challenging task. T h e w h o l e
"look" of t h e f inished p h o t o g r a p h d e p e n d s o n the
production c o o r d i n a t o r s contributions.
H i r i n g a Stylist. A stylist may b e hired by t h e client, art
director, or p h o t o g r a p h e r ; this decision is addressed
d u r i n g p r e p r o d u c t i o n meetings. O n c e hired, the stylist
will probably work with all t h r e e individuals. A stylist is
hired for m a n y reasons. When you are working o n a
shoot that will r e q u i r e many garments, accessories, and
props that will not b e provided by the client, you n e e d
s o m e o n e t o research, select, gather, and deliver them.
For example, d u r i n g the p r e p r o d u c t i o n meeting, the
For a m o r e c a s u a l f e e l , t h e s t y l i s t s e l e c t e d a p o l i s h e d - c o t t o n
r a i n c o a t , a b l a c k a n d g o l d s c a r f , a n d g r e e n l e a t h e r gloves.
client tells you that h e wants several pairs of long,
dangling d i a m o n d earrings a n d live sexy, black dresses
to c h o o s e from, s o that e v e r y o n e involved will have
e n o u g h options available a n d will then b e able to select
t h e best o n e for the ad. 1 le also wants a specific prop: a
Lalique vase that was m a d e many d e c a d e s ago. Locating
these items might take days. If you are s c h e d u l e d to
shoot a n o t h e r job that s a m e week, you will barely have
time t o attend the meetings let alone to scout out the
requested items. This is t h e time to hire a stylist.
Even a seemingly uncomplicated shoot can prove t o
b e q u i t e a challenge for a stylist. S u p p o s e the p r o p o s e d
layout for a cigarette advertisement shows a m o d e l in a
business suit seated at a c o n f e r e n c e table in a paneled
room. Easy? Yes a n d no. You would simply have to rent
an office for this assignment, but the stylist w o u l d have
to bring an assortment of suits in various colors with
matching blouses, pantyhose, and shoes; assorted note-
books, t e l e p h o n e s , pens, a n d pencils; as well as o t h e r
p r o p s to place a r o u n d the set. Although the art director
would probably offer direction as to color s c h e m e , the .
stylist would still bring in a w i d e range of g a r m e n t s a n d
office paraphernalia to give the art director a choice.
Here, t h e m o d e l w e a r s a w h i t e e v e n i n g g o w n , c o m p l e t e w i t h
r u f f l e s a n d b l a c k p o l k a d o t s , and l o o k s q u i t e g l a m o r o u s .
I n t e r v i e w i n g a n d Evaluating a Stylist. Before you
h(X)k a stylist, you must get to k n o w t h e p e r s o n you're
considering working with. A stylist can make or break a
shooting. When you interview a stylist, its important that
you ask the right questions. You can't always take a
stylists w o r d o n faith alone, and because you don't want
to hire s o m e o n e w h o is not right for a particular
assignment, you must always check references. Spend
the time a n d make a few p h o n e calls to p e o p l e w h o
have worked with the stylist before. Ask for r e c o m m e n -
dations a n d c h o o s e carefully
Ask the following questions about each p h o t o g r a p h
w h e n looking through a stylist's book:

Did you get this clothing through your contacts?

Were you able to obtain the clothing in exchange for
a credit line? Did you have to rent o r buy anything?
Were you responsible for the accessories or were they
supplied by the client?
What about props? Did you get them?
Was the original layout specific?
Did you plan t h e color scheme?
Was this effect your idea?
Did you stay within your budget?
I low many days did you n e e d to prepare?
Were you t h e stylist o r the assistant on this job?
It's important to ask specifically what the stylist
brought t o each p h o t o g r a p h because her respon-
sibilities vary f r o m job to job.
I can't stress e n o u g h h o w critical it is to scrutinize the
pictures in a stylist's portfolio. You may s e e a striking,
well-styled photograph. While the stylist may have b e e n
o n t h e shoot, s h e may have had nothing to d o with
bringing in the clothing and accessories. You won't
k n o w for certain unless you ask the people involved.
B u i l d i n g a R e p e r t o i r e o f Stylists. No two stylists arc
alike. Each o n e has secrets s h e is unwilling to s h a r e and,
of course, individual strengths and weaknesses. As a
result, you n e e d to acquaint yourself with a variety of
talented stylists, s o that you will k n o w which o n e to hire
for any particular job. S o m e stylists are m o r e aesthet-
ically sensitive than others. O n e might have a keen
awareness of textures; another, the interplay of colors.
Certain stylists are ideally suited for advertising cam-
paigns, o t h e r s are better for catalog jobs, a n d still o t h e r s
are perfect for editorial assignments. Some stylists are
masterful at gathering unique, wonderful accessories
and props: they k n o w twenty-five jewelers, ten florists,
and fifteen pillow companies. I k e e p n o t e s in my files
o n each stylist's strong and weak points.
For t h i s p h o t o g r a p h of D i a n e Von F u r s t e n b e r g j e w e l r y , t h e m a k e u p
artist u s e d rich, b o l d c o l o r s , and the h a i r s t y l i s t w o r k e d w i t h t h e
m o d e l ' s t h i c k , l u x u r i o u s hair t o m a t c h t h e d e s i g n e r ' s look.
My favorite stylists are flexible in their approach and
feel comfortable working with any scenario. For exam-
ple, s o m e clients prefer to give the stylist a great deal of
creative f r e e d o m . They f r a m e a general idea of the feel
they are looking for and simply outline the types of
props and garments necessary: Other clients give a
stylist specific instructions; they know precisely what
they want and simply need s o m e o n e else to produce it.
In either case, the stylist must work according to the
clients n e e d s and desires. (You will sometimes have to
serve as an arbitrator between the stylist and t h e client
and/or the art director. Keep in mind, however, that it is
the client w h o pays the bill.)
Fees, C a s h A d v a n c e s , a n d P a y m e n t s . Any on-staff
stylist, whether she works for an individual photogra-
pher, a catalog house, o r a magazine, receives a salary:
Salaries vary greatly d e p e n d i n g o n the job description
and the specific situation.
Freelance stylists are paid per diem. Day rates d o not
include any expenses incurred preparing for the shoot.
T h e stylist will also b e reimbursed o r paid in advance
(usually by t h e advertising agency) f o r rentals, pur-
chases, t r a n s p o r t a t i o n , m e s s e n g e r s , and o t h e r out-of-
pocket e x p e n s e s . She will also b e paid for t h e day(s)
s h e s p e n d s getting ready f o r the shoot, the day of the
shoot, as well as the time it takes h e r afterward t o return
everything s h e g a t h e r e d f o r t h e session. To b e p r o p e r l y
r e i m b u r s e d , a stylist m u s t k e e p a n accurate a c c o u n t i n g
of h e r e x p e n d i t u r e s , including receipts.
T h e stylists f e e d e p e n d s in part o n h e r reputation. A
c o m p e t e n t , r e s p e c t e d stylist can c o m m a n d a large fee
b e c a u s e of the k n o w l e d g e , e x p e r t i s e , a n d b a c k g r o u n d
s h e brings t o any assignment.

WORKING WITH A LIMITED O R N O STYLING B U D G E T

During budget discussions in pre- As your business builds, keep on book (Peter Glenn Publications).
production meetings, the client and hand manuals and books that list Through the years, I have built
the art director must set realistic prop houses, furniture showrooms, up quite a collection of gloves, hats,
goals. Obviously, if they have a costume companies, and other jewelry, anil accessories, as well as
limited budget to work with, they sources. Familiarize yourself with an extensive wardrobe to turn to
must realize that the stylist will these publications, and visit the in case of an emergency. I fou nd
have to borrow clothing and ac- various businesses to see exactly these items at flea markets and
cessories in excha nge for a credit what they stock. Four excellent antique shows, and my clients are
line. Most stylists also have an annual sourcebooks that I fre- always delighted to draw from this
assortment of items of their own to quently use are: The New York resource. You also canand
draw from. Theatrical Sourcebook (Broadway shouldkeep an eye out for un-
Press), Photo Source (Professional usual finds as you pass vendors on
When a client cannot afford a
Photo Source), Tipps Directory busy city streets, browse in shops in
stylist, the stylist's duties may fall
(Harbin Communications Group), sleepy rural towns, and attend
upon you. In the absence of a
and The Madison Avenue Hand- auctions.
clothing budget, you will discuss
with the models whether or not they
would be willingor ableto use
their own clothes for the session.
Some models have a suitable ward-
robe, while others (including some
of the highest-paid models) do not.
Your role will be to advise the art
director or the client of what the
models own and to see if they have
any other alternatives in mind. If
the model brings his or her own
clothing to the shoot, everyone on
the set must pay extra attention to
the garments and the way they fall.
This will help the photographer, who
is working without the benefit of
the stylist's attentive, critical eyes.

You might even be able to supply

some of the clothing and props
yourself When you enter the fash-
ion photography business, you may
have the time to look for a specific
prop and to start building your
resources. This valuable experience
will give you a better understand-
My c o l l e c t i o n of c o s t u m e j e w e l r y c o m e s in h a n d y w h e n t h e r e is n o b u d g e t for a
ing of the problems stylists often
s t y l i s t a n d g r o w s year a f t e r year.
confront.
HAIR AND MAKEUP ARTISTS
Not t o o long ago, o n all hut the most prestigious shoots,
m o d e l s w e r e e x p e c t e d to apply their m a k e u p them-
selves a n d to style their o w n hair. Models traveled with
e n o r m o u s m a k e u p cases, hairdryers, rollers, and hair-
spray Today, the skills of applying m a k e u p and styling
hair have d e v e l o p e d into an art. and you will h e
working with specialists w h o d o only hair, o t h e r s w h o
d o only makeup, and still o t h e r s w h o d o both. You must
k n o w an artists special skills a n d talents w h e n hiring
s o m e o n e o r m a k i n g a r e c o m m e n d a t i o n t o a client.
This is why I k e e p three s e p a r a t e files labeled "Hair,"
"Makeup," a n d "Hair and Makeup." In each e n t r y in my
"Hair" category; I list the hairstylists n a m e , rate,
strengths, a n d (if a p p r o p r i a t e ) agency: If h e is repre-
sented by an agency, 1 i n c l u d e his h o m e p h o n e n u m b e r
for two reasons. First, 1 have s o m e t i m e s had t o reach a
hairstylist d u r i n g off h o u r s and was not able to b e c a u s e
the agency was closed. Also, f r o m t i m e to time,
hairstylists switch agencies, so having their h o m e
n u m b e r saves m e t h e time of tracking t h e m down.
In addition, in the e n t r y I also n o t e if a hairstylist can
work fast; if so, h e w o u l d b e g o o d to h i r e f o r a catalog
7 \
\ / * /
I had a r r a n g e d for b o t h a h a i r s t y l i s t a n d a m a k e u p artist for t h i s
t e s t , so I a s k e d t h e m o d e l t o arrive o n t h e s e t w i t h c l e a n hair a n d
n o m a k e u p . M a k e u p artist Peter Brown a n d h a i r s t y l i s t T i m o t h y
Downs, e x p e r t s in t h e i r f i e l d s , w o r k e d t o g e t h e r to create t h e
f o l l o w i n g t h r e e d i f f e r e n t looks.
job. O n this type of shoot, you're working quickly but
still must p r o d u c e a variety of different looks. T h e
hairstylists entries also list strengths, such as "great with
hairpieces" o r "best with long hair."
Finally, r e m e m b e r that the artists you c h o o s e must b e
current. Hair and m a k e u p trends c h a n g e as quickly as
clothing t r e n d s do, a n d a d a t e d m a k e u p or hairstyle can
ruin an o t h e r w i s e perfect shot.
S e l e c t i n g a Hairstylist. S o m e hairstylists are better at
a m o r e "styled" look ( o n e that clearly r e q u i r e s the skills
of a hairstylist), while o t h e r s feel m o r e at h o m e working
o n a natural look ( o n e that might conceivably have b e e n
achieved by the m o d e l herself). Achieving e i t h e r of
these looks r e q u i r e s skill and talent, and s o m e hair-
stylists can accomplish both.
Before selecting a hairstylist f o r a p h o t o shoot, you
must pay attention t o the client's n e e d s a n d / o r t h e art
d i r e c t o r s ideas. If a natural look is requested, you must
b e a b l e to turn to y o u r liles to find a hairstylist w h o can
create this effect. Although I occasionally have to b o o k
s o m e o n e I have never w o r k e d with and h o p e that
everything works o u t satisfactorily, I p r e f e r to k n o w the
For t h i s " e d i t o r i a l " look, t h e h a i r s t y l i s t c r e a t e d a c a s u a l hairstyle,
and the m a k e u p a r t i s t c o m p l e m e n t e d it w i t h a c l e a n , s o f t , a n d
natural m a k e u p .
personalities a n d abilities of all of my team m e m b e r s
especially h o w m u c h time they require.
When b o o k i n g a hairstylist, you s h o u l d consider t h e
model's hair type, s o that you can estimate the amount
of time n e e d e d for t h e styling. For example, s u p p o s e
you have b o o k e d a m o d e l with naturally curly hair that
is also full a n d long, but the client wants her hair t o b e
straight in the photograph. Effecting such a dramatic
change in a p p e a r a n c e b y blowing dry the model's hair
layer by layermight take half an h o u r o r more. In
a n o t h e r situation, a client might want finger waves in
the model's hair. To achieve this look, the hairstylist
must u s e a setting lotion o r gel o n her hair to hold the
waves while the hair dries. Allow m o r e time for this
process. As this h a p p e n s , t h e m a k e u p artist s h o u l d begin
working t o save s o m e time.
Professional hairstylists arrive at the studio o r location
e q u i p p e d with hot rollers, a curling iron, a b l o w dryer,
various types of c o m b s a n d brushes, styling gel, m o u s s e ,
and hairspray.
S e l e c t i n g a M a k e u p Artist. Makeup s h o u l d e n h a n c e ,
not overpower, a model's features. (If you will be
For a s e n s e of e l e g a n c e a n d d r a m a , t h e h a i r s t y l i s t p u l l e d t h e
m o d e l ' s hair o f f her f a c e a n d s w e p t it u p o n t o p of her h e a d ; t h e
m a k e u p a r t i s t a d d e d to her s t r o n g , s o p h i s t i c a t e d look by i n t e n s i f y -
ing t h e c o l o r s of t h e e y e m a k e u p and l i p s t i c k .
shooting in black a n d white, however, k e e p in m i n d that
m a k e u p for this type of p h o t o g r a p h y can b e heavier and
much m o r e d e f i n e d than m a k e u p for color work.) T h e
c o m p e t e n t m a k e u p artist regards a model's face as his
palette, and just as t h e r e are all kinds of painters, s o a r e
there all kinds of m a k e u p artists. Some create sophisti-
cated, "made-up" looks; o t h e r s excel at clean, natural
looks; a n d still o t h e r s love to e x p e r i m e n t . Be familiar
with the special skills of the m a k e u p artists you usually
work with, and watch out for t h o s e w h o get a bit carried
away with leaving their mark o n a particular assignment.
To c h o o s e a m a k e u p artist wisely, you must first b e
able to recognize a p o o r m a k e u p application. Signs
include a shiny face ( u n l e s s a special effect is desired),
lumpy mascara, a n d unevenly b l e n d e d e y e s h a d o w o r
blush. Makeup s h o u l d look t h e same o n each eye
(unless the model's eyes are dissimilar, in which case
t h e m a k e u p artist must c o m p e n s a t e for t h e difference).
O n c e you book a m a k e u p artist, you s h o u l d tell him
or her as m u c h as possible about t h e shoot: w h e t h e r it
will last t h e entire day, h o w many m o d e l s will b e o n the
set, h o w many s e t u p s there will be, if the p h o t o g r a p h s
will b e taken c l o s e u p o r f r o m a distance, and what looks
This " c a t a l o g " p h o t o g r a p h c a l l e d for heavier m a k e u p a n d a m o r e
structured hairstyle than the "editorial" shot,
the hairstylist will b e expected t o create. T h e makeup
artist s h o u l d take direction f r o m you alone.
Selecting a m a k e u p artist carefully is crucial to a
successful shoot. T h e camera is ruthless; it picks up
every line a n d smudge. A p h o t o g r a p h can b e ruined by
a small lipstick s m u d g e in the c o r n e r of the lips on an
otherwise beautifully made-up face. As a f o r m e r model,
I a m particularly sensitive to flaws a n d am quick to spot
them in a photograph. Although m a k e u p mistakes can
s e e m minor, they can ruin entire rolls of film. Be sure to
hire skilled professionals w h o s e work you k n o w and
trust.
When you work with a particular makeup artist, you
are putting your n a m e o n his or h e r work. This is,
perhaps, t h e most important reason to hire an individ-
ual carefully And, because m a k e u p ads shown in
portfolios might have b e e n extensively retouched, it
might b e difficult t o judge the artists actual work. (If you
suspect retouching, you might ask to see s o m e of the
original chromes.) Its a g o o d idea t o arrange a test
session with t h e chosen artist b e f o r e the shoot. T h e test
not only reveals strengths and weaknesses, but also
shows you the amount of time the artist requires to
c o m p l e t e the work. A test with a truly outstanding
m a k e u p artist can inspire you to e x p e r i m e n t and This b e a u t y s h o t s h o w s an e x c e l l e n t e x a m p l e of a c l e a n m a k e u p :
soft a n d w e l l - b l e n d e d . The m a k e u p e n h a n c e s t h e m o d e l ' s f e a t u r e s
discover intriguing new ideas (see "Finding New Talent" w i t h o u t c a l l i n g a t t e n t i o n t o itself.
on p a g e 55).
Finally b e aware that because fashion p h o t o g r a p h s are
usually shot from a distance, the precise b l e n d i n g of
m a k e u p is not as critical as it would b e in, for example,
a c l o s e u p beauty shot for a national ad. In most fashion
shots, assuming the m a k e u p is applied competently, the
look will do. T h e r e are n o set rules.

C o o r d i n a t i n g t h e Artists. As the p h o t o g r a p h e r for an

assignment, you are responsible for planning and
implementing a feasible schedule. To d o this efficiently;
you n e e d to know h o w long each artist will take t o
finish working. Rushing s o m e o n e o n the set is never
pleasant, and while you and the client may feel that
great hair a n d m a k e u p are worth waiting for, you may
change y o u r minds as t h e hours drift past a n d the
m o d e l s lose their energy There's a fine line between
exacting work and excessive work. Everyone in the
fashion business must work with o n e eye o n the clock.
Because hair and m a k e u p artists tend to get carried
away; you may b e forced to shoot u n d e r pressure. To
prevent this potentially serious p r o b l e m , you must take
control of your team. Remember, this is your shoot, a n d
your n a m e is o n t h e line.
To coordinate schedules w h e n several shots are
involved, I s o m e t i m e s distribute a shooting plan at the
To a c h i e v e t h i s s h i m m e r i n g e f f e c t , t h e m a k e u p artist sprayed
w a t e r o n t h e m o d e l ' s face.
start of the day. I used the following shooting plan for an
advertisement for eyeglasses.
Shooting plans let t h e hair and makeup artists k n o w
h o w m u c h time is scheduled for t h e m to work before
each shot. I ; or example, if I am photographing a beauty-
shot for a national advertisement, I allot m o r e time than
usual for hair and makeup. On the other hand, for a
catalog assignment, which can require fitting ten to
fifteen shots into a single day; I schedule less time for
hair a n d makeup, I expect the artists t o change the
models' looks a n d styles quickly:
 P h o t o g r a p h y S c h e d u l e : S a f i l o S h o o t , 1/26 a n d 1/27
Studio: Tekno/Balcar Studios, 15 E. 30th St.. Studio A, 5th Floor, 889-5080

DAY 1, l U e s d a y , 1/26 DAY 2, W e d n e s d a y , 1/27

Shot # 1 , 10:30 A.M. Shot #3-A, 10:30 A.M.

" G r o c e r y S h o p p i n g " (Long shot)* "Evening" ( T h r e e c l o s e u p s )
M o d e l S t e p h a n ie ModelAmie
PropsEyeglass f r a m e s , baby, b a g of g r o c e r i e s P r o p s T h r e e f r a m e s , c h a n g e s of tops, and
*Note: Baby will arrive at 10:15 A.M. accessories

Shot #1-A, N o o n Shot # 4 , 11:30 A.M.

"Grocery Shopping" (Three closeups) "Sporty" (Long s h o t )
ModelAmie ModelStephanie
P r o p s T h r e e f r a m e s , c h a n g e s of tops, and P r o p s F r a m e s , t e n n i s racket, skis, ski boots,
accessories snorkel, golf club, Ping P o n g p a d d l e

Lunch, 1 P M . - 2 PM. Lunch, 1 PM.2 PM.

Shot # 2 , 2:30 PM. Shot #4-A, 2:30 PM.

"Career" (Long s h o t ) "Sporty" ( T h r e e c l o s e u p s )
ModelStephanie ModelAmie
P r o p s F r a m e s , typewriter, t e l e p h o n e , c o m p u t e r P r o p s T h r e e f r a m e s , c h a n g e s of tops, a n d
paper, colorful file folders, p o c k e t b o o k accessories

Shot #2-A, 3:30 PM. Shot # 5 , 3:30 PM.

"Career" ( T h r e e c l o s e u p s ) " S h o p p i n g f o r Clothes" (Long shot)*
ModelAmie ModelStephanie
P r o p s T h r e e frames, c h a n g e s of tops, and P r o p s F r a m e s , d o g with leash, hatboxes,
accessories p o c k e t b o o k , a s s o r t m e n t of s h o p p i n g bags
*Note: Dog will arrive at 3:15 PM.
Shot # 3 - 4:30 PM.
"Evening" (Long s h o t ) Shot #5-A, 4:30 PM.
ModelStephanie " S h o p p i n g f o r Clothes" ( T h r e e c l o s e u p s )
P r o p s F r a m e s , multiple f r a m e s for tray, two silver ModelAmie
serving trays, c h a m p a g n e glasses, t u x e d o , t u x e d o P r o p s T h r e e f r a m e s , c h a n g e s of tops, and
shirt, cufflinks accessories

CUTTING CORNERS FINDING N E W TALENT

When working on some assign-
ments, you may find that a limited
budget prevents you from spend it ig
a great deal on hair and makeup.
On catalog shoots, models can be
expected to do their own light make-
up before they arrive on set, a hair!
makeup artist will be on set only to
adjust and do louch-ups. This ar-
rangement saves the client several
hows of models' fees and works
best with seasoned professionals.
/ continually update my files and
build new working relationships
with hair and makeup artists, l his
is a simple task because I receive a
large number of composites
through the mail that show an
artists most recent photographs
and jobs. If I am impressed by an
artists work, / call his agency and
ask. to see his portfolio, which shows
what the artist does best.
If the portfolio sustains my inter-
est, I call the agency and ask if the
artist will do a test photograph with
me. / feel much more comfortable
on a job when I have worked with
the hair and makeup artists before.
Sometimes, I test with someone to
specifically see if we can work
together well
Testing is an ideal way to meet
and work in a less pressured atmo-
sphere, as well as the perfect time to
experiment with new effects.

For t h i s s h o t , t h e h a i r / m a k e u p a r t i s t i n t e n s i f i e s t h e color of the
m o d e l ' s l i p s a n d p u t s r o l l e r s in her hair in order t o create a m o r e
s o p h i s t i c a t e d look t h a t will c o o r d i n a t e w i t h t h e g a r m e n t s .
Here, t h e h a i r / m a k e u p a r t i s t b r u s h e s t h e m o d e l ' s hair on t h e s e t ,
making final adjustments while I adjust the clothing before
shooting begins.
The h a i r / m a k e u p artist is a l s o r e s p o n s i b l e for w a t c h i n g t h e m o d e l
t h r o u g h o u t t h e s h o o t a n d d o i n g any n e c e s s a r y t o u c h u p s .
Duties on the Set. Which ariist g o e s first, and why? T h e
answer d e p e n d s on what is involved in the creation of
the p h o t o g r a p h . If complicated hair waving is necessary;
the hairstylist begins the lengthy p r o c e d u r e by putting
rollers and clips in the model's hair; t h e n , while the hair
is setting, the m a k e u p artist will get started. If t h e
hairstyle r e q u e s t e d is relatively simple, the m a k e u p
artist will p r o b a b l y work first, p e r h a p s leaving only the
p o w d e r a n d the lipstick to b e applied after the
hairstyling has b e e n c o m p l e t e d . Communication be-
tween the hair and m a k e u p artists is obviously essential,
s o that their n e e d s can b e a c c o m m o d a t e d .
O n c e the m o d e l is fully p r e p a r e d and is o n the set,
both the hairstylist and the m a k e u p artist stand b e h i n d
the p h o t o g r a p h e r and check t o m a k e s u r e that, for
example, n o piece of hair sticks out; that the fan is not
b l o w i n g the model's hair across h e r lips, s m u d g i n g red
lipstick o n h e r chin; o r that t h e model's skin is not
starting to s h i n e b e c a u s e of the hot lights. Clearly; then,
the responsibilities of the hair and m a k e u p artists d o
not e n d w h e n the m o d e l is o n set. They s h o u l d watch
h e r closely at all times, looking for the small imperfec-
tions that ruin p h o t o g r a p h s .
R e m e m b e r that y o u must b e the director on the set.
Your job is to c o o r d i n a t e the requests of the client and
the art director, and to establish the lines of communica-
tion. If the client o r the art d i r e c t o r tries to take charge,
you must point o u t as diplomatically as possible that
you will act as liaison and will tell the o t h e r m e m b e r s of
the team what is w a n t e d . Don't get involved in p o w e r
plays o n the set. They can b e q u i t e destructive and time-
consuming.
You must also f r e q u e n t l y check to m a k e s u r e that the
m a k e u p is b e i n g applied and the model's hair is being
styled a c c o r d i n g to the original plan f o r the shoot. It
w o u l d b e disastrous t o give the artists carte blanche and
w i n d u p with a look that is w r o n g for the assignment. If
the m o d e l is s u p p o s e d to have a natural look but the
hairstylist has a heavy h a n d with hairspray; ask him to
b r u s h o u t the hair immediately Don't wait for the
m o d e l to step o n t o the set.
HAIR/MAKEUP ARTISTS
Because a client may s o m e t i m e s have t o o limited a
budget to h(X)k two individual artists to d o hair and
makeup, it's valuable for y o u to have a separate file of
hair/makeup artists to r e c o m m e n d .
S e l e c t i n g a H a i r / M a k e u p Artist. Artists w h o d o b o t h
hair a n d m a k e u p are usually stronger in o n e area, and
this is important information to have o n file. Because an
artist is often reluctant to admit this, I have to d e t e r m i n e
if an individual is b e t t e r at hairstyling o r at applying
makeup. To m a k e my decision, I carefully review t h e
artists portfolio. I look at e a c h picture, evaluating the
hair a n d m a k e u p separately. Occasionally, I discover
s o m e o n e w h o is excellent at both.
B o o k i n g Hair a n d M a k e u p Artists. I lairstylists a n d
m a k e u p artists are b o o k e d t h e s a m e way m o d e l s are. If
they are r e p r e s e n t e d , you must call their agency,
c o o r d i n a t e available time, p u t t h e m o n a tentative hold,
and finally c o n f i r m t h e booking. Rates vary a c c o r d i n g to
b o t h t h e type of j o b c o s m e t i c a d s offer the t o p of the
pay scale, catalog s h o o t s pay less than m a g a z i n e ads. a n d
editorial assignments pay v e r y littleand the artists
reputation. Superstar m a k e u p artists exist, too.
Many artists w h o d o f r e e l a n c e w o r k h a n d l e their o w n
negotiations. This system h a s b o t h advantages and
disadvantages. If a client has a small b u d g e t , I'm m o r e
likely t o call a f r e e l a n c e artist a n d n e g o t i a t e a fee. O n
the o t h e r hand, a g e n c i e s k e e p m e i n f o r m e d as t o w h o
will be available, as well as take c a r e of all b o o k k e e p i n g
responsibilities.

HAIRSTYLING AND MAKEUP FOR MALE MODELS

/ am often asked whether male
models need to have their hair
styled and wear makeup for a
shoot. The answer is yes. The cam-
era does not discriminate: it is as
ruthless to male faces as it is to
female faces. Male faces are often
ruddy sallow, or blotchy As a
result, male modelswho should
come to the set freshly shaved or
should be prepared to shave upon
arrivalmay need a light coat of
powder to even out skin tones or
shading to define their face a bit.
Occasionally mascara and a touch
of eyeliner are applied to accentu-
ate the eye area. Of course, makeup
on male models should look com-
pletely natural.
Hairdressers are also hired to
style men's hair Although a male
model might not have long blond
hair, a hairstylist must still style and
groom the model 's hair Those spe-
cialists who call themselves "male
groo triers' are particularly valu-
able on a catalog shoot when most
of the styling time will be spent on
the female models. Groomers even
A g o o d r u l e of t h u m b t o f o l l o w w h e n you
out skin tones, style hair; and pay c h e c k m a k e u p o n a m a l e m o d e l is: If
attention to these small details that you c a n s e e t h e m a k e u p , t o o m u c h h a s
are sometimes forgotten. been applied. Here, the model's
m a k e u p is u n n o t i c e a b l e .

HAIRSTYLING AND MAKEUP FOR CHILDREN

Children require very little makeup,

so when it is applied, it should
never be obvious. The makeup art-
ist should use a light hand. A small
amount of blush and lip gloss may
be all that is necessary for little
girls, and little boys may need only
to wet their tips. If the art director
wants a curly hairstyle, remind him
or her that children's hair is fine
and delicate. Also, hot rollers must
be used with caution, and the use
of hairspray kept to a minimum:
children may suffer allergic
reactions.
M o s t c h i l d r e n have c l e a r , r a d i a n t s k i n , so m a k e u p s h o u l d b e a p p l i e d
s p a r i n g l y . Just a l i t t l e b l u s h a n d a t o u c h of lip c o l o r w i l l n o t a l t e r a
child's natural look.
ASSISTANTS
I h i r e assistants t o m a k e my j o b easier and to allow m e
to c o n c e n t r a t e o n the actual shooting. A g o o d assistant
u n d e r s t a n d s this and thinks for himself. H e is a profes-
sional in his o w n right. T h e assistant s h o u l d k n o w and
u n d e r s t a n d t h e m o v e s and n e e d s of the photographer.
W h e n interviewing an assistant, I make it clear that I
expect them to b e r e s p o n s i b l e a n d professional, and
that assisting m e is not simply a nine-to-five job. I
s o m e t i m e s n e e d my assistant to b e at my s t u d i o by 7 o r
8 o'clock in the m o r n i n g o r even earlier t o set up or to
pack o r carry e q u i p m e n t t o a location. Also, my
assistant's days rarely e n d at 5 o'clock. Even if the s h o o t
e n d s o n time, h e must break d o w n the set, put
e q u i p m e n t away; and review the film and r e c o r d s with
me. I find that a ten- o r e v e n a twelve-hour day is typical
in the fashion p h o t o g r a p h y business.
You will also quickly learn that the n a t u r e of fashion
p h o t o g r a p h y s o m e t i m e s m a k e s it necessary for y o u to
b o o k assistants at t h e last minute. My first p h o n e calls
arc to my "regulars," assistants I k n o w I can d e p e n d o n
from b o t h a technical and a p e r s o n a l point of view. If all
Before a s h o o t , a s s i s t a n t s h a n g a b a c k d r o p o n a u t o p o l e s . Two
s e t s of h a n d s m a y b e n e c e s s a r y w h e n t h e s e a m l e s s is extra l o n g
Here, my a s s i s t a n t a c t s as b o t h s t a n d - i n a n d a s s i s t a n t a s he t a k e s
a m e t e r r e a d i n g f r o m his own f a c e . He t h e n c h e c k s the m e t e r
r e a d i n g a n d b a l a n c e s t h e l i g h t s u n t i l p r o p e r e x p o s u r e is a c h i e v e d .
of t h e s e individuals are busy, I then contact p e o p l e f r o m
my b a c k u p files. I laving several assistants y o u have
w o r k e d with b e f o r e is important to the s m o o t h comple-
tion of a shoot. Working with a n e w assistant, especially
o n a job, can b e difficult and disconcerting.
When I call freelance assistants, it is their respon-
sibility to return my call as s o o n as possible. They must
b e professional, d e p e n d a b l e , and punctual.
D e p e n d i n g on their expertise, assistants can b e h i r e d
as a first o r s e c o n d assistant. I expect first assistants to
b e e x p e r i e n c e d technicians. They s h o u l d b e capable of
handling twice t h e a m o u n t of responsibility as s e c o n d
assistants a n d will s o m e t i m e s function as s t u d i o man-
agers. They are indispensable.
S e c o n d assistants are hired w h e n a n o t h e r pair of
h a n d s and eyes are n e e d e d o n set. O n a large
production, t h e s e c o n d assistants job is to focus o n
details, to aid t h e first assistant, t o be aware of all lights
firing, to h e l p carry and hold e q u i p m e n t , and to load
film. In general, t h e s e c o n d assistant is a "gofer," taking
lunch o r d e r s and m a k i n g t e l e p h o n e calls. When I book
a s e c o n d assistant, h e takes direction f r o m me, unless I
A s s i s t a n t s a r e r e s p o n s i b l e for s e t t i n g u p the e q u i p m e n t a c c o r d i n g
to the photographer's directions.
When a s h o o t is in progress, m y a s s i s t a n t s o m e t i m e s has t o take
a d d i t i o n a l r e a d i n g s and a d j u s t the e q u i p m e n t : a s h i f t in t h e
m o d e l ' s p o s i t i o n may require l i g h t i n g m o d i f i c a t i o n s .
specifically advise the first assistant t o direct him. T h e
larger t h e production, the m o r e assistants you need.
D u t i e s o n t h e Set. Assistants working with professional
p h o t o g r a p h e r s s h o u l d work in a professional m a n n e r
themselves. They must b e aware of all their duties o n
the set: examining a n d p r e p a r i n g t h e camera equip-
ment, arranging a n d checking the lighting e q u i p m e n t ,
handling the film, keeping careful records as the shoot
proceeds, and, finally, packing t h e e q u i p m e n t after the
session ends. Assistants also must listen closely to the
p h o t o g r a p h e r and r e s p o n d immediately to any request
or instruction.
Before the Shoot. In preparation for the shoot, the
assistant is in charge of seeing that all of t h e photogra-
phy equipment, including electronic flash units, model-
ing lights, a n d p o w e r packs, is in w o r k i n g order. T h e
assistant s h o u l d double-check the cameras, replacing
batteries and cleaning lenses if necessary. The assistant
is also e x p e c t e d to adjust t h e lights according t o t h e
p h o t o g r a p h e r s instructions a n d t o understand a n d read
meter exposures; to set u p t h e shooting area, h a n g i n g
any backdrops o n autopoles; to build or c o m p o s e the
set; a n d to p r e p a r e for the shoot.
In addition, the first assistant acts as a stand-in o n the
set while the p h o t o g r a p h e r takes a Polaroid to test the
lighting a r r a n g e m e n t , or may even take the Polaroid
himself, using s o m e o n e else in the studio as a stand-in.
T h e n after the p h o t o g r a p h e r examines the Polaroid to
check the exposure, the assistant alters the lighting
e q u i p m e n t or the e x p o s u r e as instructed if t h e photog-
rapher thinks an adjustment is necessary T h e assistant
must make sure that the background lights are not
spilling onto the back of the model. If they are, h e will
g o b o t h e lights to k e e p t h e m from reaching t h e model.
The assistant will then set reflectors, read the e x p o s u r e
o n t h e m o d e l s face, and balance the lights according t o
the / - s t o p the p h o t o g r a p h e r chooses.
Finally the assistant also p r e p a r e s an on-set data sheet
to k e e p exact records of the day s shooting.
During the Shoot. While the shooting takes place, t h e
assistant must c o n t i n u e as n e e d e d to load a n d reload
film, c h a n g e lenses, and hand the camera back to t h e
photographer. T h e assistant records t h e vital informa-
tion about each shot, n u m b e r i n g each roll of film in
o r d e r a n d listing t h e e x p o s u r e and t h e m e t e r reading.
I le n o t e s t h e g a r m e n t the m o d e l w o r e a n d if the
lighting c h a n g e d even slightly: T h e assistant also marks
the rolls of film to b e clip-tested (see Chapter 7, page
133) a n d notes their n u m b e r s o n the data sheet. ( S o m e
p h o t o g r a p h e r s p r e f e r to reserve o n e roll as a test roll,
placing that film back in the camera a n d shooting o n e
f r a m e w h e n e v e r a test is necessary. This roll is then
processed normally, and each f r a m e can b e judged in
case processing adjustments are n e e d e d for the balance
of the film.)
When 1 use K o d a c h r o m e film, I r e q u i r e my assistant
to b e able to bracket one-third to one-half stops o n the
camera as I a m shooting. This may s o u n d like an easy
task, a n d most assistants will say they can d o it. But it is
not simple: I m o v e a r o u n d a great deal w h e n I am
shooting. I concentrate o n the m o d e l a n d d o not
concern myself with bracketing, so I must have an
assistant w h o can bracket as I c o n t i n u e to p h o t o g r a p h .
This is why I p r e f e r t o try s o m e o n e new o n a test o r
small job. a n d why it is critical to c h o o s e assistants w h o
are knowledgeable.
O n the set, assistants must b e alert. If they feel that
something is not working properly; they must advise the
p h o t o g r a p h e r immediately. If this h a p p e n s , t h e photog-
rapher evaluates the p r o b l e m a n d takes an additional
Polaroid to double-check that everything is in order.
Finally, an assistant's behavior o n the set d u r i n g a
shoot is of t h e utmost importance. He must b e low-key:
He must not socialize with the clients. If h e disagrees
with what the p h o t o g r a p h e r is d o i n g or interjects his
o w n ideas in front of the client, t h e assistant is acting in
an u n p r o f e s s i o n a l a n d u n a c c e p t a b l e m a n n e r .
An assistant must have a c o d e of ethics and must not
attempt to p u r s u e t h e p h o t o g r a p h e r s clients for his
own. Word gets a r o u n d in the fashion business w h e n
s o m e o n e resorts to such tactics, a n d a promising career
can quickly c o m e to an end.
After the Shoot. O n c e the session is over, the assistant is
in charge of breaking d o w n the set and putting away all
e q u i p m e n t neatly. I have had many assistants w h o w e r e
completely disinterested in this part of their job and
" d u m p e d " the e q u i p m e n t . This is not the type of p e r s o n
I o r y o u w a n t t o work with.
As you can see, t h e t o n e of the session d e p e n d s o n
the p e o p l e you a s s e m b l e as your team. If you are
confident in a n d c o m f o r t a b l e with t h e m a n d there are
n o last-minute p r o b l e m s t h e shoot will p r o c e e d
smoothly and the p h o t o g r a p h s will look exactly as you
expected t h e m to. Bin even in t h o s e unfortunate
circumstances w h e n personality conflicts arise a n d the
m e m b e r s of t h e team don't m e s h , you are still
responsible for making s u r e that the client gets the best
results possible. You are all w o r k i n g toward that goal,
and the professional fashion p h o t o g r a p h e r lets nothing
stand in the wav:
 Chapter 4

DECIDING WHERE TO SHOOT

Y
J L our choice of location or background can
greatly alter the overall effect of your photographs for an assignment. The first decision you and
your client make is whether you will shoot in your studio or on location. For a sense of realism, the
art directors first inclination may be to shoot on location. But, after some thought, the art director
may opt for a painted backdrop. # During the course of this decision, the question as to whether or
not people can tell an actual location from a backdrop o r a set may arise. There is a difference;
however, it can b e great, o r it can be negligible. The final decision may be determined by budget
and time limitations. # You will find that you will have the most control over the shoot when you
work in a studio. You will not have to be concerned about the weather. You will be assured of an
adequate power supply and safe conditions. And, usually; you will be able to send the necessary
garments, equipment, and backdrops in advance. # When you photograph the session in your own
studio, you will have even greater control. After all, you know what type of equipment you own,
where you can best set up for each shot, and how much available natural light there is. If your
studio has a good amount of natural light, you will know where and when it falls, and how to
photograph it to its best advantage. Finally; you will probably feel most comfortable and at ease
working in your own studio. # For some assignments, an art directors first inclination may be to
shoot on location to create a sense of realism. But, as a fashion photographer, you will soon realize
that shooting o n location can be quite expensive: fees for models, stylists, hair and makeup artists,
 and assistants, as well as travel costs, add u p quickly A are not long e n o u g h t o cover t h e floor in the
less expensive alternative is t o rent a painted backdrop foreground. Although such b a c k d r o p s are not suitable
that has t h e look of the d e s i r e d background and that for full-length p h o t o g r a p h s , they are fine for closeup o r
will please t h e client. three-quarter-length shots. (An even less expensive
You will find a large variety of painted b a c k d r o p s t o alternativeif you are artisticis to paint the backdrop
c h o o s e from. Many "background" artists paint backdrops yourself.) Keep in m i n d that painted b a c k d r o p s must be
o n canvas, a n d then either rent o r sell t h e m for handled with care.
reasonable amounts. You can also commission a back- Finally; s o m e clients insist o n shooting o n location-
d r o p according t o specific requirements. These artists a n d have t h e b u d g e t t o d o so. But any time that
usually advertise in p h o t o g r a p h i c publications in major p h o t o g r a p h e r s shoot outside of their studios, they find
cities, and also o f t e n have a c o m p l e t e catalog that that they are u n a b l e to control certain elements. These
features a selection of canvases. include building restrictions, inadequate p o w e r require-
Check t h e b a c k d r o p s m e a s u r e m e n t s b e f o r e ordering, ments, a n d w e a t h e r conditions. In this situation, gather
especially if a full length shot is n e e d e d . Many back- as m u c h information in advance about the location you
d r o p s d o not "sweep" in front, which m e a n s that they will b e w o r k i n g in.

This s h o t s h o w s a b e h i n d - t h e - s c e n e s look a t p h o t o g r a p h i n g in a s t u d i o . T h r o u g h t h e u s e of a b a c k d r o p a n d c a r e f u l l y p l a c e d l i g h t i n g
e q u i p m e n t , p h o t o g r a p h e r s c a n c r e a t e m a n y e f f e c t i v e " s e t s " a n d o t h e r i l l u s i o n s . W o r k i n g in t h e c o n t r o l l e d e n v i r o n m e n t of t h e s t u d i o c a n
be a d v a n t a g e o u s , n o t l i m i t i n g .
The m o t t l e d b a c k d r o p g i v e s
this shot a feeling of elegance.
I l i k e t h e f r e e d o m t h e back-
drops offer: I can choose subtle
shades t h a t either contrast with
or c o m p l e m e n t a garment.
This is a large s e c t i o n of t h e " b e a c h " b a c k d r o p s e e n a t r i g h t . The
brochures background artists send out s o m e t i m e s show how to
u s e a s i n g l e b a c k d r o p s e v e r a l w a y s . For e x a m p l e , you c a n c r e a t e
two d i f f e r e n t e f f e c t s by d r a p i n g t h e b a c k d r o p or c o m b i n i n g it w i t h
another one.
To c r e a t e t h e i l l u s i o n o f a b e a c h u s i n g t h i s b a c k g r o u n d , I
illuminated the subject with artificial lighting that seems to be
s u n l i g h t . The p o s i t i o n of t h e l i g h t s o u r c e a l l o w s t h e m o d e l ' s
s h a d o w t o f a l l in t h e s a m e d i r e c t i o n a s t h e p a l m t r e e s ' s h a d o w s ,
which appear on t h e sand.

To s e t o f f t h i s s i m p l e silver g o w n , I c h o s e a p a i n t e d " j u n g l e " b a c k d r o p . The s t y l i z e d leaves, t r e e s , and sky a d d an e l e m e n t of f a n t a s y t o

this image.
This i m a g e w a s o n e of t h e f i r s t p h o t o g r a p h s I s h o t d u r i n g a This s h o t w a s t a k e n late in t h e a f t e r n o o n . F i l t e r i n g t h r o u g h t h e
s e s s i o n t h a t b e g a n i n t h e early a f t e r n o o n . As t h e l i g h t c h a n g e d w i n d o w s , t h e s u n l i g h t c a s t l e n g t h e n i n g s h a d o w s a c r o s s the
w h e n t h e sun w e n t b e h i n d a c l o u d . I w a s a b l e t o c a p t u r e v a r i o u s fencers and warmed the tone of the photograph.
moods.

This p h o t o g r a p h w a s t a k e n in t h e m i d d l e of t h e day of t h i s For t h i s p h o t o g r a p h , I used v a r i o u s slow s h u t t e r s p e e d s r a n g i n g

s e s s i o n . The a v a i l a b l e l i g h t h e r e is j u s t a s e f f e c t i v e , c r e a t i n g f r o m Ys sec. t o Yzo sec. This a l l o w e d the a v a i l a b l e b a c k g r o u n d light
an e t h e r e a l m o o d . t o filter t h r o u g h t h e g a r m e n t s .
FINDING LOCATIONS
In every city, interesting locations that can b e u s e d as
b a c k g r o u n d s are easy t o find. C o u r t h o u s e s a n d o t h e r
g o v e r n m e n t b u i l d i n g s offer an intriguing r a n g e of
architectural styles. M u s e u m s , libraries, historical sites,
train stations, f o r m a l g a r d e n s , o l d movie theaters,
restaurants, bars, c h u r c h e s a l l d e s e r v e careful scrutiny
Your c h o i c e s are unlimited, if you use y o u r imagination.
A p e r m i t is r e q u i r e d t o s h o o t o n t h e street in large
cities. Check with local authorities t o find o u t w h e r e to
apply f o r this p e r m i t a n d what; if any, restrictions apply
For e x a m p l e , in o r d e r f o r you to s h o o t an assignment
o n a c r o w d e d street in t h e m i d d l e of a business day, an
area will p r o b a b l y have to b e r o p e d off s o that
"civilians" will n o t a p p e a r in the p h o t o g r a p h . This will
p r e v e n t p r o b l e m s later: you m u s t obtain releases f r o m
e v e r y o n e in a p h o t o g r a p h , b u t y o u w o n ' t b e able to
track d o w n a d o z e n p e o p l e y o u d o n ' t know:
Certain p u b l i c buildings and areas r e q u i r e rental fees.
To provide a c o n t r a s t t o t h e g r a n d e u r a n d o p u l e n c e of L i s b o n ' s Palace B e l e m . I a d d e d several s i m p l e c a l l a l i l l i e s . a n a t i v e f l o w e r o f
Portugal. A l t h o u g h a n a b u n d a n c e o f s u n l i g h t s t r e a m e d in t h e large d o o r s , I s t i l l h a d t o u s e a f i l l light t o t h e m o d e l s ' r i g h t t o s h o w d e t a i l
in t h e i r b l a c k d r e s s e s .
To s h o o t in t h e s e locations, s u c h as m u s e u m s , y o u must
m a k e a r r a n g e m e n t s with s o m e o n e in the curatorial
offices. You will b e c h a r g e d an h o u r l y rate and usually
will have t o g u a r a n t e e a m i n i m u m of several h o u r s ; this
fee i n c l u d e s the services of a g u a r d . An extra c h a r g e will
b e a d d e d to t h e rental a g r e e m e n t if an in-house
electrician must b e o n h a n d d u r i n g t h e s h o o t . ( B e f o r e
d e c i d i n g o n p h o t o g r a p h i n g an a s s i g n m e n t in a p u b l i c
building, b e aware that an increase in vandalism has
m a d e staffs less willing to w o r k with p h o t o g r a p h e r s . )
W h e n y o u rent t h e lobby of a building, m a n a g e m e n t
office p e r s o n n e l may ask for similar fees, as well as
proof of a n i n s u r a n c e floater specifying that y o u and
y o u r team are c o v e r e d for t h e day of the s h o o t and that
the b u i l d i n g m a n a g e m e n t is e x e m p t f r o m a n y liability. A
specific dollar figure may b e r e q u i r e d o n t h e i n s u r a n c e
form. For a small p r e m i u m , y o u can usually get a waiver
policy t h r o u g h your i n s u r a n c e c o m p a n y t o cover y o u
for that particular day
This i m a g e is s t r i k i n g b e c a u s e
of t h e g r a p h i c e l e m e n t s : t h e
vertical blinds, the shadows
that fall across t h e m o d e l and
t h e f l o o r , t h e r a d i a t o r , and t h e
model's striped tights all work
together to create a strong
composition.
O N LOCATION IN PORTUGAL

A fashion photography assignment assignment, I was to photograph dens. Portugal's celebrated hand-
that calls for you to trawl to new Sao's designs using Portugal's mu- made tiles adorned many of the
places can be both exciting and seums and historical sites as back- surrounding walls, and I wanted
inspirational. Meeting people from grounds. I frequently worked with to include them in a number of my
exotic culturesand adjusting to Pamela Housman and Deborah sioots.
their lifestylebroadens your per- Kujawa, the models Sao had Pamela and Deborah knew ex-
spective and enriches you person- booked, and we were all looking actly how to move in Sao's beau-
ally. Travel also allows you to forward to the trip. tifully hand-worked garments, so
explore different sites as backdrops One of the locations Sao had working with them was a pleasure.
for your photography. arranged for the assignment was I photographed the models in vari-
/ was commissioned by a Por- the Palace Beletn, also known as ous rooms in the palace, which
tuguese designer, Sao, to travel to the "Portuguese White House " Here, were ornate, and as such, were
her native land and photograph I photographed the models strolling /perfect complements for the
some of her garments. For this around the elegant formal gar- garments.

I w a n t e d t o create an a r t i s t i c f e e l i n g for t h i s s h o t of t h e This p h o t o g r a p h , t a k e n o u t s i d e t h e Palace B e l e m , s h o w s t h a t

m o d e l s w e a r i n g f l o w i n g w h i t e d r e s s e s , s o I i n s t r u c t e d one exotic l o c a t i o n s c a n provide t h e p e r f e c t s e t t i n g for a f a s h i o n
m o d e l t o g l i d e a c r o s s t h e f l o o r of t h i s r o o m i n t h e p a l a c e . The s h o o t . They c a n a l s o inspire t h e p h o t o g r a p h e r s a n d m o d -
s e n s e of m o t i o n m a k e s t h i s i m a g e s p e c i a l . e l s t o do their best work.
 O N LOCATION IN N E W Y O R K

New York City has an inimitable

style. The skyline, photographed
from any angle, in any light, and
during any season, is magnificent
and immediately identifiable. New
York architecture is an exciting mix
of the old and the new, all compet-
ing for s()ace and attention. The
city has a great deal to offer: from
the Cast Iron District to the ladies'
Mile to the Museum Mile, you can
find architecture from almost any
period of American history. Many
photographers believe that New
York City is the world's most excit-
ing backdrop.

This p h o t o g r a p h w a s s h o t o n t h e r o o f t o p of The C o l u m n s in New York City. The

wooden water tower in the background gives t h e picture a casual but urban quality

C h e c k i n g P o w e r C a p a c i t i e s . W h e n e v e r y o u are g o i n g including rental costs, a n d they s o m e t i m e s act as a

t o s h o o t o n location, I suggest that y o u carefully
investigate the electrical situation in advance. As a
precaution, divide u p y o u r c o r d s s o that p o w e r isn't
d r a w n f r o m a single circuit. O t h e r w i s e , circuit b r e a k e r s
will b e b l o w i n g continually, causing delays t h r o u g h o u t
the shoot. To reach different outlets, y o u may n e e d a
n u m b e r of e x t e n s i o n c o r d s ; always have an a m p l e
supply o n h a n d .
You s h o u l d also find o u t b e f o r e y o u s h o o t w h e t h e r
there is a f u s e b o x o r a circuit breaker. T h e latter is
better b e c a u s e y o u k n o w exactly w h i c h circuit was using
t o o m u c h p o w e r if it blows. You can r e d u c e t h e p o w e r
and simply flip it back o n . Most p h o t o g r a p h y studios,
however, are well p l a n n e d b e f o r e they are c o n s t r u c t e d
o r r e n o v a t e d , and have a d e q u a t e power.
USING A LOCATIONS SERVICE
F o u n d only in larger cities, locations services offer
expert advice a b o u t sites that can b e u s e d f o r photogra-
p h y T h e s e services tell y o u a b o u t available locations,
liaison b e t w e e n y o u a n d t h e b u i l d i n g o w n e r or staff.
Pictures in the locations services' portfolios can r a n g e
f r o m villas, c o u n t r y h o m e s , offices, a n d b o a r d r o o m s t o
stylish restaurants a n d elegant hotel suites. Locations
services c h a r g e a minimal fee f o r their t i m e a n d effort
to fulfill y o u r n e e d s ; they receive a p e r c e n t a g e of t h e
rental f e e paid t o u s e the location.
W h e n you call a scout at a locations service, you
d e s c r i b e t h e type of location y o u n e e d . T h e scout t h e n
finds e x a m p l e s of p o s s i b l e locations and, p e r h a p s , puts
t o g e t h e r a b o o k of p h o t o g r a p h s o r a r r a n g e s go-sees f o r
you. Locations services also may negotiate fees and
i n f o r m y o u of any n e c e s s a r y p e r m i t s and insurance.
You b o o k t h e s e locations the s a m e way y o u b o o k
hairstylists, m a k e u p artists, and m o d e l s . You put a
tentative h o l d o n the d a t e y o u want, and later c o n f i r m
that d a t e w h e n y o u have a r r a n g e d the rest of the team.
W h e n s h o o t i n g in o t h e r parts of t h e country, ask the
locations service y o u ordinarily work with t o r e f e r y o u
to scouts in that area. You have a n o t h e r o p t i o n as well
Professional photographers
receive a large n u m b e r of b r o
chures that feature locations
services and show the wide
variety a v a i l a b l e t o t h e m .
w h e n y o u k n o w that y o u will b e traveling t o a n o t h e r
city for a shoot: y o u can s e n d an assistant in advance to
scout locations and t o m a k e the necessary a r r a n g e m e n t s
and begin t h e p a p e r w o r k . Your assistant can also take
Polaroids, s o that y o u can n a r r o w d o w n the choices.
This will save time w h e n y o u and the rest of your team
arrive ( s e e page 76).
RENTING LOCATION VANS
When traveling with a large g r o u p t o a location, you
may n e e d t o rent transportation. Location vans are self-
contained vehicles specifically outfitted for p h o t o g r a p h y
shoots. They are air-conditioned a n d have their o w n
generator. They also have a m a k e u p station, a b a t h r o o m ,
w a r d r o b e racks, a n d dressing areas. You can b o o k a
small van that will a c c o m m o d a t e u p to eight people, o r
a 40-foot van with as m a n y as f o u r dressing rooms.
T h e f e e for a location van, which can start in the
h u n d r e d s and e x t e n d into the thousands, includes a
driver. Most c o m p a n i e s r e q u i r e a n o n r e f u n d a b l e rental
fee w h e n you c o n f i r m the booking. T h e client pays all
rental fees.
USING PRIVATE RESIDENCES
P h o t o g r a p h i n g an assignment in a private residence is
an appealing idea for many reasons. With the p r o p e r
research a n d resources, y o u can locate practically any
style a n d color s c h e m e you n e e d . If the layout calls for a
French Provincial look, you can save yourself a n d the
stylist days of searching and p r o p p i n g by finding a h o m e
d e c o r a t e d that way. A real h o m e also offers a lived-in
look and a distinct personality a n d eliminates the
n e e d a n d the time r e q u i r e d t o build a set.
Location scouts can b e a great help w h e n you are
looking for a private residence. They usually have an
easier e n t r e e into beautifully d e c o r a t e d houses. If
h o m e o w n e r s wish to b e listed with a locations service,
they can always contact a scout; however, if a h o u s e is
interesting and has t h e potential to b e ideal for shoots, a
scout will probably contact the o w n e r first. O n e of the
s c o u t s tasks is t o g o to such h o m e s , evaluate them, and
d e t e r m i n e h o w they could b e used.
Renting a private location r e q u i r e s you to have proof
of insurance, just as renting a public place does. T h e
insurance can b e o b t a i n e d by e i t h e r t h e advertising
agency o r the client, but s o m e t i m e s you will have to
arrange for it. If you already have insurance, you will
have to p r o d u c e a copy of your policy b e f o r e you start
shooting. This is to assure the h o m e o w n e r that if
anything is d a m a g e d d u r i n g the shoot, such as carpet-
ing, furniture, o r artwork, your insurance will cover
their losses. You must check your policy to see if you
are covered f o r the specific n e e d s of the assignment
( s e e Chapter 8, p a g e 139). If your insurance is inade-
quate, the client o r the advertising agency must p r o v i d e
a floater /x)licy for t h e day, w h i c h is insurance taken for
a specific location o n a specific date.
To eliminate the possibility of s u c h a p r o b l e m , always
b e especially careful w h e n you s h o o t in s o m e o n e else's
home. Accidents h a p p e n all t o o easily, and many
furnishings, such as h e i r l o o m s and antiques, may b e
irreplaceable. Check with the o w n e r s to find out if you
have their permission t o move furniture. If so, re-
m e m b e r to instruct e v e r y o n e to lift rather than drag the
furniture: bare floors scratch easily If you plan to
replace a painting, r e m o v e knickknacks, o r in any o t h e r
way alter t h e r o o m , advise t h e o w n e r s in advance. This
is not only polite, but also can prevent a nasty
confrontation later if t h e h o m e o w n e r s seriously object
to any of your ideas. If you intend to p r o d u c e a specific
effect, such as smoke, b e sure to let t h e o w n e r s know
exactly what will h a p p e n .
You s h o u l d also tell t h e o w n e r s w h e r e you will b e
shooting specifically, h o w many p e o p l e will b e o n the
shoot, and h o w long you will n e e d t o use their home.
R e m e m b e r at all times that even though you are paying
for the privilege t o s h o o t in the h o u s e , you are guests.
Don't complain o r m a k e r u d e c o m m e n t s about t h e
decor. Don't use t h e refrigerator unless you receive the
owners' permission to d o so. Finally, make sure that
e v e r y o n e o n y o u r team u n d e r s t a n d s the rules: you are
responsible for their behavior, too.

I p h o t o g r a p h e d t h i s s t u n n i n g e n s e m b l e a t C o c o C h a n e l ' s r e s i d e n c e . The f a s h i o n i n n o v a t o r ' s h o m e h a s b e e n k e p t i n t a c t a n d r e f l e c t s her

s e n s e o f style. W o r k i n g in b o t h P a r i s t h e f a s h i o n c a p i t a l o f t h e w o r l d a n d t h e d e s i g n e r ' s r e s i d e n c e w a s t h r i l l i n g .
TRAVELING TO A DISTANT LOCATION
Traveling o f f e r s p h o t o g r a p h e r s m a n y o p p o r t u n i t i e s :
m e e t i n g n e w p e o p l e , e x p l o r i n g different cultures, pho-
t o g r a p h i n g e x o t i c sites, a n d accepting the challenges of
each n e w assignment. But, w h i l e traveling can h e
exciting, p h o t o g r a p h e r s o n assignment must b e pre-
pared, o r g a n i z e d , and flexible.
M a k i n g a C h e c k l i s t . W h e n p l a n n i n g a trip, m a k e a list
of all the e q u i p m e n t you will n e e d to bring with you,
including filters, cords, reflectors, and o t h e r accessories.
Before you leave, double-check, a n d t h e n check again.
Have y o u r assistant g o o v e r t h e checklist, too. It w o u l d
b e disastrous to arrive at an unfamiliar destination a n d
find limited r e s o u r c e s . In m a n y locations, such as the
Caribbean, film may b e m u c h m o r e expensive, and a
well-stocked c a m e r a store may b e u n h e a r d of.
If y o u don't already have a passport, apply for o n e
immediately; if you do, m a k e s u r e that it is still valid.
You can never b e s u r e w h e n y o u will get a n overseas
assignment. C h o o s e an assistant w h o already has a
passport, a n d r e m i n d e v e r y o n e o n y o u r team that they
will n e e d o n e . Also, d e p e n d i n g u p o n the country o r
countries you will b e visiting, you and the m e m b e r s of
your team may n e e d visas and/or vaccinations. Embas-
sies can p r o v i d e you with information about their
countries' policies.
M a k i n g R e s e r v a t i o n s . When reserving hotel rooms,
k e e p in m i n d that the m e m b e r s of y o u r team o f t e n can
share r o o m s . This d e p e n d s , in part, on the job, the
budget, a n d their personalities. As the photographer,
you are s o m e t i m e s given y o u r o w n r o o m , as is the art
director. But the final decision is u p to the client.
Next, m a k e a r r a n g e m e n t s with the art director for the
latter to pay the hotel bill, as well as e x p e n s e s incurred
by t h e m e m b e r s of y o u r team. You c a n n o t a n d should
n o t b e e x p e c t e d to cover the e x p e n s e s involved with a
location shoot. This w o u l d b e an e n o r m o u s financial
responsibility
Finally, b e s u r e to double-check all of the r o o m
reservations in advance. Imagine h o w you w o u l d feel if
the hotel did not have e n o u g h r o o m s for e v e r y o n e o n
y o u r team w h e n y o u finally reached y o u r destination.

O N LOCATION IN PARIS

Although the market for haute cou-

ture has diminished, Paris is still
considered to be the fashion capital
of the world, wielding enormous
power and influence interna-
tionally. So much fashion begins
here. There is something wonderful,
something unexplainable in the
fashion atmosphere, and reporters
from all over the world assemble in
Paris for the all-important seasonal
collections.
As such, anyone interested in
fashion photography can discover
the true energy of fashion in Paris. /
have been lucky enough to meet
with some of France's top designers
and to photograph their garments,
using the elegant ambience of their
showrooms or homes. Shooting in
a designer's home or workspace is a
unique experience. The designer's
personality permeates the atmo-
sphere and enables you to capture
I p h o t o g r a p h e d t h i s o r i g i n a l Pierre B a l m a i n d r e s s , w h i c h w a s s e l e c t e d for me f r o m
the elements that contribute to the t h e d e s i g n e r ' s archives, in the h o u s e ' s Paris s h o w r o o m . A s k e t c h of t h e d r e s s
creation of his or her designs. h a n g s on t h e w a l l b e h i n d t h e m o d e l . A l t h o u g h t h e g a r m e n t w a s c r e a t e d t h i r t y - f i v e
years a g o , t h e s t y l e is t i m e l e s s .
LOCAL CUSTOMS

If you fail to acknowledge that also make it clear to the members expected to arrive until about 9:45.
customs and laws vary from city to of your team that no one should So, if you want to protect a shoot-
city, region to region, and country attempt anything even slightly il- ing schedule that begins at 9
to countty, you or a member of legal: no blackmarket purchases, o'clock, you should tell the local
your team could be imprisoned. no drugs. people you will be working with to
For example, shooting a beach Foreign countries may have meet you at 7 o'clock. In New York
scene involving nudity might not customs that can lead to other types City, however, people are expected
cause any problems in France, but of problems. For example, Uain to arrive on time or a few minutes
it might be against the law in other Americacountries have an under- early for appointments, and to
countries. So, before you travel to standing of the concept of time that begin working as soon as they
another country on an assignment, differs from the norm. If you sched- arrive. A word of advice, strict
familiarize yourself with that coun- ule an appointment for 8 o'clock adherence to a schedule is difficult
try's laws and customs. You must in the morning, you won't be to find outside the United States.

For t h i s p h o t o g r a p h of a p a r t i a l l y nude m o d e l o n a b e a c h , I c h e c k e d local c u s t o m s b e f o r e t h e s h o o t t o m a k e s u r e t h a t n u d i t y

wouldn't be a problem.
I p h o t o g r a p h e d t h i s s c e n e in
the e v e n i n g a t a s l o w s h u t t e r
s p e e d . The b a c k g r o u n d l i g h t
i l l u m i n a t e s t h e f a c e of t h e
model on the left, causing a
h a l o - l i k e e f f e c t . I u s e d a por-
table Norman electronic flash
directly on the three models.
O r g a n i z i n g t h e Team. When traveling with a g r o u p of
associates a n d assistants, you, t h e photographer, must
take control. Establish your authority immediately. You
must deal with many different personalities in un-
familiar surroundings. I p r e f e r t o travel with p e o p l e
w h o are easygoing a n d flexible. With the amount of
pressure associated with shooting in a r e m o t e location, I
don't n e e d t h e additional p r o b l e m of temperamental
associates. While it is not always possible t o assemble a
g r o u p that works well together, it certainly makes the
assignment a m o r e pleasant experience. Also, w h e n a
s c h e d u l e d shoot is about t o begin, you must make sure
that e v e r y o n e is awake, alert, organized, energetic, and
enthusiastic. Because t h i s b e a c h l a c k e d a d i s t i n g u i s h i n g f e a t u r e , t h e art
director d e c i d e d to give n a t u r e s o m e a s s i s t a n c e . He b r o k e o f f
Expect that professional p e o p l e will b e h a v e profes-
a b r a n c h f r o m a nearby p a l m t r e e a n d h e l d it over the m o d e l s ,
sionally People w h o are undisciplined and hard t o c r e a t i n g i n t e r e s t i n g s h a d o w s on t h e m .
manage can cost you extra m o n e y by wasting time, and
t h o s e w h o make o u t r a g e o u s d e m a n d s o r expect too
much can spoil t h e trip for everyone. Your entire team
may n e e d to b e r e m i n d e d that this is a job, not a
vacation.
If you send your assistant a h e a d to scout locations and
take Polaroids, h e o r she can also initiate paperwork, set
u p travel plans, and take care of o t h e r necessary details
that will save time w h e n you and the rest of the team
arrive. With this information in hand, you can plan a
s c h e d u l e b e f o r e you travel. When you arrive at a
location with your team, you will already have a s e n s e of
the area and what will b e available to you. T h e cost for
sending the assistant to scout will b e m o r e than
balanced by the amount of time, energy, and m o n e y you
will save by b e i n g well organized.

G e t t i n g T h r o u g h t h e Airport. Moving your entire

e n t o u r a g e i n c l u d i n g models, stylists, assistants, cam-
eras, and e q u i p m e n t c a n cause unexpected p r o b l e m s
at airports a n d customs checkpoints. It may b e smart t o
make o n e p e r s o n (preferably yourself) responsible for
handling everyone's passport a n d customs paperwork.
You s h o u l d also make a list of all your e q u i p m e n t , with
serial n u m b e r s , especially if anything is new. If you
present this list to the customs office b e f o r e leaving a
country, you will prevent p r o b l e m s u p o n returning.
Customs agents are paid to collect duties and are
instructed to question anything that looks as if it were
bought in a n o t h e r country:
In t h i s p h o t o g r a p h t a k e n for an ad p r o m o t i n g Puerto Rico, t h e
Bringing a large a m o u n t of e q u i p m e n t with you o n a c o l o r s o f t h e sky a n d c l o u d s were i n t e n s i f i e d t h r o u g h t h e u s e of a
p o l a r i z i n g f i l t e r . I always bring a polarizer w i t h m e w h e n I travel.
shoot in a foreign country requires s o m e additional
planning. When you travel t o Europe, you can save
m o n e y by dividing up the heavy e q u i p m e n t a m o n g
those m e m b e r s of the team traveling lightest: there is a
specific weight allowance per p e r s o n o n these flights.
O n flights within the continental United States, e a c h
p a s s e n g e r is allowed two p i e c e s of luggage a n d o n e
carry-on bag; again, y o u can distribute the extra pieces
a m o n g those b r i n g i n g only o n e o r two. If you are taking
along a very valuable item, s u c h as a large p i e c e of
e q u i p m e n t o r a d e s i g n e r g o w n , it may m a k e s e n s e to
buy a d i s c o u n t e d airline seat f o r that p u r p o s e .
T r a n s p o r t i n g E q u i p m e n t . W h e n you plan t o travel to
a foreign c o u n t r y f o r an assignment, call the country's
tourist b o a r d and find o u t as m u c h as you can about any
matter that might i n f l u e n c e what e q u i p m e n t y o u d e c i d e
to bring with you. Ask w h a t the standard electrical
voltage is. Find out w h a t rental e q u i p m e n t is available,
h o w m u c h it will cost, and what t h e value of the dollar
is. You will discover that renting e q u i p m e n t a n d studios
usually isn't difficult t o d o in E u r o p e , but that it can b e
quite a p r o b l e m e l s e w h e r e .
W h e n I travel to E u r o p e , I p r e f e r to take m y p o r t a b l e
Norman electronic flash unit with two h e a d s and several
battery packs; this is as c o m p a c t as I can get. O n the
Norman, I can adjust t o foreign voltage with the flip of a
switch. My suitcase also contains a c o u p l e of umbrellas,
a f e w stands, s o m e folding reflectors, sync cords, and a
small tool kit f o r e m e r g e n c i e s . 1 also take a l o n g various
types of film, including t u n g s t e n film f o r s h o o t i n g at
night. Even t h o u g h I may plan to s h o o t only Koda-
c h r o m e 25, for e x a m p l e , I b r i n g s o m e rolls of Ekta-
c h r o m e 400 in case t h e w e a t h e r c h a n g e s or o t h e r
u n p r e d i c t a b l e situations arise ( s e e page 77).
As for c a m e r a e q u i p m e n t , I take along t w o Nikon F3
b o d i e s , a 3 5 m m lens, a 105mm lens, and a 2 0 0 m m lens. I
also take m y Hasselblad with a 150mm lens a n d a
2 5 0 m m lens, a l o n g with a Polaroid back a n d several
o t h e r film backs. I always b r i n g several filters, a tripod, a
flashlight, c o m p r e s s e d air, lens tissue, lens shades, and
g a f f e r s tape.
W h e n traveling t o a location shoot, y o u must b e s u r e
t o pack a polarizing filter, particularly if y o u will b e
p h o t o g r a p h i n g o u t s i d e d u r i n g the day. Because the sun
can cause reflections that d i m i n i s h t h e clarity of y o u r
subject, a polarizing filter is an essential piece of
e q u i p m e n t ; you can m o v e it to a certain angle t o
e l i m i n a t e m o s t reflections. This filter also intensifies the
b l u e in t h e sky; a d d i n g m u c h m o r e d r a m a t o y o u r
photographs.

PREPARING FOR ALL TYPES OF WEATHER

You may sometimes want to shoot

in such adverse weather conditions
as wind, rain, and snow for the
different photographic effects they
offer I f ,for instance, you're shoot-
ing an assignment for a skiwear
catalog, snow adds an interesting
effect.
Sometimes, though, you may
have to work in less than perfect
weather and in conditions that
hamjfer the photograph. When at-
tempting to photograph in rain or
snow, place your camera in a clear
plastic bag and cut a hole for the
lens. Protect your equipment. In
cold weather, it's smart to wear a
loose-fitting jacket, so that you can
keep your camera near your body.
i
A l t h o u g h i n c l e m e n t w e a t h e r c a u s e s p r o b l e m s for m o s t o n - l o c a t i o n s e s s i o n s , it
s o m e t i m e s produces s u r p r i s i n g a n d pleasingphotographs, like this shot taken
i n t h e rain.
Cold weather can also affect the
life of a battery. Keep plenty of fresh
batteries on hand.
To check weather forecasts
around the country, you can call
the National Weather Service.
O N LOCATION IN VENEZUELA

One assignment brought me and according to the custom of his that of the environment we were
my team to tiny Margarita Island, land. In Latin American countries, slxioting in, so no condensation
which is off the coast of Venezuela, everyone arrives about two hours would form and pose a problem.
'the layouts required complicated late for appointments, frustrating Even after working all day, I was
lighting setups. I called ahead and those of us who are clock-watchers. able to get everyone excited about
learned that I would not be able to Then I thought of a sensible solu- an evening shoot. We decided we
rent any equipment. Rut I also tion: for the next nine days, we would explore the island, and we
found out that the voltage is the would simply give the driver a had the driver take us to a remote
same as that of the United States. So much earlier arrival time. village in the hills. As our van
I packed my studio electronic flash The weather was unbearably hot, entered this village, we were en-
units and power packs rather than and as we proceeded to unload the chanted by the sight of many native
portable equipment. equipment for our first shot, we children. We approached them and
We arrived in Venezuela in the discovered that all of it had fogged. tried coaxing them into being part
late afternoon and were able to get We hadn't had the foresight to of the photograph by standing near
ourselves and the equipment settled realize that because the rooms were one of the models, Terri Ellis, but
into our suites at the hotel. We air-conditioned, the much higher they were terrified. They looked at
relaxed the rest of the day and temperature outside would cause us as if we were strange creatures
planned our itinerary for the next condensation to form on the cam- from another planet, especially
several days. At 7:30 the next morn- eras and lenses. It took several Terri, who was wearing a purple
ing, we were ready to work and hours for the equipment to clear and rose silk dress that billowed in
were awaiting our driver and van. Luckily from that point on, we the breeze. After the driver helped to
At 9 o'clock, the driver still hadn't stored the equipment on the terrace convince the children to let me take
arrived! He finally showed up at of my room. The temperature of the their pictures, I managed to get two
9:30, as he had every right to do equipment was now the same as shots of them with Terri.

W h e n s h o o t i n g o u t d o o r s , p h o t o g r a p h e r s always h o p e for g o o d w e a t h e r . This is o n e r e a s o n why c l i e n t s s o m e t i m e s p r e f e r t o

travel t o t r o p i c a l l o c a t i o n s : s u n s h i n e is a l m o s t g u a r a n t e e d . I p h o t o g r a p h e d t h i s s p e c t a c u l a r s u n s e t o n l o c a t i o n in Venezuela
u s i n g a d i r e c t e l e c t r o n i c f l a s h a n d a t i m e e x p o s u r e . M a n y p e o p l e , however, b e l i e v e t h a t I used a b a c k d r o p b e c a u s e t h e
c o l o r s in t h e sky are so vivid.
This u n p l a n n e d s h o t w a s t a k e n o n a n e a r - d e s e r t e d i s l a n d o f f t h e c o a s t of V e n e z u e l a . The e x o t i c q u a l i t y of t h e n a t u r a l
surroundings complements the model's seminude pose.

The c h e m i s t r y b e t w e e n t h e
models, the Venezuelan
s u n s e t , and t h e l i g h t i n g
give t h i s p h o t o g r a p h a ro-
mantic and highly charged
feeling.
T a k e n in a c o r n e r o f m y apart-
ment, this photograph shows
how lighting can alter t h e m o o d
of a l o c a t i o n . Here, t h e m u t e d
tones enhance the model's
somber look.
 I always take this m u c h e q u i p m e n t with m e e v e n
w h e n I work in E u r o p e d e s p i t e its resources. T h e n ,
regardless of what type of e q u i p m e n t is available, I have
the assurance of my o w n e q u i p m e n t for any u n e x p e c t e d
event. I am familiar a n d c o m f o r t a b l e with the idio-
syncrasies of my o w n e q u i p m e n t .
But this security has its price. As compactly as I think I
pack, I have spent b e t w e e n $400 a n d $500 in extra
weight traveling f r o m Paris to Milan, a n d a n o t h e r $500
from Milan to Lisbon. T h e key to packing is: "Think
light!"
A final point: I have always m a d e it my policy to carry
my cameras as hand luggage w h e n I board a plane. It
would b e disastrous t o find yourself in a foreign
location without your most essential p i e c e of e q u i p m e n t
because it h a d b e e n lost enroute. When I travel, I hide
my camera bag inside a cosmetics bag in o r d e r to k e e p
it out of s i g h t a n d out of t h e h a n d s of t h o s e w h o roam
airports looking for small, expensive items t o grab.
P r o t e c t i n g F i l m . I prefer t o buy film in t h e United
States and r u n a c o l o r test o n it. If at all possible, I try to
have it d e v e l o p e d h e r e also, at labs w h e r e I have
established a working relationship with the staff m e m -
By r e c o m p o s i n g a n d d i r e c t i n g t h e m o d e l t o s t r i k e a n o t h e r p o s e , p h o t o g r a p h e r s c a n c h a n g e t h e look of a s h o t c o m p l e t e l y . For t h i s
photograph, taken m o m e n t s after the picture on the opposite page. I asked the model to appear dreamy rather than somber; also, t h e
horizontal perspective softens t h e image.
bers. Obviously, w h e n I am o n assignment in a foreign
country for several months, I work with that country's
film a n d labs.
Before flying to a location, I pack t h e film in
protective bags. For the return trip, I personally carry all
the film in a protective bag; I feel safer knowing that the
film is by my side. I try t o p e r s u a d e the guard to glance
inside the bag and not put it t h r o u g h the scanner, but
s o m e g u a r d s insist, claiming that t h e film will not b e
d a m a g e d . I am not convinced. High-speed films are
especially vulnerable t o X-rays. Kodak has d o n e studies
of film e x p o s e d to X-rays and has c o n c l u d e d that
cumulative d o s e s of m o r e than five e x p o s u r e s t o X-ray
radiation can cause fog d a m a g e t o film. Consequently, I
am meticulous about checking my protective bags, and I
replace t h e m immediately if I think they are defective.
Photographs taken o n location will reflect the am-
b i e n c e of the surroundings. Although preparation takes
time and effort, locations can inspire p h o t o g r a p h e r s .
But shooting in the s t u d i o o f f e r s p h o t o g r a p h e r s m o r e
control. Whichever a r r a n g e m e n t a particular assignment
calls for, b e sure t o fully utilize its u n i q u e aspects. And
r e m e m b e r , each new e x p e r i e n c e will help you develop
as a fashion photographer.
 Chapter 5
i

PUTTING A SESSION TOGETHER

F JL J v e r y session has its own rhythm. While many

of the details that go into the preparation of the shoot are repeated over and over again, each day
is unique. You can think of yourself as the captain of a ship: you know the vessel and have plotted
the route and the destination, but you must allow for unpredictable weatherand surprisingly
beautiful sunsets. Each assignmentfrom the smallest to the largestis composed of three
sections: preproduction, the shoot, and postproduction. During the preproduction phase, you
discuss with the art director the clients goals, budget, and time frame, as well as the details involved
in executing the layouts. Next, during the shoot, all of the preproduction work comes together. This
is when you direct the members of your team as they expend their energy and combine their
efforts to produce the finished photographs. While many talented individuals collaborate on the
creation of these images, it is up to you, the photographer, to capture the moment. Finally, during
the postproduction phase, you develop, edit, and deliver the photographs to the client and the art
director for approval. Your responsibility does not end until they have the processed film in their
hands and are satisfied with the results. #
 PORTFOLIO
PHOTOGRAPHING A FAMOUS M O D E L
IN A FAMOUS SETTING
This assignment f o r Portfolio, an Italian-based firm, t o
p r o m o t e the company's n a m e t h r o u g h an image of an
elegant w o m a n in a beautiful setting. This assignment
b r o u g h t with it several p r o b l e m s . T h e s e i n c l u d e d having
to a b a n d o n the original plan. Luckily; I was w o r k i n g with
art d i r e c t o r S a b i n o Caputo. O u r b u s i n e s s relationship
b e g a n m a n y years ago a n d has c o n t i n u e d to g r o w I
k n o w that S a b i n o is flexible and can always c o m e u p
with creative alternatives, b u t h e is willing to listen to
my suggestions. S a b i n o k n o w s that m y ideas are w o r t h
listening t o and r e a l i z e s a n d a p p r e c i a t e s t h e lengths
I will go to get that o n e perfect shot.
P r e p r o d u c t i o n . W h e n S a b i n o a n d 1 b e g a n planning
the shoot, h e e x p l a i n e d that h e w a n t e d an upscale,
almost aristocratic look. To c a p t u r e these qualities,
S a b i n o was a d a m a n t that w e b o o k m o d e l Willow Bay At
that point in h e r career, Willow was t h e Estee Lauder
"girl," a n d in o r d e r f o r us to b o o k her, w e had t o
c o n f i r m h e r time at least six weeks in advance. W h e n a
m o d e l is successful, s h e is b o o k e d continuously, and it
can b e quite difficult t o find a day in h e r hectic s c h e d u l e
that coincides with the tentative dates of a s h o o t you
want to h i r e h e r for.
The next p r o b l e m involved finding an a p p r o p r i a t e -
and availablelocation. S a b i n o and I a g r e e d o n the first
choice, the Brooklyn Botanical G a r d e n s . He loved t h e
idea of beautiful flowers in natural sunlight. Unfor-
tunately, not o n e of Willow's f e w f r e e dates c o i n c i d e d
with t h o s e of t h e Botanical G a r d e n s .
S a b i n o s s e c o n d c h o i c e was an o u t d o o r location o n
Long Island. At this point, a s s u m i n g that the m e m b e r s of
the team w o u l d have to travel t o g e t h e r to t h e c h o s e n
spot, w e b o o k e d a location van. However, using a n
o u t d o o r location for this s h o o t p o s e d m o r e and m o r e
p r o b l e m s , including t h e a m o u n t of time wasted travel-
ing t o the location and the cost of renting the site.
Because the s h o o t w o u l d take place outside, w e w o u l d
b e at t h e m e r c y of t h e weather. With all of t h e s e
p r o b l e m s a n d uncertainties l o o m i n g large, S a b i n o
d e c i d e d that w e s h o u l d alter o u r plans drastically a n d
investigate p o s s i b l e i n d o o r locations close by
S a b i n o t h e n suggested that w e take a look at the
National Academy of Design, located o n Manhattans
Fifth Avenue. I called for an a p p o i n t m e n t t o visit the
building a n d shot Polaroids of the t w o r o o m s Sabino
was particularly interested in. I liked o n e r o o m m o r e
than the o t h e r and took several p h o t o g r a p h s of it to
s h o w t o Sabino. (Ordinarily, I w o u l d s e n d an assistant t o
scout locations, but b e c a u s e 1 was pulling the w h o l e
feeling of the s h o o t together, I wanted to see the
b u i l d i n g myself.) W h e n S a b i n o saw t h e Polaroids, h e
a g r e e d that this was t h e perfect setting f o r t h e shoot.
Because Sabino a n d I c h o s e t o s h o o t at the Academy,
the team w o u l d not have to travel far. We called the van
c o m p a n y and tried t o cancel o u r reservation but w e r e
unsuccessful. We e n d e d u p forfeiting the agency's
d e p o s i t of $400.
With t h e date, m o d e l , a n d location set, I r e q u e s t e d a
p u r c h a s e o r d e r f r o m Sabino, w h i c h i n c l u d e d my pho-
tography fee, estimated film a n d p r o c e s s i n g costs, and
miscellaneous expenses.
My next s t e p w a s to b o o k t h e rest of t h e team. I
d e c i d e d to b o o k Allan F o r b e s to d o Willow's m a k e u p
and Ron Capozzoli t o d o h e r hair. I gave t h e details
a b o u t the a s s i g n m e n t to t h e b o o k e r at the agency
r e p r e s e n t i n g Allan a n d n e g o t i a t e d a fee. Because Ron
wasn't r e p r e s e n t e d by a n agency at this p o i n t in his
career, I was able to call h i m directly to b o o k him.
Finally, I h i r e d an assistant I like t o work with.
G a t h e r i n g t h e perfect p r o p s f o r t h e assignment was
my next m a j o r c o n c e r n . I had a $500 p r o p rental b u d g e t
to work with. S a b i n o s n e w c o n c e p t i n c l u d e d an a n t i q u e
chaise l o n g u e , b u t finding a suitable o n e to rent was n o t
an easy task. I was q u i t e d i s a p p o i n t e d in t h e selection I
saw at t h e first p r o p h o u s e I visited. I t h e n went t o
Newel Art Galleries, o n e of t h e largest s u p p l i e r s of
a n t i q u e s in N e w York City; the gallery rents a n d sells
a n t i q u e f u r n i t u r e t o television a n d movie studios. I had
to pass u p m a n y beautiful chaise l o n g u e s b e c a u s e their
rental fees e x c e e d e d m y total p r o p budget.
S o o n , however, I c a m e across t h r e e fine chairs that
had rental f e e s that fell within my limits. 1 t o o k
Polaroids of t h e m , s o that S a b i n o w o u l d b e a b l e to
d e t e r m i n e w h i c h o n e h e p r e f e r r e d . We a g r e e d o n the
white chair, a n d h e gave m e a check f o r $400 to cover
the rental a n d t r u c k i n g fees. I immediately reserved t h e
chair for t h e d a t e of t h e s h o o t a n d paid the gallery. Any
delay might have m e a n t n o t b e i n g able to rent the chair
of o u r choice: a n o t h e r p h o t o g r a p h e r o r m o v i e c o m p a n y
might have already d o n e so. T h e gallery d e l i v e r e d the
chaise l o n g u e to the National Academy of Design the
day b e f o r e the shoot, carefully w r a p p e d in b r o w n paper.
I m o v e d o n to my next responsibility: styling the
clothing a n d accessories f o r the session. My assistant
m a d e a p p o i n t m e n t s for m e to m e e t with several
designers in their s h o w r o o m s to choose garments. I
then scheduled meetings with various accessory com-
panies in o r d e r to have a wide selection of jewelry o n
hand during t h e shoot. I arranged for all of these items
to arrive at my apartment the day before the shoot. This
would prevent last-minute mixups, and I would b e
certain that everything I was to have at the shoot would
b e t h e r e o n time.
T h e S h o o t . 1 arrived at t h e Academy with my assistant,
my equipment, and all the necessary clothing and
accessories at 8:45. We met e v e r y o n e on the team
c o m i n g in at about the s a m e time. T h e only person
missing was the b u i l d i n g s rental agent. Ever time-
conscious, we began to work. Ron and Allan set u p their
supplies, a n d Ron then blew out Willow's hair.
A short time later, the agent arrived, saw w h e r e Ron
was working, and b e c a m e hysterical. In fact, h e was
ready to o r d e r us t o leave. Without t h i n k i n g o r any
o t h e r m e m b e r of the team noticingRon had set u p
UK) close t o a valuable painting, and the caretaker was
terrified that the hairspray might get o n t o the painting.
B e f o r e W i l l o w s t e p p e d o n t o t h e set. t h e h a i r s t y l i s t c h e c k e d his
work a n d f i x e d a f e w stray s t r a n d s of hair.
Although the a g e n t s reaction s e e m e d excessive to me,
I realized that if I did not placate him, we could all b e
thrown out. Thinking of the thousands of dollars already
invested in the shoot, I apologized and offered to shoot
u n d e r any conditions h e n a m e d . (I prudently decided
not to mention that h e s h o u l d have b e e n h e r e o n time
t o tell us what restrictions applied.) Finally, the agent
relented. We agreed to move Ron and Allan into the
room w h e r e we w e r e shooting.
My assistant a n d I then moved the white chaise
longue to various places in the r o o m in an attempt to
decide o n the first setup. O n c e this was agreed u p o n t o
Sabino's satisfaction, I directed my assistant in setting u p
the lights. For the main lights, we positioned an
electronic flash head so that it b o u n c e d into an
umbrella to my right. For till light, we placed a second
electronic flash head o n the left s o that it b o u n c e d into
two white reflector cards. We then positioned a n o t h e r
electronic flash head with a grid spot attached off to o n e
side to highlight Willows hair. Finally, we placed a
fourth electronic flash head with a large grid spot to
highlight the walls illuminating the background.
After t h e m a k e u p a r t i s t and t h e h a i r s t y l i s t c o m p l e t e d t h e i r w o r k .
W i l l o w w a s ready t o b e p h o t o g r a p h e d in t h e red d r e s s . Her under-
s t a t e d hair a n d m a k e u p w e r e p e r f e c t c o m p l e m e n t s for t h i s s i m p l e
but elegant gown.
M o d e l s always m u s t b e p r o f e s -
sional and f o c u s on the assign
m e n t . They a l s o m u s t c o n c e n -
trate on the relationship they
have w i t h t h e p h o t o g r a p h e r
and t h e c a m e r a i t s e l f . Even
though the conditions before I
started shopting were stress-
ful a n d h a r r i e d . W i l l o w m a n -
a g e s t o look c a l m , c o m p o s e d ,
and beautiful.
This shot, t a k e n w i t h a w i d e - a n g l e l e n s , s h o w s why t h e w h i t e
c h a i s e l o n g u e w a s a w i s e c h o i c e for t h i s s e s s i o n . The c h a i r
m a t c h e s t h e o p u l e n t d e c o r o f t h i s r o o m i n t h e New York A c a d e m y
of Design.
 When I started shooting at about 11:00 o'clock, n o
m o r e p r o b l e m s arose. Willow is a true p r o and a joy to
work with. She knows h o w t o m o v e a n d has great facial
expressions. Sometimes less e x p e r i e n c e d m o d e l s are
stiff a n d uncertain, and you must devote large amounts
of time and e n e r g y coaxing t h e m into natural poses. I
p h o t o g r a p h e d Willow wearing various dresses and from
many camera angles. Sabino likes to have a w i d e range
of angles t o c h o o s e from w h e n h e looks at the
photographs, s o I usually shoot distance shots first and
then c o m e in close for beauty shots.
When lunchtime came, the agent advised us that we
would have to eat in t h e staircase. No food o r drinks
w e r e allowed in the r o o m w e w e r e shooting in. A guard
was standing by at all times to make sure that we were
obeying the rules.
During the break, we discussed the afternoon's
shooting plan. Because w e had spent t h e m o r n i n g
p h o t o g r a p h i n g Willow seated o n the chaise longue, we
d e c i d e d to p h o t o g r a p h h e r standing near a statue for
D u r i n g t h e s e s s i o n , W i l l o w wore several d i f f e r e n t g a r m e n t s , and
the s e c o n d half of the session. Ron made a few hairstyle
t h e h a i r s t y l i s t a n d m a k e u p a r t i s t c h a n g e d her hair a n d m a k e u p t o
changes. Next, Allan t o u c h e d u p Willow's makeup, coordinate with them.
coordinating t h e color of her lipstick with her change
in clothing.

Postproduction. At the end of the day; the chaise

longue had to b e w r a p p e d again, and 1 told the agent
when the gallery was g o i n g t o pick it up. (If we didn't
return the chair promptly t h e next morning, we would
b e billed a n o t h e r day's rental.) T h e shoot was a success,
and e v e r y o n e packed to leave.
Of course, like every client, Sabino n e e d e d the film as
soon as possible. 1 edited the developed film a n d sent it,
with my choices indicated, t h e next day t o Sabino.
Willow Bay's elegance h a d b e e n captured on the film.

Here. I c a p t u r e d W i l l o w in a n a t u r a l , u n p o s e d m o m e n t . I t h i n k
t h i s i m a g e , t a k e n b e t w e e n s e t u p s h o t s , is a c o m p e l l i n g s t u d y
in s p o n t a n e i t y : W i l l o w a l w a y s m o v e s g r a c e f u l l y .
 GIVENCHY
CAPTURING THE IMAGE OF A CLIENT
O n e of my clients, Frank Liberto, and I have had a g o o d
w o r k i n g relationship for ten years. We first m e t w h e n h e
b o o k e d m e to m o d e l jewelry; a n d w e b e c a m e friends.
After I m a d e the transition f r o m model to photographer,
Frank gave m e the o p p o r t u n i t y t o prove myself, hiring
m e to p h o t o g r a p h c o m p a n y ads w h e n h e w o r k e d at
Pierre Cardin. Eventually, Frank m o v e d o n to Bijoux
Givenchy; t h e jewelry licensee for Givenchy. Because n o
advertising agency was involved, he a p p r o a c h e d m e
directly for this assignment.
P r e p r o d u c t i o n . D u r i n g o u r first conversation about
the assignment, Frank e x p l a i n e d that the p h o t o g r a p h
was g o i n g t o b e u s e d as b o t h an in-house p o s t e r and an
in-store p r o m o t i o n card f o r a c o n t i n u i n g campaign.
The i m a g e s on t h e s e p r o m o t i o n a l cards, w h i c h were t h e result of this o n g o i n g c a m p a i g n , f e a t u r e t h e designer's jewelry. The g o l d , black,
and w h i t e c o l o r s of t h e pillow, t h e d r e s s e s , and t h e jewelry echo and e n h a n c e o n e another. A l t h o u g h d i f f e r e n t m o d e l s a n d d i f f e r e n t
pieces of jewelry w e r e used, t h e m o o d s of the i m a g e s are t h e s a m e .
Working only with the c o n c e p t in Franks mind and no
layout, we discussed the type of w o m a n w h o w o u l d
wear the jewelry: w h o s h e was, what s h e did, w h e r e s h e
was going. S h e w o u l d b e relaxed, glamorous, and ele-
gant. Frank also felt the image s h o u l d capture a m o m e n t
just b e f o r e the w o m a n went o u t for the evening; after
dressing, s h e w o u l d p a u s e t o have a drink.
Next, Frank a n d I discussed the budget. We w o u l d b e
able to hire b o t h a hairstylist a n d a m a k e u p artist, as
well as a m o d e l f r o m a t o p agency We planned the
shoot t o b e a full-day session and set a d a t e for two
weeks later. Because Frank and I had w o r k e d together
for a long time, w e trusted each o t h e r s taste. Alter
analyzing o u r location needs, w e d e c i d e d to s h o o t in my
apartment. We a g r e e d that a w a r m e n v i r o n m e n t w o u l d
impart a s e n s e of intimacy.
 Keeping this idea in mind, w e searched the agency
books for a "Hollywood" type: a dark-haired model w h o
was sophisticated, elegant, a n d a bit jaded. A perfec-
tionist, Frank w a n t e d a w i d e range of m o d e l s to choose
from. To facilitate t h e selection process, w e arranged a
casting session. We saw twenty-five models, but Frank
thought that only o n e had the look we wanted. We
agreed to put her o n tentative hold for a full day: O u r
plan was t o confirm the b o o k i n g after I m a d e certain my
choices of hairstylist, Timothy Downs, and m a k e u p
artist, Clorinda, w e r e available o n that date.
Bijoux Givenchy is a licensee of Givenchy; s o Frank
and I w e r e expected to use Givenchy clothing for the
assignment. Frank c h o s e several g a r m e n t s that w o u l d
work with the "Hollywood" concept.
T h e finishing touches included an a r r a n g e m e n t of
flowers for the background. Frank d e c i d e d that t h e
graceful lines of several calla lilies w o u l d add a
g l a m o r o u s 1940s accent. Frank h a d o f t e n a d m i r e d o n e
of my vases, a n d I suggested we use it. I le arranged to
have the calla lilies delivered t o my apartment at 8:30 o n
the m o r n i n g s c h e d u l e d for the shoot.
Other p r o p s we discussed using w e r e pillows, a n d I
offered to look for o n e s that w o u l d b e perfect for the
set. I went t o T h e Pillow Salon, a b o u t i q u e that
specializes in extravagant pillows in a w i d e range of
fabrics. T h e selection differs f r o m w e e k to w e e k
d e p e n d i n g o n what has already b e e n rented. When I
arrived, my eye immediately went t o a black-and-white Although this image captures the classic look associated with
striped satin pillow with gold trim. To me, it e m b o d i e d Givenchy. c o m p l e t e with a sophisticated business suit, gloves,
jewelry, and pillow, the art director preferred the "Hollywood"
the essence of Givenchy T h e c o m b i n a t i o n of black and l o o k h e o r i g i n a l l y h a d in m i n d .
white is classically elegant, and t h e color of the trim
would e c h o t h e g o l d jewelry. Also, because Frank had an alternate. Suddenly; o u r perfectly p l a n n e d s c h e d u l e
chosen a black evening dress for the shoot, I rented two for the day h a d fallen apart.
o t h e r solid-colored pillows, o n e mauve, o n e turquoise,
In an effort to solve o u r p r o b l e m , Frank a n d I briefly
t o give us s o m e possible variations.
discussed p h o t o g r a p h i n g the m o d e l at an angle and
Finally; Frank a n d I d e c i d e d to p h o t o g r a p h t h e ad retouching t h e shots afterward, but we felt this would
near my piano, with t h e model resting an arm o n the b e limiting a n d expensive. In addition, w e wouldn't b e
black-and-white pillow able to use any o t h e r shots f r o m the shoot for public
relations purposes. We d e c i d e d t o let the model g o and
T h e S h o o t . O n t h e m o r n i n g of the shoot, Frank and 1 to b o o k a replacement.
thought that we had everything u n d e r control. Frank In r e s p o n s e t o o u r urgent request, t h e agency
had c o m e o n time with t h e Givenchy jewelry and immediately sent over m o d e l s w h o w e r e available at a
clothing. T h e flowers w e r e delivered t o my apartment m o m e n t s notice. O n e of t h e first to arrive was Lynne
promptly at 8:30. Upon arriving, Timothy and t h e Paddy, w h o had short, b l o n d e hair. Even t h o u g h Lynne
m a k e u p artist started setting u p an area in which to did not have t h e "Hollywood" look that Frank originally
work. We w e r e enjoying a continental breakfast w h e n had had in mind, h e liked Lynnes appearance, a n d w e
the model showed up, obviously upset. She had decided to b o o k h e r until 1 o'clock. Timothy and t h e
awakened that m o r n i n g with a large blemish o n h e r m a k e u p artist b e g a n preparing Lynne for the shoot. A
face. Although s h e w a s willing to work if we insisted that short time later, I was a b l e t o p h o t o g r a p h a sophisti-
she did, she suggested we call the agency t o arrange for cated-looking w o m a n wearing a business suit.
 Achieving t h i s finger-wave hair-
style t o o k q u i t e s o m e t i m e and
further delayed a session that
had b e g u n late. Despite t h e
s c h e d u l e p r o b l e m s a n d t h e en-
suing tension, all the elements
came together for t h i s photo-
graph. The lighting arrange-
m e n t u s e d f o r t h i s s h o t is
shown on the opposite page.

i
\
 While w e w e r e working with Lynne, a n o t h e r model,
Ely Pouget, arrived. W h e n Frank saw Elys dark hair a n d
"Hollywood" look, h e d e c i d e d that h e preferred t h e
originally p l a n n e d image, s o w e b o o k e d Ely It was n o w
12:30, and, o n c e again, Timothy and t h e m a k e u p artist
went t o work. However, achieving a structured finger-
wave hairstyle was quite time-consuming, and at 1:45,
we w e r e far b e h i n d schedule. We c o n f i r m e d with t h e
agency that we w o u l d treat Elys time as o n e full day and
would work until 8 o'clock. (Although m o d e l s are
usually paid time a n d a half for w o r k i n g overtime, the
agency a g r e e d that this was a special situation.)
When Ely was ready to b e p h o t o g r a p h e d , Frank a n d I
directed h e r t o lean against t h e piano. Luckily, the black
dress Frank had selected had a V-neck, s o the gold a n d
silver jewelry Ely w o r e picked u p light and c o l o r from
her skin rather than from t h e dress. I t<x>k a Polaroid
and carefully e x a m i n e d the image with Frank; we
wanted t o s e e if the jewelry n e e d e d to b e illuminated
more. O n c e w e w e r e satisfied, we checked Fly's hair a n d
makeup, as well as o t h e r details. T h e m a k e u p artist then
lightly p o w d e r e d Elys face. After I took a few m o r e
Polaroids t o verify that the c h a n g e s w e m a d e w e r e
appropriate, I was ready t o shoot.
r
MAIN
LIGHT
CAMERA:
NIKON F3 " B P
Despite t h e sessions shaky start, we n o w had a
working rhythm, and I was confident that we w e r e
getting g o o d results. We w e r e ready t o move o n to t h e
next variation. We c h a n g e d t h e lighting s e t u p a n d asked
Ely to put o n a dramatic red dress a n d lean against a
m a r b l e pedestal. We then d r a p e d s o m e gold fabric,
which was stored o n my p r o p shelves, t o create a
curtain effect. T h e fabric repeated the t h e m e of the
gold jewelry.
P o s t p r o d u c t i o n . E m e r g e n c i e s like t h e o n e that hap-
p e n e d d u r i n g this session lead to u n e x p e c t e d , a n d
s o m e t i m e s puzzling, reactions: you never k n o w if t h e
resourcefulness, imagination, and e n e r g y required t o
solve a p r o b l e m will invigorate o r exhaust you and the
team.
Fortunately, at 8 o'clcKk in the evening, after a long,
hard day, 1 had the satisfaction of knowing that I had
successfully c o m p l e t e d a challenging shoot.
Because t h e client was s o pleased with t h e results of
this session, I was hired to p h o t o g r a p h o t h e r m o d e l s for
this o n g o i n g advertising campaign. .Ml of t h e m o d e l s
had an air of sophisticated elegance, enabling m e t o
capture t h e spirit of Givenchy d u r i n g each session.
To p r o v i d e t h e c l i e n t w i t h s o m e v a r i e t y , t h e a r t d i r e c t o r w a n t e d m e
to p h o t o g r a p h t h i s m o d e l in a red dress. W e g a t h e r e d s o m e gold
f a b r i c f r o m o n e o f t h e p r o p s h e l v e s in m y a p a r t m e n t a n d d r a p e d
the material, f o r m i n g a " c u r t a i n . " Although the m o d e l ' s hairstyle
a n d m a k e u p e c h o t h e " H o l l y w o o d " l o o k , t h e art d i r e c t o r d e c i d e d t o
use t h e m o r e d r a m a t i c "Hollywood" s h o t s with t h e b l a c k - a n d - w h i t e
pillow for this c o n t i n u i n g c a m p a i g n instead.
For t h i s o n g o i n g B i j o u x G i -
venchy advertising c a m p a i g n ,
the art director w a n t e d the
m o d e l s t o look s o p h i s t i c a t e d .
Their t i g h t l y p u l l e d back hair:
long, b a r e necks: and well-
d e f i n e d lips work t o g e t h e r t o
e m b o d y the spirit of Givenchy:
classic elegance. The black-
a n d - w h i t e p i l l o w w a s u s e d to
e s t a b l i s h a s e n s e of c o n t i n u i t y
for the c a m p a i g n . As a prop,
the pillow was the ideal accent
for G i v e n c h y ' s i m a g e .
 KIRKENDALL
PHOTOGRAPHING A CATALOG ASSIGNMENT
O v e r ihe years, 1 have received assignments in all the
conventional ways, s o m e easier than others. S o m e even
s e e m to just lall into place, s u c h as the session with fur
d e s i g n e r Kip Kirkendall. Kip d e s i g n s h e r own line of f u r
e n s e m b l e s that f e a t u r e unusual c o l o r s and textures.
When Kip and h e r h u s b a n d d e c i d e d to p r o d u c e a sales
catalog to p r o m o t e h e r latest collection, they hired m e
as the p h o t o g r a p h e r . I had b e e n r e c o m m e n d e d earlier
to Kip by a m a k e u p artist w h o suggested that I u s e Kip's
d e s i g n s for my photography. Kip h i r e d Karen Novak as
the art director. Karen had h e l p e d to design s o m e of my
p r o m o t i o n a l p i e c e s and had also w o r k e d previously
with Kip.
P r e p r o d u c t i o n . At the first p r e p r o d u c t i o n m e e t i n g for
the assignment. Kip e x p l a i n e d that s h e w a n t e d m e to
p h o t o g r a p h twelve fur e n s e m b l e s in an interesting
location. T h e catalog would b e in color, with t h e
exception of o n e black-and-white shot t o b e u s e d for
public relations p u r p o s e s a n d as t h e c e n t e r layout of the
catalog. O n e of t h e c o l o r images w o u l d also b e u s e d
separately as an advertisement. Kip wanted Karen to
design a catalog that w o u l d reflect t h e photography, so
the p h o t o g r a p h s had t o b e c o m p l e t e visual statements.
To s h o w b o t h the r a n g e a n d the u n i q u e n e s s of h e r
collection, Kip felt that t h r e e distinctively different
m o d e l s w e r e n e e d e d for the shoot.
While planning the session, I d e c i d e d to s h o o t in the
21/, f o r m a t using E k t a c h r o m e 64. I estimated that I
w o u l d n e e d forty rolls of c o l o r film, six rolls of black-
and-white film, and t h r e e packs of Polaroid film. I always
b r i n g extra film with the s a m e e m u l s i o n n u m b e r t o
e n s u r e consistent resultsto a s h o o t in case 1 e x c e e d
my estimate. ( W h e n I b u y a batch of film, I always shoot
a n d e x p o s e two rolls with the s a m e emulsion n u m b e r to
test for color. My film s u p p l i e r k e e p s the b a l a n c e of the
film on hold until I a m satisfied with t h e test results. If I
find that only m i n o r c o l o r adjustments are necessary; I
accept the rest of t h e film and u s e Kodak color-
c o m p e n s a t i n g filters t o correct t h e c o l o r balance. )
The next s t e p was t o find a location. Kip suggested
that Karen and I investigate a loft that a f r i e n d of h e r s
had m e n t i o n e d . W h e n I met Karen at the loft, however,
w e d e c i d e d that the space was uninteresting a n d the
available light was limited. I t h e n r e c o m m e n d e d looking
at a s t u d i o in the Puck Building, w h e r e an a b u n d a n t
a m o u n t of natural, ever-changing light filters through
huge, vaulted windows. Even t h o u g h the rental fee was a
bit steep, the s t u d i o o f f e r e d so m a n y possibilities that
s p e n d i n g the extra m o n e y w o u l d b e w o r t h it. T h e
placement of the w i n d o w s and t h e u n b l o c k e d light
c r e a t e w o n d e r f u l patterns o n the walls and floors. I was
a b l e to envision h o w the play of the changing light o n
the m o d e l s and the g a r m e n t s would add an element of
excitement to the p h o t o g r a p h s . Kip and Karen looked at
s o m e p h o t o g r a p h s I had d o n e in this building and
agreed that it w o u l d work beautifully: We targeted a
tentative date.
We t h e n had to b o o k models. Kip had very definite
ideas. S h e had w o r k e d with Shelya Huff, loved her look,
a n d w a n t e d to work with h e r again. Shelya is a light-
skinned black w o m a n with black hair. I r e c o m m e n d e d
that w e also hire Sophia Koustis, w h o has b r u n e t t e hair
and is unusually beautiful. For t h e third m o d e l , w e
n e e d e d to cast s o m e o n e with b l o n d e hair. We s c h e d u l e d
a go-see at Kip's s h o w r o o m , d u r i n g which each model
tried o n a g a r m e n t , so that w e could d e t e r m i n e if s h e
c o u l d carry it properly. After t h e go-see, Kip. Karen, and
I agreed o n hiring Krika Wilson f r o m the Ford agency
T h e next s t e p was to find hair and m a k e u p artists. I
suggested hiring J o s e Occasio and Eddie Santos, a hair-
a n d - m a k e u p team w h o s e work. I knew, w o u l d comple-
ment Kip's garments. After s h e agreed, 1 checked to
m a k e s u r e that they w e r e free o n t h e planned shooting
date and then b o o k e d them directly: they w e r e not
r e p r e s e n t e d by an agent. D u r i n g the conversation, I
stressed the i m p o r t a n c e of w o r k i n g quickly and of
c o o r d i n a t i n g their efforts.
Everything s e e m e d to b e falling into place. T h e date
was c o n f i r m e d , first with t h e Puck Building, and t h e n
with the hair a n d m a k e u p team. Before b o o k i n g the
m o d e l s , Kip and I discussed scheduling. We would n e e d
Sophia for most of the day a n d Shelya and Erika for four
hours; two m o d e l s ' h o u r s had to overlap, s o that w e
could p h o t o g r a p h t h e m together. With this time sched-
ule set, my assistant called t h e agencies and c o n f i r m e d
the models. She instructed t h e b o o k e r s that the m o d e l s
s h o u l d c o m e to t h e studio with clean hair, n o makeup,
and n u d e pantyhose. I t h e n m a d e a few calls to my
favorite first assistants and was a b l e to hire Grant LeDuc,
s o m e o n e I had w o r k e d with many times. Eileen Patskin,
my studio assistant, w o u l d be o n t h e set as s e c o n d
assistant d u r i n g t h e session.
T h e S h o o t . My assistants, Grant and Eileen, arrived at
my apartment at 7:45 o n the m o r n i n g of the shoot. We
packed the film and lighting e q u i p m e n t in half an h o u r

When planning this session, the designer a n d I agreed that this
r e n t a l s t u d i o w o u l d b e a n i d e a l l o c a t i o n . In t h i s s h o t , t h e e x p o s e d
pipes, the heater, and the old, worn school desk provide an
i n t e r e s t i n g b a c k g r o u n d for t h e f u r e n s e m b l e .
For t h e s e c o n d s h o t o f t h e s e s s i o n . I p h o t o g r a p h e d t h i s m o d e l
wearing a particularly striking ensemble: a purple tiered outfit with
black fur trim. The hat chosen to c o o r d i n a t e with this u n u s u a l
design works perfectly.
and arrived at t h e studio at 8:45. Kip and her assistant
met us there. Kip b r o u g h t a l o n g several racks of
clothing a n d various accessories: s h e prefers t o d o her
o w n styling. She had designed all t h e hats a n d m a d e
s o m e of the jewelry Kip also had b o r r o w e d a few o t h e r
pieces of jewelry; as well as s o m e pairs of shoes.
We had s c h e d u l e d an arrival time of 9 o'clock in t h e
m o r n i n g for all t h e o t h e r m e m b e r s of the team except
t h e models, w h o h a d staggered arrival times. Kip
brought a check with her in o r d e r to pay the location
fee for using t h e Puck Building. Just as Karen arrived,
Kip o r d e r e d breakfast for everyone.
In t h e large dressing r o o m , everything n e e d e d for the
shoot was laid out a n d organized, so that e v e r y o n e
could see t h e o r d e r in which the g a r m e n t s w o u l d b e
p h o t o g r a p h e d . This e n a b l e d Jose and Eddie to plan the
hairstyle and m a k e u p t o c o m p l e m e n t each garment. Kip.
Karen, and I a p p r o v e d their ideas. It is particularly
important that t h e client is in accord with the artists o n
details, such as t h e models' hair a n d makeup. If every-
o n e agrees o n these e l e m e n t s f r o m the start, there will
b e less aggravation and wasted lime later in t h e day:
When Sophia a p p e a r e d , completely dressed and m a d e
up. 1 took the first Polaroid of t h e day, checking all
details b e f o r e t h e actual shoot began. T h e Polaroid
p r o v e d that the gray coat s h e was m o d e l i n g was much
too large for her. 'lb correct this p r o b l e m , Kip taped the
h e m and adjusted t h e way it h u n g o n Sophia. I took
a n o t h e r Polaroid t o double-check the results.
As the session c o n t i n u e d , I p h o t o g r a p h e d Erika in a
p u r p l e coat, a n d t h e n Sophia in a b r o w n garment. An
old school desk h a p p e n e d to b e in the studio, and
e v e r y o n e felt that it w o r k e d perfectly with t h e b r o w n
outfit. (Rather than m o v e in tight o n a model. I c o m p o s e
my images in a way that gives clients e n o u g h space in
each p h o t o g r a p h to c r o p it w h e r e v e r they want to.) For
these p h o t o g r a p h s . 1 used two electronic flash heads
a i m e d through two shoot-through umbrellas. I took a
n u m b e r of s h o t s at 1/60 sec., and then used various
slower e x p o s u r e s t o pick u p varying d e g r e e s of light
cast o n t o t h e floor.
At t h e e n d of the m o r n i n g , Eileen o r d e r e d lunch, t o
arrive half an h o u r later: d u r i n g a shoot, everything is
timed. (Although I p r e f e r t o have the client pay for
meals directly, which Kip did. I always have cash o n
hand for food, as well as miscellaneous e x p e n s e s . )
T h r o u g h o u t t h e day; while each m o d e l c h a n g e d
garments, Jose a n d Eddie quickly adjusted h e r hair and
makeup, s o that her look would blend well with the
n e w outfit s h e was wearing. When t h e m e m b e r s of the
team o n a s h o o t are w o r k i n g well together, the creative
energy flows. I try to maintain an a t m o s p h e r e in which
the client feels free to suggest alternatives. As a result.
I often find myself c o m i n g u p with new ideas spon-
taneously d u r i n g a session.
For example, as this session progressed, I noticed the
sun filtering through o n e of the windows, creating a
beautiful rectangle of sunlight o n the floor. I suggested
that w e ask Sophia to lie o n her stomach o n the floor, so
that the detail o n the back of the c o a t a feature Kip
wanted to highlightwould face t h e camera. O n e
reason w e used Sophia for this shot was her thick,
lustrous hair. Kip, Karen, and I worked quickly to
arrange the model's hair in an interesting pattern above
her head. We decided to add a n o t h e r element to the
image by placing a hat near h e r hair. When 1 began to
shoot, I asked Sophia to move her feet to create various
angles and positions. I shot in natural light, bracketing
u p to o n e stop in both directions. Kip used a shot from
this series for her ad.
Next, I p h o t o g r a p h e d Sophia standing up in the s a m e
outfit. O n e of these images was used in black and white
for the center s p r e a d in Kip's catalog and provided a
striking contrast t o the color p h o t o g r a p h s f o u n d
throughout the rest of it.

Improvising o n the s e t is o f t e n exciting. Here. I directed t h e model

t o lie d o w n o n the f l o o r . I t h e n a s k e d her t o h o l d her feet in differ-
e n t p o s i t i o n s a n d v a r i e d t h e a r r a n g e m e n t s o f h e r h a i r , u s i n g it l i k e
a prop. Finally. I p l a c e d a black, " j e w e l l e d " hat o n t h e floor b e s i d e
her to achieve a n even bolder effect. Before I photographed the
m o d e l t h i s way. I took several straightforward s h o t s of her
s t a n d i n g up.
 The next s c h e d u l e d shot called for Erika to p o s e in a
charcoal-colored leather outfit. Because Kip felt that the
detail o n the back of the jacket was important, 1 shot
from a variety of angles.
A short time later, Shelya, the third model, arrived. To
achieve an interesting effect for a p h o t o g r a p h of Shelya
wearing a jacket m a d e of lamb and gold o p o s s u m , I
had my assistant hold a 4' x 8' silver reflector next to
Shelya while 1 p h o t o g r a p h e d her straight on. T h e
reflector picked u p the sunlight shining through the
w i n d o w and threw an unusual pattern of light o n
the wall.
As the shooting p r o c e e d e d , Grant recorded each roll
of film in numerical order, including/-stops, shutter
speeds, t h e models' changes of clothing, and lighting
changes. I le marked any rolls that had to he clip-tested
(see Chapter 7, p a g e 133).
T h r o u g h o u t the day; 1 utilized background p r o p s that
we had found in t h e studio for several shots, and the
exposed ceiling p i p e s and radiator column b e c a m e part
of t h e "backdrop."
To s h o w the detail o n t h e b a c k and t h e sleeves of this j a c k e t
I a s k e d t h e m o d e l t o strike m a n y d i f f e r e n t p o s e s . This angle
provided t h e best view of t h e u n u s u a l d e s i g n .
P o s t p r o d u c t i o n . It was n o w 6 o'clock in the evening,
and the session was a success. Kip a n d h e r assistant
packed the clothing; Grant and Eileen packed my
equipment. Karen gathered most of the Polaroids in
o r d e r to get a headstart o n laying out t h e catalog. We
cleared and cleaned the studio carefully, making sure we
left it as we found it.
The film that was t o b e clip-tested was sent to t h e lab.
The black-and-white film was sent to a n o t h e r lab that
would process it with contact sheets. I viewed the clip
tests later that evening to judge whether the exposure
was correct o r n e e d e d adjustment. Everything was o n
target, and t h e balance of the lilm was to b e processed
"normal."
The next day; the processed film was delivered to my
studio. I did a quick edit, eliminating any bad shots.
Next, the black-and-white contact sheets arrived, and I
sent all of the film to Kip. The catalog had to b e
p r o d u c e d quicklythe deadline was rapidly approach-
i n g a n d a fast t u r n a r o u n d time was essential. In just a
few short weeks, we had the finished catalog in hand.
/ / WALL
/
/ // S I L V E R C T V1^ DJ E L
/ / REFLECTOR V ^
u
CAMERA:
HASSELBLAD
W / 1 5 0 M M LENS ^ ^
Two e l e m e n t s m a k e t h i s p h o t o
graph appealing. The model
carries t h e fur j a c k e t c o m f o r t -
ably a n d g r a c e f u l l y , a n d her
pose d i s p l a y s it well. Also, t h e
available light, bouncing off a
s i l v e r r e f l e c t o r , c r e a t e s a n in-
t e r e s t i n g e f f e c t on t h e wall o f
the studio. The lighting setup
used here is s h o w n o n t h e
opposite page.
 SAFILO
WORKING WITH A T I G H T SHOOTING SCHEDULE
Sabino Caputo, an art d i r e c t o r I have w o r k e d with for
many years, b o o k e d m e to p r o d u c e an image-building
b r o c h u r e f o r t h e Safilo eyewear company: T h e client
w a n t e d t o p r o m o t e the idea that todays w o m a n n e e d s
an entire w a r d r o b e of eyeglasses t o c o o r d i n a t e with the
c l o t h e s s h e wears for t h e various roles s h e plays. I was
to p h o t o g r a p h m o d e l s involved in different activities,
s u c h as w o r k i n g at the office, skiing, and s h o p p i n g for
clothes.
P r e p r o d u c t i o n . During the first m e e t i n g about the
assignment, S a b i n o and 1 c o n c l u d e d that w e w o u l d be
able to c o m p l e t e the job in two days if w e p l a n n e d
carefully. After Safilo a p p r o v e d the layouts, w e b e g a n the
preproductk>n work.
O u r first task was to b o o k models. We didn't have to
a r r a n g e a casting session b e c a u s e the client wanted to
hire S t e p h a n i e Romanov and Amie Morgan, m o d e l s w h o
had previously a p p e a r e d in the company's ads. Using t h e
s a m e m o d e l s w o u l d p r o v i d e the c a m p a i g n with a s e n s e
of continuity: However, I k n e w that s c h e d u l i n g them
might p o s e a p r o b l e m b e c a u s e the Christmas holidays
w e r e rapidly approaching. Anticipating this p r o b l e m ,
S a b i n o had started p l a n n i n g the session well in advance.
Nevertheless, calls to the m o d e l i n g agencies c o n f i r m e d
my fears: o n e of the m o d e l s was g o i n g out of town, and
the o t h e r was solidly b o o k e d . After many additional
calls t o the client, Sabino, and the agencies, I put t h e
m o d e l s o n a tentative h o l d f o r two days in January:
My next s t e p was to rent a studio. (My o w n s t u d i o is
small and best suited f o r beauty assignments.) 1 d e c i d e d
to g o with Tekno/Balcar Studios, which 1 o f t e n d o w h e n
having a b u n d a n t daylight isn't a priority. T h e studios are
spacious a n d laid out well. T h e r e is a s e p a r a t e r o o m for
dressing and hair and makeup, as well as a kitchenette.
Photographic e q u i p m e n t is s u p p l i e d , so 1 didn't have to
transport m y electronic flash units and lights. In
addition, the studio's k n o w l e d g e a b l e staff can offer
advice and information a b o u t using n e w e q u i p m e n t .
1 t h e n put a tentative h o l d o n Grant LeDuc, an
assistant I b o o k regularly Patty McGurn, w h o w o r k e d at
my s t u d i o o n a full-time basis, was s e c o n d assistant on
the set. Next. I a r r a n g e d a n o t h e r m e e t i n g with Sabino to
discuss the layouts and get c o p i e s of them. Studying the
layouts r e m i n d e d m e that this was a n ambitious,
c o m p l e x project. N u m e r o u s e l e m e n t s would have to b e
pulled t o g e t h e r for the b r o c h u r e to b e c o m p l e t e d on
schedule.
The layouts consisted of five themes: "Career,"
"Sport," "Shopping," "Evening," a n d "Weekend Errands."
Each t h e m e r e q u i r e d a full-length fashion p h o t o g r a p h
and four s h o t s t o be inset. T h e garments, props, and
accessories had to b e color-coordinated for each theme.
At this point in the p r e p r o d u c t i o n planning, Sabino
and Nancy Wolfson, t h e stylist h e had hired for the job,
met with the client to discuss the desired color t h e m e s
and props. T h e budget s h e had t o work with and t h e
length of t h e assignment w e r e addressed. Nancy ex-
plained to the client that s h e r e q u i r e d two days to "prop
and prepare," two days o n the set, a n d o n e day for an
assistant to r e t u r n b o r r o w e d p r o p s and clothing. The
client a g r e e d to this schedule.
Next, I n e e d e d t o b o o k a hairstylist a n d a m a k e u p
artist w h o w e r e excellent at creating natural looks. I
d e c i d e d t o call Zoli Illusions, a division of the Zoli
m o d e l i n g agency. Zoli Illusions r e p r e s e n t s hairstylists,
m a k e u p artists, and p h o t o g r a p h y stylists. I k n o w I can
trust t h e staffs r e c o m m e n d a t i o n s . I asked about the
availability of two artists w h o s e work I particularly like. I
t h e n c h o s e Barry Baz; discussed his day rate with Abbey,
the b o o k e r ; and put a tentative h o l d o n Barry. (As Barry's
representative, Abbey asked m e w h o the client and
advertising agency w e r e and h o w they planned to u s e
the p h o t o g r a p h s . )
T h e layouts also called for a baby, a dog. a sheet of
plexiglass, and seamless. Before I cast the baby, Sabino
told m e that h e wanted to u s e a two-vear-old, and, after
s e e i n g a s n a p s h o t of my secretary's daughter, Jessica,
c h o s e her. Despite the risk of w o r k i n g with a child in
the t h r o e s of the "terrible twos," S a b i n o wanted an
informal a t m o s p h e r e for the s h o o t and felt that the
inevitable spontaneity w o u l d b e appropriate. Sabino
agreed t o b o o k the dog, and I p r o v i d e d him with the
n a m e s of several animal agencies.
Arranging for the r e m a i n i n g two items o n my list was
simple. I o r d e r e d a standard-size s h e e t of plexiglass and
an extra-long roll of w h i t e seamless paper over the
p h o n e f r o m a set s h o p a n d had t h e agency s e n d a check.
I advised t h e s t u d i o that b o t h the plexiglass and the
seamless w o u l d b e delivered the day b e f o r e the session.
As the first day of t h e s h o o t a p p r o a c h e d , I continued
to review the layouts. D r a w i n g f r o m m y e x p e r i e n c e with
catalog shoots, I suggested to Sabino and Alan, Safilo's
account executive, that I draw up a s h o o t i n g s c h e d u l e
( s e e p a g e 47). For each shot, I w o u l d list the p r o p s and
the time w e p l a n n e d to begin. A timetable prevents both
c o n f u s i o n and u n n e c e s s a r y questions. Everyone o n the
 V

"a?

m\ ft

Even t h o u g h t h e s e l a y o u t s w e r e j u s t r o u g h s k e t c h e s , t h e art d i r e c t o r had a fully v i s u a l i z e d c o n c e p t in m i n d ; a s a r e s u l t , t h e f i n a l

photographs m a t c h t h e m almost exactly.

Before t h i s t w o - d a y s e s s i o n
s t a r t e d , t h e art d i r e c t o r a n d I
discussed last-minute details
a b o u t t h e l a y o u t s . As t h e pho-
t o g r a p h e r in c h a r g e of t h e
shoot. I have to understand
what the art d i r e c t o r w a n t s t o
achieve before shooting.
team w o u l d h e aware of the plan for the day and
whether o r not w e w e r e o n s c h e d u l e as the session
progressed.
Everything was c o m i n g together. Shortly before the
shoot, Patty, my studio assistant, t e l e p h o n e d the various
agencies to confirm Barry and the models. She told the
bookers that t h e m o d e l s s h o u l d c o m e with clean hair
and n o makeup. Patty also c o n f i r m e d t h e dates, t h e
starting time, a n d the s t u d i o s name, address, and
t e l e p h o n e n u m b e r with t h e bookers, w h o r e c o r d e d the
information and relayed it to the models.
As a final preparation for t h e shoot, Nancy and I
spoke several times, discussing at length details about
the schedule, the clothing, and the accessories.
D u r i n g t h e s h o o t , t h e art d i r e c t o r and I d i s c u s s e d many creative
i d e a s and p r a c t i c a l c o n c e r n s .
T h e S h o o t . At 7:30 o n the first m o r n i n g of t h e shoot,
my two assistants arrived at my apartment t o pack the
camera e q u i p m e n t , film, a n d o t h e r miscellaneous items.
WHITE S E A M L E S S
When we w e r e just about finished, I called t h e car
service I s u b s c r i b e to. Fifteen minutes later, we were 011
our way to Tekno Studios. 2 FLASHES BOUNCED 2 FLASHES BOUNCED
INTO WHITE, INTO WHITE,
Everyone else arrived at the studio by 9 o'clock and BLACK BACKED, BLACK B A C K E D ,
STACKED UMBRELLAS STACKED UMBRELLAS
enjoyed the de rigueur continental breakfast Patty had
picked up. Having h u n g u p the garment bags as soon as
they arrived (to avoid wrinkles), Nancy a n d her assistant
began t o sort through t h e b o x e s of accessories and
props they had brought with them. They included skis,
ski boots, tennis rackets, sweatbands, tile folders,
G 0 B 0 LIGHT WHITE S E A M L E S S UNDER G 0 B 0 LIGHT
hatboxes, and groceries. Next, Nancy and the client then TO PREVENT WHITE PLEXIGLASS TO PREVENT
SPILL ELEVATED ON S T A G E SPILL
started to look through the fifty o r s o pairs of eyeglass
frames o n hand, deciding which glasses worked with
which garments.
FLASH BOUNCED
At t h e s a m e time, Barry set u p in the dressing r o o m INTO W H I T E . 2 FLASHES
BLACK-BACKED B O U N C E D INTO
and started to prepare Stephanie, and I distributed UMBRELLA A TEKN0/BALCAR
copies of t h e p h o t o g r a p h y schedule. N O R T H LIGHT
LIGHTBOX
T h e next part of the process involved arranging my
equipment. To satisfy S a b i n o s wishes for a very low
camera position in o r d e r to make t h e m o d e l s appear
GOBO
taller and m o r e imposing, and to suggest light reflecting LIGHT T O
P R E V E N T FLAI
from the plexiglass the m o d e l s would stand o n , my
assistant assembled a makeshift platform. This consisted FLASH BOUNCED

i
INTO S H O O T THROUGH
of two w o o d e n boxes s u p p o r t i n g a 6' x 8' sheet of CAMERA:
UMBRELLA UNDER
LIGHTBOX
HASSELBLAD
plywood. Without the platform, I would have had to W / 1 5 0 M M LENS
position the camera almost level with the floor to
achieve t h e effects the art director requested. T h e
seamless p a p e r was then h u n g o n autopoles; d r o p p e d ,
so that it would s w e e p d o w n b e h i n d t h e platform; and
pulled forward over t h e plywood and d o w n in front.
Finally, we placed t h e plexiglass o n top of the seamless,
across the plywood.
Next. I directed Grant in setting u p the lights. In the
background o n either side of the seamless w e r e two
 \

A f t e r s o m e t i m e , t h i s t i n y m o d e l w a s g e t t i n g t i r e d a n d c r a n k y . I h o p e d t h a t by m y l e t t i n g her h o l d her f a v o r i t e
s t u f f e d a n i m a l , s h e w o u l d g e t a n o t h e r b u r s t o f energy. The t o y a d d e d t h e r i g h t t o u c h a n d w a s i n c l u d e d i n
the b r o c h u r e . The l i g h t i n g a r r a n g e m e n t for t h e s h o t s u s i n g t h i s s e t u p is s h o w n o n the o p p o s i t e page.

electronic flash h e a d s with white umbrellas, o n e higher
than the other, and black backing. To prevent spill, I
instructed Grant t o g o b o the b a c k g r o u n d lights with
large, black flats c l a m p e d to a stand. In the foreground,
Grant angled a giant, 3' x 4' North Light lightbox with
two heads inside toward the model's position, and
positioned a separate h e a d through a shoot-through
umbrella placed b e l o w the lightbox. This light, which
was a i m e d at the s p o t w h e r e the lower part of t h e
garment w o u l d b e , a d d e d extra fill. A white umbrella,
black-backed, was placed high a n d to the left of t h e set
for fill. ( T h e umbrellas are 39 inches wide.) I u s e d a star
powerpack l600w for fast recycling. When I p h o t o g r a p h
fashion, I tend to s h o o t quickly; a n d the star flash unit
keeps u p with my c a m e r a s m o t o r drive.
With e v e r y o n e ready a n d every p i e c e of e q u i p m e n t in
place, we w e r e able to follow t h e s h o o t i n g s c h e d u l e
closely. Barry h a d c o m p l e t e d Stephanie's hair a n d
makeup, and Nancy had assisted h e r as she got dressed.
Nancy had also d r e s s e d Jessica in light blue overalls and
a navy sweater. And. in spite of her age a n d the many
unfamiliar faces a r o u n d her, Jessica b e h a v e d well.
Randee, her mother, had b r o u g h t her in earlier than
necessary to acquaint h e r with Stephanie. It was s o o n
clear that Jessica was w a r m i n g u p to the model.
As a result, the first shot of the morning, s c h e d u l e d
for 10:40, was taken then. When I c o n t i n u e d , I shot a few-
rolls of Stephanie holding Jessica in her a r m s and then
e x p e r i m e n t e d , having Jessica stand o n t h e floor next to
Stephanie. After a while, however, Jessica began to get
cranky But with Randee at my side, I felt s e c u r e e n o u g h
to k e e p s h o o t i n g a n d captured s o m e special m o m e n t s .
After w e were satisfied with t h e shots, Randee signed a
model release.
 While 1 was working, Sabino looked through t h e
camera b e f o r e each shot. Even if t h e image seems great,
the art director may detect t h e n e e d for an adjustment.
For example, if the p h o t o g r a p h will b e printed as a two-
page spread, the art director may suggest moving the
model a bit m o r e t o o n e side to avoid the possibility of
the gutter (the center of the spread) cutting through
her face.
T h e s e c o n d shot of t h e day called for Amy, w h o was
scheduled to p o s e for all the closeups. While Barry and
Nancy h e l p e d Amy get ready, Grant and Patty, following
my directions, arranged a small beauty set at the o t h e r
e n d of the studio. This would prevent us from having t o
alter the lighting w h e n w e switched f r o m full-length
shots to closeups. Then, w h e n 1 p h o t o g r a p h e d Amy,
Barry reworked S t e p h a n i e s m a k e u p slightly and
changed her hairstyle. At the s a m e time, Nancy prepared
Stephanies w a r d r o b e for t h e "Career" shot, and Patty
o r d e r e d lunch. We w e r e o n schedule. Careful organiza-
tion was paying off.

T h r o u g h o u t t h e s e s s i o n , t h e art d i r e c t o r s t o o d directly b e h i n d
me or a s c l o s e t o m e a s p o s s i b l e , so his l i n e of v i s i o n w a s s i m i l a r
t o m i n e . This e n a b l e d h i m t o s u g g e s t any c h a n g e s i m m e d i a t e l y ,
before I continued shooting.

/ \
J > UMBRELLA UMBRELLA

O WHITE
REFLECTOR
C A R D FOR
FILL

LIGHTBOX / /

/ a^M / CAMERA SHOT

/ M / T H R O U G H HOLE
CAMERA:
NIKON F 3 J M
W / 1 0 5 MM LENS ^ ^
The g l a m o u r of f a s h i o n p h o t o g r a p h y ! B e c a u s e I w a s p h o t o g r a p h i n g t h i s m o d e l f r o m only t h e s h o u l d e r s up for a b e a u t y s h o t , s h e w a s a b l e
t o wear her own p a n t s . The l i g h t i n g e q u i p m e n t s e t u p is s h o w n b e l o w o n t h e o p p o s i t e p a g e .

The " S p o r t " layout for t h e b r o c h u r e c a l l e d for For a n o t h e r " S p o r t " b e a u t y s h o t , t h e m o d e l p u t

several b e a u t y s h o t s t o s h o w t h e e y e g l a s s
f r a m e s m o r e c l e a r l y . Here, t h e m o d e l p o s e s in
a blue b a t h i n g c a p and y e l l o w b a t h i n g s u i t t o
create the i l l u s i o n of w e a r i n g g l a s s e s a t t h e
b e a c h or t h e p o o l .
on a g r e e n h e a d b a n d , a y e l l o w w r i s t b a n d , a n d
an o r a n g e t e e - s h i r t a n d h e l d a t e n n i s r a c k e t .
While their colors are bright, they d o not distract
from the eyeglass frames.
For t h i s " C a r e e r " p h o t o g r a p h
of a m o d e l w o r k i n g in a n
o f f i c e , t h e art d i r e c t o r w a s
n e e d e d to c o n t i n u a l l y t h r o w
computer paper on the set
u n t i l I g o t the s h o t I w a n t e d .

Here, for t h i s " E v e n i n g "

shot, t h e a c c o u n t e x e c u t i v e
was called upon to hold out
the serving tray f i l l e d w i t h
champagne glasses. When
a s h o o t is involved a n d
r e q u i r e s the c a r e f u l c o o r d i -
n a t i o n of many e l e m e n t s ,
extra h a n d s a r e always
n e e d e d and put to u s e .

m
 As s o o n as lunch was over, I p h o t o g r a p h e d t h e o
"Career" shot. Standing o n Stephanies right side, Alan
tossed sheets of c o m p u t e r p a p e r onto t h e set. After each
click of t h e shutter, h e picked t h e m u p and threw t h e m
again. T h e a d d e d m o v e m e n t contributed to t h e s e n s e of
deadline pressure and a fast-paced business day. We
repeated t h e paper-throwing for several rolls of film
until I felt that I had t h e s h o t t h e client wanted.
T h e last shot of the first day was the "Evening" theme.
Nanc\' taped c h a m p a g n e glasses t o a silver tray and
substituted ginger ale for c h a m p a g n e . This series of
shots was c o m p l e t e d successfully and o n schedule. To
congratulate ourselves o n a job well d o n e , e v e r y o n e
drank real c h a m p a g n e at the e n d of the d a y e v e r y o n e
but Jessica, w h o had already b e e n taken home.
T h e s e c o n d day also went smoothly, with every step
p r o c e e d i n g as originally p l a n n e d .

The s t y l i s t n e e d e d s o m e t i m e t o g a t h e r all the p r o p s for t h i s

s h o t of a m o d e l e q u i p p e d t o go s k i i n g a n d play t e n n i s , b a s e b a l l ,
handball, football, soccer, and golf. Some props were purchased,
o t h e r s r e n t e d , and s t i l l o t h e r s b o r r o w e d .

In t h i s s h o t , t a k e n o n t h e s e c o n d day of t h e s h o o t for t h e This u n p l a n n e d p h o t o g r a p h , t a k e n m o m e n t s l a t e r , is one of m y

" S h o p p i n g " l a y o u t , the m o d e l b e g i n s t o have s o m e d i f f i c u l t y favorites. Although the boxes were empty and taped together,
m a n a g i n g all t h e p r o p s . The look in her e y e s a n d t h e p o s i t i o n e v e r y t h i n g t u m b l e d d o w n w h e n t h e m o d e l l o s t her b a l a n c e . Even
of her r i g h t f o o t reveal t h a t s h e is a b o u t t o d r o p t h e h a t b o x e s . t h e d o g r e a c t e d t o the m i s h a p .
The t w o - p a g e
s p r e a d s in t h e bro-
chure give an idea of
the large n u m b e r of
photographs taken
d u r i n g t h i s busy, c o m -
p l i c a t e d s e s s i o n . The
client was pleased
t h a t the f i n a l b r o c h u r e
followed the layouts
closely and presented
a variety of the eye-
glass frames.
P o s t p r o d u c t i o n . The film shot for t h e job d u r i n g the
day was sent that s a m e night to a lab for clip tests. (Gram
had marked d o w n o n a data sheet which rolls of film
n e e d e d to b e clip-tested. If, for example, a model s e e m s
to move a bit closer t o the camera accidentally o r s h e
changes garments, that roll of film must b e clip-tested.
Not every roll of film shot d u r i n g a session is clipped.
See Chapter 7, page 133 ) After 1 judged the clips, t h e
film was p r o c e s s e d "normal."
1 edited the u n u s a b l e shots a n d put a red "X" on the
p h o t o g r a p h s I liked. I always h o p e that my input will
influence my clients. I want t h e m t o c h o o s e what I
consider t o b e a better p h o t o g r a p h .
T h e real editing, however, starts at t h e advertising
agency. Sabino h a d to base his selection of shots o n
marketing strategics since the ultimate goal is to sell the
product. I le m a d e his initial choices according to the
During postproduction, I
s h o w e d t h e p h o t o g r a p h s of t h e
s e s s i o n t o t h e art d i r e c t o r and
t h e a c c o u n t e x e c u t i v e . I had
selected the images that I felt
were the strongest and marked
t h e m w i t h a n "X." A l t h o u g h t h e
p h o t o g r a p h e r ' s o p i n i o n is ap-
p r e c i a t e d . r e s p e c t e d , and o f t e n
w a n t e d , t h e c l i e n t ' s c h o i c e of
i m a g e s is f i n a l .
placement and fit of t h e eyeglass frames o n t h e models.
After narrowing t h e field, h e looked for a shot with
great expression, hair, makeup, a n d body language.
Sabino sent his choices to Safilo, w h e r e the advertising
director showed t h e m to t h e company president, vice
president, marketing director, and o t h e r decision-
makers. They m a d e additional c o m m e n t s a n d sent the
shots back t o Sabino. A great deal of discussion,
negotiation, and .compromise probably took place
b e f o r e the "best" p h o t o g r a p h was ultimately selected.
T h e promotional materials and b r o c h u r e were com-
pleted a few m o n t h s later. T h e e x p e r i e n c e was pleasant
for everyone involved, and the client satisfied.
Each of these sessions, although c o m p o s e d of the
same elements, had a specific, different purpose. And, as
you can see, the events that take place during a session
can varv dramaticalIv:
 Chapter 6

DEVELOPING YOUR STYLE

the fashion world, photographers find it

difficult to establish an individual identity because they are called upon to achieve so many different
looks in many varied assignments. On the other hand, if you are to succeed in this business, you
must establish and protect what distinguishes you and your work. You can accomplish this through
the unique way you deal with the variables at your command. # I have discoveredas you will
undoubtedly learnthat people bring their experiences to the photograph. 1 am different from the
person I was eleven years ago when I entered this field, and my photography reflects these changes.
For my work to be successful and satisfying, it has to incorporate a certain fluidity and sensuality I
"feel" the photograph before I actually shoot it. This is, in part, a result of my years as a fashion
model. I can understand what is necessary on both sides of the camera. Also, everything that
appeals to my sensesfrom a trattoria in Milan to the Chrysler Building in New York Citywill
somehow b e externalized on film. # My photographs, for example, reflect my attitudes toward
color, form, sensuality; and beauty I am addicted to color. Whenever 1 go to Paris, I invariably c o m e
back with every shade of Bourjois rouge 1 can find. I don't wear them, but the colors enrich my
palette as an artist, and 1 must have the latest colors for my collection. Also, while 1 surround myself
at h o m e with soft, quiet colors and limit my wardrobe to neutrals and black, 1 am usually drawn to
vibrant, graphic colors for my photographs. My use of color partly defines my distinctive style as a
fashion photographer in the eyes of my clients. #
EVALUATING YOUR STRENGTHS
The following a r e s o m e of the skills that I c o n s i d e r all
but indispensable for t h e successful fashion photogra-
pher. I le or s h e should:
have a s t r o n g s e n s e of style
b e able t o direct a creative team
k n o w h o w t o listen carefully
enjoy a w i d e variety of personalities
b e able t o work well u n d e r p r e s s u r e
have flexible w o r k habits
b e receptive to n e w ideas
have a g o o d e y e for detail
p u r s u e n e w b u s i n e s s aggressively
b e c o m f o r t a b l e with an u n p r e d i c t a b l e income.
LEARNING BY ASSISTING
Perhaps the smartest way to learn the b u s i n e s s is t o
work as a p h o t o g r a p h e r s assistant. A fashion photogra-
phy s t u d i o is an excellent training g r o u n d . You see
firsthand t h e t e c h n i q u e s of p h o t o g r a p h e r s on actual
assignments, discovering what is e x p e c t e d of the pho-
t o g r a p h e r b e f o r e b e i n g in that situation yourself. You
l e a r n i n practice rather than in t h e o r y h o w to deal
with clients a n d art directors, h o w t o direct models, and
h o w t o c o o r d i n a t e the team. No classroom c o u r s e can
offer half as m u c h .
Assistants in a large city, such as New York, have a
choice: they can work exclusively with a single photog-
rapher, o r they can w o r k o n a f r e e l a n c e basis. T h e
choice is u p t o you.
A s s i s t i n g F u l l - T i m e . You may p r e f e r t o work f o r o n e
p h o t o g r a p h e r full-time. T h e r e are both advantages and
disadvantages t o this type of work. A p r i m a r y benefit is
that you will learn y o u r employer's style intimately You
will pick up t h e p h o t o g r a p h e r s professional tricks and
secrets. You will also have the security of a weekly salary
and will b e w o r k i n g in a less stressful a t m o s p h e r e ,
w h e r e you can h o n e y o u r o w n skills.
An important disadvantage is that you will not have
the breadth of e x p e r i e n c e that a freelancer is e x p o s e d
to, and you may pick up your e m p l o y e r s w e a k n e s s e s as
well as strengths. As a full-time assistant working f r o m
nine to five, y o u won't have as m u c h f r e e time for your
own experimentation.
Many n e w c o m e r s start by w o r k i n g o n a full-time basis
with o n e p h o t o g r a p h e r for a year o r two. t h e n switch to
freelancing w h e n they gain e n o u g h c o n f i d e n c e in their
technical ability.
F r e e l a n c i n g . Working as a p h o t o g r a p h e r ' s assistant o n
a freelance basis h a s a n u m b e r of advantages. O n e is the
unlimited variety of the work you will encounter. You
will also learn, by necessity, to b e flexible in y o u r work
habits, which is an asset f o r any photographer. Another
advantage of freelancing is that freelance assistants
c o m m a n d a higher day rate than full-time assistants do.
And, o n the days w h e n you are n o t b o o k e d , y o u will be
free to build y o u r own portfolio; this is an advantage
that full-time assistants d o n o t share.
However, as a freelancer you will not b e g u a r a n t e e d
the always important, s o m e t i m e s critical weekly
paycheck. Be aware that t h e r e may b e s o m e lean periods
w h e n n o work is c o m i n g in, and y o u may e x p e r i e n c e
the p a n i c familiar to e v e r y o n e w h o freelances, including
actors, writers, and models. J o b s can b e quite sporadic.
Try to anticipate t h e slow m o n t h s that alternate with
busy p e r i o d s .
Your goal as a f r e e l a n c e assistant will b e to find
desirable work. You can d o this by building working
relationships with several p h o t o g r a p h e r s . First, s e n d out
copies of your r e s u m e to a n u m b e r of p h o t o g r a p h e r s ,
then follow u p with t e l e p h o n e calls to s c h e d u l e
a p p o i n t m e n t s for s h o w i n g y o u r portfolio. After meeting
the p h o t o g r a p h e r s , d e c i d e which o n e s you want to work
with most, and refresh their m e m o r y by checking in
periodically. An occasional friendly p h o n e call will b e
w e l c o m e d by most p h o t o g r a p h e r s , w h o regard such
calls as routine. (It is pointless to h o u n d p h o t o g r a p h e r s
with frequent, u n w a r r a n t e d a n d u n a p p r e c i a t e d
p h o n e calls.) A g o o d first impression and follow-up
p h o n e calls will m o v e you steadily forward o n their lists.
R e m e m b e r that p h o t o g r a p h e r s usually have freelance
assistants they b o o k regularly; so it will take time for you
to get y o u r first break. Be patient, a n d don't give up.
Eventually, if y o u are persistent, y o u will find an
opening.
As a m o d e l , 1 was e x p o s e d t o a large n u m b e r of
p h o t o g r a p h e r s and situations. Because I was a n integral
part of the sessions, I had b e e n a b l e to o b s e r v e h o w the
p h o t o g r a p h e r s dealt with clients, handled p r o b l e m s , and
c h o s e lighting s e t u p s to create different effects. 1 had the
luxury of o b s e r v i n g e v e r y o n e , f r o m assistants to art
directors to p h o t o g r a p h e r s . I consider this period my
apprenticeship.
I built my portfolio by testing w i t h my f r i e n d s and
o t h e r models, as well as m a k e u p artists, hairstylists, and
set stylists I had w o r k e d with. Taking pictures was not
new to me: I simply c h a n g e d places. Instead of looking
at the camera, I started to look through it.
EUROPE: T H E PERFECT PLACE TO B E G I N

The novice fashion photographer attain in the United States. Euro- experience and a better chance to
may have more opportunities to pean designers, advertising agen- succeed. Art directors feel more
break into fashion in Europe. Euro- cies, and other potential employers confident about hiring photogra-
peans tend to be more comfortable have an open mind about hiring phers when they have seen commis-
with innovative, creative ap- new photographers. In Europe, sioned and executed work.
proaches and place less emphasis photographers are given more cre- Tearsheets prove that someone
than Americans do on technical ative freedom, as well as a bigger trusted the photographers' talent
bravura. And, unlike Americans, role in incorporating thoughts and enough to work with them. Art
Europeans rely more upon mood concepts into the final photograph. directors don't have the perilous
and image, and less upon intri- Photographers are allowed to ex- respo?isibility of giving photogra-
cately detailed photographs. press who they are. phers their first job. And, during the
past few years, there has been a
Many photographers interested in It is also much easier for photog-
slight crossover in advertising styles
entering fashion move to Italy or raphers to put together a book of
between the United States and
France to build their portfolios and tearsheets in Europe. They can then
Europe.
gain experience that is difficult to return to the United States with

F a s h i o n p h o t o g r a p h e r s a r e a l l o w e d m o r e c r e a t i v e f r e e d o m in Europe: t h e y c a n e x p e r i m e n t w i t h d i f f e r e n t l i g h t i n g t e c h n i q u e s ,
like t h e o n e u s e d in t h i s s t r i k i n g s i l h o u e t t e .
 m t

A l t h o u g h t h i s p h o t o g r a p h is
s t r a i g h t f o r w a r d a n d s i m p l e , it
required m e to make a f e w
c r e a t i v e d e c i s i o n s . For e x a m -
ple, I c h o s e t h e gray b a c k d r o p
t o provide a c o n t r a s t t o t h e
black d r e s s a n d hat. The e l e -
ments photographers include in
t h e i r i m a g e s a r e partly r e s p o n -
s i b l e for t h e d i r e c t i o n t h e i r
style t a k e s .
FINDING YOUR STYLE
Fashion can take m a n y directions. W h e n I asked d o z e n s
of fashion d e s i g n e r s t h e direction they e x p e c t e d fashion
to take for my b o o k , FASHION2001, their replies varied
t r e m e n d o u s l y If I w e r e to have asked five p h o t o g r a -
p h e r s h o w they w o u l d a p p r o a c h s h o o t i n g a particular
g a r m e n t , I w o u l d have received five different answers.
Fashion p h o t o g r a p h e r s work with an elusive concept.
They take a g a r m e n t o r a p r o d u c t , imagine a story a b o u t
it, and c r e a t e an impression. Fashion p h o t o g r a p h e r s
visualize a n d c a p t u r e m o o d s .
As a p h o t o g r a p h e r , you will u s e light to establish
m o o d s , to e n h a n c e , or to block out. With t h e c a m e r a as
y o u r t<x)l, you a r e f r e e to c h o o s e a n y m o m e n t t o click
the s h u t t e r and p r o d u c e y o u r o w n creation. By utilizing
a n d e x p l o r i n g y o u r individual p o i n t of view; you can
relate y o u r o w n i n n e r vision to the world. You b e c o m e
W h i l e p r e p a r i n g for t h i s a s s i g n m e n t . I s e l e c t e d a s i m p l e " m a r b l e
wall" backdrop and a matching "floor" backdrop to complement
the c l a s s i c , s t a t e l y l i n e of t h i s d e s i g n .
a creative artist. O v e r a p e r i o d of years, y o u will steadily
d e v e l o p y o u r o w n u n i q u e style t h r o u g h h a r d w o r k ,
e x p e r i e n c e , and e v e n mistakes.
First, get the feel f o r t h e m a n y m o o d s and styles of
fashion p h o t o g r a p h y ; t h e r e is a w i d e r a n g e of lighting
t e c h n i q u e s , e q u i p m e n t , a n d film t o c h o o s e from. Try
various s h o o t i n g situations: o u t d o o r s , indoors, lull-
length fashion shots, and beauty shots. B e c o m e fully
aware of the many effects you can c r e a t e by s h o o t i n g at
different t i m e s of the day.
P h o t o g r a p h e r s starting o u t in this field find it easiest
to copy s o m e o n e else's style. Although this can b e a
h e l p f u l e x e r c i s e , d e v e l o p i n g y o u r o w n style is the key to
b e c o m i n g successful. If ten p h o t o g r a p h e r s s h o w their
portfolios to a n art d i r e c t o r and it's a p p a r e n t that they
have imitated a n o t h e r p h o t o g r a p h e r s style, t h e art
d i r e c t o r will want to h i r e t h e original p h o t o g r a p h e r .
For t h i s s h o t of a b e a u t i f u l h a n d - e m b r o i d e r e d a n d s e q u i n e d d r e s s .
I t r i e d v a r i o u s a n g l e s t o t a k e a d v a n t a g e of t h e n a t u r a l l i g h t i n t h e
s t u d i o . E x p e r i m e n t i n g is c r i t i c a l t o t h e d e v e l o p m e n t of a p h o t o g r a -
p h e r ' s style. I try t o t a k e u n u s u a l i m a g e s a s m u c h a s p o s s i b l e
when the client gives m e s o m e creative f r e e d o m a n d t i m e allows.
E x p e r i m e n t i n g . Experimentation is an essential step
in discovering a n d developing your o w n style. Start by
selecting a well-known liquor o r cosmetic ad and
reshooting it according t o y o u r tastes. Cast a completely
different type of model, o r use a n o t h e r color scheme.
Remember: the models, graphics, colors, composition,
and form you c h o o s e d e t e r m i n e your style.
Another exercise is to plan a p h o t o g r a p h that will
illustrate a specific word, such as "playful." "sensual," or
"romantic." This will give you invaluable practice in
translating verbal imagery into t h e visual world of the
p h o t o g r a p h , which is the essence of t h e fashion
p h o t o g r a p h e r s trade.
As you c o n t i n u e to e x p e r i m e n t , you will find that you
have certain preferences. If you enjoy directing a n d
capturing movement, think about planning s o m e ses-
sions with younger m o d e l s in jumping and running
poses. Do you want to create a sophisticated style? Plan
m o r e static, elegant shots. Are you organized enough to
plan a real "production"? Try using many models,
garments, props, and accessories. Expect to discover
both weak areas as well as u n t a p p e d strengths.
Your style will b e the result of experimenting with
various techniques and approaches to find your unique
look. Give yourself e n o u g h time for your style to evolve.
By b e i n g o p e n to n e w ideas, you will gradually develop
your o w n preferences in terms of colors, textures, and
types of clothing you decide to shoot. Eventually, you
will find yourself selecting a certain type of clothing and
a particular look in a model. When this starts t o happen,
you will know that your style has started t o take shape
and is o n its way:

You d o n ' t have t o f e e l l i m i t e d w h e n s h o o t i n g b e c a u s e you d o n ' t have a s t u d i o . I used a s m a l l area a n d

a v a i l a b l e light for t h i s s h o t of a m o d e l w e a r i n g a w e d d i n g d r e s s and veil. As a f a s h i o n p h o t o g r a p h e r ,
you will b e c a l l e d u p o n t o s h o o t b o t h in t h e s t u d i o a n d o n location. It is i m p o r t a n t t o get e x p e r i e n c e
a n d t o d e v e l o p f l e x i b i l i t y a t t h e b e g i n n i n g of your c a r e e r .
 When s h o o t i n g this photo-
graph. I f o u n d t h e i n t e r p l a y of
available light and the graphic
s h a d o w s i n t r i g u i n g . Even t h e
s i d e of a b r i c k b u i l d i n g c a n b e
i n t e r e s t i n g b a c k g r o u n d if y o u
u s e light t o your a d v a n t a g e .

W h e n m o d e l s i n t e r a c t w e l l d u r i n g a s h o t . I try t o c a p t u r e s o m e of When you test with young, exuberant models, make sure that
t h e s e s p i r i t e d m o m e n t s . Here, t h e m o d e l s p l a y e d t u g - o f - w a r w i t h the garments they wear allow f r e e d o m of movement,
a leather p u r s e .
T e s t i n g . T h e term test applies t o photographs for which
n o o n e involved -not t h e photographer, the model, the
m a k e u p artist, t h e hairstylist, o r the fashion stylist
receives any payment. Everyone is testing skills as well
as t h e ability t o c o o p e r a t e within a shared framework. In
lieu of money, each individual receives a print or
transparency from t h e shoot; this is supplied by the
photographer. No o n e gives anything away: t h e partici-
pants share a n d exchange talents.
When you first start out in t h e fashion photography
business, most of the work you d o will b e test shots. You
will b e able to d e c i d e exactly what it is that you want to
p h o t o g r a p h because you are both t h e client and the art
director When you are testing, you have t h e time you
need t o get the results you want. No o n e pressures you
to get the shot d o n e . If you're not happy with a
particular e l e m e n t in the image, you have the p o w e r to
change it, alter the set and repeat t h e shot, or cancel the
test shots entirely Enjoy the f r e e d o m of testing; rarely
will you have this luxury w h e n you're gelling paid for
an assignment.
Think of each test as if it were a job. Plan your test
p h o t o g r a p h s completely a n d carefully so that executing
t h e m will p r o c e e d smoothly If t h e shots don't turn out
exactly the way you expected them to or if you are not
fully satisfied, don't make excuses. Simply t h r o w them
away, or hie them, referring t o t h e m occasionally as
examples of what you s h o u l d not do.
This is also the time to perfect your techniques s o
that you will be p r e p a r e d w h e n a job c o m e s along later.
For example, learn h o w t o streamline your procedures,
so that you won't waste any time d u r i n g the shoot. You
can trim a great deal of time from your shooting
schedule by knowing all the idiosyncrasies of your
equipment, deciding in advance h o w you will set up the
lighting, and making certain that every single detail of
t h e job has b e e n assigned to the appropriate m e m b e r of
the team. Speed is particularly critical in catalog work.
But. of course, time is m o n e y in any job.

Setting Up Jests. Gathering t h e necessary p e o p l e for a

test isn't difficult because e v e r y o n e involved benefits.
Seek out o t h e r new artists w h o are developing their
talents. Individuals w h o are changing direction or
attempting to b r o a d e n their skills, such as a m a k e u p
artist known for "clean" work w h o wants to move into The g o l d h i g h l i g h t s in t h i s m o d e l ' s m a k e u p and t h e g o l d a n t i q u e
n e t t i n g she w o r e e n h a n c e the m a g i c a l q u a l i t y o f t h i s t e s t shot.
m o r e sophisticated makeup, will also want to test.
The a n t i q u e doll a d d s a n e l e m e n t of interest.
Aspiring m o d e l s n e e d p h o t o g r a p h s for their composites.
People o n both sides of the camera in the fashion
business have to build a portfolio t o s h o w to prospec-
tive clients.
 For t h i s s h o t , m a k e u p a r t i s t Peter Brown c r e a t e d " l a c y " m a k e u p to m a t c h t h e l a c e on t h e d o l l ' s veil.
I had t o p h o t o g r a p h t h e m o d e l q u i c k l y a n d c a r e f u l l y b e c a u s e t h e d e l i c a t e p a t t e r n s s m u d g e d easily.

Working models, stylists, and hair and makeup artists
will not always b e eager to test with a new photogra-
pher. They already have portfolios filled with tearsheets,
so unless they know your work and would like to
experiment, they will s h o w n o interest. O n c e you are
established a n d in a position to hire them, they have
better reason to test. 1 prefer to test with hairstylists,
m a k e u p artists, and fashion stylists b e f o r e r e c o m m e n d -
ing them for a job, and I regularly schedule tests for that
purpose. For now, you must look for others like
yourself, interested in building portfolios.
Agencies in major cities that h a n d l e stylists and hair
and makeup artists will set u p tests w h e n their artists
are not working. The test is g o o d for both parties. The
agencies like their p e o p l e t o work with many photogra-
phers and m a k e contacts. Modeling agencies have
 BUILDING RELATIONSHIPS WITH SUPPLIERS

An additional benefit of experi-
menting is that you are building
relationships with the labs, mes-
senger services, camera stores, re-
pair houses, rental companies, and
other small businesses that you will
have to depend on when you start
working. Usually, you will have to
pay as you go the first few times
you place an order. Open charge
accounts as soon as you can. Then,
make sure that you pay your bills
on time. If you are a good cus-
tomer and easy to work with, you
will find that people will go out of
their way for you in an emergency.
The adage "You get what you
for" holds true; a lab featuring
unbelievably low prices will not
deliver the same quality work you
can expect from a more expensive
custom lab, and less expensive mes
senger services may not be reliable.
There will be times when you want
to economize, but you will have to
pay carefully decide where you want
toand cancut costs.

testing b o a r d s , a division of t h e agency that h a n d l e s n e w Their o w n e r s may b e interested in e x c h a n g i n g clothing

m o d e l s a n d sets u p test s e s s i o n s with p h o t o g r a p h e r s .
T h e p e o p l e w h o r u n t h e m can r e c o m m e n d hair a n d
m a k e u p artists and stylists w h o are interested.
If you are having a difficult t i m e putting a test
together b e c a u s e o t h e r artists are reluctant to work with
you, try s o m e less o b v i o u s alternatives. Artists d e m o n -
strating p r o d u c t s f o r c u s t o m e r s at m a k e u p c o u n t e r s in
d e p a r t m e n t stores a r e usually paid a small salary and a
c o m m i s s i o n o n the m a k e u p they sell. If they are
interested in c a r e e r s as m a k e u p artists, they will n e e d t o
put together a p o r t f o l i o and s h o u l d b e a n x i o u s to test. I
have m e t m a n y n e w c o m e r s this way:
You can also contact h a i r d r e s s e r s at local salons. They
love to d o c u m e n t their talents and n e e d pictures to
s h o w clients. Salons lend out their p e o p l e in e x c h a n g e
for p h o t o g r a p h s t h e y can u s e in t h e salon. Always
r e m e m b e r to give t r a n s p a r e n c i e s or p h o t o g r a p h s in
e x c h a n g e for their services. (If you s h o o t several rolls of
film, there will b e e n o u g h t r a n s p a r e n c i e s for e v e r y o n e .
You w o n t have to pay for having duplicate slides m a d e . )
Reinforce y o u r r e p u t a t i o n as s o m e o n e w h o values
b u s i n e s s relationships a n d as a professional w h o carries
t h r o u g h what was a g r e e d u p o n .
Getting Clothes for Tests. Unless y o u are f o r t u n a t e and
have closets full of model-size clothing, you will have to
contact outside s o u r c e s f o r y o u r fashions. Start network-
ing. Advertise in t r a d e m a g a z i n e s f o r a fledgling stylist.
You may find s o m e o n e w h o has contacts. If y o u d e c i d e
to gather t h e g a r m e n t s yourself, contact local b o u t i q u e s .
o n loan f o r s o m e professionally e x e c u t e d p h o t o g r a p h s
to display in their s h o p s . Try calling clothing manufac-
turers in y o u r area, t<x>.
Choosing Film. W h e n you start testing, e s t i m a t e h o w
m u c h film y o u will s h o o t . See h o w a c c u r a t e y o u w e r e
after the test s h o o t is finished. This c o m p a r i s o n will b e
useful later; with e x p e r i e n c e you will gain a b e t t e r idea
of h o w m a n y rolls it takes to c a p t u r e what you are
looking f o r o n film. Although each situation will b e
different, y o u will n e e d t o s u p p l y cost estimates for
assignments, s o you s h o u l d always have a r o u g h idea of
h o w m u c h film y o u t e n d t o shoot. S o m e p h o t o g r a p h e r s
s h o o t very little film, p a u s i n g b e t w e e n each click of t h e
c a m e r a to think a n d plan; o t h e r s s h o o t m o r e .
K o d a c h r o m e 25 o f f e r s a clean, almost grainless
quality in contrast to E k t a c h r o m e 400, which is grainy
a n d gives a c o m p l e t e l y different effect. Experiment with
the various b r a n d s a n d film s p e e d s available, under-
stand the d i f f e r e n c e s a m o n g t h e m , a n d k n o w which
types y o u prefer. ( D o t h e s a m e f o r black-and-white
film.) You might find yourself c o n f r o n t e d by u n e x p e c t e d
w e a t h e r and lighting c o n d i t i o n s a n d will b e f o r c e d to
work with a n o t h e r film. D e t e r m i n e w h a t t y p e of film
you gravitate to, but b e flexible.
Every s t e p of the p r o c e s s of d e v e l o p i n g y o u r s t y l e -
analyzing y o u r skills, e x p l o r i n g y o u r imagination, assist-
ing an established p h o t o g r a p h e r , e x p e r i m e n t i n g , testing,
a n d m e e t i n g n e w and u n u s u a l p e o p l e i s an interesting
a n d invaluable e x p e r i e n c e .
 Chapter 7

ESTABLISHING YOUR BUSINESS

J i t f you have set your sights on becoming a

fashion photographer, you must love fashion as much as I do. If you're like me, you lcx)k forward to
seeing store window displays change every month. You scour the fashion magazines as soon as they
hit the stands. You fantasize about how you would have photographed the garments, and you
speculate about how the use of different lighting or another model might have affected the
advertisements. Breaking into the world of fashion photography is no easy task. On the other
hand, are worthwhile endeavors ever easy? Every step of the process of entering the fashion
photography businesscreating a distinctive style, experimenting, testing, researching potential
clients, promoting your work, showing your portfolio, pursuing assignments, directing and
completing sh(x>ts, establishing a reputationis a valuable learning experience. You will meet new,
interesting people every day And, if you are talented and dedicated, you will be rewarded financially
for having a great deal of fun while you work. # Assuming that you have the determination to begin
this exciting process, this chapter should make the rest ol the journey somewhat easier for you. IS
OPENING AND OPERATING A STUDIO
S h o u l d you have y o u r o w n p h o t o g r a p h y studio? This
decision d e p e n d s o n m a n y variables, including financial
considerations: the initial investment of p u r c h a s i n g a
studio, as well as t h e costs involved in o p e r a t i n g a n d
maintaining a studio/office. In large cities, t h e s e costs
are astronomical. Mortgage payments, rent, p h o n e s , staff,
e q u i p m e n t , s u p p l i e s , security, and i n s u r a n c e are s o m e
of the e x p e n d i t u r e s you will have to add t o the cost of
self-promotion, postage, a n d u p d a t i n g y o u r portfolio.
Besides the m o n t h l y m a i n t e n a n c e , selling u p a s t u d i o
can b e an e x p e n s i v e p r o p o s i t i o n involving m a j o r
construction, electrical, a n d p l u m b i n g work.
If you d e c i d e to o p e n y o u r o w n studio, you have
several a v e n u e s t o e x p l o r e . First, you can look for a
s t u d i o that has b e e n u s e d f o r p h o t o g r a p h y before. This
s t u d i o will p r o b a b l y have a d a r k r o o m , a n d t h e electrical
and p l u m b i n g systems will suit y o u r needs. As such,
m a j o r structural c h a n g e s will n o t b e n e e d e d . Keep in
m i n d , however, that the s t u d i o s o w n e r may r e q u i r e you
to pay key money. This is an additional initial c h a r g e
s e p a r a t e f r o m the cost of the r e n t a l t h a t covers t h e
e x p e n s e s i n c u r r e d f o r i m p r o v e m e n t s and alterations
previously m a d e in t h e studio.
A n o t h e r o p t i o n available to you is to m o v e into "raw"
space. This decision calls for y o u t o think carefully
about y o u r n e e d s a n d t o draw u p a g e n e r a l f l o o r plan.
Adapt y o u r plan t o the space, taking into account s u c h
r e q u i r e m e n t s as a d r e s s i n g r o o m with an area for
hairstyling and m a k e u p application, a d a r k r o o m , a
kitchen, a s t o r a g e r o o m , an office, and, p e r h a p s , a sitting
area, but b e i n g certain t o r e s e r v e e n o u g h floor s p a c e for
fashion shoots. Be aware, however, that structural
c h a n g e s will b e necessary; t h e s e will include p l u m b i n g
work for the d a r k r o o m a n d an u p g r a d e of the electrical
system.
T h e r e are o t h e r alternatives available to you as well.
You can share a s t u d i o with o n e o r m o r e p h o t o g r a p h e r s .
While this allows you t o s h a r e e x p e n s e s , s c h e d u l i n g
conflicts are inevitable. If you a n d the o t h e r p h o t o g r a -
p h e r are b o o k e d for t h e s a m e day, you will have t o
juggle the shootings. Having two s h o o t i n g s w i t h dif-
ferent art directors, stylists, hair and m a k e u p artists,
m o d e l s , and a s s i s t a n t s h a p p e n i n g simultaneously
w o u l d b e a w k w a r d unless the s t u d i o was spacious
e n o u g h to b e divided. A "spacious" s t u d i o w o u l d have to
b e at least 4,000 to 5,000 s q u a r e feet. Also, k e e p in m i n d
that a client conflict might arise if an art d i r e c t o r y o u are
working with d e c i d e s t o b o o k t h e p h o t o g r a p h e r y o u
share the s t u d i o with.
A n o t h e r alternative is to rent office s p a c e o r set up an
off ice in y o u r living q u a r t e r s , renting a s t u d i o only o n
t h e days you n e e d o n e . T h e r e are m a n y different types
of rental s t u d i o s available in New York City; a n d it can b e
interesting a n d exciting to e x p e r i e n c e s h o o t i n g in n e w
s u r r o u n d i n g s . If y o u plan y o u r s c h e d u l e carefully, y o u
can accomplish q u i t e a bit in a one-day rental. Many
rental studios will even supply e q u i p m e n t a n d an
assistant.
Traditionally, E u r o p e a n p h o t o g r a p h e r s p r e f e r renting
studios by the day. Because of c l i m b i n g costs, this
a r r a n g e m e n t is b e c o m i n g q u i t e p o p u l a r in America. T h e
e x p e n s e s involved in b o t h renting a s t u d i o o n a m o n t h l y
basis and buying a s t u d i o a r e so e n o r m o u s that even t o p
p h o t o g r a p h e r s a r e giving u p their studios. They p r e f e r
t o r e d u c e their o v e r h e a d , f r e e i n g t h e m s e l v e s f r o m a
h u g e financial responsibility
1 believe that it s wise to start out renting studios by
t h e day w h i l e y o u b u i l d y o u r portfolio. Why invest a
substantial a m o u n t of m o n e y in a s t u d i o w h e n y o u are
not absolutely s u r e what direction you will take a n d
h o w y o u r style will evolve? After w o r k i n g for several
m o n t h s , y o u may find that you p r e f e r t h e editorial
market, in which case most of y o u r p h o t o g r a p h s will b e
shot o n location.
If finances a r e a p r o b l e m but y o u r target is advertis-
ing work, u s e o u t s i d e locations, friends' h o u s e s , and
s u c h p u b l i c places as m u s e u m s , parks, a n d beaches.
Also, if y o u can't afford lighting e q u i p m e n t , w o r k with
available light. Natural light a n d electronic flash units
p r o d u c e two different looks a n d styles, a n d it is
important that y o u d e v e l o p skills s h o o t i n g with b o t h
( s e e page 117).
F u r n i s h i n g Y o u r S t u d i o / O f f i c e . If you are an experi-
e n c e d p h o t o g r a p h e r , y o u already k n o w w h i c h p i e c e s of
e q u i p m e n t y o u will n e e d t o b u y If you are a novice, any
basic p h o t o g r a p h y t e x t b o o k can h e l p y o u plan.
R e n t i n g E q u i p m e n t . You d o n ' t have to o w n m u c h
e q u i p m e n t to start w o r k i n g as a fashion p h o t o g r a p h e r .
Everything can b e rented. Clearly; r e n t i n g e q u i p m e n t is
t h e easiest a n d most s e n s i b l e way to begin without
s p e n d i n g t h o u s a n d s of dollars. It may take you quite
s o m e time, p e r h a p s e v e n years, to start paying for the
essentials with y o u r i n c o m e as a fashion p h o t o g r a p h e r .
Start with a f e w basic lenses, such as a 3 5 m m o r a
5 0 m m lens, 105mm lens, a 180mm lens, and a 200mm
lens. E x p e r i m e n t with o t h e r lenses by renting t h e m f o r
a day. You will gravitate to t h e lenses you prefer.
PROMOTING YOUR W O R K
O n e of the basic c o n c e p t s you have to g r a p p l e with
w h e n establishing y o u r b u s i n e s s is that you are solely
responsible f o r getting assignments. From the begin-
ning, you must d e c i d e h o w you will approach clients,
which p h o t o g r a p h s you will s h o w t h e m , and h o w you
will p r e s e n t yourself. You can ask e v e r y o n e y o u m e e t in
[he field f o r advice about h o w to contact art buyers,
w h e t h e r or n o t t o advertise your work, h o w to dress for
an interview; and h o w to structure y o u r fee scale, but
you must carefully think a b o u t the image you want to
project.
P r o m o t i o n a l P i e c e s . For your "calling card," y o u will
n e e d a p r o m o t i o n a l piece to s e n d out b e f o r e you
s c h e d u l e a p o r t f o l i o p r e s e n t a t i o n or to leave b e h i n d
after such an a p p o i n t m e n t . Designing y o u r c a r d re-
q u i r e s y o u t o utilize taste, j u d g m e n t , and creativity. With
a little imagination, you can design an appealing,
eyecatching card and have it p r i n t e d for a relatively-
modest s u m . Many p h o t o g r a p h i c labs will print an
image o n p h o t o g r a p h i c p a p e r with y o u r name. D e p e n d -
ing o n y o u r specialty a n d h o w you d e c i d e to p r o m o t e
yourself, t h e image can b e black and white o r color.
Your p r o m o t i o n a l p i e c e is just as important as your
portfolio. An art director will r e m e m b e r y o u r p r o m o -
tional p i e c e l o n g after t h e impact of y o u r p o r t f o l i o has
d i m i n i s h e d . You must convey y o u r personal statement
in a single piece.
Your first p r o m o t i o n a l piece will probably b e a test
shot. W h e n d e c i d i n g o n possible p h o t o g r a p h s , c h o o s e
those that are representative of your style. O n c e you are
w o r k i n g as a p h o t o g r a p h e r , y o u will probably want to
use y o u r ads as p r o m o t i o n a l p i e c e s to reflect your
e x p e r i e n c e a n d to c o n n e c t y o u r n a m e with k n o w n
c o m m o d i t i e s . Most art directors s e e m to p r e f e r to s e e a
single style in a mailing, but you may want to d o a series
of mailings that r e p r e s e n t y o u r different strengths. Most
art directors o p e n their o w n mail, s o y o u r p r o m o t i o n a l
material m a k e s an i m m e d i a t e impression- - g o o d o r
bad. To distinguish y o u r mailing f r o m the d o z e n s of
o t h e r s art directors receive every day. you s h o u l d
c o n s i d e r all t h e e l e m e n t s involved in the all-important
first impression, including size, graphics, and reproduc-
tion quality
Even if you have sent a p r o m o t i o n a l piece to an art
director, leave several c a r d s in y o u r portfolio case. T h e
original mailing may have b e e n misplaced o r thrown
away. Also, if a n o t h e r art director looks through your
b o o k , h e o r s h e mav want v o u r card as well.
A d v e r t i s i n g . Many p h o t o g r a p h e r s take out ads display-
ing their work in t r a d e publications, such as New York
Gold, American Showcase, The Blackbook, a n d Select
magazine. This a v e n u e of self-promotion is o n e way of
k e e p i n g y o u r n a m e visible and showing y o u r work to a
vast n u m b e r of potential clients.
Because taking out a n ad is expensive, c h o o s e
p h o t o g r a p h s that are of t h e highest quality and reflect
y o u r best work. Potential clients p e r u s e these books,
looking intently at e a c h page. You want these individuals
to r e m e m b e r y o u r images. As such, it's worth the
e x p e n s e t o h i r e a g r a p h i c d e s i g n e r to e n s u r e that your
a d is striking and m e m o r a b l e . ( O n e tangible and
i m m e d i a t e benefit of taking out an ad is that these
publications will supply you with a few thousand
reprints of y o u r advertisement p r i n t e d o n a c a r d a n
instant mailout. For t h e price of the ad, you build y o u r
n a m e and receive p r o m o t i o n a l pieces without the n e e d
to design t h e m separately.)
W h e t h e r or not you will receive many jobs from such
ads is unpredictable. I k n o w p h o t o g r a p h e r s w h o get a
t r e m e n d o u s a m o u n t of work f r o m their ads and o t h e r s
w h o receive only a few calls. The r e s p o n s e f r o m
potential clients d e p e n d s o n your style, timing, and the
clients' n e e d s .
CREATING AND PRESENTING YOUR PORTFOLIO
Your first p o r t f o l i o will b e c o m p o s e d of your fashion
tests. Be selective a n d critical: don't include everything
you have shot. If s o m e o n e in the business offers
constructive criticism, listen carefully rather than defen-
sively That individual may k n o w m o r e about the field
than you d o . If shots you love elicit negative reactions,
eliminate them. A p o r t f o l i o s h o u l d reflect a photogra-
p h e r s strengths, not weaknesses. R e m e m b e r : less is
more. Showing ten great p h o t o g r a p h s is better than
showing twenty m e d i o c r e shots.
Because of the cost involved, it is important that you
carefully select the slides y o u will enlarge into prints for
your portfolio. With c o m p l e t e f r e e d o m to express your
creativity, you s h o u l d put t o g e t h e r an outstanding
portfolio. You s h o u l d feel p r o u d w h e n you s h o w it.
At the b e g i n n i n g of y o u r career, buying portfolios
with full-page plastic sleeves is advisable: you will b e
eliminating a n d adding n e w prints as your work
changes. An alternative is to turn y o u r c h r o m e s into
large transparencies (4 x 5 o r 8 x 10) and m o u n t them
within a black b o r d e r for definition and easy handling.
A m o r e e x p e n s i v e m e t h o d of presentation is to
laminate y o u r p h o t o g r a p h s . However, you should
 Lucille K h o r n a k
425 East 58th Street
New York, New York 10022
(212) 593-0933
Fashion. Beauty & People
Advertising & Editorial
ASMP Member
Published Book: Fashion: 2001
Silver Award - Art Directors Club

Clients include
Yves St Laurent
Helena Rubinstein
Ungaro
Pernod Liquor
Coty C o s r r e t i c s
Maurice St Michel
Johnson & J o h n s o n
Lip Quencher
Concord Hotels
Alia Romeo
Portfolio
Bon Jour
Pierre Cardm
Rive G a u c h e
Micar Communications
Omni Magazine
Givenchy Jewelry
Private Label
Richelieu
Maidenlomv

Conceptual Photographer
Location & Studio
Write or call for your mini
portfolio.

This p r o m o t i o n a l piece i n c o r p o r a t e s s o m e of m y s t r o n g e s t a n d f a v o r i t e i m a g e s . B e c a u s e p r o m o t i o n a l p i e c e s are o f t e n a potential

client s first i n t r o d u c t i o n to you a n d your p h o t o g r a p h y , they s h o u l d be d o n e carefully and expertly.
p o s t p o n e this m e t h o d until you are s u r e that the
pictures r e p r e s e n t y o u r best work. Laminated photo-
graphs look beautiful, but they scratch easily and must
b e h a n d l e d with care.
You s h o u l d have an o u t e r case in w h i c h to transport
the portfolio. Portfolio cases a r e available in various
sizes and qualities at any art supply store. In large cities,
s o m e c o m p a n i e s specialize in custom portfolios and can
make the o u t e r case match the portfolio.
It may s e e m difficult at first to target y o u r p o r t f o l i o
for a specific market, such as advertising, editorial, or
catalog. You will still be e x p e r i m e n t i n g and u n s u r e of
what you want t o d o . Trust y o u r instincts, a n d s h o w
w o r k for the market you feel most c o m f o r t a b l e with.
A single p o r t f o l i o will b e sufficient w h e n y o u start
y o u r career. But a f t e r y o u b e c o m e m o r e established,
you will n e e d several to circulate y o u r work to m o r e
than o n e potential client at a time. I find that I get many
r u s h calls f o r m y portfolio, a n d I c o u l d lose business if
an extra o n e w e r e n o t available.
If you start r u n n i n g a d s in the m a j o r creative annuals,
you will b e h o p i n g to get calls f r o m clients a r o u n d the
country They will ask you to s e n d y o u r p o r t f o l i o by
overnight delivery and will k e e p it for several days. You
must have extra p o r t f o l i o s for such requests.
S e t t i n g U p A p p o i n t m e n t s . You n e e d an a p p o i n t m e n t
w h e n e v e r you s h o w y o u r portfolio, and you must b e
aggressive in a t t e m p t i n g to s c h e d u l e each o n e . Estab-
lishing contacts are what the fashion photography-
business is all a b o u t . The m o r e a p p o i n t m e n t s you have,
the b e t t e r y o u r c h a n c e s of b e i n g h i r e d for assignments.
In large cities, b e c a u s e the competition is intense and
t i m e is limited, it is h a r d e r to get appointments. You will
s p e n d a great deal of l i m e o n the p h o n e , calling a n d
recalling the p e o p l e you want t o see. If they tell you to
call back in t h r e e m o n t h s , m a k e a n o t e a n d b e s u r e to
d o so. T h i n k of yourself as a salesperson. Above all else,
don't get discouraged.
Consider every a p p o i n t m e n t a j o b interview. Be
p r o m p t . Look presentable. Although s o m e prospective
clients may a d m i r e the "artsy" look of tattered b l u e jeans
and a sweatshirt, o t h e r s may expect y o u to dress m o r e
neatly: they may ask you to m e e t agency p e r s o n n e l . This
is your c h a n c e to m a k e a favorable first impression. Use
each a p p o i n t m e n t as a learning process. If you are lucky
e n o u g h t o b e g r a n t e d a p e r s o n a l interview ( r a t h e r than
b e i n g told t o d r o p off y o u r p o r t f o l i o s e e next section),
you can s e e which p h o t o g r a p h s receive positive re-
sponses. Alter a n u m b e r of personal appointments, you
will b e a b l e to strengthen your portfolio by r e m o v i n g
weaker shots. Expect to hear many diverse opinions,
and try not to take negative reactions personally
D r o p - O f f s . In addition to, and s o m e t i m e s in lieu of,
s c h e d u l i n g a p p o i n t m e n t s , s o m e agencies and magazines
have drop-off policies: after d r o p p i n g off a portfolio, a
p h o t o g r a p h e r will b e contacted if the agency is inter-
ested in s e e i n g m o r e work.
While each drop-off can tie up y o u r b o o k for several
days, m a n y c o m p a n i e s let y o u d r o p off the portfolio o n e
day and pick it u p t h e next. S o m e c o m p a n i e s set aside
o n e day a w e e k for drop-offs; o t h e r s , o n e day a month.
Ask about each company's policy Keep in contact with
the receptionist o r art director you sent y o u r portfolio
to, a n d pick it u p as s o o n as you can. When t o o m u c h
time elapses, portfolios are o f t e n misplaced.
I d o n ' t favor drop-off policies b e c a u s e you never
really k n o w the art d i r e c t o r s reaction to y o u r work.
Getting feedback from drop-offs is rare. In fact, y o u can
never even b e certain that y o u r p o r t f o l i o was looked at:
hectic s c h e d u l e s and e m e r g e n c i e s may have prevented
the art director f r o m e x a m i n i n g y o u r work. Of course,
it's always important to k e e p circulating your book;
m o n t h s later, s o m e o n e you have never even heard of
may contact y o u b e c a u s e h e o r s h e was favorably
impressed with y o u r images.
GETTING H I R E D
O n c e you have pulled t o g e t h e r a look in y o u r portfolio,
you are ready to start thinking about potential clients.
Don't expect to hang out the* proverbial shingle and
have p e o p l e flock to y o u r door. You will have to seek
out clients and convince t h e m that you are the perfect
p h o t o g r a p h e r f o r their next assignment.
Smaller agencies are m o r e receptive to w o r k i n g with
n e w p h o t o g r a p h e r s . Your first jobs may b e o n less
important accounts, w h e r e , p e r h a p s , less m o n e y is at
stake. Search f o r s o m e o n e w h o is willing to take a
c h a n c e b e c a u s e of the strength of the p h o t o g r a p h e r ' s
portfolio.
You s h o u l d also try to find clients w h o s e style s e e m s
to work with yours. Of c o u r s e , clients may b e looking
for a fresh approach to their w o r k b u t not frequently.
Even though fashion is a creative business and you
expect p e o p l e to think creatively, p r e p a r e yourself:
clients h o p e to find in portfolios the exact type of work
and style they n e e d . For example, a client planning a
beauty shot will feel m o r e s e c u r e hiring a p h o t o g r a p h e r
w h o s e p o r t f o l i o includes beauty shots. In this situation,
your work wouldn't b e c o n s i d e r e d if it w e r e heavily
fashion-oriented.
 People t e n d t o type y o u r p h o t o g r a p h y If your
p r o m o t i o n card looks like catalog work, they will not
think of you w h e n looking for an editorial photogra-
p h e r With their busy schedules, they simply hie you in
the appropriate place t o k e e p organized.
It will probably take m o n t h s of knocking 011 d o o r s
before o n e will o p e n ; this is b e c a u s e existing working
relationships a r e h a r d to break. Understanding t h e roles
important p e o p l e play in t h e process of hiring photogra-
p h e r s will help you to u n d e r s t a n d the decision process.
Editorial P e r s o n n e l . Your contacts with magazine staff
m e m b e r s d e p e n d u p o n w h e t h e r the assignment you are
seeking is in t h e fashion o r beauty area. You will proba-
bly deal with o n e of the following three individuals.
The fashion editor is assigned to t h e fashion section
of a magazine. If fashion interests you, this is the p e r s o n
you must see.
The beauty editor is assigned t o the beauty section of
a fashion magazine. Because beauty s h o t s a r e usually
regarded as distinct from fashion shots, you s h o u l d s e e
this editor if y o u r p o r t f o l i o favors beauty photograph):
T h e art director works with the fashion and beauty-
editors in laying out the design of the magazine. This
individual is always looking for p h o t o g r a p h e r s w h o s e
style m e s h e s with that of t h e magazine. Rarely will the
art director wish to c h a n g e the look; however, such a
change might take place u n d e r a n e w o w n e r o r a n e w
editorial policy.
II you want t o work in the editorial market, contact
smaller local magazines in your area. They usually have
a drop-off policy Be aware, though, that the editorial
Held can b e difficult to enter. T h e m a j o r magazines s e e m
to rely o n the s a m e p h o t o g r a p h e r s year after year.
A d v e r t i s i n g A g e n c y P e r s o n n e l . Most advertising
agencies, small o r large, have t h e s a m e basic p e r s o n n e l
structure. No matter what types of clients they represent,
or what part of the United States they are located in,
agencies must staff themselves in o r d e r to cover the
s a m e creative a n d business skills.
T h e client is the p e r s o n ( o r c o m p a n y ) w h o has the
product and w h o c o m m i s s i o n s the creative team o r
advertising agency t o create t h e work. Sometimes, a
client will not contact an advertising agency and will
work directly with t h e photographer. Most clients,
however, p r e f e r to work with an advertising agency
Large agencies, as you w o u l d expect, deal with large
c o m p a n i e s and small agencies with small companies.
T h e account executive acts as a liaison b e t w e e n the
client a n d the creative team. I le o r s h e d e t e r m i n e s with
the client what is n e e d e d in t e r m s of advertising, taking
into account t h e budget and expenses. T h e account
executive then relays this information to the creative
team, which usually consists of the art director and the
copywriter Next, these two individuals begin t o work
together 011 a creative concept. When the client ap-
proves their r o u g h proposal, t h e account executive
estimates costs for models, printing, production, pho-
tography; and o t h e r necessities and informs the client.
An account executive may deal with o n e client or
several at any given time a n d oversees t h e entire
process, f r o m concept to execution.
The art director is primarily c o n c e r n e d with the
visual d i m e n s i o n of the ad. This individual takes
information s u p p l i e d by the account executive and,
along with the copywriter, b r a i n s t o r m s ideas in a
"creative session." Words s u p p l i e d by the copywriter can
stimulate t h e art director's imagination. Many advertising
campaigns have g r o w n out of the s e e d of o n e line of
copy. T h e art director then d e v e l o p s a layout, which is a
r o u g h approximation of t h e idea for t h e ad. or, m o r e
likely; a n u m b e r of layouts. As soon as an approved
layout has b e e n selected, t h e art director will c h o o s e a
p h o t o g r a p h e r ( o r illustrator) to execute it.
T h e creative director is in charge of the creative team.
Although h e o r s h e may not initiate creative approaches,
the creative director e n a b l e s the copywriter a n d art
director to k e e p their goal in mind. As an e x p e r i e n c e d ,
well-rounded generalist, t h e creative director h e l p s
them devise a p r o d u c t i o n strategy that will remain
within the client's stated parameters.
T h e art buyer plays an important role: viewing
potential p h o t o g r a p h e r s , models, hairstylists, m a k e u p
artists, printers, a n d o t h e r suppliers; negotiating prices;
issuing p u r c h a s e o r d e r s a n d contracts; and carefully
a d h e r i n g to t h e client's budget restrictions. If job costs
e x c e e d t h e p r e s c r i b e d budget, the art buyer must b e
i n f o r m e d at o n c e .
T h e art buyer has a "split personality," serving both
the financial a n d creative forces. This p e r s o n also
screens artists w h o continually p u r s u e t h e art directors.
If art directors took the time t o see every portfolio, they
would never get their work d o n e . T h e art buyer sees
p h o t o g r a p h e r s by a p p o i n t m e n t a n d files their cards in
an appropriate category. When art directors have a job
for a photographer, they ask t h e art buyer t o suggest
several w h o s e portfolios they can review T h e art
directors may also give the art buyer a few names. T h e
art buyer then invites the p h o t o g r a p h e r s t o d r o p off
their portfolios. Art directors will not meet with t h e
p h o t o g r a p h e r s until they n a r r o w d o w n their choices.
 Obviously, clear c o m m u n i c a t i o n f r o m start to finish is
critical ( s e e p a g e 36). Art d i r e c t o r s c h o o s e a photogra-
p h e r w h o in their eyes is t h e a p p r o p r i a t e p e r s o n for the
job. They a r e not g o i n g to risk their position by
selecting a p h o t o g r a p h e r w h o is unqualified o r w h o s e
style is unsuitable f o r a particular assignment.
Catalog P e r s o n n e l . T h e p e r s o n n e l associated with
catalog a s s i g n m e n t s varies b e c a u s e s o m e catalogs are
p r o d u c e d "in-house," w h i l e o t h e r s are e x e c u t e d by an
outside agency specializing in catalog work.
T h e in-house art director is the p e r s o n w h o pulls
t o g e t h e r the e n t i r e look a n d presentation of e a c h
catalog. H e or s h e works directly for the catalog house.
T h e agency art director is assigned t o p r o d u c e and
direct t h e look of the catalog. This individual works for
an advertising agency
In small cities, y o u can b e a g e n e r a l p h o t o g r a p h e r
a n d probably s u c c e e d by s h o w i n g a variety of work. In
large cities, such as New York and Chicago, you c a n
a n d s h o u l d s h o w specialized work. In e i t h e r case, you
n e e d a s t r o n g p o r t f o l i o to s h o w to clients, account
executives, creative directors, art directors, art buyers,
and editors.
DEVELOPING YOUR MAILING LIST
If y o u want t o c o n c e n t r a t e o n t h e advertising market, lay
the g r o u n d w o r k for a c o m p r e h e n s i v e mailing list by
looking t h r o u g h fashion m a g a z i n e s and n o t i n g adver-
tisers that suit y o u r talents a n d goals. Call and find out if
the c o m p a n i e s w o r k with a particular advertising
agency; if so, ask f o r t h e art d i r e c t o r s name. Then follow
through by calling t h e agency This way y o u will build
your o w n list of a n directors.
You can also refer to The Standard Directory of
Advertising Agencies. This large, e x p e n s i v e s o u r c e b o o k
lists agencies, their accounts, a n d t h e a m o u n t s of their
billing. Unfortunately; agency staffs are continually mov-
ing, so the n a m e s listed may b e incorrect. If. however,
you learn that the art director recently moved t o
a n o t h e r agency, try t o get a f o r w a r d i n g address. Ac-
counts leave agencies a n d take their business e l s e w h e r e
for a variety of r e a s o n s a n d s o m e t i m e s t h e art director
g o e s with them.
Because large agencies have h u n d r e d s of creative
p e o p l e o n staff, y o u must first find out which o n e s are
working o n t h e accounts that you are right for. Don't
start with g e n e r a l art directors. You will have a better
c h a n c e if you k n o w what accounts they work o n and if
their work is suitable for you. You can also b u y mailing
lists that supply the n a m e s of art directors at t h e various
agencies.
Another o p t i o n is to turn to fashion magazines
themselves as a s o u r c e of information. Magazines list
their p e r s o n n e l o n o n e of the first pages of each issue.
T h e r e you can easily learn the n a m e s of the fashion
editors, beauty editors, a n d art directors. When choos-
ing a magazine, just as w h e n c h o o s i n g an agency
account, select o n e w h o s e style c o m p l e m e n t s your own.
If y o u plan to work o n catalogs, collect an assortment
by asking f r i e n d s t o save those they receive by mail. You
can also contact mail-order h o u s e s directly. They may
h i r e p h o t o g r a p h e r s t h e m s e l v e s or may work through a
larger agency that h a n d l e s several catalogs.
As s o o n as you have a list of names, you can either
s e n d out general mailings or mail specific pieces to
prospects ( s e e Chapter 8, page 138). If you plan to d o a
large mailing, investigate the bulk mail rates at the post
off ice. You can save m o n e y by organizing y o u r mail
a c c o r d i n g t o zip codes.
FOLLOWING U P
O n c e you start to s h o w y o u r portfolio, you must follow
up. Although a c o m p a n y may not n e e d you now, it may
n e e d you in the future. Ask h o w often you s h o u l d
contact the art director. No formulas o r definite answers
exist; e a c h situation is different. An art director may b e
happy with t h e p h o t o g r a p h e r h e or s h e has b e e n using
for years, and until s o m e t h i n g alters that relationship,
won't h i r e you. Should y o u c o n t i n u e to call? The answer,
of c o u r s e , is u p to you. If the feedback you receive
s o u n d s positive and you think that you will eventually
get t h e c h a n c e to work with t h e company, then by all
m e a n s c o n t i n u e to contact t h e art director.
Occasionally, it's smart to d o a g e n e r a l mailing to all
the advertising agencies and magazines, if only to let
e v e r y o n e k n o w you exist. They may b e working o n a car
account today, but they may get a fashion account
t o m o r r o w Also, a s t r o n g p r o m o t i o n a l piece can inspire
an art d i r e c t o r to call y o u m o n t h s after receiving the
mailing.
GETTING YOUR FIRST ASSIGNMENT
Almost all fashion p h o t o g r a p h e r s seek work o n their
o w n at least until their careers are firmly established,
at which point they may d e l e g a t e a representative (a rep,
o r a g e n t ) t o handle this c h o r e for them. If. however, you
a r e lucky e n o u g h to b e r e p r e s e n t e d early in y o u r career,
you will not b e personally involved in "knocking o n
doors" in search of work. Most fashion p h o t o g r a p h e r s
are responsible f o r finding their o w n work as they try to
establish their n a m e and reputation. Getting hired for
t h o s e first critical assignments is not as o m i n o u s as it
s o u n d s o n c e you u n d e r s t a n d the process.
G e n e r a l I n t e r v i e w s . At a general interview, you are
not applying for a specific assignment; rather, you are
acquainting the art director o r art buyer with your work.
Before arriving for t h e interview, you s h o u l d gather as
m u c h information as possible about t h e accounts the art
director handles. Then, d u r i n g y o u r conversation, you
can e m p h a s i z e h o w y o u r skills suit the n e e d s of these
clients. Your goal h e r e is t o d e t e r m i n e w h e t h e r it will be
worthwhile to p u r s u e this particular contact-
S p e c i f i c I n t e r v i e w s . W h e n you a r e b e i n g considered
for a specific assignment, you will meet with the art
director, w h o will discuss t h e layout and concept. You
should listen carefully and closely. Your p u r p o s e is to
understand as fully as possible t h e art directors goals
and expectations. Is it a national ad o r a trade ad? How
long will the advertisement run? What kind of m o d e l ( s )
is the client looking for? Feel free to ask as many
questions as you like.
If s o m e o n e asks a specific technical question regard-
ing o n e of t h e s h o t s in your portfolio, b e p r e p a r e d t o
answer. Don't b e surprised if your portfolio is n e e d e d
for a client review b e f o r e you are hired.
N e g o t i a t i n g Your Fee. All p h o t o g r a p h e r s have stan-
dard fees for various assignments d e p e n d i n g on their
current career level. As a beginner, your rates will b e o n
the lower e n d of the standard assignment rate s c h e d u l e
d e t e r m i n e d by t h e American Society of Magazine
P h o t o g r a p h e r s (ASMP). This can b e f o u n d in AS MPs
Professional Business Practices in Photography, which is
revised annually
O n c e you build a solid reputation, your fees will
escalate. An art director may want an i m m e d i a t e cost
estimate; don't b e t o o quick to answer. Study the layout
and look for potential problems. Expenses include a
great deal m o r e than the costs of film a n d processing.
Will the layout r e q u i r e you t o build a set? Will you n e e d
a hairstylist and a m a k e u p artist? Will you n e e d a stylist?
Will any p r o p s b e required? It is wiser to overestimate
than to underestimate. Tell the art director that you will
send a written estimate.
Fees are always negotiable; if your estimate is too
high, you can always c o n f e r with the agency and d e c i d e
h o w costs can b e cut. For example, a painted b a c k d r o p
can replace an expensive custom set.
S u b m i t t i n g E s t i m a t e s a n d Bids. It is not my policy t o
c o m e in with a low estimate (which, w h e n you submit it
in competition with those of o t h e r p h o t o g r a p h e r s ,
b e c o m e s a b i d ) a n d then have a large n u m b e r of h i d d e n
e x p e n s e s o n t h e final invoice. Advise the client in
advance of any additional m i n o r charges that you
anticipate. Small e x p e n s e s accumulate, a n d it's unfair t o
send a bill full of surprises.
I always try to find out as m u c h specific information
as possible b e f o r e working out costs. If I am responsible
for casting, I d e t e r m i n e approximately h o w m u c h time
my assistant a n d I will s p e n d o n this task. I also estimate
the a m o u n t of film 1 will need, including the cost of clip
tests a n d Polaroid film for the shoot a n d the casting.
Sometimes an agency may hire you without going
through a bidding process; in this situation, you simply
submit an estimate. In o t h e r cases, you may b e bidding
competitively for a job. When a major agency receives
your bid for an assignment, it may b e required to obtain
two additional bids b e f o r e making a decision.
This triple bidding p r o c e d u r e was d e v e l o p e d by the
accounting a n d auditing b r a n c h e s within agencies t o
e n s u r e an e q u i t a b l e selection process. It begins with a
selection of three p h o t o g r a p h e r s w h o are given the job
specifications, usage, a n d timetable. Each o n e submits
an i n d e p e n d e n t bid for the job, a n d the low bid is
ordinarily t h e winner. Occasionally, a higher bid will
win, as in t h e case of a timetable c h a n g e t o a date w h e n
the low b i d d e r is not available, o r a c h a n g e of
specifications that m a k e s it inappropriate for the low
b i d d e r to d o t h e job. Because t h e t h r e e p h o t o g r a p h e r s
w h o submit bids are t h e survivors of an elimination
process, b e aware that you have already passed through
several cuts w h e n you a r e invited t o make a bid.
A s s i g n m e n t Rates. Fees a r e d e t e r m i n e d by usage in
advertising (for example, national versus regional;
billboard versus trade ad; two years versus one-time use
only), by the page in editorial (that is, the n u m b e r of
pages o n which your work will appear), a n d by the day
o r p e r shot in catalog. For advertising assignments, you
may n e e d t o include a fee for preparation time, casting,
and lighting tests, a n d any o t h e r work that p r e c e d e s the
shooting. T h e r e may b e several p r e p r o d u c t i o n meetings.
A w o r d of caution: watch for u n a u t h o r i z e d uses of
y o u r work. I was o n c e hired t o p h o t o g r a p h a model lor
the packaging of a particular product. Because the
image was to b e u s e d in a test market only; I was paid
considerably less than I would have been if the
packaging w e r e to b e used nationally. When I noticed
the image displayed as a point-of-purchase card as well
as o n t h e nationally distributed packaging of t h e
product, I immediately r e m i n d e d t h e agency that my
p h o t o g r a p h had not b e e n authorized for t h o s e pur-
poses. We negotiated a f e e for t h e e x p a n d e d usage of
the p h o t o g r a p h . It is your responsibility to k e e p track of
negotiations.
SHOOTING Y O U R FIRST ASSIGNMENT
Expect y o u r first assignment t o b e exciting but nerve-
wracking. W h e t h e r o r not you have b e e n lucky e n o u g h
to get a j o b right away, you will probably feel the
p r e s s u r e that c o m e s with s o m e o n e paying you for your
expertise and talent. But you s h o u l d feel p r e p a r e d f o r
this m o m e n t : you have b e e n w o r k i n g toward it for quite
s o m e time by e x p e r i m e n t i n g , testing, and learning f r o m
y o u r e x p e r i e n c e s a n d mistakes. Don't let "stage fright"
prevent you f r o m utilizing y o u r skills, displaying y o u r
talent, a n d d o i n g y o u r best.
C o m m u n i c a t i n g . In this highly visual industry w h e r e
w e are s o intent o n h o w things look, clear c o m m u n i c a -
tion is critical. I have f o u n d that t h e operative w o r d is
"listen." Knowing h o w to listen is an essential skill for
professional p h o t o g r a p h e r s .
Sometimes, art directors aren't quite s u r e about what
they're looking for. W h e n this h a p p e n s , y o u must listen
to t h e m very carefully If y o u receive m i x e d messages
f r o m art directors, you have to interpret their thoughts
in o r d e r to bring their real intentions into focus. If they
offer two contradictory ideas, don't risk insulting them
by p o i n t i n g this out. G u i d e t h e m gently toward a
workable solution. Repeat to them w h a t they have
p r o p o s e d ; this may just h e l p t h e m crystallize their plans.
Many art directors are reluctant to take chances and
w o u l d rather b e safe than s o r r y Understand their
position: their jobs may b e o n the line. If the final ad
isn't a success, art directors are usually held responsible.
For this reason, cautious art directors may p r e f e r to
p h o t o g r a p h the ad literally as p l a n n e d first; then, if time
permits, they will b e m o r e willing to e x p e r i m e n t
creatively
Listen to yourself, too. When you explain y o u r plan to
y o u r t e a m t h e assistant, hairstylist, m a k e u p artist, and
stylistyou have a responsibility to e x p r e s s your
intentions lucidly and forcefully: O n c e y o u u n d e r s t a n d
the art director's needs, y o u r success in m e e t i n g them
will largely d e p e n d o n h o w well you c o m m u n i c a t e with
your team. Pay careful a t t e n t i o n t o the art director, to
your team, and to y o u r c o m m u n i c a t i o n skills.
G e t t i n g a n A d v a n c e . P h o t o g r a p h e r s c o m m o n l y ask for
an advance to m e e t their e x p e n s e s b e f o r e and d u r i n g
the s h o o t . This k e e p s t h e m f r o m d e p e n d i n g o n an
i n c o m i n g cash flow at a critical time.
P h o t o g r a p h e r s must have cash on h a n d at all times.
They also must have film o n hand; it n e e d s t o b e tested
b e f o r e the shoot. Assistants e x p e c t to b e paid at the e n d
of the w o r k i n g day o r week. O t h e r miscellaneous
e x p e n s e s s o m e t i m e s include renting extra e q u i p m e n t .
In most cases, p h o t o g r a p h e r s are e x p e c t e d to pay for
lunch o n the day of the shoot. While all of these are
billable expenses, you will find that you n e e d cash o n
hand long b e f o r e you s e n d o u t y o u r bill ( s e e Chapter 8,
pages 140-41 for m o r e information on cash flow and
billing). S u p p o s e you have five jobs s c h e d u l e d in o n e
week, and f o r each job you s p e n d $600 for film,
expenses, a n d your assistants time. Obviously; an
advance f r o m the agency involved is necessary.
MANAGING THE SHOOT
Anything can h a p p e n on a shoot, even w h e n you think
every p r e p a r a t i o n has b e e n made. T h e p r o d u c t that was
s c h e d u l e d to b e delivered o n the m o r n i n g of the shoot
via the United Parcel Service d o e s n o t arrive. It is 10
o'clock in t h e m o r n i n g a n d your team is working away,
getting ready for the shoot. Can you think quickly
e n o u g h to avert a disaster?
S u p p o s e a m o d e l s h o w s u p two h o u r s l a t e o r never
shows u p at all. Your automatic reflexes have t o take
over in an instant: you must b o o k an alternative, and
first you may have to s c h e d u l e an e m e r g e n c y casting
call. Everyone with the look you want is b o o k e d , s o you
c o m p r o m i s e with a n o t h e r choice. Are you flexible
e n o u g h to shift g e a r s quickly?
T h e p r e s s u r e can b e overwhelming. S o m e p e o p l e are
not able t o c o p e with stress and high-pressured
situations. No matter what h a p p e n s o n a shoot, you
must b e professional about h o w you handle e m e r g e n -
cies. You must still deliver the final p h o t o g r a p h .
T h e s h o o t is, f o r all the p r o b l e m s that may arise, the
most joyous event in a p h o t o g r a p h e r s life: it is the time
w h e n all the preparation y o u have b e e n working o n
c o m e s together. Your e n e r g y level is at its peak. The
m o m e n t of creation is at hand.
R e s p o n s i b i l i t i e s o n t h e Set. If I have the choice of
having the art director and clients o n the set, I prefer to
have t h e m . Q u i t e o f t e n , a last-minute decision or an
adjustment t o the originally p l a n n e d layout is required.
Rather than having to m a k e the decision o n my own, it's
great if I have s o m e o n e else ( w h o has the p o w e r to
back the decision) with m e at the m o m e n t . If the final
results are n o t what they expect, they share the
responsibility. I also like to have the art directors look
through the camera, s o that they k n o w precisely what
they're getting.
Keep e v e r y o n e else off the set except for the art
director, the client, and the team. When o n e of your
team m e m b e r s is m o n i t o r i n g the m o d e l and the set, that
p e r s o n s h o u l d b e positioned directly b e h i n d you, not
six feet to o n e side. From that vantage point, he or s h e
will see everything the s a m e way the camera will.
Sometimes personality conflicts may e r u p t o n t h e set.
Deal with t h e m in a diplomatic way. but make it clear
that friction doesn't p r o d u c e fine results. Keep t h e
peace. The final o u t c o m e t h e p h o t o g r a p h you've all
been working hard to p r o d u c e i s the b o t t o m line.
Safety o n the set is an important consideration, and it
is your responsibility Extension c o r d s s h o u l d b e taped
down or placed out of the way to avoid accidents.
Coffee cups and ashtrays s h o u l d b e e m p t i e d o f t e n and
kept away f r o m clothing, film, and papers.
T h e m o d e l s are n o w o n the set a n d you a r e ready to
go. First, you will take a Polaroid at the position you will
b e shooting from. T h e Polaroid is necessary in o r d e r for
you to check the lighting a n d t o s e e t h e overall image.
Are the m o d e l s hair and m a k e u p right? Is the lighting
what the art director w a s looking for? What about
composition? Is t h e r e e n o u g h area a r o u n d the image s o
that the art director will have space for type a n d will b e
able to crop? Take a g o o d look at the Polaroid a n d
e x a m i n e every detail. Check to s e e if the model's J e f t
eye a p p e a r s t o have m o r e eye m a k e u p than her right
eye, o r if h e r dress is longer o n o n e side than the other.
If any changes are to b e made, n o w is the time to make
them. If the b a c k g r o u n d color is not as dark as you
would like, you may want t o c h a n g e the angle of t h e
lights o r lower t h e power. Details, details, detailsstudy
your Polaroids!
After c h a n g e s are m a d e , a n o t h e r Polaroid is taken to
confirm that everything is right. Several Polaroids may
need to b e taken b e f o r e the actual shooting starts.
Concentrate o n y o u r m o d e l and what s h e is project-
ing to the camera. Your team s h o u l d also b e o n set
watching for m i n o r flaws that can ruin a p h o t o g r a p h .
Perhaps a strand of hair blew across the model's face; a
s m u d g e of lipstick is o n her cheek. As the photographer,
you must b e aware of all the details. But it h e l p s to have
your team watching, too, so that you can concentrate o n
what you are capturing.
It is a g o o d idea to take a n o t h e r Polaroid f r o m time to
time w h e n you are shooting for an e x t e n d e d period, just
to b e safe. Your assistants s h o u l d also b e aware of all the
lighting to make s u r e the h e a d o n each electronic flash
unit is firing p r o p e r l y
O n c e t h e job has b e e n e x e c u t e d according t o what
the art director had in mind, you can suggest that you
try it the way you want t o shoot it. If there is e n o u g h
time left, t h e art director will b e pleased that you want
to take the time to shoot it y o u r way: It o f t e n h a p p e n s
that the art director prefers your way, a n d you will
e x p e r i e n c e a glow of satisfaction w h e n the actual,
published ad reflects your o w n idea.
Clip-Testing a n d P r o c e s s i n g F i l m . As each roll of
film is shot, y o u r assistant s h o u l d k e e p a record and
n u m b e r each roll, labeling it with the lens and the / - s t o p
you used. I also have my assistant n o t e which garment
the m o d e l was wearing and if there w e r e any lighting
changes. If I feel that a roll is going t o n e e d clip-testing,
my assistant marks it accordingly After shooting thirty or
forty rolls of film, you might find it difficult to
r e m e m b e r what you wanted t o clip-test unless good
records are kept.
After the shoot, I review the film and t h e record sheet
with mv assistant, separating the film we a r e sending out
to b e clip-tested. Here, two frames from a roll of film are
processed, s o that t h e p h o t o g r a p h e r can d e t e r m i n e if
the e x p o s u r e s o n the balance of t h e roll will n e e d to be
adjusted. If I a m busy, I will have the lab send the clips
back t o m e by m e s s e n g e r a n d judge from there. If I can
s q u e e z e it into my s c h e d u l e , I prefer to go to the lab. I
have m a d e many late-night visits to pick u p film and
review clip-testssometimes several visits in o n e night.
A clip-test can take two to three hours; the final
processing of Ektachrome takes about four hours.
However, w h e n labs are i n u n d a t e d with work, it can
s o m e t i m e s take a few m o r e u n p l a n n e d hours.
If you are s h o o t i n g Kodachrome, it is advisable to
have Kodak process the film b e c a u s e of t h e company's
quality control. In a city like New York, w h e r e fashion
a n d advertising a r e m a j o r industries, you can get
anything quickly as long as you pay the price. Fleet
m e s s e n g e r s pick u p at y o u r studio a n d take t h e film t o
New Jersey; w h e r e the Kodak plant is located. Only
h o u r s later, you will have the film delivered at y o u r
door. If t h e m e s s e n g e r service picks u p b e f o r e 10
o'clock in the m o r n i n g , you will have the film back at
about 8 o r 9 o'clock in t h e evening. Kodachrome d o e s
take a few m o r e h o u r s than Ektachrome, but the choice
is yours.
E d i t i n g F i l m . O n c e t h e film is back, I d o a quick edit
a n d take out any of t h e s h o t s in which any obvious flaws
show. I mark a red "X" o n the o n e s that are excep-
tionally g o o d , h o p i n g these marks will steer the art
director toward a shot that I consider great. Many art
directors are grateful w h e n you mark y o u r preferences.
If they are p r e s s u r e d for time, they can glance over all
the transparencies a n d concentrate o n the o n e s with
your mark. Editing can take h o u r s d e p e n d i n g o n h o w
much film w a s shot. So you may have t o s q u e e z e this
task into y o u r evenings o r wake u p earlier than usual to
edit b e f o r e y o u r next shoot.
You will s o o n find that e v e r y o n e in this business
n e e d s t h e p r o c e s s e d film yesterday Your agency may
want the Him immediately after it is delivered to you,
leaving you n o time to edit. This is another, all t o o
familiar pressure situation, especially w h e n you are in
the middle of shooting a n o t h e r job.
Solving P r o b l e m s . Reshoots are sometimes necessary
w h e n s o m e t h i n g g o e s w r o n g at the initial shoot.
D e p e n d i n g o n t h e p r o b l e m , t h e agency may o r may not
pay for the reshoot. If the agency o r client c h a n g e d its
m i n d about what it wanted (such as models, props,
location), it pays; if t h e p r o b l e m was caused by the
p h o t o g r a p h e r ( e q u i p m e n t malfunction, processing er-
ror, negligence), it is the p h o t o g r a p h e r s duty to reshoot
the assignment at n o extra charge. Reshoots that are not
the fault of the p h o t o g r a p h e r require a new purchase
o r d e r b e f o r e t h e reshoot takes place.
If t h e agency o r client decides to cancel a s h o o t
within four days before the s c h e d u l e d date, the pho-
tographer can expect to b e c o m p e n s a t e d with a
cancellation fee, which is a certain percentage of the
photographer's fee. This covers time and effort already
spent, lost bookings, and any expenses already incurred.
This fee d e p e n d s u p o n h o w m u c h notice the photogra-
p h e r is g i v e n f r o m twenty-four to ninety-six hours.
 Chapter 8

MANAGING YOUR BUSINESS

F J L . ashion photographers used to b e considered

artists, pure and simple. They were expected to he mercurial, and dramaticand certainly not
adept at bcx>kkeeping, hilling, o r accounting. Today; however, fashion photographers must have a
thorough understanding of business if their creative talent is to surface and thrive. # Because a
lackadaisical attitude toward business details contributes to the failure of many fledgling
photographers, the point is worth repeating: talent alone is not enough to make you a successful
fashion photographer. Staying o n top of mountains of paperwork, keeping careful records of all
accounts, handling financial and legal matters, and maintaining existing clients and pursuing new
ones occupies a large portion of your work week. And, unless you are lucky e n o u g h to have a rep
(an agent), you must meet with these potential clients and continually promote yourself. You must
enter the fashion photography field with soaring energy and e n o r m o u s self-motivation. Assistants
often tell me that they want to sh(X)t fashion because they can make a great deal of money; meet
attractive models and other interesting people, and spend their time in glamorous settings by
working in this field. # But fashion photography involves much m o r e than simply picking up your
camera and photographing a pretty model wearing a new design. It is a highly competitive business
that requires skill, careful attention to detail, enthusiasm, and the willingness to d o hard work. If you
want to succeed in this demanding field, you must be ready to give it your all. However, you still
need something else to break into fashion photography because of the overabundance of
photographers. You must have an edge. #
GIVING YOURSELF AN EDGE
To d e v e l o p an e d g e in t h e fashion p h o t o g r a p h y busi-
ness, y o u must first c r e a t e y o u r o w n individual style. As
suggested earlier, y o u can d o this by b e c o m i n g a fashion
p h o t o g r a p h e r s assistant, e x p e r i m e n t i n g o n y o u r own,
and d o i n g test shoots. T h e p r o m o t i o n a l pieces that you
will eventually s e n d o u t t o potential clients must reveal
y o u r p h o t o g r a p h i c "voice." A distinctive look to y o u r
p h o t o g r a p h s a n d a professionally d e s i g n e d logo will
increase y o u r c h a n c e s of making a lasting impression on
prospective clients and art directors and getting assign-
ments. You have t o convince t h e right p e o p l e that out of
the h u n d r e d s of p h o t o g r a p h e r s w h o want a particular
assignment, you are the o n e w h o best m e e t s their n e e d s
and can e n a b l e t h e m to achieve their goal.
FORMING YOUR BUSINESS
O n c e y o u successfully launch y o u r career as a fashion
photographer, you will n e e d to k n o w the basics of
managing y o u r h a r d - w o n business. Then, as y o u r
reputation g r o w s and the n u m b e r of assignments you
receive increases, you will n e e d t o revise y o u r current
m e t h o d s of o p e r a t i o n . Be flexible and o p e n to n e w
ideas. T h e following s e t u p a n d systems w o r k well for
m e and will h e l p you establish y o u r o w n b u s i n e s s
practices. R e m e m b e r : f e w hard-and-fast rules exist. You
have several o p t i o n s to c o n s i d e r w h e n f o r m i n g your
fashion p h o t o g r a p h y business.
I n c o r p o r a t i n g . A p r i m a r y reason a p h o t o g r a p h e r
i n c o r p o r a t e s his o r h e r business is to limit personal
liability"A c o r p o r a t i o n is a s e p a r a t e entity f r o m t h e
p h o t o g r a p h e r in private life, and s h o u l d a catastrophe
occur, t h e p h o t o g r a p h e r s p e r s o n a l assets are protected.
(You have to tile with state agencies to i n c o r p o r a t e your
business. An accountant can take you t h r o u g h the
necessary p a p e r w o r k , o r you can d o most ol it yourself
with p u b l i s h e d guidelines.)
S C o r p o r a t i o n s . This form of business o w n e r s h i p
offers a p h o t o g r a p h e r a c o r p o r a t e shield for liability, but
profits a n d losses of the c o r p o r a t i o n flow to the
p h o t o g r a p h e r and must b e reflected o n his or h e r
individual tax return.
S o l e P r o p r i e t o r s h i p . This is the simplest form of
business. T h e p h o t o g r a p h e r a l o n e is t h e o w n e r of his o r
h e r c o m p a n y a n d is solely responsible f o r debts. T h e
p h o t o g r a p h e r can cover personal liability with a d e q u a t e
insurance. You are r e q u i r e d to r e p o r t the i n c o m e f r o m a
sole p r o p r i e t o r s h i p o n y o u r p e r s o n a l i n c o m e tax return
using a Federal I n c o m e lax F o r m S c h e d u l e C.
P a r t n e r s h i p . With this arrangement, the p h o t o g r a p h e r
shares o w n e r s h i p of the b u s i n e s s with a n o t h e r person.
You may b e r e s p o n s i b l e for y o u r p a r t n e r s actions and
c o m m i t m e n t s that can b e d e e m e d to b e within the
f r a m e w o r k of v o u r business.
HIRING STAFF MEMBERS
The fashion p h o t o g r a p h y business is unique, and each
studio o p e r a t e s differently Photographers o f t e n add or
subtract p e r s o n n e l and shift responsibilities a m o n g staff
members.
O f f i c e A s s i s t a n t s / S e c r e t a r i e s . In general, I usually
have t h r e e p e o p l e working in my s t u d i o with m e at o n e
time. Randee, my office assistant/secretary, has w o r k e d
with m e for ten years. Her responsibilities include
answering m u c h of my personal and business corre-
s p o n d e n c e , as well as the t e l e p h o n e ; bookkeeping;
scheduling a p p o i n t m e n t s ; a n d working o n the special
projects I'm involved in, such as books, p r o m o t i o n a l
events, and magazine articles. Randee rarely goes on
shoots, but s h e h a n d l e s all of the p a p e r w o r k each job
entails; this includes estimates a n d invoices. T h r o u g h
the years, s h e has b e c o m e familiar with most areas of
my business.
S t u d i o M a n a g e r s . In my situation, the position of
s t u d i o m a n a g e r is actually a paid apprenticeship. All of
my s t u d i o m a n a g e r s have b e e n young, e n e r g e t i c individ-
uals w h o s e career goal is to work in the fashion field.
Their responsibilities include filing slides, o r d e r i n g
p h o t o g r a p h y e q u i p m e n t and film, making follow-up
t e l e p h o n e calls, and acting as my liaison with processing
labs. Studio m a n a g e r s are usually c o m p e t e n t technically
and a c c o m p a n y m e to s h o o t s as a s e c o n d assistant.
I n t e r n s . Having an intern on staff can b e a rewarding
e x p e r i e n c e for b o t h the p h o t o g r a p h e r and the intern. A
p h o t o g r a p h e r can always use an extra pair of hands. And
for the intern, helping a professional p h o t o g r a p h e r is an
invaluable opportunity. Interns learn that the world of
fashion p h o t o g r a p h y is not all glamour. Perhaps com-
pletely unaware of t h e business s i d e of fashion photog-
raphy, they realize that t h e daily p r o c e d u r e s involved in
r u n n i n g a studio are time-consuming, repetitious, and
o f t e n tedious. They also see firsthand that the h o u r s can
be quite long and can d e c i d e w h e t h e r or not this is the
right field for them.
SETTING U P YOUR FILING SYSTEM
A meticulously maintained filing system is essential to
the s m o o t h o p e r a t i o n of any business. W h e n I first
started m y p h o t o g r a p h y business, I u s e d o n e file-card
b o x with individual c a r d s a r r a n g e d alphabetically ac-
c o r d i n g t o last n a m e o r c o m p a n y name. I was able to fit
all the i n f o r m a t i o n 1 n e e d e d in that single box; this
i n c l u d e d listings for advertising agencies, set stylists,
hairstylists, m a k e u p artists, m o d e l s , m o d e l i n g agencies,
p r o c e s s i n g labs, d e p a r t m e n t stores, a n d assistants.
As I a d d e d c a r d s f o r n e w contacts, I realized that 1
w o u l d have to categorize t h e m for efficiency's sake. I
o r g a n i z e d s e p a r a t e b o x e s f o r each of the following
groupings:
Advertising Agencies (eventually, I had t o p u t the large
n u m b e r of cards listing N e w York City-based advertis-
ing agencies in a s e p a r a t e b o x )
A d v e r t i s e r s c o m p a n i e s that advertise their p r o d u c t s
without using advertising agencies
Personnelassistants, set stylists, hairstylists, and
m a k e u p artists
Planning a S e s s i o n m o d e l i n g agencies, p r o p h o u s e s ,
locations, studios, a n d p r o c e s s i n g labs
Styling a S e s s i o n s o u r c e s f o r clothing, jewelry; and
accessories
Assembling a Promotional P i e c e g r a p h i c artists, stat
houses, and printers
D e s p i t e my n e w system, t h e a m o u n t of" information
was still u n m a n a g e a b l e , and the c a r d s quickly b e c a m e
disorganized. For e x a m p l e , if I p l a n n e d t o style a s h o o t ,
1 pulled the c a r d s I w o u l d n e e d f o r t h e day; call t h e
various p e o p l e a n d places 1 w a n t e d f o r the job; and t h e n
leave t h e c a r d s for my office assistant, s o that s h e c o u l d
m a k e t h e follow-up t e l e p h o n e calls. And, b e c a u s e this is
a h i g h - p r e s s u r e business, R a n d e e and 1 d e v e l o p e d t h e
bad habit of not refiling t h e cards. We never s e e m e d t o
"have a f r e e m i n u t e " t o refile the cards, which con-
tinued t o pile up. I w o u l d s o m e t i m e s try to o r g a n i z e
t h e m in g r o u p s a c c o r d i n g t o w h i c h b o x they s h o u l d b e
r e t u r n e d to, b u t quickly r e a c h e d t h e point w h e r e w e
had t o s e a r c h t h r o u g h the various piles f o r ten m i n u t e s
to find t h e o n e w e n e e d e d .
Finally, I m a d e a r u l e that all c a r d s had to b e reliled
by t h e e n d of t h e day, a n d w e tried to a d h e r e to it. We
also d e v i s e d a n e w plan: jotting d o w n the information
o n a c a r d into n o t e b o o k s r a t h e r than r e m o v i n g the card.
And, w h e n w e d i d take the c a r d o u t of the box, w e
t u r n e d the c a r d b e h i n d it o n its s i d e in o r d e r to replace
it easily.
In addition to t h e s e file b o x e s , which held o n l y
i n f o r m a t i o n I might n e e d at a glance, I had a file cabinet
containing h a n g i n g folders. Here, I k e p t c o r r e s p o n -
d e n c e ( o n e folder f o r i n c o m i n g c o r r e s p o n d e n c e , o n e
for copies of o u t g o i n g c o r r e s p o n d e n c e ) , a n d s e p a r a t e
files for m o d e l releases, estimates, records of outstand-
ing accounts, and the r e s u m e s of potential assistants. I
had individual files for receipts f o r paid bills ( o n e file
f o r those paid by check, and a n o t h e r for t h o s e paid for
with c a s h ) a n d t h r e e s e p a r a t e f o l d e r s for miscellaneous
e x p e n s e s ( o n e for m e s s e n g e r receipts, o n e f o r car
service receipts, a n d o n e for taxi receiptsall filed in
o r d e r by date). T h e b o o k k e e p i n g i n f o r m a t i o n n e e d e d
f o r tax p u r p o s e s was k e p t with my ledger.
At long last, I k n e w exactly w h e r e everything was.
And, I was lucky e n o u g h t o have Randee, my office
assistant w h o h a d b e e n with m e f r o m the s t a r t a n d
w h o k n e w w h e r e to find just a b o u t everything.
COMPUTERIZING YOUR OFFICE
With the n u m b e r of slides and t h e a m o u n t of p a p e r w o r k
p h o t o g r a p h e r s must k e e p track o f i n c l u d i n g informa-
tion about assistants, m o d e l s , stylists, art directors,
m o d e l i n g and advertising agencies, p r o c e s s i n g labs, a n d
p r o p houses; assignment records; bills; receipts; a n d
c o r r e s p o n d e n c e m a n y quickly realize that they must
invest in a c o m p u t e r . Like m a n y o t h e r small b u s i n e s s
o w n e r s , I s o o n d i s c o v e r e d that my m a n u a l organiza-
tional systems simply w e r e n o t efficient, a d e q u a t e , or
s p e e d y e n o u g h . My i n d e x c a r d s filled m o r e than fifteen
boxes, a n d , d e s p i t e t h e careful labeling, it o f t e n took
R a n d e e and 1 h o u r s t o g a t h e r slides f o r a stock
p h o t o g r a p h y request. Even just collecting all t h e infor-
mation I n e e d e d to c o m p l e t e my tax r e t u r n s was a
lengthy a n d t e d i o u s process.
Finally, a f t e r giving t h e idea m u c h thought a n d
investigating the various o p t i o n s available, I d e c i d e d to
b u y a c o m p u t e r . I was hesitant b e c a u s e setting up a
c o m p u t e r system is q u i t e e x p e n s i v e a n d time-consum-
ing. You must b e willing to s p e n d a large a m o u n t of
m o n e y o n the e q u i p m e n t a n d a great deal of t i m e in
finding the c o m p u t e r best suited t o y o u r n e e d s a n d
learning h o w the system works.
Programming the computer, arranging and preparing
the files a n d r e c o r d s to b e input, and f e e d i n g in all the
information t o o k a long time, but was well w o r t h the
effort. I feel m u c h m o r e in control of m y s t u d i o a n d
b e t t e r able to m a n a g e it. And, w h i l e transferring the files
and i n f o r m a t i o n to the c o m p u t e r , I eliminated many
r e c o r d s that w e r e n o l o n g e r necessary T h e p r o c e s s also
f o r c e d m e to call agencies a n d creative p e r s o n n e l t o
u p d a t e m y r e c o r d s . My assistant and I a r e n o w able t o
k e e p this information c u r r e n t o n a daily basis and to
locate it m u c h m o r e easily.
O n c e y o u set u p t h e basic system, y o u s h o u l d look
into the different s o f t w a r e p a c k a g e s o n the market. T h e
w o r d p r o c e s s i n g p r o g r a m I c h o s e allows my assistant to
accomplish m o r e " p a p e r w o r k " in less time, and I a m
a b l e t o d o mass mailings and c o r r e s p o n d e n c e that I
used tq contract out.
A w o r d of caution: don't c o n s i d e r buying a c o m p u t e r
system u n l e s s y o u are willing to invest the length of
time r e q u i r e d t o learn h o w t o u s e it efficiently, t o edit
and o r g a n i z e y o u r files, a n d t o e n t e r all t h e information.
SELECTING A REPRESENTATIVE
When y o u d e c i d e t o m a k e fashion p h o t o g r a p h y your
career, you give u p the luxury of d e p e n d i n g o n a n y o n e
else f o r y o u r livelihood for a time. O n c e established,
y o u may want t o h i r e a representative. But a g o o d rep
s o m e o n e who, in addition t o b e i n g enthusiastic about
y o u r photography, is reliable and r e s o u r c e f u l i s invalu-
able and h a r d t o find.
Why are g o o d r e p s rare? They have t o m a k e contacts;
d o the necessary legwork, taking y o u r portfolio a r o u n d
to e v e r y art director in t o w n , follow up; b o o k y o u r jobs;
negotiate fees; m a k e s u r e you receive payment; and act
as a b u f f e r b e t w e e n y o u a n d y o u r clients, w h i c h relieves
you of many p r o b l e m s . Reps also p r o v i d e p e a c e of
m i n d . W h e n you are busy s h o o t i n g , it's c o m f o r t i n g to
k n o w that s o m e o n e y o u trust is p r o m o t i n g your
p h o t o g r a p h y a n d soliciting n e w w o r k for you. T h e
p e r c e n t a g e y o u must pay a r e p is o f t e n w o r t h it.
Finding an individual to represent you is difficult for
o t h e r reasons as well. Successful r e p s w h o have b e e n in
t h e fashion p h o t o g r a p h y business f o r many years are
usually satisfied with their artists. And, if they d e c i d e t o
e x p a n d , they take o n well-established p h o t o g r a p h e r s
with substantial billing. Such reps look for portfolios
filled with tearsheets, not tests.
Reps also want to work f o r p h o t o g r a p h e r s w h o have a
specific style; they're not interested in s o m e o n e w h o
claims to b e able to d o a d o z e n things well. Their clients
usually p r e f e r a particular look, a n d r e p s build their
r e p u t a t i o n s b y filling t h e s e needs.
Having a r e p allows y o u to c o n c e n t r a t e o n y o u r
p h o t o g r a p h y Remember, however, t o c h o o s e o n e care-
fully: a r e p is a representation of you and y o u r work.
You and y o u r r e p must w o r k t o g e t h e r closely and b e
c o m m i t t e d to y o u r joint goals and s h a r e d respon-
sibilities. You will want to feel satisfied with your rep's
services. You will want to k n o w that y o u r r e p is e a r n i n g
his o r h e r c o m m i s s i o n . Reps receive approximately a 25
percent c o m m i s s i o n o n all advertising assignments, less
for editorial jobs, a n d a negotiable fee f o r house
accounts, which are accounts a p h o t o g r a p h e r has
b e f o r e signing a contract with a rep. Percentages vary
until t h e r e p b r i n g s in a substantial a m o u n t of work.
I find that I'm m y o w n best "rep." My work is of
p a r a m o u n t i m p o r t a n c e to m e , and I k n o w it better than
a n y o n e else does. I enjoy contacting clients and art
directors personally; and I think that it m a k e s the shoot
g o m o r e s m o o t h l y After all, I am the p e r s o n they have
to work with. Also, as my o w n "rep," 1 a m a b l e to build
lasting relationships with clients and art directors. As a
result, 1 don't have to w o r r y about b e i n g c o n s i d e r e d an
e x c h a n g e a b l e c o m m o d i t y W h e n y o u r r e p builds and
sustains a relationship with a client, y o u risk the
possibility that t h e r e p will move o n to a n o t h e r
p h o t o g r a p h e r and take t h e client along.
UTILIZING YOUR MAILING LIST
O n c e you are a n established photographer, you will
have a c o m p r e h e n s i v e list of advertising agencies, o t h e r
potential clients, and creative p e r s o n n e l . In o r d e r to u s e
the list efficiently w h e n you s e n d out p r o m o t i o n a l
pieces, you must u p d a t e it periodically. Make it a habit
to call all the advertising agencies f r o m time to time to
get c u r r e n t information a b o u t their p e r s o n n e l . Also, b e
s u r e to n o t e which c o m p a n i e s and clients r e s p o n d e d
favorably to y o u r earlier mailings: they will probably b e
interested in s e e i n g y o u r latest work.
Keep abreast of p e r s o n n e l changes in the editorial
market as well. If y o u are leaning t o w a r d this market,
you can k e e p y o u r p o r t f o l i o circulating continuously.
O n c e a year, you may c h o o s e to d o a mass mailing,
s e n d i n g p r o m o t i o n a l c a r d s to every n a m e o n y o u r
mailing list. Keep in mind, however, that w h i l e a mass
mailing circulates y o u r n a m e , it d o e s n ' t necessarily
attract n e w business. You s h o u l d also target smaller
mailings to art d i r e c t o r s w h o work o n fashion, beauty; or
similar accounts.
Of c o u r s e , the best advertisement of y o u r abilities is a
job well d o n e . Your reputation, g o o d o r bad, p r e c e d e s
y o u a n d any p r o m o t i o n a l material you s e n d to potential
clients.
MAINTAINING CLIEN T INTEREST
Although p h o t o g r a p h e r s have a clear advantage with
clients w h o w e r e pleased with their work, they can't
allow business relationships to remain static. As a
fashion p h o t o g r a p h e r , you can't e x p e c t your n a m e to
immediately s p r i n g into an art director's m i n d w h e n a
n e w project is b e i n g p l a n n e d simply b e c a u s e you did a
great job earlier. You must check in with the art director
f r o m t i m e to time by mail and by t e l e p h o n e . Show art
directors y o u r n e w work. Advise t h e m of n e w projects
you're involved in. Also, b e s u r e to k e e p track of the art
directors y o u k n o w as they m o v e from agency to agency:
PROTECTING YOUR BUSINESS
Setting u p a fashion p h o t o g r a p h y b u s i n e s s takes a great
deal of time, effort, a n d m o n e y Protecting y o u r invest-
ment is critical. Find o u t what is r e q u i r e d of y o u legally,
and learn y o u r rights. I n s u r e y o u r images, y o u r e q u i p -
ment, and y o u r w o r k s p a c e . You must also maintain
accurate r e c o r d s of all transactions and k e e p receipts as
written p r o o f of t h e m . For additional information, 1
suggest that you r e f e r t o The tegal Guide for the Visual
Artist (Madison S q u a r e Press).
G e t t i n g I n s u r a n c e . P h o t o g r a p h e r s have specialized
insurance n e e d s , s o m a k e certain that y o u r policy
p r o v i d e s y o u with a d e q u a t e c o v e r a g e for y o u r business.
It w o u l d b e a disaster if a n accident o c c u r r e d in y o u r
s t u d i o o r o n location o n a n assignment, and you did not
have p r o p e r i n s u r a n c e coverage. You could lose y o u r
business, get into s e r i o u s d e b t permanently; and even
j e o p a r d i z e y o u r p e r s o n a l assets. Major i n s u r a n c e car-
riers have "packages" that usually i n c l u d e the following.
Studio Insurance. This t y p e of coverage includes fire,
theft, a n d w a t e r d a m a g e f o r t h e p r e m i s e s that are
insured.
Camera Insurance. This t y p e of i n s u r a n c e covers fire,
theft, and w a t e r d a m a g e w o r l d w i d e ( w h e r e v e r you take
y o u r camera). Make s u r e that you a r r a n g e f o r this
insurance o n a r e p l a c e m e n t cost basis r a t h e r t h a n a
d e p r e c i a t i o n cost basis. In case of accident o r theft, you
want to b e c o v e r e d for the full costs of replacing t h e
e q u i p m e n t , r a t h e r than f o r the d o l l a r a m o u n t t h e
d a m a g e d or stolen g o o d s w e r e w o r t h at the time.
Valuable Papers Insurance. This coverage includes film
and c o v e r s e x p e n s e s t o r e s t o r e film to t h e condition it
was in p r i o r to d a m a g e . However, this clause e x c l u d e s
c a m e r a malfunction, lab errors, and bad film.
Bailee Insurance. This covers o t h e r p e o p l e s p r o p e r t y in
y o u r care, custody; or c o n t r o l f o r fire, theft, o r water
d a m a g e . You can e x t e n d this i n s u r a n c e t o cover
u n n a m e d locations a n d transit. This is important if you
k n o w that you will b e s h o o t i n g in a rental studio, in
s o m e o n e else's h o m e , o r o n location.
Although most fashion d e s i g n e r s have insurance that
covers l e n d i n g their clothing f o r p h o t o g r a p h y shoots,
s o m e insist that y o u have extensive c o v e r a g e e s -
pecially w h e n y o u are w o r k i n g o n location for a w e e k
with a $50,000 f u r coat o r t h r e e $30,000 original
designs. T h e d e s i g n e r s will r e q u e s t a copy of y o u r
i n s u r a n c e f o r m and a c o n f i r m a t i o n letter f r o m y o u f o r
their files. This letter must specify such details as t h e
time of the pickup, the destination, a n d the d a t e the
g a r m e n t s will b e r e t u r n e d .
Basic b a i l e e i n s u r a n c e d o e s n o t cover jewelry; furs,
silverware, o r coins.
Commercial General Liability Insurance. This type of
coverage includes bodily injury o r p r o p e r t y d a m a g e t o
o t h e r p e o p l e o r their property, for which y o u w o u l d b e
legally liable ( u p t o o n e million dollars). Basically; this
i n s u r e s y o u f o r "trips a n d falls." For e x a m p l e , if you a r e
o n location and a tripod falls o v e r and h a r m s an
individual o r a p i e c e of property, you are covered.
Liability e x c l u d e s any b e n e f i t s c o v e r e d by w o r k m a n ' s
c o m p e n s a t i o n o r disability i n s u r a n c e ( s e e below). This
coverage also e x c l u d e s any injury o r d a m a g e associated
with a u t o m o b i l e s , watercraft, aircraft, o r pollution, as
well as d a m a g e t o t h e p r o p e r t y of o t h e r s that is in y o u r
care, custody, o r control.
line Arts Insurance. This t y p e of i n s u r a n c e covers art
objects in y o u r custody or o w n e d by you. It i n c l u d e s
transit coverage for o t h e r p e o p l e s p r o p e r t y f o r which
you may b e r e s p o n s i b l e w h i l e traveling.
Portfolio Insurance. This c o v e r a g e provides for the cost
of duplicating y o u r portfolio.
Non-Owned and Hired Automobile Liability Insurance.
This c o v e r s you o n an e x c e s s basis for bodily injury o r
p r o p e r t y d a m a g e for w h i c h y o u are legally liable a n d
w h i c h is t h e result of t h e u s e of a n o n - o w n e d or h i r e d
a u t o m o b i l e . This c o v e r a g e d o e s n o t i n c l u d e vehicle
damage.
Workman's Compensation Insurance. This coverage
r e i m b u r s e s a n e m p l o y e e hurt o n the j o b f o r medical
e x p e n s e s a n d a p o r t i o n of the e m p l o y e e s i n c o m e . In
N e w York State, f o r e x a m p l e , you are r e q u i r e d to have
w o r k m a n ' s c o m p e n s a t i o n coverage w h e t h e r o r not y o u
incorporate.
Disability Insurance. N e w York State r e q u i r e s you to
carry state disability insurance. This covers e m p l o y e e s
w h o are i n j u r e d off the j o b as a result of accident o r
sickness and p r o v i d e s t h e m with 50 p e r c e n t of their
i n c o m e ( u p to $145 p e r w e e k ) f o r a m a x i m u m of
twenty-six weeks.
A final n o t e : homeowners insurance d o e s not cover
b u s i n e s s liabilities. If v o u live and w o r k in the s a m e
place, you need both h o m e o w n e r s and commercial
insurance. Obtaining both policies f r o m t h e s a m e
company will help you to avoid p r o b l e m s w h e n filing
a claim.
H a n d l i n g F i n a n c i a l Matters. In a perfect world,
p h o t o g r a p h e r s simply would d o their work and get paid
for their efforts. Unfortunately; a p h o t o g r a p h e r s work
d o e s not e n d w h e n h e o r she receives payment.
Photographers must pay taxes, plan their expenditures,
a n d accurately estimate their overhead. Also, freelance
work leads to an inconsistent cash flow.
For these reasons, you s h o u l d find a g o o d accountant
as s o o n as you are established. Look for a professional.
An accountant will h a n d l e all of t h e financial c o n c e r n s
associated with your business wisely and will, in the
long run, save you money.
Keeping Daily Records. A careful accounting of expen-
ditures is essential in t h e fashion photography business.
T h e Internal Revenue Service requires proof of every
deduction. You must b e able t o verify travel and
entertainment expenses, so k e e p and file receipts and
cancelled checks. Also, w h e n you entertain a client, n o t e
the individuals ( o r individuals') n a m e and business
connection, as well as the date. 1 use my appointment
book as if it w e r e a diary; marking d o w n all of my
business meetings, a n d 1 retain books f r o m earlier years
in case I am audited.
To k e e p track of day-to-day expenses, I file all my
receipts by date in separate folders labeled "Cash,"
"Checks, I'axis," "Car Service," and "Messenger Set-
vice. My assistant takes care of the bookkeeping, and I
leave the m o r e complicated aspects of accounting to a
professional accountant. He organized my ledger using
the following headings:
Accountant s Fees Maintenance a n d Repairs
Advertising Messengers
Agent s Cc>mmissic>ns New Equipment
Answering Service Postage
Assistant Fees Promotion
Donations Props
Dues and Publications Sales Tax
Entertainment and Meals Shareholder
Equipment Rental Stationery-
Film and Processing Studio Supplies
General (Amount/Reason) Telephone
1 lotel Accommodations Transportation
Location Fees Travel
At the end of the year. I tally up my cash receipts and
my expenditures, a n d my accountant prepares my tax
returns shortly thereafter. (You will b e expected to file
quarterly sales tax returns.)
Establishing Credit. Its a smart idea to get a credit card
strictly for business expenditures. You will regularly
receive a breakdown of your charges, so keeping track
of entertainment and travel e x p e n s e s is simplified.
Its also m u c h easier to d o business o n a day-to-day
basis if you have professional charge accounts with
processing labs, repair shops, and messenger services.
This eliminates having to pay each time you use the
service. T h e monthly statements these companies send
also help to organize your bookkeeping. You must file
your resale certificate n u m b e r with each v e n d o r w h o s e
services you employ; s o that you will not b e charged
sales tax.
Billing Clients. When billing a client, you must include
the sales tax percentage applicable in the state in which
h e o r she conducts business. Add that amount to the
subtotal for your fees a n d expenses. Many clients will
also have a resale number This is the authorization that
companies n e e d in o r d e r to collect tax. If they do, you
d o not have to charge t h e m sales tax. but you d o have to
k e e p their resale certificates o n file. Always ask your
clients to provide you with their certificate. (Having
pads of resale certificates o n hand is a smart idea. You
can p u r c h a s e them at any stationery supply store. .As a
professional photographer, you have to both supply
these certificates t o v e n d o r s you patronize and collect
t h e m from your o w n clients.)
If you d o collect sales tax f r o m clients, it may be wise
to deposit this m o n e y in a separate account as soon as
you receive payment. This p r o c e d u r e can help c u r b
your urge to s p e n d m o n e y that isn't actually yours. Many
businesses default because they s p e n d the sales tax
m o n e y they collect a n d have difficulty paying t h e
government w h e n it is d u e If your payment is late, you
quickly incur penalties and interest fees.
When p r e p a r i n g the bill, always include the n a m e s of
both the client and the advertising agency Then, if the
agency s h o u l d g o out of business unexpectedly, you can
contact the client to get the m o n e y you earned.
Be sure to mail your invoice as soon as you can o n c e
you have c o m p l e t e d the assignment. Companies calcu-
late t h e 30-to-60-day period as starting with the date on
your invoice, not the date t h e work was done. Every day
you wait is a n o t h e r day you don't have the m o n e y that is
rightfully yours.
The billing form r e c o m m e n d e d by t h e Advertising
Photographers of America (APA) is a standard form that
can be altered according to your individual needs. This
gives you an e x a m p l e of what is billed a n d h o w it is
presented in bill form.
When you have y o u r o w n f o r m s printed, it will b e
very helpful to the agencies you work with if you print
your tax n u m b e r o r social security n u m b e r in the
address area at the top. Contact the APA for a s a m p l e
estimate/invoice f o r m , o n t h e reverse side of which
there are a n u m b e r of terms a n d conditions which your
lawyer s h o u l d review t o make certain that they meet the
legal r e q u i r e m e n t s of your state of residence.
Determining Cash Flow. Never count your m o n e y
b e f o r e its in y o u r account. Don't p u r c h a s e $3,000 worth
of n e w e q u i p m e n t o n Tuesday because you c o m p l e t e d a
$5,000 job o n Monday. I e x p e c t payment thirty days after
my client receives an invoice, but s o m e clients routinely-
pay sixty t o ninety days from the receipt of an invoice.
Each business has its o w n payment policy. I routinely
s e n d out s e c o n d notices after thirty days a n d make
follow-up t e l e p h o n e calls.
Paying Hills. Reviewing all your bills yourself is essen-
tial. I have f o u n d mistakes, such as m e s s e n g e r runs that
were not m i n e a n d double-billing for film processing. If
you don't set aside time for this, you must ask your
office assistant to d o it. I also suggest that you double-
check the b o o k k e e p i n g of all of your suppliers.
G u a r d i n g C o p y r i g h t O w n e r s h i p . Who owns a pro-
fessional p h o t o g r a p h e r ' s transparencies? According to
copyright laws, you a r e t h e creator and o w n e r of your
p h o t o g r a p h s from t h e m o m e n t you create them. Hut
you s h o u l d protect yourself f r o m any possible misun-
derstandings with clients by including a copyright notice
with y o u r estimate and invoice. Even though a client has
paid for t h e filmthe u n e x p o s e d filmthe image is
your work, and you o w n the rights to it. You may;
however, transfer that right if you wish by express
written agreement.
J o i n i n g P r o f e s s i o n a l O r g a n i z a t i o n s . Associations for
p h o t o g r a p h e r s and o t h e r professionals can provide you
with valuable information to help you safeguard your
business and m a n a g e it professionally These organiza-
tions s p o n s o r special events and discussion g r o u p s for
sharing ideas, networking, a n d solving problems.
APA was f o r m e d by a g r o u p of p h o t o g r a p h e r s in the
advertising market w h o u n d e r s t o o d the necessity of a
forum t o e x c h a n g e information. T h e associations spe-
cial bulletins a n d bimonthly newsletter report o n and
discuss b o t h n e w a n d continuing d e v e l o p m e n t s in the
p h o t o g r a p h y business. APA also has a hotline that
m e m b e r s can call for answers t o questions. APA believes
that "improving b u s i n e s s practices for all p h o t o g r a p h e r s
will h e l p each photographer."
T h e American Society of Magazine Photographers
(ASMP) was f o r m e d in 1944 "to improve t h e circum-
stances of working p h o t o g r a p h e r s ; to safeguard a n d
protect their interests; to maintain a n d p r o m o t e t h e
highest standards of p e r f o r m a n c e and ethics; a n d to
cultivate friendship and u n d e r s t a n d i n g a m o n g profes-
sional photographers." ASMP has thirty-one chapters and
three s u b c h a p t e r s across the United States. These
provide s u p p o r t g r o u p s a n d learning centers.
As you can see, the b u s i n e s s of fashion p h o t o g r a p h y
e n c o m p a s s e s m o r e than just glamour. To succeed as a
fashion photographer, you must b e artistic and business-
oriented, and imaginative and practical.
 CREDITS

FRONT MATTER P A G E 2 9 , RIGHT Mode! Laurie Faith G i n s b e r g ; Hackdrop. Charles Broderson

PAGE L Moilel J o k o Z o h r e r ; Hairstylist Ron C a p o z z o l i ; Makeup Artist Richard PAGE 30 Model A m i e M o r g a n ; Hair and Makeup Artist- Barry Baz
A d a m s ; Location Tlie P u c k B u i l d i n g PAGE 3 3 Model H e n r i e t t a L n r d . Hair and Makeup Artist: S i e g f r i e d
PAGE 5 Mode! S m a d a r ; lUiir and Makeup Artist: J e r r y M y l n e c h e k ; Clothing Kip PAGE 3 4 Models Patrick St Clair a n d B e t h R u p e r t ; Hair and Makeup Artist. Mark
Kirkendall Lindsey; Stylist Jack S t a u b
PAGE 35 Mot/el R e g i n e D a c h e t ; Clothing Nina Ricci. Location Nina Ricci
PAGES 6 -7 Model Jill Peek Williams; Clothing: J e a n - C l a u d e d e L.uea
Showroom
PAGE 37 Models A n d r e w Plucinski.Jill C h a p m a n , a n d D o n n a Barnes; Hair and
INTRODUCTION
Makeup Artist E l i z a b e t h R o s z k o w s k a ; Clothing O r a F e d e r . Location The
PAGE 8 .l/otft'/-Juliette; Hairstylist:Joanne D i P r i m a . M a k e u p Artist: S i e g f r i e d Columas
PAGE 9 Model Lisa Zari. Hair and Makeup Artist Carrado di Gcnova PAGE 3 8 Moilels: J e n n i f e r F u h r a n d S h a w n Crist; Location The* C o l u m n s
CHAPTER 1 PAGE 3 9 Model K a t h l e e n Vigeland; Clothing Only Hearts
PAGE L I Model Karen O ' S h e a ; I lair and Makeup Artists: Rosaly a n d S h e r e Lyn; PAGE 4 0 Model Lisa Zari
Stylist R o n d i C u l l e r ; Clothing G i v e n c h y Furs PAGE 4 1 Models: Olivia Toscani a n d I ' t a S a n d e r Hair and Makeup Artist Dennis
PAGE 12 Model S h a w n Crist. Clothing J e f f r e y Banks, Location. The Columns G a e t a n o . Stylist. J o a n Roland; Clothing Paula Varsalona
PAGE 1 3 Model: J u l i e t t e ; Hairstylist J o a n n e D i P r i m a ; Makeup Artist Siegfried
PAGE 14 Model J o k o Z o h r e r ; Hairstylist Ron C a p o / 7 o l i ; Makeup Artist Richard CHAPTER 3

A d a m s ; Jewelry Richelieu PAGE 4 2 Team Memt>ers ( s t a n d i n g ) Lucille K h o m a k . [ i l x > t o g r a p b e r ; Stephanie'

PAGE 15, T O P Model. R o g e r i o . Eyeglasses Alfa R o m e o Romanov; model. G r a n t L e D u c . photographer's assistant, Barry Baz. Ixtirand
PAGE 1 5 , BOTTOM Model C o r e y C o r b i n , Hair and Makeup Artist AkiraMitani; makeup artist, ( s e a t e d ) Patty M c G u r n , p / x > t O g r a p l f e r ' s assistant-, S a b i n o C a p u t o ,
Stylist N a n a Alusick, Clothing A n d r e Van Pier art director, Karen Janus, client's assistant. Monica Kasann. client. N a n a - Wblfson,
PAGE 1 6 . TOP Model B e t h R u p e r t ; Hair and Makeup /Vtist Mark Lindsey; Stylist stylist-, and Allan J a r o s z . account executive
Jack S t a u b PAGE 4 3 , BOTTOM Mode! Kristine O u l m a n Stylist. Nancy Alusick
PAGE 16. BOTTOM Models B e t h R u p e r t a n d Patrick St Clair. Hair and Makeup PAGES 4 4 - 4 5 Model Jack K r e n e k ; E y e g l a s s e s Salilo
Artist: Mark Lindsev. Stylist: Jack S t a u b PAGE 4 7 Model K a r e n O ' S h e a ; Stylist: Rondi Coller
PAGE 17 Model: B e t h R u p e r t ; Hair and Makeup Artist: Mark Lindsey. Stylist Jack PAGES 4 8 - 4 9 Mode! Kristine O u l m a n . I lair and Makeup Artist Mark Lindsey,
Staub Stylist Nancy Alusick
PAGE I S Model: K a r e n O ' S h e a . Hair and Makeup Artists Rosaly a n d S h e r e Lyn; PAGE 5 0 Model J o a n n e Russell; Hairstylist Ron C a p o z z o l i Makeup Artist: Richard
Stylist Rondi Coller; Clothing, ( l i v e n c h v Furs A d a m s ; Jewelry: D i a n e Von F u r s t e n b e r g
PAGES 5 2 - 5 3 Model. Wendy Rossmeyer, Hairstylist Timothy Downs; Makeup
CHAPTER 2 Artist Peter B r o w n ; Clothing Lynn B o w l i n g
PAGE 19 Models Sonva M u l h o l l a n d a n d Patrick St. Clair. Hair and Makeup Artist P A G E 5 4 , TOP Mode! Rosie Vela; Hairstylist: Timothy D o w n s ; Makeup Artist: Peter
Mark Lindsey. Stylist Jack S t a u b Brown
PAGE 2 0 Model Luciano PAGE 5 6 Model J a n e Vox. Hair and Makeup Artist: B r u c e C l y d e Keller.
PAGE 2 1 Model. Amy I l u n t e r . Hair and Makeup Artist: Peter B r o w n ; Clothing I'hotograplter Lucille K h o r n a k
Andre*a Jc t v i n e P A G E 5 7 , T O P Model: Patrick St. Clair
PAGE 2 2 Model lara S h a n n o n ; Hair and Makeup Artist R a y m o n d Constantini. PAGE 5 7 , 8 o n o M Mode! Lind.se>- B e n d e r
Clothing B o b Maekie; Backdrop Charles Broderson P A G E 5 8 , TOP LEFT Assistants Angel a n d Paul M a n a g a n
PAGE 23. LEFT Model: Marpessa; Clothing Karl L i g e r f e l d PAGE 5 8 , TOP RIGHT Assistants Paul M a n a g a n a n d M o r d e c h a i Cyngiel
PAGE 2 3 . RIGHT Model J u l i a n n e H o l l a n d ; Clothing Christian D i o r ; Location P A G E 5 8 , B O T T O M LEFT Assistant G r a n t LeDue
Christian D i o r S h o w r o o m PAGE 5 8 , BOTTOM RIGHT Model. Amy H u n t e r . Hair and Makeup Artist Peter B r o w n :
PAGE 2 4 , LEFT Model J o k o Z o h r e r . Hair and Makeup Artist: Paddy Croft o n . Assistant G r a n t LeDue. Plx>tographer. Lucille K h o r n a k
Clothing D o n n a Karan ,liackdro/>: Charles Broderson
PAGE 2 4 . RIGHT Models G a b r i e l l e Ram m e . Margrit R a m m e . a n d Hrrol R a m m e . CHAPTER 4

Hair and Makeup Artist Siegfried; Hackdrop Charles Broderson PAGE 6 0 Model Pietri C a r i n e : Hair and Makeup Artist: Peter B r o w n Clothing
P A G E 2 5 , LEFT Mot/el Jack K r e n e k ; Clothing The Griel Company G i v e n e h \ . Backdrops Charles Broderson
PAGE 2 5 , RIGHT Model. Shelya Huff; Hair and Makeup Artists J o s 6 O c c a s i o a n d PAGE 6 1 Models G a b r i e l l e R a m m e a n d Margrit R a m m e Hair and Makeup Artist
F d d i e Santos. Clothing Kip Kirkendall; Location T h e Puck Building S i e g f r i e d ; Photographer Lucille K h o m a k ; Clothing Gianfranco Ferrer
PAGES 2 6 - 2 7 Models Elliot Potts a n d T h e r e / a Ellis PAGE 6 2 Mode! J o k o Z o h r e r Hair and Makeup Artist: Paddy C r o f t o n ; Clothing
P A G E 2 8 , BOTTOM Mode! G r e g C l o u t i e r Mary M c F a d d e n . Backdrop Charles Broderson
P A G E 2 9 . LEFT Model J e n n i f e r R o s e B u r d e n . Hackdrop Charles Broderson P A G E 6 3 . T O P LEFT Model T o m Tripodi; Eyeglasses UFO; Hackdrop Charles
PAGE 2 9 , CENTER Mode/s David B u r m a n a n d Sara J a n e Kravei/. Backdrop Charles Broderson
Broderson

1#2
P A G E 6 3 , TOP RIGHT Model: Nicole I l o o d ; Hairstylist Ian Malone. E)vglasses. UFO. PAGE 9 5 Model: Anne Bezamat: Hairstylist: Ron Capozzoli. Makeup .Artist Richard
Backdroft. Charles Broderson Adams; feu Wrt ' ivencl iv
P A G E 6 3 . B O T T O M Model. Sheila J o h n s o n ; Makeup Artist: Mister Logue: Clothing PAGE 9 7 . TOP Model Sophia Koustis; I lair and Makeup Artists.Jos Occasio a n d
D o n a l d Brooks .Backdrop: Charles B r o d e r s o n Eddie Santos, Clothing. Kip Kirkendall; /.(nation. T h e Puck Building
PAGE 64, T O P Model. Tom Tripodi: Ewglasses: UFO; Location T h e Puck Building P A G E 9 7 , B O T T O M Model: Erika Wilson; Hair and Makeup Artists:) ose O c c a s i o a n d
PAGE 64. B O T T O M Mot/el. Saralvn; Eyeglasses: I T O . Clothing: Laurel. Location: C h e Eddie Santos; Clothing. Kip Kirkendall. Location. T h e Puck Building
Puck Building P A G E S 9 8 - 9 9 Model: S o p h i a Koustis; Hair and Makeup Artists-Jose O c c a s i o a n d
PAGE 6 5 Models: D e b o r a h Kujawa a n d Pamela H o u s m a n ; Clothing Sao; Location: E d d i e Santos. Clothing Kip Kirkendall. Location T h e Puck Building
Palace B e l e m P A G E 100 Mode! Erika Wilson; Hair and Makeup Artists: J o s e Occasio a n d Eddie
P A G E S 6 6 - 6 7 Model Jane Vox J lair and Makeup Artist: B r u c e Clyde Keller: Santos. Clothing Kip Kirkendall. Location T h e Puck Building
Location. Tekno/Balcar S t u d i o PAGE 101 Model Shelya Huff. Hair and Makeup Artists J o s e Occasio a n d E d d i e
P A G E 6 8 . LEFTMtx/els Pamela M o u s m a n a n d D e b o r a h Kujawa: Clothing Sao. Santos; Clothing Kip Kirkendall; Location. T h e Puck Building
Location: Palace B e l e m P A G E 1 0 5 Models: S t e p h a n i e R o m a n o v a n d Jessica Ginsberg, Hair and Makeup
P A G E 6 8 . RIGHTModels D e b o r a h Kujawa a m i Pamela l l o u s m m \ . Clothing. Sao; Artist Barry Baz: Stylist Nancy Wolfson; Ewglasses: Safilo
Location. Palace Belem P A G E 1 0 7 . T O P Model
Amie Morgan; Assistant. Grant LeDuc; Photographer Lucille
P A G E 6 9 Model: A n d r e w Plucinski. Stylist Kairina; Location The Columns Khornak. Client: Monica Kosann
P A G E 7 1 Model: lania Koesslcr: Clothing Chanel: Location: C o c o Chanel's P A G E 1 0 7 . B O T T O M Model Antic Morgan; Hair and Makeup Artist Barry Ba/.
Residence Stylist. Nancy Wolfson, Eyeglasses Safilo
PAGE 72 MotleL Maria OLsson; Clothing. Pierre Balmain. Location H o u s e of P A G E 1 0 8 . T O P Model S t e p h a n i e Romanov. Hair and Makeup Artist: Barry Baz.

Pierre Balmain Stylist Nancy Wolfson; Eyeglasses Safilo

P A G E 73 Model T h e r e / a Ellis P A G E 1 0 8 . B O T T O M Mode! S t e p h a n i e Romanov; .\ccount Executitv: M l a n j a r o s z :
PAGES 7 4 - 7 5 Models: T h e r e / a Ellis. Eve Markovics. a n d Karl Szabo; I lair and Hair and Makeup Artist: Barry Baz. Stylist Nancy Wolfson. Eyeglasses. Safilo
Makeup Artist Hon Heck P A G E 1 0 9 Model S t e p h a n i e Romanov; Hair and Makeup Artist Barry Ba/. Stylist
P A G E 7 6 . TOP Models. Karl S z a b o a n d Eve Markovics; Hair and Makeup Artist Ron Nancy Wolfson, Eyeglasses. Safilo
Heck PAGES 1 1 0 , T O P . A N D 1 1 1 Models
Amie Morgan a n d S t e p h a n i e Romanov; Hair and
PAGE 7 6 , BOTTOM Model Astrid Lamarrs Makeup Artist Barry Baz. Stylist. Nancy Wolfson. Eyeglasses: Safilo
P A G E 7 8 ./</<-/ T h e r e z a Ellis; Hair and Makeup Artist Ron Heck; Clothing P A G E lio, B O T T O M Models S t e p h a n i e Romanov a n d Amie Morgan; I lair and
Walter M b i n i Makeup Artist Barry Baz. Stylist: Nancy Wolfson. Eyeglasses: Safilo
PAGE 7 9 . TOP Mot/el. T h e r e z a Ellis; Hair and Makeup Artist Ron Heck
P A G E 7 9 . BOTTOM Models Karl S z a b o a n d Eve Markovics; Hair and Makeup Artist CHAPTER 6

Ron Heck PAGE 1 1 3 Model. S o p h i e ; Hair Pierre Michel Salon

PAGE 116 Model J o k o Zohrer. Hair and Makeup Artist Paddy C r o f t o n ; Clothing
PAGES 8 0 - 8 1 Model: S o p h i a T r a m i e r ; Clothing. O r a Feder andJeiiv/ry D o n n a Karan; Backdrop: Charles B r o d e r s o n
PAGE 117, LEFT Model: Pietri Carine; Hair and Makeup Artist: Peter B r o w n .
CHAPTER 5
Clothing Givenchy; Backdrops C h a r l e s B r o d e r s o n
PAGE 82 Motlel: Willow Bay, Hairstylist Ron Capozzoli. Makeup Artist Allan Mode! J u l i a n n c Holland: Clothing Christian Dior; Location
P A G E 1 1 7 , RIGHT
Forbes. Clothing: A n n e Klein Christian Dior S h o w r o o m
P A G E 8 4 Model: Willow Bay, Hairstylist: Ron Capozzoli. Makeup Artist Mian P A G E 11S Model I 1.1 Sander; Hair and Makeup Artist: D e n n i s Gaetano; Stylist.
F o r b e s.Clothing Pamela D e n n i s Joan Roland; Clothing. Paula Varsalona
P A G E 8 S Model Willow Bay; Hairstylist Ron Capozzoli. Makeup /Vtist Allan PAGE 119. TOPMoilel D o n n a Barnes, Hair and Makeup Aitist Elizabeth
Forbes. Clothing Anthony Muto for Moroci Roszkowska. Stylist Katrina
P A G E S 8 6 - 8 7 Model: Willow Bay; Hairstylist: Ron Capozzi>li; Makeup.Vtist Allan P A G E 1 1 9 , B O T T O M LEFT Models: Rosanna Ivcrscn a n d ()livia Ibscani. Hair and
F o r b e s . Clothing Kip Kirkendall Makeup . Vtist D e n n i s Gaetano; Stylist. J o a n Roland; Clothing Gingette
P A G E S 8 8 8 9 Model. Willow Bay. Hairstylist Ron Capozzoli; Makeup Artist: Allan P A G E 1 1 9 . BonoM R I G H T Model\ Neil S u n d b e r g a n d Heather K e w n j l a i r and
Forbes, Clothing Pamela D e n n i s Makeup /Vtist Peter Brown; Clothing T u r b o Kookai. Jeuvlry Vogue Straps
P A G E 9 1 ModeI Lynne Paddy; Hairstylist T i m o t h y D o w n s ; Makeup . Vtist P A G E S i20-i2l Model. Katie Easton; Makeup /Vtist IVter Brown. Doll Sao
Clorinda, A m V r y and Clothing, Givenchy P A G E 122 Model: Corey C o r b i n ; Makeup /Vtist Peter Brown; I'oil Sao
P A G E S 9 2 - 9 3 Model: Ely Pougct: Hairstylist: T i m o t h y Downs. Makeup Mist
Clorinda: Jewelry and Clothing, Givenchy
FRONT COVER Model Pietri Carine Han and Makeup . Vtist Peter Brown:
P A G E 9 4 . T O P LEFT Model: J o k o Z o h r e r ; Hairstylist Ron C a p o / / o h ; Makeup Artist
Clothing Givenchy: Backdrops Charles B r o d e r s o n
Richard Adams; . / e u v A j and Clothing Givenchy
BACK COVER Models Amie M o r g a n a n d S i e p h a m e R o m a n o \ . .Vcount lixecutii e
P A G E 9 4 . T O P R I G H T A N D B O T T O M Model J o a n n e Russell; Hairstylist: Ron Capozzoli.
Mian Jarosz; Hair and Makeup /Vtist. Barrv Baz: Stylist Nancy Wolfson;
Makeup Artist Richard Adams. Jeuvtry and Clothing Givenchy
Eyeglasses Safilo
 INDEX

Account executive, 129 catalog, 11, 16-17,48, 5 4 , 5 5 . 96-101. o n travelling assignments, 68, 7 2 - 8 1
Accounts payable, 141 130,131 van rental for, 70
Advances, 132 editorial. 11, 12. 18.. 48. 129, 131 w e a t h e r conditions on, 77
Advertising, f o r potential clients. 126 in Europe, 115
Advertising agency, 1415, 129. 130 fees and rates in, 12; 131. 134 Mailing lists. 130. 138
Advertising photography, 11. 14-15, IK, hiring process in, 128-31, 138 Makeup artist. 5 3 - 5 " \ 83, 91, 96, 97,
48, 5 4 , 8 2 - 9 5 . 1 0 2 - 1 2 , 129-30,131 idealization of subjects, 9 - 1 0 102, 106
American Society of Magazine o n limited budget, 51 Male models, 20, 21, 25, 57
P h o t o g r a p h e r s (ASMP), 131, 141 personal style in. 117-18 Models
Animal models, 30, 102, 109 postproduction, 59. 88. 94, 96, 100, 112 agencies and. 31, 32
Appointments, scheduling, 128 preproduction, 4 6 - 4 7 , 59. 8 3 - 8 4 . animals, 30, 102, 109
Art buyer, 129 9 0 - 9 1 , 9 6 . 102. 104 booking, 3 7 - 3 8 , 102
Art director. 15, 18. 129, 130, 131. 132 production team in. .See Assistants. casting, 3 3 - 3 6 , 91. 93. 96
Assistants. 5 8 - 5 9 , 9 6 , 102, 114. 132 Hairstylist: Makeup artist; Stylist children. 29. 57. 102, 105
self-promotion in, 126-28. 138 directing, 4 0 - 4 1
shoot, 4 7 - 4 8 . 59, 84. 88, 91, 94. fees for, 3 8 - 4 0
Backdrop, 60,61. 62, 6 3
male, 20. 21. 25. 57
Beauty editor, 129 96-100,104-11,132-33
prerequisites for success, 21, 2 4 - 2 5
Billing form, 140-41 skills necessary for, 114
p r o m o t i n g career, 3 2 - 3 3
Bookkeeping, 140 in studio, 125
pros and cons of life. 19-21
test shots in, 120, 122-23
specializations of, 28
Cancellation fee, 134 training g r o u n d for, 114-15
Cash flow, 141 See also Equipment; Locations; Models
Catalog photography. 11. 16-17, 48, 54, Fees a n d rates, 12, 131, 134 New York City; as backdrop, 69
5 5 . 9 6 - 1 0 1 , 130, 131 Filing system, 136-37 Nude photography, 40
Child models, 29, 57, 102. 105 Film
Clip tests, 59,100, 112,133 clip tests, 59,100, 112,133 Paris location, 72
Composites, 3 2 - 3 3 , 36 editing, 112,133-34 Partnership, 136
Computers, 137-38 processing, 133 Polaroid test, 59. 133
Copyright ownership. 141 selecting, 123 Portfolio, 126. 128
Creative director. 129 test roll, 59, 96 Portugal, 68
Credit, 140 transporting, 81 Production coordinator, 4 8 - 4 9
Credit line, 4 4 - 4 5 Filter, polarizing, Promotional pieces, 126
Props and accessories, 44 5, 48, 49, 51.
1 )r< >p-<)ff pc>1 icy. 128 Hairstylist. 52 53. 54 57, 83- 84, 94, 96, 8 3 - 8 4 . 91, 94, 102, 109
97.102. 106
Editorial photography; 11. 12. 18. 48, Representative. 138
129,131 Incorporation, 136 Reshoots, 134
Equipment Insurance, 70, 139
p r e p a r i n g for shoot, 59 S Corporations, 136
renting, 125 Light Sole proprietorship, 136
travelling with, 7 6 - 7 7 , 81 available, 125 Staff, 136
See also Film setting up, 84. 104-5 Studio, 125
Estimates and bids, 131 and style, 117 Stylist, 43-51. 102
Lingerie photography, 39 Suppliers, 123
Fashion editor, 129 Locations
Fashion photography vs. backdrop, 6 0 - 6 1 Test shots, 120, 122-23. 126
advertising, 11. 14-15. 18, 48, 54, electrical p o w e r on, 69
8 2 - 9 5 . 1 0 2 - 1 2 , 1 2 9 - 3 0 , 131 e q u i p m e n t on, 7 6 - 7 7 , 81 Venezuela, 7 8 - 7 9
business m a n a g e m e n t in, 136-41 private residences as, 70-71, 125
public places as, 65, 69. 83, 96, 97, 125 Wardrobe, 44-45. 48, 49. 51. 123
scouting services for. 6 9 - 7 0

 SAN MATEO CITY PUBLIC LIBRARY

H o w TO COMPETE IN THE EXCITING WOR

FASHION PHOTOGRAPHY

G l a m o u r , beauty, travel, m o n e y , p r e s t i g e f a s h i o n p h o t o g r a p h y o f f e r s a "

a n d m o r e . Fashion p h o t o g r a p h e r s o f t e n find themselves s u r r o u n d e d b
g o r g e o u s m o d e l s w e a r i n g fabulous, original creations by f a m o u s desig
a n d s h o o t i n g in e x o t i c l o c a t i o n s . In Fashion Photography, model-turnt
p h o t o g r a p h e r Lucille K h o r n a k p r o v i d e s a n i n s i d e r s v i e w of t h i s d y n a r r
w o r l d . S h e d i s c u s s e s t h e f u n d a m e n t a l e l e m e n t s of t h i s r e w a r d i n g b u t MAY I 7 2003
d e m a n d i n g a r e a of s p e c i a l i z a t i o n :
OCT 1 2006
Understanding the Markets Putting a Session Together
Working with Models D e v e l o p i n g Your Style
Assembling t h e Team E s t a b l i s h i n g Your B u s i n e s s
Deciding W h e r e to Shoot M a n a g i n g Your B u s i n e s s

W r i t t e n f r o m a u n i q u e p e r s p e c t i v e a n d i l l u s t r a t e d w i t h m o r e t h a n 150 i
Fashion Photography is a c o m p r e h e n s i v e c a r e e r g u i d e that e q u i p s p h o
p h e r s w i t h t h e i n f o r m a t i o n t h e y n e e d t o s u c c e e d in f a s h i o n p h o t o g r a p

The Safilo eyewear b r o c h u r e required the

s m o o t h coordination of various ele-
m e n t s . The l i g h t i n g e q u i p m e n t f o r t h e
beauty shots (above left) w a s arranged
to show t h e e y e g l a s s f r a m e s t o t h e i r
best advantage. Because the model was
photographed from only the shoulders
up, s h e w a s a b l e t o wear her o w n pants.
In a n o t h e r b e h i n d - t h e - s c e n e s s h o t f o r
the "Evening" layout (above right), the
account executive was called upon to
assist w i t h t h e props: here, he h e l d t h e
tray filled with c h a m p a g n e glasses. Dur-
ing busy, c o m p l i c a t e d photo sessions,
every p a i r o f h a n d s h e l p s . T h e f i n a l
"Evening" s p r e a d in the brochure (right)
shows how t h e product, beauty, and full-
length photographs were used to create
a strong d e s i g n for "the Safilo look."

AMPHOTO
An Imprint of Watson-GuptiII Publications
1515 Broadway
New York, NY 10036

ISBN 0-A174-3flM8-3