Editorial Fashion Photography

On
“Rajasthan”

Submitted To
Tusher Kanti Dash

Submitted By
Nazia Hossain
Roll:172113008
MAFD
 ABSTRACT
In this research I have discuss about editorial Photo shoot. To do a editorial
I have done some researches on editorial .then made a research on
Rajasthan as my aim of the research is to plan a editorial photo shoot on
Rajasthan theme.

In this Research we can learn about what is a editorial photo shoot and the
differences between editorial photo shoot and commercial Photo shoot.

We can also know how the other editorial photo shoot is done by other
stylists.

The objective of this research is to identify what is a editorial Photo shoot

and how we can do a editorial photo shoot for a Rajasthan theme.

In this research we can learn about Rajasthan. How Rajasthan culture can
convert in a editorial.

At the end of this research er will get a complete editorial photo shoot for a
dress collection.
 ACKNOWLEDGMENTS
I would like to acknowledge everyone who played a role in my academic
accomplishments. First of all, my parents, who supported me with love and
understanding. Without you, I could never have reached this current level
of success. Secondly, my committee members, each of whom has provided
patient advice and guidance throughout the research process. Thank you
all for your unwavering support.
 PREFACE
This basis for this research originally stemmed from my passion for
developing better methods of data storage and preservation. As the world
moves further into the digital age, generating vast amounts of data and
born digital content, there will be a greater need to access legacy materials
created with outdated technology. How will we access this content? It is my
passion to not only find out, but to develop tools to break down barriers of
accessibility for future generations. In truth, I could not have achieved my
current level of success without a strong support group. First of all, my
parents, who supported me with love and understanding. And secondly, my
committee members, each of whom has provided patient advice and
guidance throughout the research process. Thank you all for your
unwavering support.
 TABLE OF CONTENTS
ABSTRACT ...........................................................................................................
............
ACKNOWLEDGEMENTS ......................................................................................
..........

PREFACE ..............................................................................................................
............

TABLE OF
CONTENTS ..................................................................................................

LIST OF
TABLES ...........................................................................................................

LIST OF
FIGURES ...........................................................................................................

CHAPTER I
INTRODUCTION ..................................................................................................

Purpose of the
Research ..........................................................................................

Findings …………………………………………………………………………….

Recommendation……………….

Methodology .........................................................................................................
..

CHAPTER 2
What is Editorial Photoshoot ?
……………………………………………………………….

Difference Between commercial photography and editorial photography ...

History of fashion photography

……………………………………………………………………….
Relation with editorial photography to fashion Photography .....

Editorial photoshoot analysis …………………………………………

Editorial 1 ………………………………………………………..

Editorial 2 ………………………………………………………..

Editorial 3 ………………………………………………………….

CHAPTER 3
Plan of editorial photo shoot ……………………………………………….

Concept …………………………………………………………………………

Background …………………………………………………………………….

Props ………………………………………………………………………

Model …………………………………………………………………………

Lighting ……………………………………………………………………….

Mackup ……………………………………………………………………

Accessories …………………………………………………………………

Model posing ………………………………………………………..

Haire styling ……………………………………………………………..

CHAPTER 4
Mood Bord …………………………………………………………………………

Insperation Bord ………………………………………………………………..

Product Bord ……………………………………………………………………….

Accessories Bord ………………………………………………………………….

Props Bord ……………………………………………………………………

Background Bord …………………………………………………………………..

REFERENCES .......................................................................................................
............

APPENDIX ..............................................................................................................
...........

CHAPTER I

Intorduction
Editorial Photography is defined as an image that contains alternative text
and their description. Here, Image express everything. It is mainly for the
purpose of publication such as magazines, newspaper etc. It is different
from the advertising photography. It serves many different styles and is
later followed by everyone.

Now for those of you interested to learn more, please read on. Just take
note that the borders between those different types of photography are
fluent and may not be as distinct as I describe them here. Nonetheless, I
am sure that this article will help you to easily distinguish between them.
First of all let me tell you that Fashion Photography and Commercial are
usually summarized in the category of Advertising Photography, while
Editorial Photography tends to be a category of its own. The reason
being is that both Commercial and Fashion foremost try to sell a certain
product, while Editorial Photography is more concerned with a story.

Commercial Photography As mentioned earlier, commercial

photography predominantly sells a product. Hence, the emphasis of the
whole shoot is on the product. That means that the lighting, the styling,
and the background are usually very plain (not in a bad way). Think of
catalog shoots where the models is standing in front of a white or an off-
white background with maybe one light above camera and slightly to
either side of the camera, and very natural looking make-up.

Fashion Photography Contrary to commercial photography, the

emphasis in fashion photography does not lie on the garments, but on
the mood and styling of the image. The garments are merely an
accessory to convey a certain lifestyle. Therefore, the whole image is
much more complex. You usually won't see plain white or off-white
backgrounds in fashion photography and the models are usually styled
very dramatically with thick eyeliners, dramatic eye shadows, etc. With
the increased complexity in styling also comes an increased complexity
in lighting to make the image look more dramatic. While many
commercial photographers only stick with one light for the model, fashion
photographers tend to use a wide array of lights and lighting accessories.
When doing a fashion shoot, I have used up to seven lights to get the
dramatic look that I wanted, but I know photographers who use ten or
more lights for fashion. That is not to say that a dramatic look can not be
achieved with only one light, such as a beauty dish or an octabank - it's
about the effect of the lighting and not about how many lights you use to
get that effect.

Editorial Photography Editorial photography is very similar to fashion

photography in the sense that editorial photography is usually not about
selling a product but something greater. In fashion photography it's the
lifestyle, in editorial photography it's the story or the theme. As with
fashion photography, the proper lighting is of utter importance. Let's say
you are shooting an editorial about a girl traveling. If the story is about
the joy and the happiness, you would of course use very friendly and
open lighting to emphasize this mood. If on the other hand the story is
about the dangers of traveling, your lighting would be much more
dramatic and instead of a beach on a sunny day, you may choose a dark
alley.

Purpose of the Research

This research is done for a editorial photo shoot.

Aim and objectives:

1. Understand what is a editorial Photography
2. Understand the theme
3. Design a complete editorial
 Findings:
1. Understand what is a editorial Photography
2. Understand the theme
3. Design a complete editorial

Recommendation:
 CHAPTER 2
What is Editorial Photoshoot ?
Editorial Photography Editorial photography is very similar to fashion photography in the
sense that editorial photography is usually not about selling a product but something
greater. In fashion photography it's the lifestyle, in editorial photography it's the story or
the theme. As with fashion photography, the proper lighting is of utter importance. Let's
say you are shooting an editorial about a girl traveling. If the story is about the joy and
the happiness, you would of course use very friendly and open lighting to emphasize this
mood. If on the other hand the story is about the dangers of traveling, your lighting would
be much more dramatic and instead of a beach on a sunny day, you may choose a dark
alley.

Difference Between commercial photography and editorial photography

Commercial Photography sells a product
Fashion Photography sells a lifestyle.

Editorial Photography sells a story.

 History of fashion photography
Nowadays we take it for granted that fashion photography is an art form as
creative and varied as any other, but it wasn’t always this way. Over the
past 100 years the medium has worked hard to establish itself as a valid
and legitimate form of expression, so read on for a thorough history lesson
in the movements that defined a genre.

As with all great advertising, some of the most recognizable fashion

campaigns in history have become every bit as iconic as the brands they
were first designed to sell. Somehow, these great examples manage to
capture the spirit, voice and aesthetic of a designer so perfectly that they
add a whole new level of context to their brand. Whether it’s the model
chosen, the styling of their outfit, the set design of the shoot or the
photographer themselves, great campaigns transcend the actual clothing
and help tell a story all of their own.

But the art of a good photo editorial isn’t set in stone; fashion photography,
like art, has movements defined by its leading talents and the prevailing
cultural zeitgeist. To understand them both a little better, and see how we
arrived at where we are today, we’ve compiled a look back at some of the
most important moments in the history of fashion photography over the
past 100 years.

From humble beginnings at the start of the 20 th century, the following is trip
through  the glamour, rebellion, artistry and commercialism of the past
century to discover how the art of an entire industry was defined.
1910 – 1934: Edward Steichen and the Condé Nast years

To many, Edward Steichen is the founding father of modern fashion

photography. After a supposed dare by a close friend, Steichen undertook
the task of promoting fashion as fine art via the medium of photography. To
do this, he took a series of photographs of the gowns created by renowned
French fashion designer Paul Poiret, which were subsequently published in
the April 1911 issue of Art et Décoration magazine.

Widely considered the very first modern fashion photographs, they

conveyed the aesthetics, movement and details of the clothes as central to
their approach. His style centred heavily on the model, in typical portraiture
style, but used lighting and carefully planned studio setups to focus on the
clothes and give them a lavish and elegant look that was indicative of the
time.

Image via Sotheby’s

Another crucial factor in widening the appeal of modern fashion

photography came in 1909, when the successful publisher Condé Nast
purchased American lifestyle magazine Vogue. In doing so, he created the
world’s premier fashion publication — one that gave photographers such as
Steichen, Cecil Beaton and Horst P. Horst a platform to showcase their
work to a huge new audience. In 1913 he followed that up with the launch
of Vanity Fair, and together the two titles spent decades fighting Harper’s
Bazaar to become the top fashion magazine in America.
What Steichen and Vogue gave to modern photography were the blueprints
for almost all fashion advertising that was to come in the years after.
Steichen formed his own unique visual vocabulary throughout the ’20s and
’30s, distilling classic renaissance imagery with cubism and futurism to
create something that was fresh and exciting. His use of models, lighting
and experimental studio techniques were completely revolutionary and, for
many years, his contemporaries had no other choice but to follow his path.
His importance cannot be exaggerated; Steichen changed the face of
fashion photography, and his innovations are still being used to this day.

Image via TheRedList

1934 – 1944: The revival of Harper’s Bazaar and The Design Laboratory

For many years, Harper’s Bazaar lacked the edge it needed to compete with

the Condé Nast publications. The magazine’s fortunes changed in 1934,
however, with the appointment of Russian photographer Alexey Brodovitch
to the role of artistic director. With him in place, Harper’s Bazaar started
down a new path that would change the landscape of fashion photography
forever. He implemented radical layout concepts, used typography in bold
new ways and had a vivid approach to imagery. It was his mix of elegance
and innovation that transformed the fortunes of Harper’s Bazaar, securing
its long-term future.
Image via Iconofgraphics

However, Brodovitch’s influence was more resonant than simply the pages
of the magazine. In 1933 he started a course at the Pennsylvania Museum
School of Industrial Art called the “Design Laboratory,” where he taught the
full spectrum of modern graphic design principles. In attendance were
young photographers such as Irving Penn, Eve Arnold and Richard
Avedon. It would be these students that would go on to shape fashion
photography on an almost continual basis for decades to come, all helping
extend Brodovitch’s legacy long into the future.

Image via Enticing the Light

1944 – 1960: Avedon and The Great Outdoors

One of Brodovitch’s early students at the Design Laboratory was Richard

Avedon, who started his career in 1944 as an advertising photographer.
Avedon quickly found a fan in Brodovitch, who spotted his talent and sent
him to Paris in 1946 to cover the latest collections from the premier fashion
houses. Young and full of energy, the images Avedon captured for Harper’s
Bazaar represented a new direction for fashion photography.

Avedon’s style was all about one thing: movement. He replaced the static,
lifeless poses of the Steichen era with photographs full of verve and vitality.
He shunned the studio, preferring to work outdoors or on location.
Capturing lively street scenes and bustling parties, his models were
photographed in the moment, showcasing their natural femininity; the
flowing clothes seemed somehow to be an elegant extension of their own
bodies.

Image via Pleasure Photoroom

This set a new course for fashion photography and, throughout the ’50s,
Avedon’s style was much imitated. Motion and spontaneity were hallmarks
of this new direction. He inspired photographers such as Henry Clarke to
use the city’s streets as a backdrop for his images. In the great outdoors, a
new sense of life could be breathed into photographs, with the beauty of
the models and the clothes they wore directly mirrored in the dynamism of
the overall composition.
Image via Classicdriver

1960 – 1970: The divide

Avedon’s move to shoot his models in the moment was a real turning point
for fashion photography. Those such as David Bailey used this style
extensively to capture the new and exciting times of swinging London in the
’60s. Bailey’s photography for British Vogue built on Avedon’s ideas, but
gave them an even more youthful feel, while his carefree approach linked
model, setting and lifestyle like never before. Prolific photographers of the
present day, like Mario Testino, owe a lot to work like this.

Image via Vogue
But there were some, such as fellow Brodovitch student Irving Penn, who
continued to stick to the traditions of the studio. His famous cover for the
April 1950 edition of Vogue featured model Jean Patchett in contrasting
black and white. With tone and angle set in opposition, the result is
dramatic, yet tranquil and this image in particular sums up his approach to
fashion photography. Although his style was starting to fall out of favour
during the ’60s, Penn changed the face of fashion photography in subtle
but far-reaching ways for many years to come.

Image via Fashion-Lifestyle.bg

1970 – 1980: Return to the studio and the rise of sexual controversy 

Capturing movement outside the confines of the studio had been the
modus operandi of many photographers throughout the ’50s and ’60s. But,
by the start of the 70s, a resurgence in studio work was well underway.
Taking cues from photographers such as Steichen, Beaton and Penn, this
new movement was defined by its use of female nudity, overt sexuality and
surrealism.

Once again, Richard Avedon was riding the crest of this new wave. Having
signed a deal to move from Harper’s Bazaar to Vogue in 1966, he decided to
return to the studio for much of his fashion photography work. Referencing
the glamour and freedom of the previous two decades, his shoots for
Versace throughout the ’70s and ’80s were inventive and exciting. His
trademark use of movement was still present, as was his celebration of
vitality and confident female sexuality.
Image via Somerset House

Somewhat contrasting Avedon there was Guy Bourdin, a Parisian who

relied on sexual imagery to tell a different story. While his critics say that
Bourdin reduced the female body to its most erotic parts, often promoting
violent and misogynistic views, his supporters argue that he created his
own unique brand of surreal mysticism. His advertising work in the late ’70s
(including shoots for luxury footwear brands Charles Jourdan and Roland
Pierre) often portrayed woman as weak and controlled — a strict
counterpoint to works by contemporaries like Helmut Newton and Avedon.
However his imagery is undeniably captivating, and the use of bright
colour, staged surrealism and sex has influenced the work of modern
fashion photographers like Terry Richardson.
Image via Sunspel

1980 – 2000: The age of rampant commercialism

The ’80s were the start of a brave new frontier for fashion photography.
Commercialism, a force that had laid somewhat dormant for much of the
previous 60 years, suddenly reared its head. Fashion was starting to have
a broader appeal as Europe and America’s burgeoning middle class took
more of an interest in what they wore. They had more money to spend, and
savvy fashion labels like Calvin Klein, Levi’s and Ralph Lauren were only
too happy to take it.

A standout campaign from 1981 featuring a 15-year-old Brooke Shields

personified this perfectly. Shot by the omnipresent Richard Avedon, the ad
for Calvin Klein jeans saw Shields proudly declare that nothing came
between her and her Calvins. It was a line that came straight out of an ad
man’s notepad, but it caught the public’s attention. Almost overnight it
made Calvin Klein jeans a highly desired product.

Image via Calvin Klein

One man completely at home in the studio, and finding a new demand for
his work, was Irving Penn. Throughout the late ’80s he teamed up with
Japanese designer Issey Miyake for a compelling and ground-breaking set
of adverting campaigns. Taking influence from Steichen’s simplistic
approach and blending in his own subtle surreal tones, Penn took Miyake’s
futuristic designs and exaggerated them with large, embellished
silhouettes, using the pattern of the fabric and the contortion of the human
body to showcase Miyake’s creations in a whole new light.

Penn was extrapolating Steichen’s blueprints, pushing the relationship

between product, model and photographer further than anyone had done
before. He had stayed true to the studio, even when his peers were
shunning it. He had used this time wisely and was advanced in his use of
lighting and considerate in the sparseness of his shots. This approach has
since inspired a whole new generation of fashion photographers to look
beyond the normal and push the boundaries of what can be achieved,
conceptually, in the studio.

Image via Sange Bleu

The ’90s produced a slew of classic ads. From the strong female role
models portrayed by Donna Karen, to the American dream represented by
Ralph Lauren, the ’90s were seen by many as the golden age of the ad
campaign. Alongside sex, labels used supermodels to focus their
campaigns around, finding an obvious link between their natural beauty
and aspirational products.

Once again, Calvin Klein was at the forefront of this new movement, and
turned up the heat in a particularly famous campaign from 1992. Featuring
Mark Wahlberg paired with a fresh-faced Kate Moss, the unassuming
black-and-white shoot by Bruce Weber captured the essence of this new
direction. The simple image of them both, topless, sporting clearly branded
underwear was all that was needed to get the message across. And it
worked. Calvin Klein saw a huge uplift in sales, turning them into a globally
recognised brand.

Image via Tumblr

2000s: Hypersexuality

As mankind has thoroughly established over the decades, sex sells. But,
while people like Helmut Newton and Guy Bourdin had used imagery for its
sex appeal extensively in the ’70s, the 2000s ushered in a new age of
hyper sexuality that was designed as much to shock as it was to sell
clothes.

One man not afraid of using flesh to push his products was Tom Ford. The
iconic campaign for his first fragrance, For Men, was shot by Terry
Richardson in 2007 and blended Ford’s penchant of sexual imagery with
Richardson’s stark and instantly identifiable flashbulb aesthetic. Bourdin
was clearly a huge influence on this work; the highly manipulated studio
shots, use of colour and slightly sinister portrayal of female sexuality are all
present. Strategic placement of the perfume bottle leaves little to the
imagination, and the campaign caused a lot of controversy, as well as a lot
of exposure, for Ford.
Image via WordPress

Another campaign from the Tom Ford stable was released in 2003 whilst
the designer was working for Gucci. Stylised and simplistic, this ad, shot by
Mario Testino, garnered a lot of attention as it featured a female model with
the Gucci “G” shaved into her pubic hair. Less about the clothing and more
about the preening, it was a bold move for Ford, but one that once again
proved the old adage that there’s no such thing as bad publicity.

Image via Racked

Although not averse to using sexual imagery in his advertising, Marc

Jacobs strode a different path in the 2000s alongside longtime collaborator
Juergen Teller. Teller’s distinctive photography style played a huge part in
Jacobs’ promotional campaigns and differed hugely from the glamorous,
highly stylised shoots of his contemporaries.

One standout example from 2003 featured Hollywood actress Winona

Ryder. Having recently been arrested for shoplifting from the Saks
department store in Beverly Hills, Ryder arrived in court wearing a Marc
Jacobs dress. Spotting an opportunity, Jacobs hired her, and the now
infamous ensuing photoshoot encapsulates his irreverent take on design
with a devil may care attitude.

Image via FashionMagazine.com

Celebrity endorsements and the celebration of wealth

Since Mark Wahlberg first posed for Calvin Klein back in 1992, big brands
have been acutely aware of the attention a celebrity can bring to their
campaigns. Strong females are a particular favourite, with fashion houses
holding their rebellious and provocative spirit in high regard. Miley Cyrus for
Marc Jacobs (much to the disapproval of Juergen Teller, who allegedly
refused to work with the star), Lady Gaga for Versace and Lindsay Lohan
for Miu Miu have all followed in the footsteps of Winona Ryder.
Image via Jezebel

Current campaigns have also an increasing return to the nostalgia-tinged

glamour of choreographed black-and-white shots. Hedi Slimane has
repeatedly channelled ’70s era Helmut Newton for a large number of his
campaigns for Saint Laurent, while Julia Roberts for Givenchy, Madonna
for Versace and Mila Kunis for Miss Dior have all featured a similar
monotone theme.

Image via Fashion Gone Rogue

Perhaps the most dramatic shift in modern fashion photography, however,

is the way in which campaigns are now being consumed. Between 2006
and 2013, the amount of pages dedicated per year to advertising in Vogue
fell by 16%. In an age of Instagram and blogs, it’s clear fashion marketers
have adopted a new strategy — one that includes a tacit acceptance that
images may not ever make it anywhere near a glossy A4 magazine page,
and may only ever be consumed on a scrolling social media feed. Content
today is created in order to be shared, liked and retweeted. For many
brands, lookbooks are the new ad campaigns — cheaper to produce,
easier to consume and better suited for distribution across digital mediums.

Image via Instagram

Once the gatekeepers of the industry, today fashion magazines have been
usurped by the internet. For some, this move is democratising, removing
the elitism that the fashion industry old guard have long been accused of
fostering. But, to many, it is the gentle dumbing down of a once proud art
form that, thanks to the work of people like Steichen, Avedon, Newton and
Penn, has long held great cultural and historical significance.
 Editorial photo shoot analysis
Editorial 1
Tomas de la Fuente for Telva Magazine with Aliz Menyhert

Photography: Tomás de la Fuente. Styling: Alicia Chapa. Hair &

Makeup: Yurema Villa. Retouch: Emilio Machio. Model: Aliz Menyhert.

Analysis:
Background:
Mackup:
Dress:
Model pose:
Hear style:
Lighting:
Theme:
 Editorial 2
Greg Swales for Harper’s Bazaar Arabia with Yasmine Sabri

Photography: Greg Swales. Fashion Stylist: Anna Castan. Hair: Diego

Miranda. Makeup: Toni Malt. Model: Greg Swales.
Analysis:
Background:
Mackup:
Dress:
Model pose:
Hear style:
Lighting:
Theme: