Fashion photographer fallacies
I have been asked on many occasions about how one might embark
onto the rocky road of the fashion business. I discussed various
aspects of the fashion business in previous articles, however, I feel
compelled to discuss some of the “fallacies” associated with breaking in
to the “biz”.
© Benjamin Kanarek
Do you have to be a good photographer to break into the fashion industry?
The answer in an unequivocal NO! It hasn’t so much to do with talent as it does with attitude, panache, perspective and audacity. How you perceive and translate the social fabric (no pun intended) into imagery is a very important part of the process.
Do you need to be good technically to succeed?
Again, the answer is a very adamant NO! As any photographer can ally themselves with a good post production company or individual, getting your images to look polished or really unpolished is not difficult. When I shot with film, and Photoshop was not as yet in the mainstream and in its infancy, I actually had to get it right from the get go. If not, I wouldn’t get past first base.
Can I get the job once my portfolio is ready?
It depends. Unfortunately just having a great portfolio will not do the trick. Networking is one of the most important aspects of getting a gig. Knowing the appropriate person—in the right position to give you an opportunity—is essential.
Also, knowing who not to ask is as important as knowing who to ask. Going to the Art Director, for example, may demonstrate your naivety, if the informed photographer would have known full well that it would have been better to see the Editor for a specific magazine. That alone can ruin your chances of getting into the circle.
The inverse also applies in other cases. Going to see the Editor can really piss off the Art Director. They may think that you were trying to circumvent their authority. It is a very political business in that respect.
The overall point here is that no single rule of thumb applies to every organization. Do your research and find out who can really make the decision. It is often more than just one person. Do your homework; people will appreciate it.
To succeed, do you need to be in the major centers?
The answer is YES!
If you are not in New York, Paris, London, Milan, Los Angeles or Tokyo—or, in some cases, Madrid, Sao Paulo, Chicago, Munich, Miami, Toronto, Berlin or Moscow—it’s best to reconsider your goals. Be ready to pack your bags and prepare yourself for a fun ride.
Do I need to own “Pro Gear” to break into the business?
NO, NO and NO. Work with what you have, and when you get the job, the client will pay for the rental of anything you might need to complete the project. I don’t have a studio. I have some flash gear for my own personal work, and to experiment with. For every job I’ve done the client has provided me with all the necessary hardware. I just have to bring myself to the shoot. I can bring an assistant or use the assistants available at the studio. If I want to use my gear, and it is appropriate to get the job done, I will do so. It is you they are hiring, not the gear.
This article is republished from Benjamin Kanarek’s blog: Fashion Photographer Phalasies
© Benjamin Kanarek
Do you have to be a good photographer to break into the fashion industry?
The answer in an unequivocal NO! It hasn’t so much to do with talent as it does with attitude, panache, perspective and audacity. How you perceive and translate the social fabric (no pun intended) into imagery is a very important part of the process.
Do you need to be good technically to succeed?
Again, the answer is a very adamant NO! As any photographer can ally themselves with a good post production company or individual, getting your images to look polished or really unpolished is not difficult. When I shot with film, and Photoshop was not as yet in the mainstream and in its infancy, I actually had to get it right from the get go. If not, I wouldn’t get past first base.
Can I get the job once my portfolio is ready?
It depends. Unfortunately just having a great portfolio will not do the trick. Networking is one of the most important aspects of getting a gig. Knowing the appropriate person—in the right position to give you an opportunity—is essential.
Also, knowing who not to ask is as important as knowing who to ask. Going to the Art Director, for example, may demonstrate your naivety, if the informed photographer would have known full well that it would have been better to see the Editor for a specific magazine. That alone can ruin your chances of getting into the circle.
The inverse also applies in other cases. Going to see the Editor can really piss off the Art Director. They may think that you were trying to circumvent their authority. It is a very political business in that respect.
The overall point here is that no single rule of thumb applies to every organization. Do your research and find out who can really make the decision. It is often more than just one person. Do your homework; people will appreciate it.
To succeed, do you need to be in the major centers?
The answer is YES!
If you are not in New York, Paris, London, Milan, Los Angeles or Tokyo—or, in some cases, Madrid, Sao Paulo, Chicago, Munich, Miami, Toronto, Berlin or Moscow—it’s best to reconsider your goals. Be ready to pack your bags and prepare yourself for a fun ride.
Do I need to own “Pro Gear” to break into the business?
NO, NO and NO. Work with what you have, and when you get the job, the client will pay for the rental of anything you might need to complete the project. I don’t have a studio. I have some flash gear for my own personal work, and to experiment with. For every job I’ve done the client has provided me with all the necessary hardware. I just have to bring myself to the shoot. I can bring an assistant or use the assistants available at the studio. If I want to use my gear, and it is appropriate to get the job done, I will do so. It is you they are hiring, not the gear.
This article is republished from Benjamin Kanarek’s blog: Fashion Photographer Phalasies
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