Fashion photography is one of the most appealing markets for any new photographer, but also one of the most challenging, combining as it does a group of disciplines, from the more technical makeup and editing roles to the photography itself. With digital technology and good planning, however, you can tackle as many of these as you please, and offer the best possible service to your client, whether that's an international magazine taking your career to the next level, or a friend needing to look good on Facebook. After all, they're just as important to you. This book will teach you everything there is to know about fashion photography in the digital age, including the roles of the whole creative team, making it the only book you'll ever need, whether you're taking your first ever shot, working with a pro model for the first time, or taking on major clients.

(back cover) Principles, practice, and techniques: an indispensable guide to becoming a professional fashion photographer This invaluable resource for student photographers offers expert advice on every key aspect of fashion photography, from organizing a shoot to presenting your portfolio to a prospective client. Offering a structured course that teaches skills to help you get start in the industry, Fashion Photography is illustrated with working examples of professional and student photography. Practical tutorials build your experience. You'll learn to use the tools of the trade, choose equipment and software, and use lenses and lighting to best effect. You'll learn how to take exceptional pictures by finding the most dynamic compositions, working on location or in a studio, and evolving a unique, artistic style of your own. Eliot Siegel has worked as both a fashion and a fine art photographer for 25 years. During his career, he has worked for esteemed international magazines, advertising campaigns, and catalogs, including Macy's New York, Fred Bennett Jewelry, Harpers and Queen, Brides magazine, Bloomingdale's, Selfridges, Condici Women, Cosmopolitan, L'Officiel Paris, British Vogue, and Vogue Pelle Milan. Eliot works in digital and film formats, and in studios and locations all over the world, with the top model, hair, makeup, and location agencies. He has lived in New York, Milan, Madrid, Paris, Nice, and London.

Today's glamorous world of fashion photography is hotter than ever, so if you intend to make your mark, you'll need trusted information and advice. Here, industry veteran Bruce Smith offers an indispensible collection of tips and tricks of the trade.

Interest in contemporary cultural industries has grown in the past decade, as they take on a greater significance in our increasingly consumer-led society. Focusing on the world of fashion photography, this book presents an interdisciplinary approach in which this and other aesthetic markets, such as advertising, modelling, art, music and more, can be viewed. The main thrust of this groundbreaking book, is in developing a theory for these cultural markets, characterized by insecurity, and where status and aesthetic diversity generate order and price differentiation. In these industries, services and products are offered that are a mix of the aesthetic and the economic, and for fashion photographers such as those studied here, it is necessary to carefully position themselves in the market by developing unique photographic styles and separating themselves from competitors. Yet the markets in which these industries operate differ from the type of exchange markets depicted by neoclassical economists, and therefore cannot be considered using such modes of analysis. Instead Aspers conducts his study using empirical phenomenology, an original approach presented here for the first time, which can be easily used in other empirical studies. He draws on original empirical material; participant observation and interviews generated in New York and Stockholm; which bring a depth of analysis and a relevance to this book which academics, researchers and those with a vested interest in such industries will value. Written by one of the world's brightest young economic sociologists, this fascinating book (previously published in Sweden and enthusiastically received) is endorsed by recognized industry authorities. A noteworthy book, it provides a foothold in the burgeoning sub discipline of economic sociology, and a significant analysis of the economics of the fashion photography industry.

In a world where nearly everyone has a cellphone camera capable of zapping countless instant photos, it can be a challenge to remember just how special and transformative Polaroid photography was in its day. And yet, there’s still something magical for those of us who recall waiting for a Polaroid picture to develop. Writing in the context of two Polaroid Corporation bankruptcies, not to mention the obsolescence of its film, Peter Buse argues that Polaroid was, and is, distinguished by its process—by the fact that, as the New York Times put it in 1947, “the camera does the rest.” Polaroid was often dismissed as a toy, but Buse takes it seriously, showing how it encouraged photographic play as well as new forms of artistic practice. Drawing on unprecedented access to the archives of the Polaroid Corporation, Buse reveals Polaroid as photography at its most intimate, where the photographer, photograph, and subject sit in close proximity in both time and space—making Polaroid not only the perfect party camera but also the tool for frankly salacious pictures taking. Along the way, Buse tells the story of the Polaroid Corporation and its ultimately doomed hard-copy wager against the rising tide of digital imaging technology. He explores the continuities and the differences between Polaroid and digital, reflecting on what Polaroid can tell us about how we snap photos today. Richly illustrated, The Camera Does the Rest will delight historians, art critics, analog fanatics, photographers, and all those who miss the thrill of waiting to see what develops.

Providing a convenient and unique look at fashion and costume literature and how it has developed historically, this volume discusses monographic and reference literature and provides information on periodicals, research centers, and costume museums and collections. It also provides a new way of looking at the literature through a database of 58 Library of Congress subject headings. It covers topics from jeans to wedding dresses and features popular examples of how clothing is used and reflected in our culture through the literature discussed. Of interest to scholars, students, and anyone curious about the unique power clothing holds in our lives. Various types of reference sources are discussed including other guides to the literature, encyclopedia, dictionaries, biographical dictionaries, specialized bibliographies, and indexing and abstracting services. Electronic CD-ROM and online databases equivalents are included in the presentation of indexing and abstracting services with major networks such as OCLC, RLIN, Lexis/Nexis, and Dialog mentioned as well. In addition a list of 123 research centers, mainly libraries, is provided and arranged geographically by state, some 176 costume museums and collections of costumes located at colleges and universities are listed alphabetically, and a list of 278 periodicals on fashion, costume, clothing and related topics is provided. A database of some 58 clothing and accessory subject headings is analyzed in the Worldcat database with the literature of the top ten specific clothing and accessory subject terms limited to media publication format are covered. Additionally, histories of costume and fashion in the U.S. and works which concentrate on psychological, sociological or cultural aspects are outlined. An appendix, including the clothing and accessory database, and author and subject indexes conclude the volume.

Shows how Australian women have created their own sense of national and regional identity through their dress and in so doing puts a new slant on the history of Australian women's fashion in the twentieth century. This book argues that Australian women's fashions may be superficially derivative, but that there are patterns of dress.