Steven Meisel is, without question, one of the most influential fashion photographers walking this Earth today. He once shot 28 Vogue covers in a single year. He discovered Stella Tennant. He shaped the visual language of Italian Vogue for decades.

And yet, the American almost never exhibits, never posts on social media, rarely gives interviews and has published very little. He is, paradoxically, both omnipresent and invisible. Which makes his new show, Photo London: Steven Meisel: Master of Photography, feel like quite the event.

It's one of the highlights of Photo London 2026 in the UK, the first at its new home in Olympia. Every year, this prestigious fair awards its Master of Photography accolade to a significant figure – and this year, Meisel gets the honor.

Co-founder Michael Benson, who's worked with him before, describes his agreement to exhibit as "a rare and special thing". That's an accurate statement of how rarely this photographer allows his work to be seen on a gallery wall.

London attitude

The focus of the exhibition is a specific body of work: Meisel's portraits made in London in 1993, in particular the Anglo Saxon Attitude series shot for British Vogue with the late Isabella Blow.

Coming off the back of his collaboration with Madonna on her 1992 book, Sex, Steven arrived in London with something to prove, and with a collaborator in Blow who had an instinctive radar for unconventional beauty.

The results, as anyone who's ever flipped through a Nineties Vogue archive will know, were simply extraordinary.

Importantly, Steven didn't rent a pristine West End studio. Instead he worked in alleyways in Spitalfields, along canal towpaths, in the docklands, and on the streets of Notting Hill and Portobello Road.

He put Vogue fashion assistant Plum Sykes on a table in a silver bikini, in a crowded London pub while the regulars watched soccer. These weren't locations chosen for their glamour; they were chosen for their friction, their texture, the sense that the real city is pressing in on the frame.

The tension in his portraits stems precisely from that collision: high-fashion styling against authentic, earthy settings. The point was to deconstruct, to be disruptive, to resist the expected polish of the fashion image.

Steven's own explanation is characteristically brief and direct. "I think I'm good with discovering people, whether or not they are a model," he has said. "I see things in them that they might not see."

That instinct is evident in his London work. Stella Tennant, who became one of the defining faces of Nineties fashion, was essentially a society girl from Blow's address book. Steven saw something that the industry hadn't yet noticed.

That quality, the ability to find a subject's specific potential rather than impose a generic idea of attractiveness or elegance onto them, is one of the toughest skills to develop in portrait photography.

It requires patience, close looking and a willingness to cast against type. Steven's London portraits are a practical demonstration of all three.

The pleasure in these pictures, though, isn't just functional or historical. Decades on, they still look startlingly alive. These aren't mere period pieces, but studies in how a confident photographer brings together location, subject and light into something that will never age.

They're instructive precisely because Steven makes it look effortless, even though it clearly wasn't.

For more information, visit the Photo London website.

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Take a look at the best cameras for portraits and the best lenses for portraits, and discover the stunning Vogue fashion photography by Horst P Horst, which reminds us that he was the master of the grammar of light and composition.

Working for Vogue across six decades, German-American photographer Horst P. Horst (1906-1999) captured many famous models wearing outfits by many famous designers. Yet his real subject was arguably always the same: geometry, proportion and the grammar of light

There's a 1941 photograph in the new Horst retrospective, Hands, Hands, Hands, that stops you cold. A series of hands, some pale, some dark, interleaved like a living sculpture against a neutral ground. No face, no fashion, no context. Just form, contrast and the kind of compositional tension that makes you wonder why you ever bothered with anything else.

It's also a masterclass in everything photographers spend years trying to learn.

The new exhibition, Horst P. Horst: The Geometry of Grace, has just opened at Le Stanze della Fotografia on Venice's Isola di San Giorgio and runs until 5 July. Featuring over 400 works, almost half of which have never been exhibited in public, it's the largest show ever dedicated to Horst, who spent six decades shooting for American and French Vogue.

The show is curated by Anne Morin with Denis Curti, and the title tells you everything about its thesis: that Horst's work went far beyond the normal confines of fashion photography.

Architect in the darkroom

Before he ever picked up a camera, Horst studied architecture in Hamburg and Paris, where he worked alongside Walter Gropius and Le Corbusier. This is not a footnote; it is the entire story. Le Corbusier's concept of the Modulor – a proportional system based on human scale – runs like a spine through Horst's entire body of work. Bodies become architectural elements. Fabric becomes volume. Shadow becomes structure.

When photographers talk about "seeing the light," they usually mean spotting a nice shaft of afternoon sun. Horst, though, meant something more rigorous: light as an organising principle, the thing that defines edge, depth and spatial relationships. His studio setups were closer to architectural drawings than mood boards. Every shadow was placed, not found.

The Bauhaus influence is equally explicit. The school's founding conviction – that beauty and function are the same thing – translates directly into Horst's refusal of the merely pretty. His images are constructed on rhythm and proportion. If something is in the frame, it is load-bearing.

What photographers can learn

Here's where it gets useful. Horst was working with a view camera, lengthy exposures and no motor drive. Every frame was considered and expensive. That constraint produced a discipline that most photographers shooting 20 frames a second will never develop accidentally.

The exhibition presents this as art history, which it is. But for anyone who shoots for either fun or a living, the practical lessons are clear. Before you raise the camera, what is the geometric relationship between your subject and the background? Where exactly is the light source, and what edge does it create? If you removed every recognisable element from your frame (the face, the clothes, the location), would the remaining shapes still constitute an interesting image?

Horst's portraits of Salvador Dalí, Yves Saint Laurent, Luchino Visconti and others carry a further lesson: the subject's psychology is expressed through pose and geometry, not expression. Dalí appears with eyes closed, head tilted slightly back, his famous moustache the only flourish in an otherwise almost blank composition. It tells you more about the man than any grinning candid could.

Venice in 1947

The exhibition closes with a section that shows a different, looser Horst: his documentary shots made in Venice during the 1947 Biennale, capturing Jean Cocteau, Maria Callas, and the aristocracy of postwar Europe. Here, Horst worked almost like a photojournalist: outdoors, available light, no studio control.

The architectural eye remains, but the images breathe differently. It's a reminder that rigorous formal training doesn't imprison you. It frees you, because you always know what you're doing, even when you're improvising.

Horst once said he preferred to think of elegance as a form of physical and mental grace that had nothing to do with pretentiousness. Photographers could stand to adopt the same standard for their own work. The geometry is learnable. The grace takes longer.

Horst P. Horst: The Geometry of Grace runs at Le Stanze della Fotografia, Isola di San Giorgio Maggiore, Venice, Italy, until 5 July.

Milan is a city unlike any other, and flipping through Scott Schuman’s The Sartorialist. Milano, I feel as though I’m walking its streets alongside him. His new photography book, published by Taschen, is a love letter to the city; its architecture, its rhythm, its elegance, and to the people who inhabit it with effortless style.

As The Satorialist, Schuman was one of the first to popularize what is now familiar as street-style fashion photography. Long before Instagram or influencer culture emerged, he demonstrated how fashion could exist beyond the studio, off the runway, and on the streets, blending editorial composition with candid observation. Looking at these images now, it’s clear why his approach resonated so widely: it earned him over a million followers on Instagram, and it still feels fresh, immediate, and alive.

As a photographer, what strikes me most is how he works. There’s a stripped-back economy to his practice. No camera bag, just a Canon EOS R5 or 5D III body, a 70–200mm lens, and a patience that allows fleeting moments to unfold in front of him.

Each frame captures drama, romance, and personality, often in the blink of an eye. I find myself pausing on single images, noticing how a gesture, a tilt of the head, or the way someone leans against a doorway reveals as much about style as any outfit. It’s a lesson in seeing for photographers, and that technical perfection is secondary to emotional resonance.

Milan itself is a perfect partner for this work. Its palazzi are severe yet contain hidden gardens; its streets are bustling yet intimate; its markets and cafés vibrate with life. Schuman’s photographs reveal the city’s energy in ways I hadn’t noticed before. A passerby’s silhouette against the Galleria’s glass ceiling, a Vespa weaving past a frescoed wall, a carefully tailored coat catching the light; all these details create a rhythm, a visual language that feels both real and cinematic.

The late Giorgio Armani’s foreword reinforces this, noting that Milan and its people reveal themselves slowly, but those who observe closely will be rewarded. Schuman’s lens does exactly that.

Like many of Taschen’s photography books, The Sartorialist. Milano is beautifully sequenced. Threads of color weave through black-and-white frames, giving it a rhythm that mirrors the city itself. It reads like a visual diary, where each image is a story, each page a lesson in light, timing, and framing. I find myself studying the way he isolates his subjects against architectural backgrounds, the subtle interplay of natural light and shadow, and the quiet attention to gesture, an approach that feels both deliberate and organic.

For photographers, the book is more than inspiration. Schuman sits down with Gianluca Cantaro in an in-depth interview that explores his workflow, mindset, and philosophy of street-style photography. It’s a rare glimpse into how he approaches a city, how he chooses a lens, how he waits for the decisive, or even poetic, moment. For anyone trying to merge observation with editorial vision, it’s essential reading.

Flipping through these pages, I realise that what Schuman has done is more than document fashion; it’s shown how style exists in life, and how a photographer’s eye can reveal it. Street photography need not sacrifice elegance; fashion photography need not be staged. For me, this book is a reminder of what is possible when you move lightly, observe, and let the city and its people dictate the rhythm of your work.

The Sartorialist. Milano is $80 / £60, published by Taschen, and out now in the UK, and is published in the US in February. For photographers, it’s both a masterclass and a love letter: to Milan, to its streets, and to the art of seeing.

For more inspiration, check out our guides on the best books on street photography and another great Taschen release showcasing over 200 unpublished photographs of Sophia Loren.

From magazines to social media, these fashion photography tips will help you master the styles that will help your images resonate with clients and audiences.

Pro photographers usually don't concentrate on one fixed genre, and this might be the single most important fashion photography tip: pursue two or three styles in your work.

This has several advantages. First of all you are constantly being challenged creatively, always keeping up to date with trends in the industry. In addition, genres such as runway and street or editorial and beauty almost go hand-in-hand.

When finding your niche, it is important to try out many styles and realize your own visual projects in addition to commercial jobs. These offer you a free working atmosphere with no briefing to restrict your scope. So, here are the best fashion photography tips across all the main genres…

Fashion photography tips: Editorial

Published in books or magazines, these images tell a story of the latest trends. Styling is critical, so briefings with the client are essential to bring that vision to life.

Gear and settings:
- 75mm prime lens: All-rounder, adaptable to various settings
- Portable gear: Make it easy to change location quickly
- Lighting equipment: Keep it simple but effective and wireless
- Light meter: Always get the correct light settings, wherever you are

Tips and strategy
1) Have a plan: Stick closely to the client’s brief
2) Diversified location: Create more visual space
3) Teamwork: Communicate clearly with the stylist, make-up artist and model(s)
4) Don’t lose focus: Remember product and brand language

Fashion photography tips: Street style

Taking fashion shots on the street is becoming more popular. Magazines and social media follow the latest trends and styles and offer a great platform to get your photos published.

Gear and settings
- 50mm prime lens: Focus is quick, lightweight, and sharp at all stops
- Wide aperture: Create bokeh, focus on the subject
- Fast shutter speed: 1/125 sec or shorter for moving subjects
Pro Tip: Shoot in Aperture priority mode, as this enables the camera to automatically control changing light conditions, so that you can concentrate on capturing fashion candids

Tips and strategy
1) Get informed: Find unique styles at fashion shows
2) Stay up to date: Know what trends to focus on
3) Share: Designers like to repost content
4) Stay in the background: Create natural candid shots

Fashion photography tips: High Fashion

These are usually large productions with top models or famous figures, where photographers work with pros and even a designer. Visual languages are highly creative and often show the fashion in an unconventional way.

Gear and settings
- Full frame camera: high resolution for large print campaigns
- Exclusive kit: High quality stands in first place
- Dramatic lighting: Experiment with light and shadows
- Involve props: Create visual interactions

Tips and strategy
1) Collaborate: Be open to new creative input
2) Be risky: Stand out with bold decisions
3) Experiment: Try out poses and angles
4) Attention to color scheme: Create unique styles

Fashion photography tips: Beauty

Hair and makeup are part of fashion, so teaming up with makeup artists and stylists is key. Try organizing a beauty shoot, with the focus on selling accessories or make-up products.

Gear and settings
- Zoom lens: Versatile, easy to work with
- Macro lens: Capture details without loss of quality by cropping
- Reflector: Eliminate unwanted shadows
- Beauty dish: Make skin appear smooth and give it a glow

Tips and strategy
1) Home studio: No pro studio environment required, so make your own
2) Activate network: Work with familiar faces from fashion shoots
3) Take opportunities: Contact small businesses to get free products
4) Retouching: Be careful and don’t overwork natural aspects!
Pro Tip: Here's a step-by-step editing tutorial using the Frequency Separation technique in Affinity Photo 2

Fashion photography tips: Runway

Capturing models at fast-paced fashion shows requires flexibility and working under tough conditions. Crowds, low light situations and limitations on equipment are all challenges.

Gear and settings
- Zoom lens: Gain more freedom in compositions
- Increase ISO: Translate atmosphere, flash often prohibited
- Continuous focus mode: Keep the model sharp in movement
- Monopod: Offers flexibility, takes the weight off your shoulders

Tips and strategy
1) Start small: University shows provide fewer rules and may be ideal to build your portfolio
2) Shoot in verticals: Layout of magazine pages and covers
3) Various framing: Focus on clothes and brand-featured accessories
4) Get media / press pass: Opens new perspectives and freedom

Fashion photography tips: Catalog

Focus on fashion items with shoots taking place with a model in a studio. The customer should get an insight into the details of the material, color and fit, and how it will look on them.

Gear and settings
- 50-70mm prime lens: No risk of body distortion
- Softbox: Choose type based on subject
- Neutral backdrop: No distraction from fashion
Pro Tip: Work with custom white balance to show the item's true colors; check out this cheat sheet on how to achieve true-to-reality colors

Tips and strategy
1) Stay neutral: Let the fashion stand out
2) Clear communication: Supervise the model
3) Natural poses: Pay particular attention to the face and hands
4) Post-production: Work out the characteristics of the clothing item

Fashion photography tips: Product

Produced in studios, these photographs focus on the product and are often the ultimate presentations in detail. Setup will largely depend on the brand’s language.

Gear and settings
- Softbox: Choose type based on subject
- Light box: Fast results for small objects
- Various backdrops: Don’t be afraid of bold colors or patterns
- Use props: Underline aspects of the item

Tips and strategy
1) Start small: Photograph your favorite brands to build a portfolio
2) Share: Tag brands on social media to reach out
3) Experiment: Try various settings to find your own particular style
4) Post production: Elaboration of details

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Make sure you're using the best lenses for portraits – even better if you pair them with the best cameras for portraits. Take a look at these portrait photography tips for more detailed descriptions on shooting people.

I remember in 2010 hosting my first workshop. It was in a small London studio, showing how to make a ‘levitation’ photo. Essentially, for £99 I’d show you how to take two photos on a tripod and Photoshop out the supporting chair of a girl laying like a corpse upon it.

Ok, it was more than that, it was about trying to show the magic that goes into making a fine-art photo, and the participants got at least a peephole, At other times, turning my artmaking into a ‘step by step’ was a bit like being watched while making love and failing to climax unless the onlookers turned the other way.

But how thrilling to make wonga from anything photography-related after the recession of 2008, after all, I’d only just graduated from my English degree two years earlier. Every photographer and his dog were doing workshops, even I who was just getting to grips with the functions of a camera after having used Auto settings for most of my self-portraits that catapulted me to hyped fame through flickr.

I was ardent from the start that I wanted to be an artist, not a teacher, but brave is the photographer who shuns the workshop market completely, especially in this even worse, silent recession of 2025 where any real work available threatens to be ousted by AI. But from the start of doing workshops, my partner Matt and I had the notion that the participants might be bored by the paparazzi format, and want more than to worship at the shrine of the hosting artist.

So in 2011 we tried something different. We hired a large venue and styled a model for each of five sets that participants would rotate around without any teaching. A shoot-out, essentially, where the locations and team required warranted a much higher ticket price, but beckoned a surprisingly long queue of both amateur and pro shooters who didn’t want their hands held.

We went on to do six years of them in New York, LA, France, Lanzarote, and Iceland. Our last one was a week of six naked models in Tuscany, our last phwoaring-hurrah before Covid happened and we assumed we’d never be able to do stints like that again.

Logistically, the shoots needed months of organization, and the ticket price often limited our clientele to white-collar professionals with a high disposable income (a young amateur might only make it thanks to a generous uncle or windfall) but what the participant got from it, testimonial after testimonial attested, was better than any workshop they’d been to. They were real cameraderies (see what I did there? My English degree wasn’t wasted!) They were exhausting, they were all-consuming, and we’d usually splurge most of the budget on production I could make my own body of work from, Surreal Fashion.

We spent the next eight years having two daughters, watching the £5 sandwich-at-a-service-station post-covid world pretend to be normal again, and wondering whether anyone is still switching on a camera – in the face of the AI app even I have on my phone – till one day Matt logged into Facebook, after nearly a decade of deactivation, and found our clients up for the idea of another event.

We fancy dusting off our camera, taking to the skies again and maybe even making a few quid for the gas bill, but the main thing we miss is the buzz. The social gathering. The kind of stuff I think people will need more than ever in a post-socially distanced, money-cautious, virtual meta world.

Like I said about a scene I shot underwater in the Cayman Islands as the base for CGI piece, "Such an effort could be created easily by AI these days – without the nauseous bobbing on a boat at dawn, buying expensive underwater camera housing, or worrying your model will be decimated by a jellyfish – but the breakfast afterwards really wouldn't taste as good, would it?"

So, after a 2024 of personal and professional woes, watching people I never knew even had tear ducts crying with anxiety, counting the blessings of everything we’ve been lucky to experience in our career… we’re diving back into the deep end of hurrying the lipstick on five models at Captain Barnes’ House in New York in April.

We’re coming back to our Fashion Shoot Experience, feeling grateful in 2025 that I can call myself a photographer, teacher or businesswoman at all. We’re also taking on a workshop in a Swiss castle where I will be quite happy to divulge in every intimate stroke to my artmaking if it means preserving something of that old world. And thus is our New Year Resolution for 2025: Let’s Get Physical... Again. Well, in the school holidays at least.

Creativity Hub Photographic Events has teamed up with London Camera Exchange, Fujifilm, and Elinchrom to bring a unique fashion photography portfolio-building event with 'unparalleled production value'.

Flora: Fashion in Full Bloom will take place in a Northamptonshire manor house on August 17-18, complete with enchanting trails leading to secret gardens and hedge mazes. The stunningly British backdrop has inspired a floral fashion-themed setup, with a one-of-a-kind opportunity to work with some of the best equipment and talent available – all you need to do is turn up!

The event will provide the attendees with some of the best lighting equipment on the market thanks to lighting sponsor Elinchrom, and capture exquisite detail by utilizing the best Fujifilm cameras and Fujinon lenses. Elinchrom lighting with Fujifilm's GFX cameras is a match made in heaven and one that I utilize regularly.

The unique partnership between Fujifilm, London Camera Exchange, and Elinchrom UK offers a first-of-its-kind series of photoshoot events for enthusiast photographers and promises to 'revolutionize the UK photographic events industry with immersive experiences that blend expert knowledge, hands-on opportunities, and exclusive offers'.

The event does not just provide industry-leading equipment, however, but striking subjects in which to capture. A full team of talent will provide unique wardrobe, styling, lighting setups, and professional models, meaning all you need to do is turn up and shoot - guaranteed to capture portfolio-worthy images.

8 unique setups will offer further diversity to your images, and no one workshop offers the same setup, meaning your images will be uniquely yours, better yet, you will be able to recreate the images in the future with a PDF lighting guide to take away.

Although not much work is required to capture stunning images, these events are a fantastic way to learn how to replicate them in your own time. It is an opportunity to broaden your experiences and skillset, so take advantage of the professionals on set and ask lots of questions!

If attendees enjoy using the equipment provided, there will be an opportunity to purchase it on the day, with exclusive discount offers.

This year's event will take place in Northampton, UK on Saturday 17 & Sunday, August 18 2024 from 10 am to 5.30 pm. Tickets are priced at £250 for half a day and £375 for the full day and are available on the Creativity Hub Photographic Events website. You can secure your spot today and use code FLORA25 to get £25 off of a full-day shoot space.

Spaces are limited to 12 attendees, with a max of 3 photographers per model at one time, keeping the group at a level to best learn and capture to the best of your ability – but this does mean spaces are filling up fast!

One of the main hardships when creating a new portfolio, especially in fashion photography, is getting an experienced team together in the same place and at the same time. Professional hair, makeup, wardrobe, models, and lighting technicians are all provided for you in a jaw-dropping backdrop of the English countryside - sign me up!

You may also be interested in our guides to the best Fujifilm cameras, best books on fashion photography, and the best lighting kits.

Famous for shooting, well everyone, Annie Leibovitz is also famous for not favoring a specific camera or brand.

This is why whenever she is spotted using a camera, eagle-eyed viewers are quick to find out what it is.

While shooting a recent campaign for Louis Vuitton with tennis champions Rafael Nadal and Roger Federer, in the Dolomite Mountains in Italy, she was seen using a Sony camera, however, the logo was covered by what appears to be a piece of tape.

Sony Alpha Rumors shared what appear to be two images from behind the scenes on their website, with the explanation:

“A reader sent me anonymously those two images of Annie Leibovitz['s] latest work.”

Leibovitz has been known to switch between various different brands of cameras previously including:

• Mamiya RZ67
• Hasselblad 500 C/M
• Hasselblad H5D
• Minolta SRT - 101
• Nikon D810
• Fuji 6×9 medium format camera
• Canon 5D Mark II

The campaign is the latest in the Louis Vuitton core values series, which was first landed 17 years ago by Antoine Arnault and Pietro Beccari to celebrate the “timeless principles” that define Louis Vuitton,” according to the fashion brand.

Leibovitz is one of the most sought-after and highly regarded portrait photographers alive today, and is responsible for some of the most iconic celebrity images including that of John Lennon and Yoko Ono, Queen Elizabeth II, and Arnold Schwarzenegger.

While working for Rolling Stone in the 1970s, Leibovitz defined their look with her intimate portraits of musicians such as Mick Jagger, Bob Marley, and Bob Dylan.

Known for her raw and authentic photographs, in March earlier this year Liebovitz was inducted into the L’Académie des Beaux-arts, where she took the opportunity to address the use of artificial intelligence in photography.

"That doesn't worry me at all", she said of AI in response to the Agence France-Presse (AFP), "With each technological progress, there are hesitations and concerns. You just have to take the plunge and learn how to use it."

When asked her thoughts on AI-altered images she said, “Photography itself is not really real… I like to use Photoshop. I use all the tools available. Even deciding how to frame a shot implies 'editing and control' on some level."

We've rounded up the best Sony cameras in 2024, as well as the best Sony lenses. 

We've also put together the best cameras for sports photography. 

Annie Leibovitz and Paris Fashion Week are a natural match… but IKEA? Well, all three will collide in an exhibition taking place at the end of the month.

The exhibition will feature a series of portraits taken by Annie Leibovitz and be shown during a four-day festival called IKEA+ that will take place from February 29 - March 03 at 28 Rue de Lappe, in the French capital. 

The work was created in response to data collected in IKEA's Life at Home Report, which found that "48% of people globally do not feel that their life at home is represented in the media." In response, IKEA created its first artist-in-residence program, collaborating with Leibovitz to inspire change and showcase authenticity.

Over 37,000 people across 38 countries took part in the survey, providing insight into how people view their homes and what their definition of home means to them. People's relationships with their homes have changed dramatically over the past five years, due to everything from the pandemic to current economic climates. "The media often depicts homes that society deems 'ideal', but this doesn’t resonate with many of us," says the report. 

IKEA believes that "everyone deserves to be seen", which is why it enlisted Annie Leibovitz to create the This Life at Home series of portraits. The renowned photographer's journey through the project focused on representing authentic everyday life in various households, from different cultures and locations, capturing their stories and connection to home.

Far removed from Leibovitz's celebrity work, there were no sets or stylists – "just real people and real lives". The new portraits are more akin to her early work, in combination with her world-recognized and developed style. This is my favorite way to see people photographed, as authenticity has a way of connecting deeply with the viewer, enabling the message to be stronger.

Leibovitz photographed 25 homes across 7 countries to create 25 images that will go on display at IKEA+. One of the images was taken of Yusuke Onimaru, taken in his home studio in Japan. "The studio is not a comfortable space, but rather a place of tension," says Onimaru. "It is where I feel like I'm on a stage. When I enter, I must go deeper to bring out everything in me."

Another image was taken of Maria Arrechea, at her home in Germany, showcasing differences in what we universally call a home. "I don’t have a problem with somebody else living in my room," Arrechea says on the current cost of living crisis. "There are so many people in the world looking for a place to stay so it feels good to help. And I also know what it means to be looking for a home."

In addition to This Life at Home, the IKEA+ exhibition will showcase the work of six aspiring photographers who received mentorship under Leibovitz during her residency. The four-day IKEA+ festival will be a must-attend event with a celebration of world-known artists with local pioneers in music, art, and design. 

Annie Leibovitz is a master at her craft, and having such an important story told by a photographer that carries as much weight as she does will certainly bring eyes to the overall message of representation. You can find out more about IKEA+ at the brand's French website.

Find out where Annie Leibovitz ranks on our list of the 50 best photographers ever. You might also be interested in the best professional cameras to see the caliber of kit she works with.

Genre-defining doesn't come close to describing George Hoyningen-Huene's catalog of work, capturing fashion, portraiture, and travel unlike anyone before him and setting the stage for those who came after.

George Hoyningen-Huene: Photography, Fashion, Film, by Susanna Brown and The George Hoyningen-Huene Estate Archives, is the first publication dedicated to the great photographer's work in over 40 years. It presents the reader with Huene's photography journey, providing a great depth of insight into an icon of fashion photography through his famous images, previously unseen photographs, and personal correspondence. 

Huene started his photography career photographing for Vogue and Harper's Bazaar, which at the time were far removed from our modern understanding of these fashion powerhouses. Fashion photography was solely commerce-based during this period, and not the creative outlet for art and design we see today. Huene's early work with publications like Vogue helped establish this new direction. 

"His early photographs for Vogue were shaped by influences from both the classical world and the machine age," Susanna Brown writes in the book's introduction. "A deep artistic sensibility and a talent for sculpting the body with light enabled him to create graceful fantasies that transcend the magazine page and transport us to a bygone era of glamor".

Glamor is the perfect word to describe Huene's work, as it is evident from his images that every aspect of the subject, location, framing, and lighting is taken into consideration. Huene took a lot of his inspiration from cinema and photographed portraits of Hollywood stars with a similar approach to his fashion work. Katharine Hepburn, Cary Grant, Ginger Rogers, and Bette Davis are but a few of the subjects that were elegantly captured by Huene's lens. 

Speaking on her experience working with Huene, Katharine Hepburn is quoted as saying, "Texture, line, and simplicity – these were the things he liked – the classic truth". 

Ahead of his time in many ways, Huene never truly got to see his work represented as the art it was. Fashion photography was only just being exhibited by museums and galleries shortly before Huene's passing in 1968 but, since then, much of his work has been displayed in solo shows and as part of larger exhibitions around the globe. This brought new audiences to his work and led to the discovery of much of Huene's previously unseen work outside the realm of fashion. 

Showcased in the book are images from projects that show Huene's extended interests, such as travel, landscape, and his foray into motion pictures that although differ in subject, are still captured with his signature statuesque elegance. 

George Hoyningen-Huene: Photography, Fashion, Film by Susanna Brown and The George Hoyningen-Huene Estate Archives is published by Thames & Hudson and is available for pre-order directly from the publisher, as well as Amazon US ($100) and Amazon UK (£75).

Over the 328 pages are 300 images, with accompanying texts by writers from the worlds of fashion, cinema, and photography. This book is fantastic and provides a deeper insight into the work and personal life of one of the great photographers – one that perhaps doesn't get the recognition he deserves. 

As William A Ewing states in the foreword, "Huene made photographs that transcended their utilitarian function and stood the test of time", and it's hard to disagree. 

If photography books are your thing, like they are mine, you may enjoy our guides to the best coffee table books and the best books on fashion photography. 

Top fashion and portrait photographer Rankin has helped produce a ’look book’ which aims to raise awareness of acid attacks – and to help prevent them taking place. 

A new campaign from Acid Survivors Trust International (ASTi), the Tear Couture Look Book employs a format used in the fashion industry to showcase the latest styles and fabrics to tell the story of acid attack survivor Patricia Lefranc. 

The look book aims to highlight the devastating effects of acid attacks, which are more prevalent in regions where fashion and textile industries are based – due to sulphuric acid being required in large quantities. 

Photos of Lefranc modelling for Rankin illustrate the book, which also includes a foreword by ASTi patron HRH The Princess Royal. 

Noting his long-term affinity with the fashion industry, Rankin says: “I have been delighted to see the changes that have taken place within the industry in recent years to make it more sustainable and responsible. 

“When ASTi explained to me the issue of acid misuse within supply chains, I knew I had to take action.” 

Lefranc posed for Rankin at the photographer’s studio in north London. She said that being photographed “wasn't easy“, but felt it was important for her to do so, as more and more acid attacks are taking place across the world.  

“Many people are unaware of the enormous pain and suffering that acid attack survivors go through,“ she said. 

“I’m so grateful to Rankin for this opportunity to raise awareness of our situation, and to take steps together to prevent further attacks.” 

Jaf Shah, Executive Director of ASTi, said: “Industry has a key role to play in stopping incidences of acid attacks. 

“We’re so grateful to all those helping to bring this issue into the spotlight: HRH Princess Anne for writing the foreword to the Look Book and, of course, Patricia and Rankin. 

“With their support we aim to partner with businesses and make the changes needed to achieve this goal together.” 

ASTi is a charity based in the UK, but works in the UK and across the world. It is campaigning for an end to the easy access to corrosive substances that are weaponised – most often against women. 

Created with McCann Health London, the Tear Couture Look Book is a continuation of the communication agency’s Tear Couture campaign; the agency launched an ASTi report at St James’s Palace in March 2022 in the presence of HRH Princess Anne. 

As well as telling Lefranc’s story, the Tear Couture Look Book explains the role that sulphuric acid played in Britain’s Industrial Revolution, how acid attacks have become a global epidemic and the importance of supply chain oversight in restricting the future availability of corrosive liquids including hydrochloric, sulphuric and nitric acid.     

Click here to view the Tear Couture Look Book.  

In partnership with Thomson Reuters Foundation, Trustlaw and international law firm Covington, ASTi’s report on supply chain considerations for dangerous corrosives, such as acids, contains a toolkit with five key recommendations for corporates.

Maurice Mikkers’ photography of microscopic tears – which also features in the Tear Couture Look Book – was turned into an immersive VR experience where the user journeys through a 3D tear landscape while listening to the testimonials of survivors and a specially composed track by the British/Indian composer Nitin Sawhney. 

ASTI is a UK registered not-for-profit charity and the only international organisation whose sole purpose is to end acid violence at a global level. 

It has partnered with and received grants from the United Nations, the British Government and numerous foundations on delivering medical, legal, awareness raising, advocacy, rehabilitation and livelihood projects in multiple countries including India, Pakistan, Nepal, Bangladesh, Uganda and Cambodia. 

ASTI was awarded an Impact Award in 2019 by the Thomson Reuters Foundation for its work on changing UK law.

Take a look at the best lenses for portraits, the best camera for portraits and best softbox lighting kits and how to practice portrait lighting without a model.  

My journey with digital photography started when I purchased a Nikon D3200 and re-ignited an old passion. Aviation was my thing back then, and to an extent still is, but I slowly tried different genres of photography and had the chance to try portrait work. I got bitten by the portrait bug and started looking for ways to capture different types of portraits.

When it comes to kit, I don’t get drawn into the DSLR vs mirrorless debate. Low-light capabilities are what’s important to me. I use the Nikon Z6 II, and it almost always has the Nikon 28-75mm f/2.8 lens on it, which produces crisp images. For lighting, I use the Rotolight NEO 3 – its continuous LEDs allow me to be creative in the moment, with access to millions of colors in an instant.

My best shots

‘Hollywood’ is one of my latest shoots. The model, Didi, sent out a casting call for a Hollywood-style shoot, something I had seen examples of but not tried. I’ve converted my garage into a simple home studio with a small frame and a few different backdrops. I had a look in local charity shops for a few props and came across a vintage nursing chair that I thought would work well. With most shoots, creative props can make all the difference, but they don’t need to be expensive.

‘Cyberpunk’ was shot in my converted garage, and is proof that you don’t have to have a large space for a studio. Chantelle was the model for this shoot and was willing to work on a TFP (time for print) basis. This is when a model agrees to trade their time for images – usually when they’re looking for something specific to add to their portfolio. Finding TFP opportunities is a great way to build up your own portfolio without too much cost. The props in this shoot were a couple of silver emergency blankets, a pair of glasses from Amazon, and a projector to create unusual light patterns.

‘Urbex and Frill’ is about using different textures in your compositions. It was shot during a professional workshop in an abandoned building. These sessions offer a great opportunity because the setups are organized for you. The challenge is producing something different to the other photographers on the day. I try to find angles that will help my images stand out. For this shot I decided to really bring out the peeling wall to contrast against the flowing dress Ashleigh was wearing.

‘Witch in the Wood’ takes using props to another level. For me, this image helps to show how far I have come along on this photographic journey. I was asked to create a Halloween feel in the middle of summer. Erin was the perfect model, with her gothic looks. Add a purple smoke grenade and a wooded area, and we managed to create this striking vibe. 

This image strips everything back down to basics, a simple one-light setup using a Rotolight NEO 3. Car parks are a favorite location to shoot, as they can be such a creative area to work. I used the parking bay as a leading line and asked Angharad to crouch down so I could frame the photo from a low viewpoint, to create something that captures the eye and is different to the normal portrait.

My portrait photography tips

• Take every opportunity to practice. Ask friends or family to stand in front of the camera. The more you practice with different people and different lighting setups the better you will become.
• Home studios don’t have to be expensive investments. A single flash and a portable frame with a cloth backdrop will get you up and running.
• Search out photography opportunities and network. There are a lot of manufacturers, such as Rotolight, who host photography walks or workshops that enable you to try new equipment and meet with like-minded people.

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In an exclusive online showroom developed by All About Photo Reclaiming the Muse showcases two deploy-though provoking images challenging patriarchal narratives while shining a light on contemporary historic artwork and stories. The visionary photographers hope to reframe and retell stories that have reshaped our world for thousands of years. 

With a massive focus on female empowerment who have all too often been degraded to objects of beauty and scorned in traditional narratives leading to misconceptions about women’s role in society. This powerful series aims to breathe new life into the idea of the female muse. By bringing forth the issues that matter most when it comes to female representation including the idea of a woman as a stay-at-home mum, a cleaner, beauty-obsessed, or being the cause of their own sexual aggravations.

Reclaiming the Muse delves deeper into the themes of mythos, power dynamics, gender roles, liberation, empowerment, and self-preservation through playful and deceptive imagery. While none of the photographs use real people but rather dolls and illustrations, the human psyche is at the core of each composition and the artist's fascination with the psychological landscape is visible throughout. The quest for meaning and the contradiction of human existence is apparent throughout the series, drawing on inspiration from a wealth of historical stories, myths and art. 

Through extensive research, the artist behind Reclaiming the Muse uncovered unsettling trends where women were held responsible for the world’s ills, the failures of men, folk tales from the bible, and other historical narratives. By acknowledging, reinterpreting and reimaging historical tales in a new worldview, the artists have given power back to the female form, asserting control over their own stories and drawing on the rich source material provided by historical representations.

These fictional tales deliver fresh perspectives on tired narrators and swerve as a powerful reminder that society has the capability of reforming and reshaping the status quo by pushing the boundaries of artistic expression. The exhibition challenges social norms and highlights the transformative power of art and its ability to trigger change deeply engrained in society. Our understanding of women’s place in the world has been shaped by historical narratives but this project enables us to explore the potential for change, empower women on a higher level and share collective stories to a wider audience.

South African visual storyteller Lee-Ann Olwage was crowned the winner of the professional creative category at the Sony World Photo Awards 2023 for her series, The Right to Play. In this project, she explores the life-changing power education has on the future of young girls when given an opportunity to learn and dream. 

Working with Kekanya's Dream, a non-profit organization set up by educator and activist Dr. Kakenya Ntaiya. Olwange set out to capture what can happen when the traditional roles of women as wives and mothers, many of whom would undergo female genital mutilation (FGM) are set aside to continue education beyond primary school.

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Giving power to the girls she photographed, Olwage allowed them to choose how they posed ranging from standing on a chair to running around a classroom. Using flowers she pinched from her neighbor's garden, she layered them over the printed images to create a collage before photographing them again to create the final pieces. The flowers are a nod to traditional arranged marriages and a life these girls are hoping to escape. 

Speaking to Olwage at the SWPA 2023 exhibition Olwage tells me the photos were featured in the Italian edition of the fashion magazine Vogue "which was a big deal for all of us." She continued, "the most important thing is that these young people inspire each other. Sisters and other friends are seeing these images in magazines and galleries like this [Somerset House, London] and showing what can happen when given an education and opportunity to dream"

Blown away "by the tenacity and strength of the women and girls [in this project], I'm constantly reminded of how important safe spaces are for these women" Olwage explains, and how lucky she is to come from a privileged community where going to school was almost taken for granted. 

"I remember not even wanting to go to school some days, it's not something you ever think about but for many women and girls all over the world it's not even an option so working with these girls was a phenomenal experience"

It is estimated that worldwide around 129 million girls leave education to marry and have children and only 49% of countries have an equal number of boys and girls in primary schools with the gap widening at secondary school. 

While young girls still face traditional cultural practices such as FGM, Olwage will continue to act as a voice for these girls through her powerful, thought-provoking imagery. As a member of the Native, Women Photograph and African Women in Photography, her long-term projects use photography as a way of engaging wider communities and allowing her subjects to engage with how they are represented. 

If you enjoyed this article, you can check out the full list of winners unveiled at the Sony World Photography Awards 2023

What is fashion photography? Fashion photography is quite a general term, but if we break it down to the basics, it's the creative display of clothes and accessories, with inspirational images that are used for commercial outlets like advertising boards and fashion magazines to promote designers, retailers and even lifestyles.

The promise of a new year gives photographers of all genres a chance to reset, reassess what's working (or not) for them and look ahead to new commissions, creative ideas and collaborations. And this is definitely true of fashion photography. But what does it take to be a successful fashion photographer?

We've been speaking to UK-based professional fashion photographer Siân Elizabeth to find out how to get into fashion photography, her best mirrorless camera and lens combo, and advice on retouching and working with models.

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Fashion photography is, without a doubt, one of the most alluring genres of photography, but arguably one of the hardest to break into. Not only does it require highly sophisticated technical skills plus a broad knowledge of lighting setups, it also demands up-to-date knowledge of trends and a keen eye for style. Just taking photos of clothes isn't enough to break into this fiercely competitive world; you need to think about how things like location, accessories, and poses elevate the narrative you're trying to convey.

Since the mid-1850s, when Adolphe Braun published what is considered to be the first book on fashion photography, this glamorous world has stolen the hearts of photographers, stylists, models, set designers, and lighting technicians. Unlike lots of photographic genres, fashion photography is highly collaborative and offers the chance to work with other creatives who bring their own artistic flair. It's high-pressure and chaotic, but it's also charismatic and completely magical when it all comes together.

Watching The Devil Wears Prada once won't turn you into the fashionista that is Miranda Priestly (supposedly modeled on Vogue's editor-in-chief, Anna Wintour) overnight, but films, books, and magazines are a great source of inspiration.

Whether you're just dipping your toe into the world of fashion or fancy yourself as the next Mario Testino, I've put together a list of books to both guide and inspire you. While some are incredibly useful tools for understanding posing, lights, and developing your own unique style, I've also included some that are a dream to look at. Whether you want to shoot the avant-garde or the understated, these books will help unlock your creativity and push it to new heights.

The best books on fashion photography

German photographer Peter Lindbergh was a pioneer in fashion photography, and some of the world's biggest models, such as Kate Moss and Naomi Campbell, have him to thank for it. His humanistic and cinematic approach to fashion photography landed him jobs with Comme des Garçons, Yves Saint Laurent, Jean Paul Gaultier, and Thierry Mugler, but his best-known work is perhaps some of his simplest. This hardback book is beautifully printed and a must-have coffee table book for anyone hoping to get into the fashion industry – not only is it full of inspiration, but it's completely iconic.

With a background in fashion editorial with clients like Marie Claire, not to mention numerous turns as a Canon and Adobe speaker, Adler is well placed to write on this subject; practiced, knowledgeable, and aware of photographers’ questions. Her approach relies a great deal on comparing successful results with many ‘posing errors,’ so don’t expect academic discussions or even high-fashion results. For an enthusiast or beginner who now needs to make people look good every time, however, this book provides a lot to help develop a photographer’s eye.

We all know that photography is about light, so a lighting reference is a good idea for any photographer, but how lucky that there is one written and richly illustrated from a fashion perspective? Italian photographer Vanon’s own work makes two-thirds of the book a visual treat as well as an education. The last third is devoted to a series of model shots showing four different models lit from numerous angles, which you can use to get a good idea of how almost any lighting setup might work before you unpack the gear.

Undoubtedly the best-dressed book in this collection with its holographic cover, which, I’m afraid, static images do not do a great job of representing. The looks, though, aren’t just skin-deep – this is an eight-decade journey through the history of fashion and its inescapable link with photography, chronicled with all the academic precision you would expect of the author, a noted lecturer in the field. Plus, of course, you might even be able to use it as a reflector!

Not everyone wants to spend too long diving into words and theory when they’re planning to shoot a portrait. They need something a little more visual and immediate. That’s where this book shines. Instead of deep-dive discussions of camera technique, this book is presented as a series of pages, each with a big annotated image, three smaller photos, and a brief explanation. The models are shot in plain circumstances that most people can emulate, and feature men, women, couples, maternity, and children (though it must be said, despite the cover, there is only one curvy model and something of a white bias). Nonetheless, the book’s lessons are quick to access and easy to follow, making it very handy for Instagrammers and entrepreneurs.

Showcasing a complete lifestyle – as the author does so successfully with her Song of Style blog – might seem a long way from the catwalk, but in many ways this is the most essential of skills in the social era. Interior styling is, after all, just as prone to fashion as clothing, so combining them to form a personal brand is a valuable skill (explaining why she consults for Michael Kors & Tiffany & Co.). This much-imitated book is not just fluff, though; it’s beautifully presented, occasionally funny, and phone-friendly.

Visual history in a gorgeous package, paging through this volume is a treat for fashion photographers and devotees alike. You can pore over the details of each image and attempt to decipher the technique, or simply use it to appreciate Vogue’s view of the world at a specific time. While every cover 2010-2017 is included (often more than one on a page), the earlier history is made of selected highlights. It’s also worth noting that early editions (until 1932) were not photographic, but that doesn’t occupy a lot of the chunky book, and that covers retain all the copy and even the barcodes.

Quite possibly the best curated collection of fashion photography you can lay your hands on. This is a journey through the history of fashion photography in five rich chapters, from 1911 when Edward Steichen was first asked to add something other than mere documentary utility to a fashion shoot, through greats like Munkacsi, Avedon, Newton, Weber, and right up to modern conceptual work. A beautiful and thorough coffee table book, which is actually an exhibition catalogue, but doesn’t skimp on the text and ends up as something much more.

This might look like yet another tips book – as its chapter titles suggest – but it is actually a surprisingly accessible take on the last four decades of the luxury fashion and beauty industry. The lessons for photographers are tangential, and I’d urge readers to bear in mind the author has a number of brand relationships, thanks to her massively successful blog, but it is nonetheless interesting to read an enthusiastic fashion PhD’s perspective on Cara Delevingne’s selfie and Instagram’s influence.

A fresh coffee table anthology of deliberately contemporary work, steering away from the names long-term fashion followers might know well and concentrating on new fashion photography, often taken with mixed-media distribution in mind. Twenty largely emerging talents are included, including Karen Knorr and Charlotte Wales, but the book also looks at how better-known names, like Jurgen Teller, have adapted to an era where glossy magazines no longer hold complete sway.

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Fashion photographer Oliviero Toscani turned 80 this year. Best known for his powerful photographs for Benetton, the Italian photographer has become synonymous for creating images that are designed to shock - and to provoke political debate.

To celebrate the life of one of Italy's best-known photographer, Toscani's work is currently on show in two exhibitions in Bologna and Milan. The shows remind us of all he’s broken: the Benetton campaigns featuring dying AIDS sufferers and death-row inmates, the Jesus Jeans advert accompanied by the Biblical phrase, ‘Those who love me will follow me,’ and the book’s cover picture of a nun and a priest sharing a kiss – not to mention the anorexic model, the copulating horses, and the many genitals. 

As Benetton’s creative director from 1982 to 2000, and then reprised from 2017, Toscani has been credited with helping the brand to achieve global success. But his desire to challenge the status quo with sociopolitical messages has also won him a lawsuit from the state of Missouri, a great deal of disapproval from the Catholic Church, and general criticism for using sensitive issues to sell clothes.

To mark his birthday, and the exhibitions, we are running below an interview published in Professional Photography in 2016, when Toscani was just 73 years old - but still going strong - and had just published his book "More than fifty years of magnificent failures", and was talking to Kathrine Anker…

Toscani in conversation

What’s your biggest ‘magnificent failure’?

“My greatest failure was listening to people who said ‘Oliviero, isn’t that too much?’ You should never listen to those people, to that sort of mediocrity. Too much of what? It’s like Emperor Joseph II telling Mozart there were too many notes.”

Have there been any campaigns that, in hindsight, were too provocative?

“What do you mean, too provocative? What’s the limit? Limit for what? Who decides that? What is ‘too much’? When a picture is interesting, it’s controversial. Controversy belongs to art; provocation belongs to art. I wish every picture would provoke an interest. As with other forms of art, if it doesn’t provoke, it makes no sense to make it.”

How did you select the images?

“I’ve got a bad archive. I’ve never kept stuff. I’ve lost a lot of work because of that. It’s a choice – managing your archive takes a long time, and I don’t like to waste time looking back. So a lot of the images in the book are straight from the magazines; images that have been printed and used with typography and everything, because those files were kept. It’s fitting, though – I’m not the type of artist who makes art that you put on the wall. I hate that. When a picture doesn’t sell anything, it’s not useful.”

What do you think of fashion images these days?

“The fashion world is a marketing world now. It’s just about products. It has no sociopolitical meaning. It’s just about selling products. The fashion magazines are boring; the models are sad; nobody’s laughing. The fashion world is a dreary place to be. 

Women are much more intelligent than these magazines. If a young girl looks at a magazine and thinks, ‘I’ll never be like that,’ she will suffer complexes. The fashion world discriminates a lot. It’s really sad that magazines promote anorexia, discrimination, complexes and isolation to the women looking at the pictures in the magazines.”

What are you doing at the moment?

“I’ve just finished working on the Christmas issue of Elle, and will be working on other Elle assignments in the coming days. 

I do a lot of editorial, but I also do jobs where I create the whole image for a company, not just the photography. I design logos, and I’ve got a couple of graphic designers working for me. 

It’s about the coordination of an image, not just the photography. It’s also writing. We even wrote a ‘company anthem’ for Roleski, a Polish company that makes relish and sauces. I also collaborate with the people who used to do Colors magazine with me. For every project, I put together the team that will do the right job.”

What’s your approach to photography?

“People say, ‘I’m passionate about photography.’ I don’t care about photography, in a way. My father was a photographer; my sister as well. People like photography like they like to go jogging. I don’t jog. When I run, I run because I have to go somewhere. I don’t photograph for the sake of photography. 

I actually find photography to be very limiting and old-fashioned technology. So I use photography to express what I see, the way I see it. The camera paraphernalia doesn’t interest me. I can handle it easily, I’ve got good education on the subject.

 No camera scares me, but it’s a disturbance because it’s a filter between me and the reality. But I need it to record what I see, the way I see it. But I try not to put my camera in front of my eyes – I try to put it behind my head, if that makes sense.”

How would you like to be remembered?

“I don’t care. I won’t remember when I’m dead, so who cares? I belong to a generation that was really lucky. I’ve been through some interesting times. 

I consider myself to be the most privileged and lucky person I’ve ever met in my life. I’m not embarrassed to say that. Some people struggle to survive physically and mentally, whereas I’ve got a huge, healthy family. I’m 73 and healthy; everything works. We should look around and not complain too much.

I’m also lucky because I’m not lazy. Nowadays, there’s an inertia, brought about by all the technology. People get carried away with technology, and they no longer choose to take the time to imagine. Imagination has nothing to do with technology. It’s the imagination  that goes into the image. People use technology and Photoshop to fill in what they’re lacking in talent. People are incredibly lazy and spoilt. Few people make an effort. I get a lot of young people coming up to me, wanting to show me their portfolios. So I tell them, ‘Okay, fine. 

Come tomorrow morning at 5am.’ But that’s too early for most of them to bother. It happened only once that someone actually came at 5am. That’s proof of commitment. I really liked him.”

Are you going to retire?

“Retire from what? I’ve been privileged; I will die working. Work is my hobby. I do other things – I breed horses; I produce wine. All of this belongs to a certain mentality, a curiosity of life.”

What annoys you?

“I never liked the word ‘shooting’. I say ‘photographing’. 

It sounds so stupid, ‘shooting’. This American way of considering photography. They like to shoot. Why shooting? 

I don’t understand. They’re not photographers – they’re snipers. That’s something I really stress. I never shoot a picture, 

I photograph. You know who shoots? Bad photographers. 

The shooters are the ones that need Photoshop to save their mediocre pictures. There are film directors – and shooters. There are photographers – and shooters. I’m serious. There are those who photograph, and those who shoot. You don’t have to think much to shoot. To photograph, you have to think.”

What are your plans for the future?

“There are a lot of concepts I’d still like to express. My project of the human race is still going on. I have a lot of projects still going on. I’m also doing a programme on TV about photography. It’s early days, but the concept is that 95 per cent of what we know, we know through photography. We have to be aware of that. We know reality through images. So I ask, are photographers intelligent enough, talented enough, educated enough, to have such a responsibility to be the witnesses of what’s going on in the world? I don’t think the ‘shooters’ have got the talent. Photographers are mostly uneducated. Most of them didn’t even go to school.”

You were in Paris during the 2015 terror strikes. What did you experience?

“I was working about a kilometre from where one of the attacks happened. I had been in a restaurant and was waiting for a taxi when I heard the sirens and saw 40 police officers running. The noise of the sirens was so loud. The taxi came and the driver told me there were shootings, and he wouldn’t go through a certain area. That’s when I realized what was going on. The news lies to make it dramatic. People were jogging the day after. People say it’s a war, but it’s not. It’s a social cancer. We’re not civilized yet. We took centuries to get where we are now. It’s not that long ago that we used to carry around weapons. We may have evolved slightly, but we’re still not civilized yet.”

Annie Leibovitz has been spotted shooting with a Fujifilm GFX 100S in a latest behind the scenes video posted by Vogue, during her cover shoot with heavily pregnant music artist Rihanna.

Leibovitz is no stranger to the APS-C Fujifilm X system, having used the Fujifilm X-100 series in previous years, but for this shoot she's gone up to the company's medium format cameras with the 100MP Fujifilm GFX 100S. 

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if you aren't already familiar with Leibovitz's work, where have you been? Annie is one of the best photographers ever, and a true industry legend. Her years of knowledge and experience show in the below video from Vogue, where she can be seen in her element shooting the cover feature of Rihanna.

The iconic singer, actress, designer and businesswoman is known for being a very headstrong and authentic woman, a role model to girls everywhere. So it seems fitting that she's been photographed by another influential female in her own industry, during a personal and intense time of being pregnant with her first child in the third trimester.

Pregnancy photoshoots are gaining popularity in recent years, with many more women feeling confident enough to embrace the bump and the delicate side of being pregnant. Collaborating with a photographer as renowned as Leibovitz is sure to result in beautiful fine art portraiture, her specialty, having previously shot with a pregnant Demi Moore in 1991 for the cover of Vanity Fair.

“I’m hoping that we were able to redefine what’s considered ‘decent’ for pregnant women,” Rihanna tells Vogue. “My body is doing incredible things right now, and I’m not going to be ashamed of that. This time should feel celebratory. Because why should you be hiding your pregnancy?”

The larger sensor of the GFX systems allow for better control over depth of field, making them great for portraiture and subject separation to create creamy bokeh backgrounds. The ultra-high resolution of the GFX 100S sensor is designed for optimal light capture, for superb 102 million-pixel quality images, it's no wonder Leibovitz has opted for this model.

The shoot took place in a suite at The Ritz, with Rihanna leaning on a Paris balcony draped in a floor-length white coat, bump center stage, and several other elegant outfits and poses that delicately frame and flatter her pregnant figure.

During the video Rhianna speaks of her excitement to become both a teacher and a student, expressing that when born, her child will teach her more than she could ever teach them, and she's on board for the journey with excitement to see who they become. To see Leibovitz's final images, check out the Vogue cover and full interview with Rihanna on its website. 

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Renowned fashion and royal photographer, Patrick Demarchelier, sadly passed away on 31 March aged 78, survived by his wife, three sons and three grandchildren. 

The legendary photographer worked with the likes of Madonna, Kate Moss, J-Lo, Beyonce and most famously, Princess Diana, who launched his career. 

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Demarchelier was known not only for his high fashion images of celebrities and top models, but he was the first non-British photographer invited to take an official portrait of a British royal. 

He was Princess Diana's favorite photographer, working with her for five years and eventually becoming her personal portraitist. Their collaboration happened after Diana saw a Vogue cover image that Demarchelier had captured of a model and her young child, inviting him to shoot a portrait of her. 

The turbo-effect of this collaboration turned Demarchelier into the most sought-after photographer in the world, working with some of Hollywood's biggest stars across his four-decade career. He was later invited to photograph princes William and Harry for Diana’s personal collection, as well as receiving commissions from other royals including portraits of Queen Sofia of Spain, and the Duchess of Kent.

His love of photography began at the age of 17 when his stepfather bought him a camera, and he taught himself how to use it. Of all the famous celebrities and models Demarchelier worked with, he once said that none compared to his dog, a long-haired dachshund named Puffy, who he described as "the perfect model".

Demarchelier worked for almost every major fashion magazine and brands over the years, and was so famous that he had a name-check in the 2006 movie, The Devil Wears Prada, as well as a cameo in the 2008 Sex And The City movie.

Although glamorous, his career was not without controversy, as in recent years he had been accused of sexual misconduct allegations following the #MeToo movement in 2018. Demarchelier was among 25 photographers, stylists, casting directors, agents and industry professionals accused in an extensive report by The Globe of sexual misconduct. 

Demarchelier had refuted all allegations, insisting claims made against him were "ridiculous" and "pure lying". As a happily married father of three sons, he said he had "never, never, never" touched a model inappropriately or proposed sexual favors. Despite his protests, clients including Conde Nast (the owner of Vogue, Glamour and GQ) suspended work with him, and other brands followed.

Former editor of Vogue, Alexandra Shulman stated: "It is a tragedy that for the last years of his life a man who lived for his work was an outcast. Luckily for us, his brilliant images will live on". 

None of the allegations against Demarchelier have yet been proven, though the report suggest many accusers remain anonymous to protect their careers and public image, and avoid victim-blaming. 

Despite unproven allegations made four years ago, many of his clients have paid tribute to his passing on social media, among those being US designer Vera Wang, who said she was "saddened to the core" by his passing, as well as models Bella Hadid, Cindy Crawford, Hailey Bieber, Christie Brinkley, hair stylist Sam McKnight and actress Kate Hudson.

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Photography helps me connect with individuals artistically, which has led to wonderful growth for me. Collaboration and creating wider projects involving others is a great passion: I love to get involved and plan the entire process of my shoots.

I always style or assist with styling on my fashion shoots, in order to create the right vibe and aesthetic; additionally my love for clothes has drawn me greatly into being a photographer. Urban street fashion is my favorite genre of photography to shoot – I love the intensity of the colors and creating imagery that is more than just the subject within it. 

• How to become a fashion photographer

Street portraiture creates a painterly outcome every time. And, luckily for me, living in Bristol (home of the UK graffiti scene) I’m never out of luck to find a cool spot to shoot in. 

I’m always keen to keep my eyes out for new pieces of art, as new art can change the same location into something completely different photographically. I usually shoot in the same spots; however the outlook is always changing due to the graffiti. 

See more of Sophia's work on her Instagram.

Sofia's 5 top tips for urban fashion photography

01 Shoot low and wide

I’ve found that by using a wide-angle Nikon AF-S 14-24mm f/2.8G ED lens I can get really close to my subjects, enabling me to shoot in some tight situations without objects like cars getting in the way. This also offers up a pretty unique angle for the final shot.

• The best Nikon wide-angle zoom lenses

02 Use pockets of light

Harsh light can present problems, but I’ve learned to harness it to my advantage. It might mean that the outer areas of your shot are darker, but the key elements are your models and you can use pockets of light to make them stand out.

03 Use dark backgrounds to make your colors pop

Contrast is another important aspect in photography. Light and dark areas brought together create impact and make your colors, models and clothing the most eye-catching parts of your image.

04 Shooting settings

I’ll typically leave my aperture fixed around something in the middle, like f/8 or f/9. I’ll also leave my shutter speed around 1/125 sec, making sure the models are sharp. All that’s left is to adjust your ISO: depending on the light, I go between 100 and 500.

05 Carry inspiration

In the wonderful world of mobile phones, we’re never too far from any information we want. Although I have my own style, it’s really handy to have an album made up of poses you like, which you can share with the group easily to convey a certain style or vision.

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Hey Carla. Where in the world are you and what are you currently working on?

I am primarily based in London, but travel a lot for work. I’m working on a few really exciting projects at the moment, one I’m particularly excited about with a certain well-known supermodel… I’m looking forward to being able to share more of that in the coming months! Also, I recently started directing videos on projects, so, you’ll be seeing more of my directorial work in the near future. 

Tell us about your journey in photography. What made you start shooting professionally?

I’ve been shooting professionally for over 10 years. My father, being a photographer, meant I was surrounded by photography growing up and from this, I knew I wanted to work within the creative industry in some way. 

My favourite subject was art at school, so, as a teenager, I started visiting exhibitions to further my knowledge of the topic. This led to my love of photography and my realisation that I wanted to pursue a career in the field. So, I went on to study at the London College of Fashion for University. 

Immediately following university, I assisted and worked in-house with brands whilst building an editorial portfolio. All of my free time and weekends were filled with test shoots and editorials to help build my book. When I felt like I had a solid portfolio and enough clients, I went completely freelance and haven’t looked back since!

How would you describe your style?

I take great pride in my unique, yet recognisable style of photography, drawing on female power and strength. This is conceptualised through a focus on form and femininity to create a dynamic approach to fashion photography.

What was your first camera, and what do you shoot with now?

My first camera was a little point and shoot Canon with the integrated pop-up flash. I loved this camera so much! I used it non-stop and mainly with a fixed lens so that I was forced to move around for the composition and really think about my shots. I now use the Canon EOS R5 and a 16-35mm lens is my favourite go-to! I love the wide-angle, especially on location, as it adds another dynamic to the shot. If I don’t want to go too wide then I use a 24-70mm.

What does International Women’s Day mean to you?

Being a feminist, I am a champion of women’s strength, independence and hard work, so, having a day that not only recognises but celebrates how far we’ve come socially, economically and culturally is extremely important. Working in what used to be a predominantly male-dominated industry, it is amazing to see more female photographers growing and becoming more successful in this career path. 

Have industry attitudes to female photographers changed since the beginning of your career?

Yes, one hundred percent. I remember being in the photographer’s pit at London Fashion Week and being one of the only women, surrounded by men. Even before that, when I was assisting, it felt like there were only male photographers. The full-time brands that I’ve worked with mainly had male photographers, and they were always prioritised for campaigns, promotions and managerial roles.  

When I was still aspiring to become a successful photographer, Annie Leibovitz, one of my favourite photographers, was really the only leading female role model for me at the time. I’m so thankful that now female photographers are a lot more common and accepted. I even have female digi and lighting assistants.

What else would you like to see to break down the barriers?

I see more and more female directors now working in moving image – an area which is still quite male-dominated – so I would love for women to have that same freedom and respect within that field as they do now in photography.

What advice would you give photographers wanting to follow a similar career?

Persistence is key! Especially while you are growing your style, your clientele, your business, your portfolio. This takes time and is never going to happen overnight. But, I promise you that if you really want it and you put in the time and effort to grow your brand, it will definitely pay off! 

“If you improve by 1% everyday, within a year you’ll have improved by 365%”

Where would you like the industry to be in five years?

It would be nice to continue to see brands pushing the boundaries when it comes to campaigns and advertisements, this is something I feel we are starting to see, but we still have a long way to go. 

Also, I know that social media video content like Reels on Instagram and TikToks are extremely popular and key for shoots at the moment, but I would love for us to keep a focus on the importance of stills as a foundation for photography.

Lastly, share something that'd surprise us!

During the pandemic when we went into the first initial lockdown and everything stopped, All my work stopped too. I thought I was never going to work as a photographer again.

The panic set in, so, I got a job in a supermarket recruiting delivery drivers. I would spend my hours between shifts planning future shoots I hoped would come. Then one morning I walked into the store and BOOM! My first Vogue front cover was on the shelves! I took it as a sign that everything was going to be ok.

Some of the shoots that I planned and shot over this time have solidified my work and made my aesthetic so recognisable. This time really made me appreciate my job and grateful for working in a field that I extremely enjoy. 

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For quite some time after I picked up my first DSLR (a Canon EOS 5D Mark II) I saw some great images knocking around, and remember thinking to myself, “Do these people just have a better camera than me?” 

In the end, the penny dropped and I began to understand that their success came down to the lighting setups. I now shoot images with a combination of natural light and off-camera flash. While neither style is better than the other, introducing artificial light if you haven’t done so before can add another arrow to your photography arsenal. 

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I have two lights in my kit bag, but will very rarely use them both. Using just a single light with a mixture of available natural light can create a blend of contrast, tone and shape for a portrait that packs just a little more punch. 

Even if you have a basic knowledge of studio lighting, you can easily bring that onto location to start shooting images with interesting backgrounds and the helpful use of the sun to enhance the rest of the frame. Or by using the sun to backlight and your off-camera flash as a fill light for your subject. Let’s have a look at a simple single-light setup to get some easy but effective fashion shots in the can.

The setup

Camera and lens choice
I was shooting on the Fujifilm GFX 100S as the main camera. For me, the color that comes out of the Fujifilm system is just perfect. I used the Fujifilm GF 63mm f/2.8 R WR, which is one of the smaller lenses – I find the less bulk the better.

Lighting placement
Off to one side at around 45° is a good place to start, about 6 feet from your model. Make sure that it’s at least head height or above, to retain a more flattering light. When shooting on location I’ll remove the honeycomb to allow a little light to spill onto the background – but not too much.

Model direction
Fashion can be relaxed, and often less is more. I find that when I’m talking to models is a good time to shoot, as they are often engaged with the camera. Try not to guide people into positions that feel difficult to hold, as it will show through. After a couple of good images are shot, show them.

Shooting handheld
I don’t even own a tripod; I shot with one once and I felt it completely hindered me. Shooting handheld will enable you to be far more spontaneous and use smaller adjustments to find just the right angle for the shot. Plus, there’s less to carry – which I’m all in favor of.

The shooting steps

01. Find location and prep model
I like to find gritty locations which work well with a clean outfit and will often bring a lot of texture to your shots. I showed the model, Rhiane, a few previous shoots, as it always helps if you can show your subjects mood boards or example images.

02. Position the light
It doesn’t matter if you place your light to the left or right, but around 45° to the side and at a 45° angle facing down to your subject is a good place to start. Of course, the further round you move, the more dramatic the shadows will become.

03. Turn exposure simulation off   
Unlike DSLRs, mirrorless cameras have real-time exposure changes as you tweak the settings. Your camera can’t predict what it will look like when the flash fires, so you’ll need to turn this setting off. If not, your EVF may be too dark to see what’s going on.

04. Camera and flash settings 
I always set my flash to manual, and around 1/32 is a good place to start. I’ll keep my ISO low for a cleaner shot, and use whichever shutter speed is flash synced to the camera. In the case of the GFX 100S it’s 1/125 sec, and a nice medium aperture around f/8 is great.

05. Position model for test shots and tweak settings
I’ll fire off a shot just to make sure that everything is synced up. Then I tend to ask the model to jump in for a few more; it’s impossible to see what your shot will look like without seeing how your light falls onto the face. Rhiane was wearing a hat, so I lowered the light a little to avoid shadow on the eyes.

06. Play with poses and props
I’ll typically start off with something quite conventional, But once you’ve got a few good shots in the bag you can take this opportunity to find a new space, shoot some interesting angles, change up the clothing a little or try out a different lens. If you have a great model they’ll be only too happy to try things out.

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When I caught up with photographer Jade Keshia Gordon from her desk space last year in a studio in Peckham, London, there were lots of things I wanted to ask. Our conversation was recorded in the wake of the first Black Lives Matter protests, and Jade was planning her talk at The Photography Show: 'The Dos & Don'ts When Shooting A Black Model'.

So what advice was Jade planning to cover, and was she was starting to see attitudes in the photography industry changing? “Everything is changing. My talk will cover the technical aspects of lighting different skin tones, but also just things you should and shouldn’t say. I’ve been on castings and on set before and I’ve heard people say some things…”

Jade doesn’t like to consider that discrimination works against her, but recognises there have been times in the past where it might have hindered her progress. “In the industry, being a woman itself is already a difficult thing. And then I feel like, you know, being a black woman is also a thing. And then being plus size is also a thing.

 So there are these three elements that technically should go against me. I try my best not to think about it so much, but I’m sure it’s happening. I look at people who get chosen for certain jobs, and I think, ‘I could do that.’

“I love to see more women shooting. When I first started, there weren’t many of us, and it’s so, so good to see so many women just coming out and enjoying the craft. It’s more balanced now. I’d say it’s still got a little while to go, but it’s definitely going in the right direction.”

Jade is a good barometer for noticing industry changes, having been shooting for almost ten years from the age of 17. “I always liked photography, and then I got given a low-level camera, which I used for about five years at the beginning of my career. I started off by doing photoshoots with friends, who were like, ‘Jade, you’re actually quite good at this!’” 

When Jade’s friend then booked her for an official shoot – and modest commission – she was ecstatic. “I was thinking, ‘Oh my gosh! I’ve been paid to do this job now. This is my job.’” Afterwards, Jade tried her hand at college and university, with photography playing a part in both.

 “I did photography at AS-level, but I didn’t do well. I think I failed. I also went to uni to study photography, but dropped out. I was already doing quite a bit of work on the outside, with new studios, so I told myself then that I was just going to do it myself.”

Jade is a strong believer in using what you have, and learnt her craft through trial and error, online tutorials and initially modest photo kit. “I’ve upgraded my camera now, but that’s ten years in. I had my Sony Alpha 290 camera up until 2015-ish, and used my last bit of student loan to get myself a full-frame camera, the Canon 6D.”

She switched to the Canon 5D Mark IV last year, having used the Mark III before that. She’s a fan of the brand, and loves to look out for compatible second-hand lenses that are still in excellent condition.

When Jade was starting out in the industry, she went straight into the world of portraits, fashion and beauty. “I was emailing people, just offering my services to them, within the music industry as well. I used to watch a lot of YouTubers, and I thought, ‘Ooh, I can contact them as well’, which I tried.”

The tester years for Jade were 2010 to 2015. “I was still being paid, but you know, little money here and there. But I was being paid to do it, even from such an early stage. And then 2015 came, and that was probably my changing year, when I started working with a well-known influencer. So I kind of tapped into the world of bloggers, and I became the photographer that everyone knew: ‘Okay, this is Jade, she does that sort of thing.’”

Jade does plenty of studio work, too – with a now-permanent space in Sugar Studios, London – and always works to improve her lighting and technical skills. “I don’t think I’ve ever really changed what I wanted to do, just enhanced it. I’ve been trying to shoot a lot more indoors, just to kind of get my head around certain lighting. Especially last year.”

Even pro portrait photographers sometimes shy away from using artificial lighting, either through fear of getting it wrong, or believing that it makes a shoot too complicated. Jade, however, loves to test out lighting setups – a lot. 

“I invested in some new Broncolor lights in December, and I also work with the Vitec group and Lastolite. As much as I love outdoor shoots, what you can create indoors is just as good. I think if you have the ability, try and do both.”

Lighting aside, another key skill for portrait and fashion photographers is working with models. Did direction and posing come naturally? “[Working with] models was interesting. I think, because I always shot people anyway, direction was something I never had an issue with giving. But finding models was always a problem. Talking to agencies. It was very trial and error, especially early on in my career.” 

Jade likes to go for new faces. “I have go-to models. But I like to work with new faces as well because I feel like some fresh faces are amazing. Often, they also need the testing, or they need that extra experience. If there’s a big budget, I might go towards a mainstream model.”

The next step for Jade – beside hosting her latest masterclasses and talks – is to open her own studio. “That’s the only step that makes sense really. Everything else I’m very much content with. Equipment-wise I’m great, and I’m working with a really good set of people.” 

She wrote a mini-book last year on the subject of branding and marketing, but she’s recently been in the process of writing a ‘proper book’ over the last few months in particular. 

“Lockdown’s been good to me, because I was able to write a lot. I’m going to probably self-publish at some point next year. But I’m also just taking each day as it comes, because you never know what’s going to happen…”

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This is something I’ve wanted to try for a while. A few years ago, I was doing the lighting on a feature film where we used a smoke machine almost every day – and it was brilliant. Although it was only capable of chucking out standard white smoke, it elevated the look of the image to an incredible extent.

When I came across these relatively new colored canisters, I was eager to get some to try. The main issue with standard white smoke is that it is reflective, and bounces the light around, sometimes leading to an overexposed image.

Smoke is a bit of a wild beast and, depending on the weather on the day, can be almost uncontrollable. If you use white smoke, and are working fast before the smoke evaporates, you can be in such a rush to capture the moment that when you finally look down at your camera, all your images are extremely bright. Colored smoke is darker, so your overall image exposure is more consistent.

Top tips for shooting with smoke bombs

01 Scout out your location
Using Google Maps’ Street View, I was able to pinpoint a great spot before arriving – and locate the local car parks.

02 Check the weather
Understanding the wind strength and direction for your shoot will give you a much better chance of capturing the smoke plumes.

03 Talk to people close by
Be sure to let anybody in the immediate area know what you are doing. Tell them what’s about to happen so that it’s not a surprise when the smoke starts.

04 Be prepared
Take a pair of builder’s or gardener’s gloves with you, to pick up the canisters after use. They can get pretty hot, so discard them only once it’s safe.

05 Try not to shoot close to main roads
The smoke can be quite dense upon release. If possible, set yourself up where you can use the wind to take the smoke in the opposite direction.

Step-by-step guide to shooting with smoke bombs

01 Find your background

Giving yourself different options is great. I could have shot directly out towards the sea for a clean sky backdrop; alternatively, I could have used the more textured background of the rocks to add another layer. I usually take a quick test shot with my model to see how things are looking.

02 No smoking, please

On a serious note: if you’re at all concerned about using smoke grenades in a certain area, you should pause and re-evaluate. They can get pretty hot, so make sure you have some water nearby, just in case. I sourced mine from the Enola Gaye Grenade Co – they’ll give you around 90 seconds of smoke.

03 Add off-camera flash

On the day of the shoot there was some harsh sun, with cloud cover moving in and out. I probably could have shot this with 100% natural light, but I decided to use one flashgun – just to lift the exposure on my model Rebecca. I knew I could easily switch it off during the shoot if I needed to.

04 Rehearse before you take the shot

This is possibly the most important part of a shoot using smoke grenades. I had a clear conversation with Rebecca where we practiced the movement and established the frame’s edge, so that she didn’t walk off-shot. While 90 may seem like a long time, once you trigger the grenade and start shooting, it’s over in a flash. 

05 Have a helping hand

It’s not always possible but, whenever you can, try to have an extra pair of hands available. I was lucky enough to be joined by a co-worker, Kieran, who enabled us to get the  smoke grenades opened much faster, before quickly jumping out of shot. Thanks to him, we were up and shooting within five seconds of them going off.

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UK-based fashion and portrait photographer Ki Price turned his hand to fashion and celebrity portraits after a lengthy period shooting current affairs. Inspired by mid-twentieth century realism and innovative, iconic fashion photographers, Ki honed his craft and his meticulous attention to detail took his work to another level. 

Having shot for Vivienne Westwood and other fashion brands for many years, Ki is known for bringing an “alternative” style and ideas to his imagery. Ki will be speaking at The Photography Show & The Video Show Virtual Festival which takes place on 20-21 September. The two-day event will have over 100 free talks online. 

Ki’s talks are at 2.20pm BST (09.20am EDT) on Sunday 20 September, and at 3.25pm (10.25am EDT) on Monday 21 September. 

• Register for the free festival now

In the meantime, find out more about Ki and his career to date as he answers five quick questions ahead of his appearances at the event… 

Five quick questions with Ki Price

1. With photographers around the world shooting such a diversity of images, what does ‘alternative style’ mean to you, and how do you achieve it? 

I want people to have a good experience when I’m photographing them, and that’s what brings in an alternative style. I know when I see a photo by Annie Liebovitz or Nick Knight that it’s one of their images… I’m not as well known as them, but at the same time I’m massively interested in subcultures and I think that comes across in my imagery. 

How I achieve an alternative style is by making people relaxed on set. I’ve found that the best thing is to bring a Bluetooth speaker to the shoot. You'll see someone tapping a foot, being reminded of an album they used to listen to when they were younger – they soon start to relax. 

2. One of your talks will cover London in lockdown – a strange time for anyone living in the city. What was photographing the empty streets like? 

I felt that I was going to get busted while doing it, even though I’m a press card holder. But these events needed to be recorded; going forward, they're going to become a big part of our history. 

Depending on which channel you were watching, what the media was portraying was very conflicting. So when I went to shoot in London I had one lens – with another one in my pocket – a tiny tripod, which I don’t normally use, and I told myself that I needed to be quick. 

I had no idea what to expect because I live outside London in the home counties, and while the TV news was showing hospital staff under pressure, when you’re out walking the dogs where I live it’s business as usual, although people are social distancing. 

So London was very eerie and very apocalyptic, and that’s why I put the images in black and white. There was no-one around, it was very strange to be in the City of London at 8.30am and nobody else being there, apart from the occasional street cleaner. 

Everybody was obeying the lockdown restrictions. It reminded me of what I’d heard about Londoners in the Blitz in WW2 – united and sticking together.

3. When shooting portraits, is it your job to create the expressions and emotions – or do you wait for your subjects to give you these? 

I’m not a big fan of altering how people are; I want the image to be a true image. I want the magic to come from behind the scenes, so if we have five minutes and I’ve got an assistant or a couple of assistants setting up, my key time is the 10 minutes I have with my model before we start shooting. 

I know the technical side – any working person knows the technical side of their job – so can nail the shoot in five minutes or less if I really need to. 

It’s more about how you get people to perform, and for me that’s always the most important aspect of a shoot. 

Actors and musicians are the best people to work with: with musicians you know you’re going to get the moodiness; with actors you know they’re always going to play up. 

People naturally go to where they want to go; the hardest thing is to have someone who isn’t used to being photographed and who doesn't like being photographed. In those cases, you have to work harder with shapes and so on. 

4. Shooting fashion over the years, you must have seen a lot of trends come and go. Is there a particular style that you see coming back time and time again? 

The key thing at the moment is sustainability. I’ve worked with Vivienne Westwood for years and she has always been into sustainability. 

I was talking to her about this recently and I asked her what she thought about people jumping on the bandwagon of sustainability, because it seemed to me that people are only doing because it’s cool. 

And she said that it doesn’t matter what might be driving it – the key thing is that it’s actually happening. So in terms of style, sustainability is one of my main things. 

5. You’re a Sony Alpha 7 user. What have been the best aspects of shooting on mirrorless cameras since they arrived on the market? 

I love shooting mirrorless, and one question I get asked is why I don’t use medium format in the studio. For me, there’s a payoff. 

With medium format I’m getting three frames per second and quite large file sizes which are slow to transfer to the computer. Thanks to social media, there's a different energy these days and you have to be able to keep up with it. 

So my main camera is a Sony A7R IV, which has a 61MP sensor and Eye AF but is compact and light. Eye AF has been an absolute godsend – when I’m capturing movement, I know that the right parts of the image are going to be sharp. 

The other day I was showing an assistant an image in Capture One. I zoomed in 400% and there was absolutely no break-up; the detail in the eyes was razor sharp and the model was wearing glasses. 

If I could only have one lens in my bag, it would be the Sony FE 55mm f/1.8 ZA Sonnar. It’s affordable, it’s a Sony Zeiss and it’s small. 

With an A7R IV and this lens, you know you can get a shot in any situation, even if you’re at a wedding or a party – you can carry it off and the images are good enough for any editorial piece. And for me, that is massive.

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It’s tempting to view the work of a successful fashion photographer and think they’ve enjoyed many years of lucrative commissions, but the picture is seldom as clear cut as that.  

Take Lindsay Adler, for example. She’s a New York-based photographer who shoots campaigns for leading international fashion and beauty brands but is the first to admit that her career has only really scaled new heights in the last few years.

This wasn’t due to one particular big break, though. The combination of imagination, hard work, dedication to her craft and energetic marketing has helped, but finding her style and using it to produce memorable work has been the most important factor, she says.

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During a recent visit to The Photography Show in Birmingham, UK, Lindsay went into more detail about how to succeed as a fashion photographer. 

And as this involved overcoming a painful double rejection, her story should be an inspiration to any young photographers keen to shoot fashion professionally. 

Turning the clock back to her formative years in upstate New York, Lindsay knew she wanted to be a photographer from a young age. She set up a studio in her parents’ house, to specialize in family and graduation portraits, several years before leaving to study for a photography degree. 

Lindsay carried on her studies in London, England, and stayed on afterwards to establish herself in fashion photography. Hawking her portfolio around agents, she got a “big, fat brutal rejection” and was told that her images were not memorable enough. 

Years later, having forged a career and further established her style, she wrote back to the same agent – only to be rejected again. “Photographing a pretty girl in front of a background is not difficult,” she was told. “It’s what you’re saying with your images that matters.” 

Although somewhat of a shock, this spurred Lindsay on and she went away with fresh determination to make the agent eat his words. 

Today, Lindsay's images bear little relation to what she was shooting five years ago. Her signature look is now super-saturated color, achieved through make-up, styling and using gel modifiers to produce colored lighting effects. 

“You can look at my work and see that it totally excites me,” she says. “I’m close to 20 years doing this but it’s only in the last three years I feel I’ve started to thrive.”

In addition to her busy shooting schedule, Lindsay offers photography advice tutorials on her own YouTube channel and has a standalone Learn with Lindsay website that offers instruction on a wide range of photography techniques including lighting and posing. 

How does she find the time to fit it all in, we wonder? Dedication and inspiration clearly play a major part – so read on to discover how to succeed as a fashion photographer, in Lindsay’s own words. 

How to find your style as a fashion photographer 

"Look at work by your photography idols, and what it has in common – a combination of content, style and impact.

"They made these choices for a reason, and it defines the difference between someone who’s just started out and someone experienced. 

"So be purposeful not accidental in your work – I see pictures where all the elements are there, but they’re not purposeful.

"Put three photos on a screen that define you as a photographer, as an artist. Then take a look and see what they have in common – composition, subject matter. 

"Get an insight into what excites you. And the only way to get more excited about something is to go and shoot it.

"Be comfortable with making mistakes while figuring out what your style is. I used to ask myself: 'What is the unique voice I want to portray?'

"Everything is inspirational – movies, music videos, other photographers. You’re not creating in a vacuum. If you find a place that gives you creative ideas, go back there. Professional artists revisit ideas; why should photography be any different?"  

Where to get inspiration for fashion photography 

"One of my favourite quotes is: 'If you steal from one author, it’s plagiarism; if you steal from many, it’s research.'

"The longer I’ve taken photographs, the further back I’ve looked for inspiration. Right now I’m going back 50 years – Richard Avedon for lighting, Herb Ritts for posing, David La Chapelle for color, Christian Schumer for moving fabric… I get something from all these people.

"The key is to take an idea without ripping it off. Shoot a photograph or artwork that excites you, but shoot it with your own style."

Shoot personal as well as paid-for projects 

"When I started out, not one pixel I shot showed creativity. Creativity is a muscle – the more you work it, the stronger it gets. 

"So two days a month, I shoot with no client, for no pay, and try something new. If I try 10 things and only of them two work, then I can put two things in my pocket and move forward.

"If you would like to have a style and be more memorable, then do personal work. You do not get paid for it but it fulfils you.

"Plus, you see things you wouldn’t have seen before and you talk to people you wouldn’t have talked to before.

"On my website is a gallery called ‘Seeing Red’. One year I made a list of all the different ways to shoot red, and twice a month I shot a different thing in red – a dress, make-up, nails, a headpiece. It made my work memorable. 

"People who view the gallery think, 'You’re the person who did the red project.' It means you have a body of work rather than a load of one-off images."

You don’t need to spend a fortune on fashion props 

"One of the things I pride myself on is being able to see the potential in things that are cheap. Just because it isn’t expensive doesn’t mean it can’t look really expensive.

"And 100% of this is using cheap purchases from Amazon, because if you say ‘What… if… but I can’t’, then it doesn’t happen.

"My favorite new toy is 'Haze in a Can'. When light hits it you can see where the light is coming from, unlike a haze machine. 

"For this shot, I put a grid light with an orange gel behind her head, and it just comes to life." 

"I wanted to do a religion-influenced shoot and saw a Dolce & Gabbana headpiece from 2013. Most people’s reaction would be, ‘I don’t have access to avant garde headpieces or designer clothing.’ 

"So I bought a mirror online, took the mirror out, put it on a seat stand and used it to shoot this image. To light it I used a beauty dish above, a full light below and a grid on the background." 

"The headpiece is just a piece of fabric draped over the model’s head, and the thing wrapped around her neck and head is a ski mask. 

"I wanted to do a shoot with a really graphic headpiece. People will say: 'I don’t have designer friends', but I guarantee that you can get hold of hardboard or foamcore – and that’s what this is. We shot it in silhouette, and it looks great. The modifier is a window and curtain sheers." 

"The headpiece in this image is actually made from IKEA placemats, painted with black acrylic paint. I then added hairpins to make a big avant garde headpiece. There are two lights on the background and a hard light on the face. 

"A designer had just come out with these headpieces and asked me to shoot them. They’re crowns, so I thought let’s do all gold, like an African goddess. The image on the right is what I made. Two flats, with gold poster board, just glued on. An inexpensive way to make a really expensive set." 

You don’t need expensive equipment for fashion photography 

"I can show you three different photographs, each one using different lighting setups – one with a cheap flashgun, one with a strobe, and one with an expensive strobe. 

"I promise you that you won’t guess it right, and even if you did you wouldn’t have been certain about which modifiers were used.

"Photography is all about how you use your tools. If you don’t have a strobe or a flashgun, then go to a home improvement store. 

"I bought a work light with a flourescent bulb in it and used it to craft a Hollywood shot, with the model wearing a headpiece that is actually place mats glued onto a headband." 

How to market yourself as a fashion photographer 

"Every other month I send a prints mailer to 250 potential clients, and the other month they get an email and a follow-up. Once a year I’ll send out a curated prints box containing 50 hand-selected prints with a written note. 

"It means I get to shoot the clients I want to shoot, and I’m pushing and marketing towards them. You don’t have to shoot just what happens – you can craft your career to shoot what you want.

"For social media, I post images I want other people to see, rather than posting all my commissioned work. That way, people can see exactly what I’m about.

"Show that you’re aware of trends and use them in your marketing. Pantone of the Year is on social media at the start of the year, so I used it for a shoot, painting a model in Living Coral [16-1546] for a monochromatic look."

Lindsay Adler's surefire fashion photography tips

1. Creativity is a muscle – the more you work it, the stronger it gets.

2. Don’t be afraid to fail. I went through all the failures, all the technical mistakes.

3. See the world in a unique way and discover what speaks to you.

4. Find your tribe, people who desire what you offer, because you can’t appeal to everyone.

5. Be consistent in your work and market it to the people who will be attracted to that work. Remember that persistence is the hard part. 

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Since 2013, Mihaela Noroc has traveled the world with her backpack and camera, photographing everyday women in a natural and serene way.

Her project, The Atlas of Beauty, has just become a unique book featuring 500 of her portraits from more than 50 countries, accompanied by stories that capture a glimpse into the daily experience of women.

Mihaela's goal is to showcase that beauty has no bounds, and that the diversity of our world is a treasure, not a reason for conflicts. So far, she has captured more than two thousand women in every corner of the world. 

How did you come up with the idea of the project?

In 2013, a trip to Ethiopia changed my perspective. In that moment of my life, I was working in other fields, just to make a living, and photography was a hobby.

Right away, I was fascinated by the women I saw during that vacation. Some were living in tribes, where nudity was normal. 

Others were part of conservative communities, covering their heads. And still others, in the big cities, were embracing modern life. 

Most of them were struggling and working hard, sometimes facing discrimination as women. But in these harsh environments, they were shining like stars—with dignity, strength, and beauty.

If there’s so much diversity and so many stories in just one country, I surmised, what about the rest of the world? 

I realised that the wonderful women of our planet deserve much more attention, and that true beauty is usually unnoticed. 

In that moment, I started to dream, and found the strength to break from my comfort zone, quit my job, and start this project. 

What is “beauty” for you?

For me, “beauty” is “diversity.” It is much more than what we often see today in mass media. If you put the words “beautiful woman” into Google, you’ll mostly see very similar images of seductive women. 

But on the streets of the world, beauty has many more facets. We just have to open our eyes and see it. 

In the end, beauty is in our differences, it’s about being yourself, natural and authentic, not about trends, race, or social status.

Why do you photograph only women?

 When I started in photography, sixteen years ago, my first subjects, actually, were my mother and my sister.

Over the years I tried different types of photography, I had my time of experimenting, but in the end I realised that as an artist I have to focus on a niche, to explore it as much as possible, to understand it, to develop my skills around it. 

And this niche for me was photographing women, because this was the thing that made me curious, that, indirectly, made me discover myself, as a woman. 

There’s so much pressure on women to look a certain way, everywhere in the world, and there’s also so much discrimination against them, and I realised that an honest project about women of the world, about their struggles and dreams, is really necessary today. 

What is your favourite portrait from the book? What is the story behind it?

All the portraits are very special to me, so I can’t name one as being my favourite. But I will tell the story of the portrait from the cover of my book. 

I was walking around the Ganga river, in Varanasi, India, a holy place of Hinduism, where thousands of pilgrims come every day, and I saw a young pilgrim preparing to make an offering.

Her serene expression seemed to be from another world, and the morning light was great. I was so fascinated by this magic moment that I entered deep into the river and I even forgot that my phone was in my pocket.

In such atemporal moments, objects don’t mean anything. I asked her permission to take a photo and after that I let her continue the ritual. 

Usually, I try to spend more time with the women that I photograph. I take a few photos and listen to their stories. But this time, I didn’t have the chance, so we spent only a few seconds together. 

But her eyes, her stance, her outfit, her gesture told me a mystical story that words never could.

About the book

The Atlas of Beauty book is a unique collection containing 500 portraits of women from more than 50 countries, accompanied by many interesting stories. Most of the photos from the book have never been seen before.

Throughout the 352 pages, I tried to create suggestive juxtapositions in order to celebrate the diversity of the world and show that beauty is everywhere regardless of money, race, or social status.

After almost four years of continuous work, I dream of seeing this beautifully packaged book in many homes around the world, because this will mean that my message about love, acceptance, and beauty will last.

Find out more about the book here.

Renowned American fashion photographer Lindsay Adler has enjoyed a remarkable career trajectory, progressing from taking ordinary photographs to making extraordinary images. 

Based in New York City, her fashion images have graced numerous publications including Marie Claire, In Style, Elle, Harper’s Bazaar and more. 

Catch Lindsay on the Super Stage during the third day of The Photography Show – Monday 18 March 2019, at 13:15. 

Tickets for the Super Stage speakers are available now for £12 each. The talks will be held in the Toute Suite, just outside the main hall of The Photography Show. 

In the meantime, discover more about Lindsay and her work as she answers five quick questions ahead of her Super Stage appearance.…

Five quick questions with Lindsay Adler 

1. How did you get started in photography? 

I set up my first photography business as a teenager and began with a small-town photo studio out of my parents’ living room. Eventually I rented a storefront on a quaint street in my town. I photographed babies, families, headshots, weddings and  anything else that came my way. 

Eventually I went to university for both business and photography, and it was here that I discovered my love of fashion photography. I loved its control, story-telling, elegance and use of colour. Most importantly, fashion photographers seemed to have a creative freedom that I craved, and so I started to evolve my work to include these striking visual elements that I admired. 

2. Is it hard to find new ideas and concepts? 

I’m actively seeking inspiration every single day. This is from the Instagram accounts I follow, by going to museums, watching visually compelling movies, perusing photography books… Get out there and expose yourself to painters, illustrators, mixed media artists, art films and more. What inspires you? It is locations? Clothing? Colour? Texture? Characters? Books? When you find where you are most inspired, dive in deeper and immerse yourself in your muses. 

3. Describe your photographic style to someone who’s never seen your work. 

My style is bold and graphic, and I portray women with both elegance and strength. I shoot in extremes — high-contrast black and white, or super-saturated color. Every element of my frame is polished and purposeful. Often, I try to mix together a dash of the past, present and future. 

4. In your free time, what kind of images do you like to shoot and which do you avoid? 

Every single month I set aside at least two days to shoot my own personal work – images where there is no client. Instead, I’ll explore different creative concepts and techniques. 

These creative shoot days are incredibly important, as they help me to build up my portfolio and create new content for social media. They also allow me to flex and work my creative muscles. 

5. You’re known for providing many tutorials and tips about photography. Do you enjoy teaching? 

I love teaching, for two main reasons. When I teach others my craft, it forces me to have a deeper understanding of my craft and therefore I become a better photographer. When I teach posing, for example, I must break down exactly what I consider a successful pose and how I achieved it. When I teach lighting, I must break down the technique, the concepts, the tools and more. As I dissect the concept and the execution, I always deepen my understanding of what I’ve devoted my life to. 

Of course, I also want to help others to become better at their passions more quickly. I found my passion at an early age and developed a career. Not everyone has this luxury. I create the classes and tutorials that I wish existed for me when I first started, and aim to help people master their craft more quickly. 

Booking details

Lindsay Adler will be speaking on the Super Stage at 13:15 on Monday 18 March 2019. Tickets cost £12.

There are over 200 exhibitors and over 300 free talks and demonstrations at The Photography Show, and sister event The Video Show. Tickets for the main show are available now, and you can get 25% off advance, single-day, adult tickets using the code DCAMTPS19 if you book by 13 March.

Don't miss the other Super Stage speakers 

Read more about TPS 2019

The Photography Show 2019: everything you need to know

Download your free 48-page Photography Show 2019 preview