Fashion Party

I learnt early on that it pays to really understand your subject. I made it my job to learn as much as I could. A lot of fashion photographers know nothing much about fashion or about making clothes. To take the fashion pictures I have taken you have to like fashion. Love the dresses. Not just like women or photography.

Albert Watson

I have met Albert Watson on a number of occasions and had the pleasure of photographing him for Vogue at his book launch at Paul Smith’s Covent Garden store. I have no doubt that he does absolutely understand his subject and takes the time to truly learn about fashion. His work is so studied, so focused and utterly thoughtful. Look at his photographs and you are in no doubt that he really takes the time to think about his subject in great deal. He is known in particular for his incredible lighting and was so popular and influential for so many photographers across all disciplines. I would say that he reminds me of Irving Penn in that sense. Someone that really takes the time to ‘look’at the subject, learn about it and try to consider how to express and represent it photographically. There is nothing rushed and there are no short cuts when it comes to their process and execution. Albert Watson, similar to Penn can shoot anything brilliantly and a look back at his work will reveal incredible talent whether shooting fashion, portraits or still life just as Irving Penn did. I recall being utterly moved by a Penn retrospective at a gallery here in London. It was for sure the most incredible show I’ve ever seen and I was amazed at how one individual can be so talented and creative at so many disciplines and create so many powerful moving images. He was not only a master fashion photographer but a brilliant still life photographer and of course an inspirational portrait photographer. As we know his work in all areas has gone on to influence pretty much all photography in each and every one of those areas. That is an incredible achievement for one person.

But then I wonder should one be so shocked at being able to shoot a varied subject matter with such individual skill. Essentially photographers are visual people. We hopefully share a talent for studying shape, form, light and contrast and then consider how to represent that in a 2D image. We are chosen to represent that subject matter and use our talent and experience to best create a powerful image. Should it be such a shock that one may apply the same creative insightful approach to a different subject matter. I remember when I used to show my portfolio to London agents they would often express some confusion as to whether I wanted to be a fashion photographer or celebrity portrait photographer. I had evidence of both in my portfolio with portraits shot for Vogue, Glamour, In Style, Marie Claire and more. The portraits were shot in a stylish fashionable way. In essence they could also have been taken from a fashion story. I understood how to pose my subject, light them and of course style them. All of which I do when shooting fashion. I used to refer to other wonderful photographers such as Bruce Weber and Mario Testino who happily flit between both portraits and fashion. One is not confused by their practice and yes of course they are proven greats but the concept and creative approach is very similar. Not only does Albert Watson, as Irving Penn did, shoot across a wide spectrum of subject matter, nobody I imagine was confused by their talent and advised them to focus on just one area of photography.

In my mind I was and am still passionate about fashion. I am into fashion and clothes and fascinated by how people wear clothes and choose to be seen. Whether it’s a school kid at a bus stop or a high society guest at a chic event. My degree show at Art College was a collection of portraits of famous British fashion designers. It was clearly evident at a very early stage of my career that I was passionate about fashion and the creative process. I went to West Surry College of Art and Design and that was predominantly known as a documentary and art based photographic degree course. Choosing to go off and shoot John Galliano, Rifat Ozbek, Bruce Oldfield, Betty Jackson, Jimmy Choo and others was for sure a bold move and I have no doubt left my tutors bemused. I feel they would have preferred moody Magnum style images of depressed inner city housing estates and a strong political conscience.

Even now when I shoot events whether it is a wedding, party or whatever the celebration, I feel my fashion sensibility coming through. I often joke when snapping the arriving guests at some wedding that I am simply a frustrated fashion photographer. I cannot help noticing what people wear and am often compelled to comment on it. Commenting on what women wear nowadays can be problematic even if your intentions are to simply compliment. I spent nine years shooting three sections for British Vogue and I know what kept me in that job was not just down to knowing how to juggle F-stops and shutter speeds. Much of it came down to the fact all the fashion editors could rely on me to be able to spot trends, know what works and didn’t work and essentially have a real genuine love and passion for what people wore and fashion in general. I could walk into a room and instinctively know what was worth shooting and focusing on.

Albert Watson says in the quote above to not just love the women and photography but to love the clothes. I think essentially this is true. Sure you cannot be crazy about every item and look you are shooting but for sure have an understanding and passion to create powerful images based on your response to those items. I am sure there are plenty of fashion photographers who essentially are not really into fashion but are attracted to the image and lifestyle of the industry. It can appear glamorous and fun for sure. But all the best fashion photographers I ever assisted and the ones I admire the most, clearly have a unique eye and understanding of fashion. It shows in their work and I have no doubt they appeal to the fashion teams of stylists, make up and hair crew. Its is such a creative and collaborative effort that it would not work well if the photographer simply had no comment, opinion or considered approach to the actual clothes. However I have met some photographers like this. They talk about the composition, the lighting and so on but miss the essence of the shoot. They miss the heart of it all and thats the clothes, the story and the fashion. Having an understanding or insight into what works as an outfit is important and having the vision to understand how to not only choose the right combinations and looks but how to translate that into still images. A truly great fashion photographer also has to be a visionary and rule breaker. Perhaps challenging norms and being a touch daring. Look at the great designers such as Alexandar McQueen and John Galliano. Both these genius designers were so utterly unique and brilliant they continued to amaze people with their ideas. As much as so much fashion photography is derivative and its difficult to be truly original now given the quantity of imagery created, the next true great fashion photographer has to be a visionary like those amazing designers.

Often I look back and consider why my fashion work never really took me to a whole new level. I recall that when I showed my portfolio to fashion editors they could see I could shoot well. It was clear that I understood some of the aspects of being a good fashion photographer but what I failed to fully appreciate was this. The editors were also looking at the fashion. They were drawn to the actual clothes and the styling. The look and styling of the tests I undertook, I feel were simply not powerful enough, it didn’t show true originality and genius. They didn’t see or recognise what is a Philip Berryman shoot or look. What was my message and view on women and clothes? What did I have to say? I reckon if I had a greater more singular look or powerful feel fashion wise to my work, and then I would have a much greater chance at shooting fashion.

I also believe that with fashion photography the role of the stylist is so important too. Great photographers are famed for their successful collaborations with influential stylists. Many a fashion photographer has credited their rise to prominence with the support and advice of a fashion stylist that ‘gets them’. Someone that is aligned with his or her vision and fashion style. Without that connection with a talented stylist you can collaborate and build with, I feel it’s very hard to succeed at the top level. Again I honestly feel that I never quite found that right stylist that could share my vision.

It’s easy for a photographer when asked what their style is to reference another photographer’s work. One may say ‘my look and style is similar to Nick Knight’ for instance. But that’s not enough I feel and all you have done is mention another even better photographer. One needs to have some burning message and view on the world, fashion, people and women. You need to truly bring something unique to make your work stand out in this image saturated world where images are so mass produced and consumed. Now I am older, have been shooting a lot longer and maybe a touch wiser with life and career experience I have a stronger idea of what I would try to shoot and how to go about it as a fashion photographer.

I tried my best to channel my inner fashion photographer on this recent shoot for Ralph Lauren. I was commissioned to shoot a private event to show the new collection at the Bond St. store. Two models were in attendance and throughout the evening changed into different outfits from the new collection. The models were patient and professional and in the very short time we created the opportunity to capture them in the sumptuous surroundings of the incredible store. As well as photographing the models there were all the other items and people to capture at yet another wonderful event for Ralph Lauren. Sadly my images are not gracing the covers of international magazines and gallery walks but I did have a spring in my step when I left Bond St. that evening.