Fashion Photography

Virginia Oldoini, Countess di Castiglione.
Photographed by Adolphe Braun, c1860.

Fashion Photography started to develop from early days of photography. In 1856, a french photographer Adolphe Braun published his book containing 288 photographs. Virginia Oldoini, Countess di Castiglione,  a noblewoman from Tuscany, was the first fashion model of whom Adolphe Braun took fashion photographs. Technological advance in halftone printing made it possible for fashion photographs to be featured in the magazines; and the first appearance of fashion photography made its debut in French magazines such as La mode practique.

In 1911, a publisher of Jardin des Modes and La Gazette du Bon Ton, Lucien Vogel induces Edward Steichen to use photography to promote fashion as a fine art. Steichen then decided to photograph gowns that were designed by Couturier Paul Poiret, which appeared in a magazine called Art et Decoration. 

[1]  Scarlett Johansson 'Vogue' Cover

The photo shoot done by Edward Steinchen might be considered to be one of the first modern fashion photography; but where is the line that separates portrait from fashion photograph, and whether early fashion photographs done by Adophe Braun were more of a portraiture rather than a fashion photography. A photographer taking portraits aims to capture individual's facial features and emotion to showcase subject's personality and physical appearance. In fashion photography the individual, known as the model, is merely a live mannequin who is dressed in various clothing, designed by couturiers, to showcase them to the public. However, on the covers of fashion magazines such as 'Vogue', 'Glamour', 'Harper's Bazaar' fashion photography and portraiture blend in; where the individual just as important as clothing.

Adriana Lima 'Vogue' Cover

The photographs, that are featured in a fashion magazine, are being manipulated in many ways from makeup artists work their magic to the Photoshop artist. The photographs that go to the cover page are the most that are being manipulated. For instance, on the 'Vogue' cover with famous model Adriana Lima below, the photograph was processed with a help of Photoshop artist where makeup artists failed or was not enough to achieve the look that would allure customers. The texture of the skin was altered to make it look smooth without any wrinkles; moles were removed from her face as well. The brightness and contrast are more likely  have been changed to achieve required look. These manipulations, which are done for the cover of the magazine, create a stereotype of the beauty. Nonetheless, the photographs that are presented in the magazines, are not as much manipulated digitally as physically by makeup artists; the digital manipulation usually done for creative purposes.

Adriana Lima with Basic  Every-Day Makeup

The look, of the model, that can be achieved with makeup and minor digital enhancing, which does not involve changing body shape, is acceptable; it is a fashion after all. Most of the models do not require major changes to their body. For instance, Victoria's Secret models are must stay in shape to meet the requirements, which are being asked of them, with some exceptions.

PORTRAITURE

Evolution of Portraiture

The portraits have existed for a very long time; it can be tracked to as early as Ancient Egypt, where portraits were painted on walls, that portrayed gods and pharaohs.

Ancient Greeks and Romans have used sculpted form of portraits. They, as well as Ancient Egyptians, used portraits to display gods and key power personalities such as Caesars. They were also one of the first who started to depict portraits on coins; the tradition that carried over to our generation. Romans were also making busts, instead of a full sculpture, to concentrate mostly on facial features of a key personality. Portraits have been used not only to portray facial and physical appearance but to state power and status of a personality being portrayed.

During Renaissance portraits were mainly done to display royals, nobles and religious figures. The aim was to display personality and status of the sitter; where the sitter had control over the portrait, and was able to request changes of how the portrait looks.

The invention of a camera has changed the way the portraits are made. The control over portrait has shifted from the sitter to the portrait photographer; it means that the photographers have the freedom of taking portrait photographs in their own way and capturing what they wanted it to portray.

Diane Arbus

Diane Arbus was an American photographer, who captured 1950s -1960s America.

Diane began to take photographs in the early 1940s with her husband Allan, who introduced her to the photography. They were commercial advertising photographers, and had a business called "Diane & Allan Arbus". The photographs that they have done were published in the top magazines at that time, including Vogue, Glamour and Harper's Bazaar. 

Despite all the success in the fashion world, Diane did not like it, and in the mid 1950s started to focus on her own photography. After Lisette Model's photography workshop, that gave her the inspiration to create her own style and method of taking the photographs.

Diane only took portraits of various individuals, with rare exceptions. Her desire was to capture authenticity. Arbus never asked her subjects to take and hold a specific pose, as fashion photographers do, she said, ”I work from awkwardness.  By that I mean I don’t like to arrange things . . . If I stand in front of something, instead of arranging it, I arrange myself.”.

In late 1969, Diane was hired by Matthaei family to photograph them. She had a free rein over the family and the house, as well as a full control of what the photographs will portray. 322 photographs of the family , that Diane took, provide a good insight of her photographic strategies and intentions; especially the photographs of Marcella Matthaei. Arbus did not ask Marcella to smile or make any facial expression on purpose, instead Diane let Marcella to be herself, while Arbus arranged herself around Marcella and shot portraits of her. She captured what she was after, and not what the family would have wanted or expected her to capture. 

Marcella Matthaei photographed by Diane Arbus