A ‘fash­ion’ able vi­sion

Smart Photography - - Showcase - As told to Span­dan Sharma

“Iini­tially started my ca­reer as a soft­ware pro­gram­mer, but soon got bored and started learn­ing an­i­ma­tion & vis­ual ef­fects. My creative jour­ney started soon af­ter my mar­riage with my wife Gun­jan (a makeup ex­pert) when I formed Veseca In­ter­na­tional, a one-stop creative agency that had pho­tog­ra­phy as an in­te­gral part of its ser­vice port­fo­lio. I of­ten got into ar­gu­ments with sev­eral pho­tog­ra­phers dur­ing shoots for our client(s). It was then that I started think­ing about pur­su­ing pho­tog­ra­phy as a ca­reer op­tion se­ri­ously. I pur­chased my first SLR cam­era – a Canon 400D – and af­ter study­ing in­nu­mer­able books, and a lot of prac­tice & ex­per­i­men­ta­tion, I was ready to click. I started ex­per­i­ment­ing with lights and other pho­tog­ra­phy equip­ment in my of­fice and con­verted it into a full-fledged stu­dio. My fa­ther and my wife were al­ways sup­port­ive and en­cour­aged me to shift my ca­reer from IT to Pho­tog­ra­phy. Since I started pho­tog­ra­phy be­cause of my bad ex­pe­ri­ence with some fash­ion pho­tog­ra­phers, Fash­ion Pho­tog­ra­phy was an ob­vi­ous ca­reer choice. My wife be­ing a makeup ex­pert, I had fre­quent in­ter­ac­tions with stylists, chore­og­ra­phers, fash­ion jour­nal­ists, fash­ion de­sign­ers, etc., and this led me to pur­sue Fash­ion Pho­tog­ra­phy se­ri­ously. A jour­nal­ist friend trusted my abil­i­ties and got me my first pro­fes­sional shoot for a fash­ion mag­a­zine. Since then, I have never looked back, and con­verted each hur­dle into a step­ping stone to­wards suc­cess. There is no doubt that fash­ion pho­tog­ra­phy is a lu­cra­tive busi­ness, but like other ven­tures, it re­quires a lot of ef­fort, ded­i­ca­tion, pas­sion, hard work, and cap­i­tal. Fash­ion pho­tog­ra­phy is not as sim­ple as it looks, and re­quires a lot of co­or­di­na­tion be­tween mod­els, stylists, make-up artists, hair stylists, etc. Any pho­tog­ra­pher who has had some sort of ex­pe­ri­ence in stu­dio pho­tog­ra­phy may feel that shoot­ing mod­els in a con­trolled en­vi­ron­ment is very easy, but that is absolutely not true. To be­come a good fash­ion pho­tog­ra­pher, your fash­ion sense has to evolve con­tin­u­ously, and one must al­ways stay up­dated with the lat­est fash­ion trends and hap­pen­ings in the fash­ion world. Fash­ion pho­tog­ra­phy is not a “solo” job; you must have a good team to get the best re­sults. In my view, as far as fash­ion pho­tog­ra­phy is con­cerned, “You are as good as your team.” I love what I do, and en­joy ev­ery mo­ment of my pho­tog­ra­phy ses­sions. There is absolutely noth­ing which I re­gret, though oc­ca­sion­ally, the con­stant pres­sure of dead­lines makes me feel re­stricted in terms of cre­ativ­ity. I can­not shoot as I want freely, any­where or any­time – it re­quires days of plan­ning to or­ga­nize a proper fash­ion shoot. I ad­vise as­pir­ing pho­tog­ra­phers to not jump into fash­ion pho­tog­ra­phy think­ing that it’s all prof­itable and glamorous. It is true that you can achieve all this in this field, but this is just one side of it; of­ten, the other side, en­cap­su­lat­ing hard work, pas­sion and co­or­di­na­tion, is ne­glected. Be­fore tak­ing up fash­ion pho­tog­ra­phy pro­fes­sion­ally, I be­lieve one should start fol­low­ing some good fash­ion pho­tog­ra­phers and subscribe to some good fash­ion mag­a­zines to be­come ori­ented with the fash­ion in­dus­try. Keep prac­tis­ing with dif­fer­ent lights and cam­eras. Keep your­self ready for any op­por­tu­nity for a fash­ion shoot; as the in­dus­try moves at a rapid pace and com­pe­ti­tion is get­ting tougher, you might not get a sec­ond chance. Prac­tise con­stantly so that you do not buckle un­der the pres­sure of a fash­ion shoot at the last minute. Also, pre­pare your port­fo­lio with at least 50-60 dif­fer­ent shots show­ing the va­ri­ety of work you can do and the dif­fer­ent skills you have.”

Vipin Gaur, a fash­ion pho­tog­ra­pher from New Delhi, has spent sev­eral years

per­fect­ing his skills for his trade.

Flo­ral Shim­mers Cam­era: Canon EOS 5D Mark II Shut­ter Speed: 1/200sec Aper­ture: f/11 ISO: 100

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