FASHION PHOTOGRAPHY is more finely tuned to shifting styles and interests than almost any other field of picture taking. It is, in fact, a barometer of style, and a means of giving substance to the often subtle changes in the fashion industry. Ostensibly, fashion photography is about selling clothes and accessories, and although it would not exist without the commercial foundation of fashion magazines, couturiers and the clothing industry in general, there is more to it than that. An insubstantial subject would certainly not have attracted the talents of such photographers as David Bailey, Hans Feurer, Norman Parkin- son naming only a few.One of the fascinations of fashion photography is that, being so completely concerned with the elusive subject of style, it virtually demands a sensitive, intuitive approach. It does not lend itself readily to cut-and-dried analysis. The sense of style which is at the heart of good fashion photography applies both to the content of the shot and to its timing. The content includes choice of clothes, accessories, setting, model and make-up, and the overall mood. These items can largely be planned in advance, and the selection of clothes normally precedes everything else. Often a group of clothes is photographed at one session, and the most usual practice is to link them together in a theme. This theme may suggest itself by the very nature of the clothes — autumn colors, for instance, or evening dresses — or it may be artificially developed. Some of the most distinctive fashion photographers impose strong styles themselves on the clothes they work with. The role of the model varies in importance. In catalogue photo- graphy, for instance, the models are often used to do no more than display the fashions. In a major magazine feature, however, the model may dominate the shots, and some models have developed powerful reputations, jealously guarded by the magazine or photographer who has nurtured them. Given the components for the shots, the actual session itself usually needs fine timing to succeed. When the reaction and pose of the model are critical, the photographer has to establish a very precise relation- ship. The rapport between photographer and model does not have to be intimate or even cordial, but It does need to be controlled, usually to a greater degree than in most studio portraiture. Most professional models are familiar with the needs of the job and can usually respond quickly to the photographer's ideas.

BEST FASHION PHOTOGRAPHY | BY AJAY WALIA

Fashion Photography is all about to sell a product. Often, the model has played a role of mannequin in Fashion Photography and holding or relating to the product, need to be advertised. However, the ultimate goal of fashion photography is to persuade the viewer into buying a product. Though, from the selection of the models to choosing his/her wearing, background selection to lightning set up, there are a lot of jobs have to perform to generate a photograph for advertisements. In fact, the model must have a distinctive look, smiling face, and seductive that prompts desire and incites the viewer to have the model has on.