Being a Fashion Photographer: Article

And so then I actually went in to study. And so I did photography at GCSE anyway, just because I liked it. Then this was at college and then I actually went on to study photography at A-level and then after a lot of, kind of, to, and froing, cause I really quite enjoyed dance as well. And my photography teacher was like, I think you’re, one… probably stronger at photography and two… you’re kind of good with people and stuff like that. And do more people photography in fashion and beauty. So I made the decision to study at uni. So I specifically looked for a fashion photography course. So it was kind of more fashion based, industry based, a little bit less of kind of like the traditions of photography, but just as super important, but I just kind of knew that I wanted to go into the industry after, so I thought I might as well just try and get that industry base and contact straight away. So, yeah. And then from then it’s just always been a definite and a certain. 

Muaz

So what led you to start an actual agency? So did you create the agency straight out of university?

Kelly

Pretty much. So the service I, so I was doing kind of like a bit of client work, obviously with just friends who wanted headshots or a friend of a friend or mum’s daughter… Stuff like that in college, and then I kind of thought, oh, it’s going quite well. So obviously I want, I knew I was going to then pursue that career and pathway.

So I thought, oh, I might as well set up a little website or little page or something like that. And then throughout uni, if ever, there was like a little area in our uni, which was amazing to be fair. I went to Southampton Solent, and it was like The Straight Careers or something. And it was clients that had approached the uni and said, oh, have you ever got any students that could do this or this?

And it was superb because obviously it was paid. So it was real client work. But then you also had your lecturer there to kind of like manage and, and do the kind of admin or the negotiation. So, yeah, it’s really good. And I as soon as I kind of found that out, I was like, well, that’s amazing. Like, it was really… one, influential and two, obviously it paid, and three, it gave you the experience of how your lecturers were talking to the client or how, how you should be going about the contract and so on. And so I just basically took every opportunity that they threw our way… like Photographer? And, I’m like hellooo! So from then I actually started getting contracts together, getting the business side a bit more up and running and I moved straight to London after university. And it was a pretty set thing, but kind of within my first year, I knew I wanted to make that my career really. 

Muaz

Amazing. So what is it about fashion photography that drove you towards it over other types of photography?  

Kelly

I’d say I knew, so I knew in terms of photography, I knew I wanted to pursue that just because I think it was, it’s more of a feeling. I feel like with a lot of creatives as soon as you kind of realize the field you’re meant to be in, or you have the strongest eye for or you’re successful at. You just know that’s the pathway you need to be taking. And then it’s just a matter of hard work really and keeping it up. But I think with fashion, it was more, I was very much a people photographer.

I would always want a model, like the thought of photographing a flower or a landscape… Obviously I loved it cause I was holding a camera, but it didn’t excite me as much as working with people and really getting them to pose and manipulate the image in, in retouching and stuff like that. And then from that really, I just, I just realized I much preferred the perfection of fashion, retouching and beauty makeup hair. And I think family portraiture, well head shots and stuff like that, I still adore. But there’s more leeway I find in fashion and beauty. And so I’d say that’s, that’s why I kind of went to that, that side. But then I still also do a lot of family kind of photography and stuff like that.

So it’s, it’s very, very similar, but obviously fashion for me just has that more kind of ability of variation and stuff like that. 

Muaz

So like when it comes to fashion photography, could you give us an insight into what your creative process is? So like when it comes to say the day of a shoot, how does actually even taking a step back so on how you work towards building up to the day of the shoot, and then what happens on the day of the shoot?

Kelly

Absolutely. So it really is when obviously my client approaches me. If it’s a repeat client, we’ve got a bit of a different procedure, but if it’s a new client usually it’s a call or a message or word of mouth and then an email or something like that. So we kind of talk about the logistics of what their needs are.

Obviously then do the, have a proper chat kind of iron it all out, get it into a contract, get that signed, paid and so on. And then it’s officially booked in. So once all of that kind of processes is done and it’s official, then it’s kind of my side to have actually preping some ideas, having a real think of, of how I can light their kind of visuals for the best kind of successful deliverables and so on. And then it’s kind of on my end again to kind of, sort all the equipment, know what they’ll need, do all the charging. And so all of that and then obviously in the morning or afternoon, I travel to the shoot or the location.

And then it’s a real kind of just getting to grips of the gritty nitty gritty part of it. It’s actually think which should usually be done before and it usually is of, what we’re shooting first? How many shots, how many models, how many sizes and how long? And then what I do personally is because I’m much more of a creative photographer than a technical lighting and equipment.

So I actually time myself. So for example, if we have three hours, but I know we’ve got 10 looks I’d actually time myself so that I’ll put a timer on. And then after kind of, I don’t know, 10 minutes or 30 minutes, 40 minutes, it will go off. It will tell us to move on. Obviously, sometimes you’re done prior. Sometimes you’re done afterwards. And you have to go over a little bit. So, yeah. And then from then I usually, some of my clients obviously want all the images straight away un-retouched, which I don’t always advise, but in kind of some startups, it works and so on. They might have an internal retoucher. But otherwise I take all the images home, do my downloads, back ups and then send a contact sheet.

From there, they choose their favorites and their finals, give it back to myself. And then I do the retouching. So then that’s the retouching turnover. And then it’s all sent back and hopefully up on their website soon. 

Muaz

Amazing. So thinking about, say from a brands point of view, say I am a brand that’s taking out, that is launching a series of winter coats and I approach you because I love the work that you do. At that point, what kind of information would you need from me other than I’ll definitely give you what the coats looked like and  images of the coat and what other information would you want to start building out that look? Would it be like a mood board, the kind of look, the feel, what you want, what I’d want to represent on the day when the photos are being taken.

So how does that work when it comes to working with you? When, so like when a brand first approaches you, you’ve never worked with them before. So I assume on your side, there are certain needs that must be met, just so you know, there isn’t any miscommunication. 

Kelly

Yeah, definitely. So I actually, um, when I was starting out, I always used to find, I’d ask different questions at different times. And I actually, especially during the first lock down and just after uni, I kind of said to myself… when, what is it that I always need to know for every client, every brand, every kind of shoot that is going to take place? So I actually made myself a repeat list, so I could just send that out and then after getting those questions, then I actually specialize in, in that client or that brand, or that kind of businesses “littler” questions, if that makes sense. So, so the list I have now is actually on my website as well. Cause I have an area on my website where you can contact me directly for shoots.

And then I just have a little tips kind of area to get the most accurate quote. What is actually like required, and what my clients needed to let me know, which has actually been working super well for me. It’s kind of in the last year and a half, really that I’ve updated that area onto my website and clients have often said, oh, it’s great because I don’t really know what to say when I email, I might say I like your work, can we shoot? But then it just made me prolong the period of time where you’re emailing back and forth and some brand’s message really last minute and it needs to be shot in two or three days. And there’s not actually always that time for back and forth. So my main questions really are; if it’s studio or location, because obviously a studio has much more set up time, set down times, that’s all got to be taken into consideration. There’s you need to obviously make sure that the light, that is the correct lighting that’s available in that studio and everything’s working. Nothing’s damaged or out for repair because I’ve got to a few studios before, and there’s one out of three lights and you think, Oh God, I wish I knew this before.

So, and then also, I use Canons… So just making sure everything’s compatible with Canon triggers and so on, and then the date and time of their preference. So what dates they have in mind, if there’s something set, if it’s flexible, if it’s not, times as well in terms of, is it afternoon? Is it morning?

And then also how long is it? Would you like a three-hour shoot? Is it a whole day of an eight, eight hour? And then if they already have a location in mind or studio in mind, what the address is. If retouching is required… cause that’s, that’s massive. Because I also do my own retouching, but obviously it’s kind of a different part of the service.

So some of my packages, obviously, I’m, I’m more than happy to include it in. For example, bit of a half day or full day rate, but if it’s kind of a two hour shoot, I usually do an external kind of contract with that. And then how many finals. Is it 80 or is it 4? Sometimes can be very, very different. And then my last two questions really are; One, the usage, so where’s it going? Is it a leaflet poster, social media portfolio, website campaign, a look book, and then the last one is just a budget. So if they’ve already got a budget in mind, or if they’re asking what my rates are and they’re flexible. 

And yeah, just kind of like then after, as you said, just a bit more of the visuals. So if they’ve got a website already, how the coats look for example, and yeah, if they’ve got a mood board, so then that’s just the visual. So that’s not necessarily needed for the quote, but it’s just helpful to show me the kind of insight and the style that they want me to create. If they want to continue with the same stylized look, and it’s not a relaunch, so, yeah. 

Muaz

Okay, perfect. So now we’ve agreed to work together, you know for the winter coat and it’s the day of the shoot. So how does a fashion photographer interact with all of the actors on the day? Cause I assume that there’s makeup and hair, there’s going to be the actual model. There’s going to be the brand. So what are the dynamics on the actual day of the shoot? 

Kelly

Yeah. So I think since shooting at university, I’ve realized that the client and photographer are often the leads. So the model, makeup artist, set designer, will often go to either the client if they’re working closely with the client, if not the photographer. And because as the photographer, I find myself, a lot of my teams, if the client hasn’t already got them, are recommendations. So I work very closely with a couple of kinds of makeup artists, stylists, models, and so on, that I often, if my clients said, hey, like I have no idea about the industry, but I like your work, but I found you and I want to go with you. Can you help me create a team? Obviously then I recommend people if she, or he would like to go ahead with them, then obviously they’re under my lead.

So, yeah. So most of the time they kind of either ask myself, or the client and then we just liaise. So for example, if a model asks me, I don’t know, or makeup artist what hair, the hairstylist, what hair is it? I’ll say what I think, but then double-check with the client.

So everything obviously is run by the client, but sometimes it varies, especially in some startups I work with, they might say, I actually have no idea. What do you recommend? And that’s, that’s where I usually come in. So everything’s kind of signed off by the client, but I or a photographer would potentially do quite a lot of recommendation just because we’re probably more experienced in the field.

That field is our expertise and so on. So we’ve, we quite often work with a hair stylist, a makeup artist, studio, lighting, retouching and so on. So we kind of know a little bit about all the fields, because we’re often the one who helped plan or, or they first approached and so on. And it’s the same with collaborations as well. For the collaborations I do, I often do all the planning of the creative lead really and the creative direction. And then, and then it’s kind of signed off by myself. So when the client comes in, I’ll still do all of that planning, but it’s then signed off by them rather than myself. So, yeah. 

Muaz

Wow. That is a lot of stuff. 

Kelly

It’s more than just as some people might say, clicking a camera.

Muaz

Absolutely, absolutely, so thinking about that. So what skills do you think are really important for a fashion photographer to succeed? Almost, if you take a step back and you were giving yourself advice from when you started out, or if someone is entering the field. What, what would you think are key skills that they need to build on to be successful?

Kelly

Definitely. I think confidence is the main one, really. And I would say now confidence and thinking on your feet, because sometimes I will get questioned on set. And I think I have no idea. Like if someone’s like, oh, would you prefer this backdrop or this backdrop? That’s an easier question because it’s actually just preference or thinking of oh, which will go for the brand.

But if someone would ask you something else and I think, oh, well, it’s your brand. I don’t really know at all, but it’s just thinking, okay, that, that’s fine. If you don’t know, but what’s your preference or what would you recommend being in the field that I’m in? And I think that’s what, especially working with some of my lovely assistants.

I think that’s what I’ll, I’ll ask, oh, what do you think we should do this or this and then, oh, I don’t know what it, and I think, you know what, actually, I don’t know either, but… if by giving an opinion automatically you kind of secure your client’s thinking, cause you might, you might say, oh, I prefer the blue, but they might think, and if you justify it because the blue goes with the model’s eyes and the bow or something like that, they might say, oh yeah, I didn’t think of that.

So sometimes it’s actually just having that confidence of giving your opinion, because creativity is very flexible and very kind of imaginative. So there might not always be a right or wrong answer, but it is a lot of opinion and preference. So sometimes if you just give that in a confident manner and express why, then you can discuss that.

And if they think it’s a good point, but actually I prefer this, it’s their say anyway, and it’s their shoot and they’re my clients. So we’re obviously going to go with what they prefer, but sometimes it’s just definitely having that confidence. And not shying away from, from your own opinion and things like that really. And I think that’s definitely something even with, I do a lot of networking events and stuff like that. And, and it is just the confidence in so many scenarios to just go up to someone and say, hey, like, how are you doing? Are you enjoying the event? Like I’m a photographer nice to meet you, what do you do? And so one really, and, and just really pushing yourself out there. Cause I’ve, I’ve never been a hugely confident person, but looking back every kind of two years, I have grown in confidence so much and it’s probably just pushing yourself out there really. So yeah. Confidence is definitely one. And just thinking on your feet really, and really be using your own initiative and being out there and, and just learning as much as you can, experience, assisting.

And I’m such a notebook and database and double check-in type of person that everything I learn is kind of in some sort of format. If it’s written down or if it’s in my diary or something to do on it, to do list, on a database, like just absorb all that information all the time if possible. 

Muaz

Like interestingly, the point that you made about having the confidence to, to talk to your client and give them an insight into what you’re thinking.

Kelly

Exactly. 

Muaz

That I think is also helpful to the client because you being, because, though the brand is an expert in what they’re producing, but you’re an expert in how the rest of the world is, is going to view it. 

Kelly

And how to execute it.

Muaz

And how to execute it. So it’s important for the brand to be able to see how it’s going to be viewed through the eyes of the photographer as well.

And, and even when we work with both brands and with photographers, sometimes the best ideas come out once you’re having these conversations, because, because people are, you know, they’ve got blinkers on most of the time. They only look at the world through a particular viewpoint. So it’s important.

I mean, that’s otherwise they would be taking their own photos. Right. Because that’s one of the key things when it comes to creativity, as you said, when, you know, when it comes to getting other people’s ideas, you end up improving things, even if they don’t take it on board. At the very least, you’re putting them in a place where they have to think about that.

Kelly

Yeah, hundred percent. And I think it’s nice because a lot of the time that we, if it’s myself, my client, my makeup artist, you pull, you pull ideas in the end and you get something much stronger because everyone’s opinion of their own field and expertise is involved rather than just our plan or rather just my client.

Yeah. At least then the client has the choice of being like, if you said something because you know, you think it might work. And if they’re like, nope, don’t like it, then at least they can cross it off. But for yourself you think, oh, at least I suggested it because I thought it would work… I knew it would kind of look quite good on set.

And then sometimes they do actually say, oh, can we just test that then on set and then you test it and then they really like it. So sometimes it’s just making sure they have that in mind as well. And just helping them really, because if someone said to me, like, do someone’s makeup, I wouldn’t have a clue what to do if, I mean, if I, if they said, oh, run my brand for a week or design my designs. I wouldn’t know. So sometimes I think it’s just a helping hand. And I think the creative industries are really good for that. We, we really do, I think, cause it can sometimes be quite a lonely industry with, it’s tough to just know everything when you don’t, you don’t. I think we’re really helpful in terms of like, just checking in with each other and helping out when we, when we think we can. 

Muaz

And sometimes people overlook the fact that it can also be important to get it wrong so you know what wrong looks like, you know? Because otherwise you don’t know how, how good you could possibly be or like what insights you could have if you keep on just playing it safe and doing things in a particular way. 

Kelly

There’s a lot of kind of first shoots, you do your first 10, 15 minutes and then photographers like hmm not overkeen, clients are all don’t know what it is, but I don’t like it. And then 20 minutes in you’re all… Yeah! I love it! And that was trial and error. And that’s what I always try to say to my clients as well, make sure we have spare time because you want to do that testing because you will get better results and it’s rewarding when you do. 

Muaz

Absolutely amazing. So what would you say to like, based on these skills that a photographer coming in should have, and I guess even more broadly, what are good resources that are, that have helped you or a photographer would find useful in building up their skills? 

Kelly

Hmm, definitely. I think so speaking very technical obviously, I think Adobe Photoshop and Lightroom. Definitely the two places you should be kind of retouching with photography. I think video, I don’t really tap into that much, even though I do want to learn. Yeah, I think Premier Pro are good for stuff like that. So technically these are kind of like the areas I would be tapping into and stuff.

Obviously, a lot of us know Canon and Nikon are two of the best camera brands, obviously Sony and stuff are really good. So, yeah, I’d say obviously all of these kinds of technical, like areas and systems and so on, but then also going a bit deeper than that. Because for example, Wex, I buy all my camera equipment from there, but then they’re really helpful at if you literally call them and say, hey, like obviously sometimes you just have random technical questions and I’ve called them before and said, oh, does my trigger actually connect… I don’t know, in studio and on location, or do you have specific ones? And they’re superb at just telling you on the spot and, and that’s it. And sometimes , I have two or three backup batteries and one of them just didn’t come on before a shoot. And I, and it was fine because I had backups, but I just thought, oh, I had like 15 minutes or 20 minutes, I was there early and I thought I would just give them a call. And they said, oh, actually, I can’t remember what they suggested, but said, Oh, try and I don’t know, shake it and do this and then put it back in and then put it on before you put it in and stuff like that. And I did, and it works and I thought what are the chances… that I really didn’t think that one like five minute call would do anything, but it’s actually just using all your sources that you find. And, and Adobe Photoshop, even, even them, they’ve got a membership and you can, sorry, a newsletter membership, and you can just sign up to that and they email you when there’s like a they say ohh, I don’t know, a week free trial of this. And if you’re still at that level where you have time to learn, I’d say, take, take that on board because you’re never going to get that again. Especially if your business is coming off the ground and it’s becoming more established, you’re never really going to have time to, to use up all these sources.

And I have so many of these sources still emailing and messaging and so on, but I don’t have that much time to look into it anymore. So you might as well when you’re maybe a bit younger or you’re still kind of doing that. And then there’s just networking really. That’s, that’s one of the biggest things.

I have a photographer that I’m really close friends with, two photographers actually. And sometimes I’ll just put a story up on my Instagram and be like, oh, anyone know what this piece of equipment is actually called? Like, I want to buy it, but I don’t even know the name. And I would just send a screenshot and they’ll get back to me.

Or, and then another day they might say, well, I’d like a last minute assistant. And even though we were both photographers, I might say oh yeah, go on. If it’s paid, like more than happy to just help you out for the day. It’s just really using your networks and, and there’s some lecturers even that I’ve kept in touch with them. And it’s really, it’s actually nice to still be challenged sometimes and it’s nice just utilizing those networks because at some point they help you at some point you help them again. And I think it’s definitely just, keeping fresh and during lockdown, so many people I’ve messaged and so many people have messaged me saying, oh, just checking in. Hope you’re doing alright, like, and lonely and so on. And it’s actually really nice. Cause it’s, it’s a quite close friendship in the end as well, which is, which is always good. 

Muaz

Almost everyone that I talked to has mentioned networking and community has been one of the biggest things. And it just shows in lockdown how much more important that has become.

Kelly

And I think for the creative industry, especially because you have, you’re your own boss in everything, and that sounds great, but actually it can be quite scary at times because obviously… if your, if your computer at work, doesn’t work, you kind of go to a manager, say, hey, hello, like replace it or help me sort it because I have no idea what to actually do or what’s going on with it.

Whereas when that’s at home, you think, oh my God, who do I actually turn to sometimes. So apart from obviously a computer shop, but sometimes it’s, it’s so many different little things and it’s nice to have that network where you think I actually can just put so and so a message and then next week you can help them with something and we’re all in the same boat at the end of the day. 

Muaz

Absolutely. So what’s your biggest tip for starting to build your network? 

Kelly

Yeah. So I’d say social media now is definitely a great way of networking cause it’s free, quick and easy to be fair. And even now the amount of messages I wake up to every morning on my Instagram, which is literally people just reaching out and just saying, I love your work. Like. If you ever want me to assist, or if we ever want to work together or makeup artists that said, oh, like let’s collab and stuff like that. I think it’s one, refreshing because you always get to meet new people, which is really nice and two, it’s super important. And so many makeup artists or, obviously all different creative fields, but a lot of makeup artists, mostly I’ve worked with and then they’ve actually got me my next photography job. And then I’ve brought them on a team where they need, we needed obviously makeup and an artistry and hair. It’s obviously really a good way of getting paid work as well. 

So that’s that definitely in terms of networking and socials, and then I’d say networking events, obviously at the minute is super difficult. And I don’t think I’ve done one since March. Yeah. I reckon events are another massive one. And also basically these types of ways you actually meet a lot of your future clients because you don’t realize, but you form a very strong, quick bond when you’re quite compatible. If it’s you’re chatty or if it’s you’re bubbly or you’re a people person, or if you’ve got the same morals as the creative industry, or if you like the same style. So a lot of my clients and myself bonded over that. And then they said, oh my gosh, actually my friend’s got a brand. Oh, actually I’m launching a new product. And then they think of you because you’re also quite close. So yeah, I’d say social and  networking really. Events, networking events will probably be the best ways that I kind of recommend and they’re fun, which is nice.

You can find Kelly online at:

• Website: kellygellardphotography.com
• Instagram: @kellygellardphotography
• Facebook: www.facebook.com/KellyGellardPhotography

You can listen to the whole interview podcast over on our podcast page or by clicking here at Being a Fashion Photographer.