Around 2002 I produced my first fashionseries. At the time, I had been viewing a lot of fashion work fromthe most recognized fashion photographers and thought I was ready to startmy own photo production. A couple of years later, I started to feel thatincredible sensation when you realize that your work is similar, or evenbetter, than most of great fashion images I have been gathering in mycollective memory. That act of comparison begins to define the criteria aboutwhat a good fashion image is. It is a great feeling to reach that point, butafter that, having done “great” fashion images, your motivation changes and itbecomes monotonous.
Whatsupposedly makes a fashion shoot great? The answer is simple. In general, everyphotographer, fashion editor or designer, is looking for the same, something toconstantly stimulate our visual pleasure, and nothing else. The elements neededare a gorgeous model, a good stylist a talented make up artist and, in some cases, an incredible location, decent budget and a computer freak slash post-producer. In almost anypublication, like Vogue and all mainstream fashion editorials to theindependent ones, everything and everyones sight are pointing to the same direction,having a wall an inch from their face, they forgot how important is the content within the form.
Thisis the second end of fashion photography.