professional practice journal

MIKE TROW

picture editor for vogue uk for 6 years.

when starting, he really did not like fashion that much. he had only seen about 4 issues of vogue in 15 years. in a way he just got sucked in.

his first shoot was of nick hornby. really did not turn out that well, but was on schedule - he himself does not know why they stuck with him after that shot.

pointers for photographers

the bigger you are, the more important production and planning becomes. you will work on a tight schedule and be expected certain results from.
especially for fashion photo it's not about pressing a button, it's the lighting, hair, makeup, art direction, correct model that all come together to make the shot.
the research you do and the people you have working on the shoot will finally make the picture.
think ahead: what do you need to get from the shoot, what does the client want.
BE CLEAR, ALWAYS BE HONEST. this way you will not waste time and energy.
also you need to try and keep people happy, be sensitive to others, because ultimately you need a strong and able staff.
it's nice doing what you want - in a way it's imperative to establishing yourself - but you will have to fit yourself to different shoots, different people. on the other hand compromising too much too often you'll become a generic jack of all trades - get lots of work but smaller and less important bits.
because of short deadlines there is not much room for trial and error - you need to deliver.
whenever you work with people (especially famous or famously difficult) find out what they are like and how do you need to be around them to avoid conflict.
a fashion photographe rhas to have an ego to direct, but be able to suck up anything another ego(-maniac) may throw at you.
especially when doing portraits you need to imbue confidence.

specific pointers

ASSIST BIG PHOTOGRAPHERS - find out how it's done.
working with film is good for a start - that way you understand your shutterspeeds, f-stops and lighting much better as there is less room for error.
all in all you need to embrace new technology - to accommodate short deadlines. also you need to be able to produce moving image on the side because of the age of the ipadphoneapp.
establish relationships with young designers straight away - they might become your loyal future customers.
try and include a narrative to the shoot - inspire models, keep the day progressive.


mike trow appeared to be confidently relaxed - a trait that is definitely the norm for a man in his position. i imagine he copes very well under pressure and is able to deliver in about every conceivable situation. if necessary, he did the entire shoot himself or arranged it done in a day. i liked the fact he became the photoeditor of vogue in a sudden, alost casual way that even for himself was a bit of a suprise. in a way i can relate to this very well, because i have done several projects in a similar matter - not quite knowing what i'm getting myself into. but in the end these are the most memorable projects.

i enjoyed the relaxed outlook he had on megastars he had dealt with. it was a bit of a suprise, because when i think of vogue a thedevilwearsprada'esque snob'ishness comes to mind. turns out they (atleast some of them) are people too.