Videos

Joanna Kustra's ninety-minute masterclass follows a six-location fashion editorial at a monastery in southern Spain. She explains how an editorial needs dynamic flow unlike commercial work, shares hair and freckled-makeup mood boards, balances strobe with changing sun, shoots on a 50mm, and manages crew and model in intense heat.

Lindsay Adler's hour-long Calibrite webinar covers the fashion workflow: concept development, gathering a creative team, shoot-day considerations, colour management, retouching basics and file delivery. She demonstrates fixing white balance from a ColorChecker's neutral patch and building a camera profile with the X-Rite plugin so a purple set reproduces accurately.

Patrick Hall of Fstoppers shoots four landing-page images for a fashion brand with two models, a stylist and makeup artist, using a Fujifilm GFX 100 with 32-64mm and 110mm lenses, Profoto B10 strobes and Gravity Backdrops canvases, then edits picks in Exposure X5, adjusting highlights, blacks and white balance.

Peter Coulson makes fashion images without wardrobe during lockdown, shooting Maddie in a dressing gown and everyday items inspired by magazine tear sheets. One Profoto D2 in a 1.5m octa, bounced off a wall, lets him move shadows and highlights by changing his angle, on a Hasselblad at f/8.

Karl Taylor directs a one-day studio shoot, shown as fly-on-the-wall footage. He has the model skip repeatedly to line up with a panel for a chirpy frame, notes a hand needing Photoshop work, moves through outfits including a winter jacket with wind-blown hair, and refines elbows, fingers and expressions.

Every frame from a dphog shoot is shown, not just the keepers, to dispel the myth that good photographers take good pictures. Low lights flare through foreground glass, stockings over the arms replace a dress, lighting is refined until the evening mood clicks, and the shot arrives within minutes.

Jessica Kobeissi describes how she plans a photoshoot from start to finish, using the organisational app Milanote, which sponsors the video, to gather ideas and arrange the shoot. The seven-minute talk concerns her preparation process, from initial concept through to the day itself, rather than camera settings or lighting.

Lizzie Peirce plans a low-budget shoot with model Joelle Farrow in five steps: a Pinterest mood board in Milanote's photoshoot template; locations scouted on Google Street View, favouring parks or hourly studio hire; a team paid in images and meals; borrowed or rented gear; and free WeTransfer file sharing.

Lindsay Adler recalls her first editorial, with borrowed boutique clothes and ever-changing lighting, to explain what a successful one needs: a concept or theme such as colour blocking or knitwear tying the series together, and a creative team of hair, makeup and wardrobe stylists found by tracing Instagram tags.

Fashion portraiture, as dphog defines it, sits between the two genres, focusing on how three simple garments make a person feel rather than selling clothes, after Peter Lindbergh. Lighting is deliberately imperfect: single lights kept low, small gridded softboxes and a gridded beauty dish for a contrasty, sophisticated edge.