non-professional models in fashion photography - 1100 Words

non-professional models in fashion photography (Essay Sample) Content: Non-professional Models By Studentà ¢Ã¢â€š ¬Ã¢â€ž ¢s Name Course + Code Class Institutional Affiliation Submission Date Introduction Hell seems to have broken loose after non-professional models were religiously ushered into fashion photography. Once the dice is cast, every precept of a new culture seems to have its merits and demerits. This paper seeks to point out the reasons behind the encroachment of non-professional models in fashion photography, when this new revolution began and its ultimate implications, both negative and positive. Mushrooming of Non-professional models in fashion photography Deployment of counterfeit models in fashion photography dates back to 19th and early 20th centuries. According to Rhodes, (2008), the central figure of the fashion photography begin to crumble since the late 1980à ¢Ã¢â€š ¬Ã¢â€ž ¢s and the 1990à ¢Ã¢â€š ¬Ã¢â€ž ¢s. Fashion photography history had been cluttered with quacks or non-professional models since 1990à ¢Ã¢â€š ¬Ã¢â€ž ¢s when an unprofessional trend arose in London and commenced contrasting with the cyclical norms and principles of fashion photography. Reasons for Mushrooming of Non-professional Models First, influential art photographers in fashion photography deployed non-professional models in their work so as to "keep up with their documentary style of their non-professional workà ¢Ã¢â€š ¬Ã‚ . Besides, Individuals with no training in photography were seeking financial sustenance coupled with a name and fame for themselves and eventually landed in photography. Besides, the new photography culture was looming, and the masses had converged their attention to photography, and hence the non-professional models dived in the arena to quench this thirst. In addition, photography firms needed professional models for their artistry but they were either extremely expensive or scarce and hence under high demand (Rhodes, 2008). Negative implications of Non-professional models To begin with, Non-professional models portrayed an unconventional snub to the formerly idealized culture fashion model and consequently forming a new marketing skill designed to address the complicated, image-savvy demographic. According to Rhodes, (2008), non-professional models permeated contemporaneous and imperfect state into their images via deployment of models and hence rubbed the historical precepts of realism in the photography world. Also, they portrayed every model with a certain degree of feminism. This made male model counterparts look like women. Besides, the new trend reframed fashion photography via deployment of unusual angles, graphic effects, directional lighting and a new need to introduce current lifestyles into photography. Also, the new non-professional models diluted the authentic culture of excellence which was prevalent in fashion photography arena. According to Rhodes (2008), the new quacks in the modelling world simply imitated the sludgy rock American music styles instead of formulating new ones. This resulted to loss of "authentic taste" in photography. The new trend also led to vast interpretations of the real increments in documentary- style photography. This led to the dilution of the fundamental principles and tenets which withhold photography. It also let to mass confusion of what fashion photography entails. The new trend also lost touch with fantasy and fun which was associated with traditional photography and instead encouraged realism which mirrored individual states of being. This led to boredom and ugly negative approach from the masses. Besides, non-professionals introduced a new trend in photography which mimicked snapshots and had a protruding tendency to extrapolate realism. According to Rhodes (2008), non-professional modelling brought gender disparity in photography. This was portrayed by David Sims, who introduced gender bias in his menswear castings by favoring male models to females through the provision of more male wear fashion designed clothes for shooting unlike the scenario to women. Also, due to dilution of authenticity in photography and overcrowded market, this has subsequently lowered the profits one can amass from photography. In addition, globalisation wind permeated the industry and knocked off the quality aspect in photography by demanding more products for less financial compensation. Globalisation aspect also replaced exclusive design with exclusive luxury which prioritised photography style over its contents to attract consumers. This led to adverse implications of shying away potential customers who had a passion for photography magazines. In addition, non-professional models also introduced a drastic change in the realm of advertisements and promotions and the entire editorial infrastructure. This change was brought about by crafting a new trend where models outsourced second-hand clothes for their career, unlike the traditional counterparts who opted for new fashionable garments for modelling (Rhodes, 2008). Besides, a new yearning for objectivity and simplicity which had been introduced by non-professional models resulted to a series of new reconstructions which branded the former trends in photography as counterfeit and fabricated. This was done with ulterior motives to erode the legacy and the foundations which had been laid by former photography artistry at large (Rhodes, 2008). Positive Implications...