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I love the sculptures, they give me space.
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‘A little poker face hurt nobody’ must have been the thought of Sandro Achilles when he bluffed her way into photography at a models event in New York City. Quickly he became a self-taught fashion and editorial photographer who now dreams of having a book published worldwide.
Profession: Gentleman, Photographer, Blogger and CEO
Milestones: every picture again…
Current Location: Miami, Los Angeles, New York City and Milano in Italy
How did you get into fashion photography?
You probably expect to hear that I picked up my first camera at the age of 12. That I by then already knew it was going to be my life purpose and that I would never ever leave that camera alone! But that didn’t happen. Only a view years ago I thought, what career seems like a lot of fun, is never going to bore me and will make me really happy? I figured it had to be photography.
I heard everything is possible in New York City, the Big Apple, so after the study architecture I booked a ticket there. I had no idea what I was doing and by chance I was invited to a model party – where the owner of the agency asked me ‘are you a good photographer?’, Wisely I said ‘yes I’m a really good photographer’ – and that’s when I first learned the concept of test shoots. He introduced me to some models and there were quite a few who wanted to do a test shoot with me, I felt really good, it’s starting!
They asked me, unaware that I just started, what type of photographer I was – and I had no idea what type of photographer I was – but I replied ‘I’m a fashion photographer’. And there I was, feeling proud to say so.
For me fashion photography is so pleasing to look at, I feel really happy and fulfilled when I see a photo where the visuals excite my brain so much. I love art in general very much, which I did figure out a very long time ago already. But it was only recently that I decided I too wanted to be a creator of such thrill. And that’s how I got into fashion photography.
Were you educated in photography or are you self-taught?
I’m self-taught, but I get a lot of help from friends, Workshops, other Creative people, who give me feedback on every photo before it gets published.
Wich education would you recommend?
Istitutomarangoni at Milano Italy, or mastered.com as a 10 month online education.
Where do you find your inspiration?
I get very very inspired on the Internet, Vogue Magazin and Art Galleries. And my favorite Photographer are Peter Lindbergh, Mario Testino, Helmut Newton etc.
If you could shoot anything/anyone/anywhere in the world – what/who/where would that be?
In a Barrock Castle… 1 week with an army of models and dozens of fashion collections.
Which photo are you currently most proud of?
I’m having a really hard time learning to be proud of my photos. I love them, then I hate them and then I love them again… Right now I really like the photo for my book cover. I love the model and how the swimwear looks and I love the simple picture look, beachlife and Malibu Feeling.
What was the biggest challenge throughout your career so far?
every day is a new challenge…
You must be really busy. If there’s one thing you wish you could spend more time on, what would it be?
Photography… and my Family
What are 5 things people don’t know about you?
1. I smoke cigars, Texas Lancero or Partagas Havanas.
2. I ‘m not interested in some technical aspects for photography… i’m just interested in the story behind each photo… picture language, time spirit and story.
3. I love fashion… It’s an Addiction… Pal Zileri, Louis Vuitton… my favs.
4. I love to dance: Bachata… and Salsa… sometimes Tango Argentina.
5. I love a good espresso… just an Italian coffee…perfect style
Wheres your favorite place?
There, where the asphalt becomes to sand…
When you’re working with a model, how important is communication during a shoot?
Before every shoot, I send the model(s) a mood board for them to study, so they can understand the concept and have in mind what types of poses and looks we are going for. The communication during the shoot is mostly just me being happy, cheering and encouraging what they are doing.
When someone looks at your photography, what do you want them to know about you?
Preferably, as little as possible.
What’s your game plan over the next 5 years?
Being published by Harper’s Bazaar and Vogue. What about having my own book #ANGELS published worldwide? Go Live with my e-learning platform for creative people online as soon as possible www.creative-matador.com
Do you have any model you would like to work with?
Adriana Lima, Irina Shayk, Emily Ratajkowski
Where can we follow you?
This interview will be publicated in a NY Photography Magazin January 2017.
One of the biggest secrets of successfully fashion photography is “styling”. Yes, thats right. Styling is one of the key topics to a successfully photoshooting.
Every picture with gorgeous light settings on nice locations looks flat without the right fashion. You know, we talk about fashion and editorial photography, not landscape or nude or something else. Just fashion photography.
The different between good “fashion photography” and extraordinary “fashion photography” are the wardrobe. The styling. My tipp is, as a photographer invest in a good wardrobe stylist as soon as possible.
What does a Stylist do?
The stylist seems to be the new most coveted fashion job at the moment, but how many people actually know what a stylist does? Let me break it down for you.
The stylist is responsible for creating “style.” Ok, I know that sounds vague, but essentially the stylist is deciding what a model or person wears, and HOW they wear it. The main roles of a stylist can essentially be broken down into these three categories:
1.) Editorial styling / Styling for photoshoots
2.) Brand consultancy
3.) Celebrity styling
1. Let’s start with Editorial styling / Styling for photoshoots. When a stylist works on a photoshoot, he or she basically chooses the clothing, the accessories, and/or the general “look” of the model for the shoot. In the case of a magazine shoot, the stylist would be given some direction from the magazine or art director as to what the theme was (spring summer bright colours, animal prints, etc…) and what brands need to be featured. Remember that the brands featured in a glossy magazine are mostly the brands that advertise, so the magazine needs to make sure they get editorial coverage. The team would be named (photographer, hair, make up, etc…) and sometimes the stylist would have some say in this. Once the “concept” for the shoot was finalized with the photographer, the stylist must then pull the clothing for the shoot.
If an editorial spread was to have 6 pages and 5 outfits, then a stylist would normally pull at least ten outfits, probably more. You never know how things will work out on the day, and it is important that there are alternatives if things don’t work out as planned. In order to pull the outfits, the stylist will consult lookbooks, contact PR’s and showrooms, and sometimes pull directly from stores. Lookbooks are catalogues of designer’s collections, usually the catwalk looks, so sometimes they just use Style.com or similar to see what each designer has put onto the catwalk. If the stylist finds something they want to use, they call the brand’s PR agency or department, and request the item. The item may not necessarily be available, as it may be in another country or on another shoot, so this needs to be confirmed first. If it is available, then they stylist will have it sent to their office, or go and pick it up.
Stylists will also contact PR agencies or brand showrooms when they are searching for clothing or accessories for a shoot. This could work two ways, either they could call and say “I am doing a shoot on animal prints, do you have anything that can go into the shoot?” and the PR will pull all the relevant animal print items and show them to the stylist. The other option is for the stylist to visit the showroom, and browse through the collections. Something may stand out, and they will decide to use that in the shoot.
If a stylist is pulling directly from a store (this can happen if they are using vintage pieces), then they visit the store, choose the item, and leave a deposit, or pay for the item and be refunded when it is returned.
Once all the clothing and accessories are chosen, the stylist needs to make sure they get to the shoot safely (which can be quite a drama if the shoot is very far away, and requires 5 suitcases of clothing to be flown halfway across the world.) On the day of the shoot, the stylist needs to make sure the garments are photo-ready (ironed, clean, etc…) and will also be responsible for choosing the outfits the model wears, and arranging them on the model as the photographs get taken (they make sure the item isn’t hanging funny, creased, un-tucked, etc…) Styling also involves the “style” of the outfit: is the top falling off the shoulder, is the shirt half tucked in, are the socks scrunched down by the ankles… These are all very important elements in a photoshoot. This same role can apply to TV commercials, music videos, or even film and television (although then we are getting into wardrobe positions, which is a slightly different story.)
And don’t confuse the stylist with the art director, which are quite different roles. The art director chooses and directs the theme of the photoshoot (and as a result, directs the entire team) whereas the stylist is only in charge of the clothing and accessories, or the way the model looks. Not every shoot has an art director, but for advertising campaigns and large commercial projects, there will always be an art director.
2. Brand consultancy is another role of a stylist. This involves several elements, some brands hire stylists throughout the whole process (ex. Emmanuelle Alt played a big role in the shaping of Balmain), and others bring in a stylist at the end of the collection process, when most of the clothes have been designed, but they need someone to help “pull it together.”
If the stylist is involved throughout the whole process, which is unusual but can happen, then they will attend some design meetings from the beginning of the collection process. The designer will show them research, ideas, and sketches, and the stylist will give them input. This can also involved bringing in their own ideas, visual research, interesting garments they have found, etc… and show them to the design team. The stylist essentially becomes a part of the design team, but they don’t do any physical designs, they just give their ideas.
Most of the time, the stylist gets involved in the collection close to the end, once most of the garments are designed, but help is needed to “tie them together.” When I worked at Sonia Rykiel, Carine Roitfeld used to style our collections. She would come in once a week or every ten days, starting about eight weeks before the show, and help choose the show looks. A fit model would be present, as well as all of the collection sample garments, and we would try on the different garments and choose the catwalk looks. Sometimes Carine would make suggestions of new pieces, for example, making a longer version of a piece, or trying it in a different colour or cut. She would also sometimes bring in vintage pieces and suggest we use that as inspiration (or copy it, which is the more honest way to describe what we’d do with vintage pieces.) We would also choose all the catwalk looks, and the order in which they’d be shown. This could include the garments, accessories, and how the clothes were worn. The stylist who works on the show often also styles the photoshoot.
3. Celebrity styling is the area I am least familiar with, but it is pretty self explanatory. A stylist can work with a celebrity on a regular basis (dressing her/him for day to day as well as events) or the stylist will work with them simply for a special occasion, such as an event. When dressing a celebrity for an event, the stylist needs to consider the brand (does the celebrity have any brand relationships they need to support?), current trends, and what the message is (do they want to shock, make the celebrity look more “respectable”, etc…) This is also a difficult area to get into (well, all good styling jobs are pretty hard to secure.)
How does one get into styling? Well, there is no university course that is going to get you a job like this. First of all, you need to have a good eye. Secondly, some sort of fashion education helps, but isn’t necessary. Ultimately it is about assisting other stylists while learning the ropes, and then hopefully being able to go out on your own. You also need to make contacts with PR’s who will lend you clothes
I had a friend who managed to build herself a very good styling career, by doing just that. We studied together at Ecoles de la Chambre Syndicale in Paris, and in her second year (of three) a friend of ours suggested she apply to be Carine Roitfeld’s second assistant (the first assistant was leaving, and the second assistant was being promoted.) She left school and took on the job, able to do so because her parents had an apartment in Paris and supported her while she worked for free (actually, I can’t remember if she was actually working for free at the very beginning, but I am pretty sure she was. If not, she would have been paid peanuts.) Eventually, she was promoted to first assistant, and that is when Carine got the job at Vogue Paris. My friend then ended up as an employee there, and over the next few years established herself as a stylist, whose clients are now Paris, Japan, China, and Teen Vogue, as well as some major brands including Maxmara. But it isn’t as easy as that, she worked very, very hard to get there. She worked a LOT. Weekends, evenings, anytime Carine needed her. I witnessed it, and I wasn’t envious, despite the fact that she had invitations to all the big shows and lots of free clothes.
Anyway, for those of you out there trying to establish yourselves as stylists, start testing as soon as possible. That means doing “trial” shoots, where you work with a team who is looking to create their portfolio, and everyone works for free. Building a portfolio, getting experience, and making contacts are the first steps in a styling career. You also need to have a good eye, and that is something that cannot really be taught.
As a strategic thinking photographer. Search as soon as possible a good stylist and work with them. Its a big plus for you, your work and your career as a fashion photographer.
The cover of my first own Photobook is ready… The book is available in the next view weeks.
The title of this extraordinary book will be:
#ANGELS by Sandro Achilles Photography
more coming soon….
A few days ago I was able to perform with one of the truly great fashion photographers of our time a little conversation. Although the conversation lasted less than five minutes, but the message was all the more intense.
He said to me: In every single photographer slumbers a “Good” and “Evil” Photograph! What very clear to me after “good cop, bad cop” sound … or something schizophrenic … and I asked him with a smile on my face as it decides whether it belongs to the “good” or to the “bad photographers”? He answered me: you yourself!
Since I was a little confused and wanted to know this now in more detail. His answer then: You yourself decide whether you want to be a good photographer or not. This is due to which of the two parts in you You give food. You will learn the good photograph? Or just the bad …
At the moment I let inspired myself by Mario Testino work . His books and projects I can recommend … great work !
Mario Testino inspired by the Boys and Girls of the Copacabana.
His recordings , direct and intimate at the same time , Mario Testino have made it one of the world’s most successful fashion and portrait photographers. The native Peruvians had always been fascinated by Rio de Janeiro, where he spent his first summer vacation.
“When I was 14 years old during the holidays from the house to the beach and saw how the young people ran around only in brief swimwear – girls and boys were so sexy, carefree and wild – . Because I could not put it simple “
The casual sensuality , sexual freedom and lust for life left a deep impression . Testino has since come back again and again to Rio – for work and for pleasure.
Mario Testino was born in 1954 in Lima , mainly for important fashion magazines such as Vogue or Vanity Fair. He has also photographed campaigns already for almost all the major fashion labels . This includes , for example, the label Versace. Here Testino recorded , inter alia, to responsible for a campaign with pop singer Madonna. Another well-known photo gallery of Testino was published in 1997 by the magazine Vanity Fair. These were a cover story about Princess Diana. The recordings were later published as a book .
Campari committed Mario Testino to photograph for the company calendar 2009, Hollywood star Jessica Alba in 12 different designs. For Testino is the second work for Campari : 2007 was Salma Hayek as a calendar design for the photographer in front of the lens.
Currently you can find pictures of Mario Testino in Vogue Germany incl Backstage Movie.Zur Zeit lasse ich mich von Mario Testinos Arbeiten inspirieren. Seine Bücher und Projekte kann ich nur empfehlen… tolle Arbeiten!
Mario Testino, inspiriert von den Boys und Girls der Copacabana.
Seine Aufnahmen, direkt und intim zugleich, haben Mario Testino zu einem der weltweit erfolgreichsten Mode- und Porträtfotografen gemacht. Der gebürtige Peruaner war von jeher fasziniert von Rio de Janeiro, wo er seinen ersten Sommerurlaub verbrachte.
„Als ich mit 14 Jahren in den Ferien vom Haus an den Strand ging und sah, wie die jungen Leute nur in knapper Badekleidung herumliefen – die Mädchen und Jungs waren so sexy, unbekümmert und wild –, da konnte ich es einfach nicht fassen.”
Die ungezwungene Sinnlichkeit, die sexuelle Freiheit und Lebenslust hinterließen tiefen Eindruck. Testino ist seither immer wieder nach Rio zurückgekommen – zur Arbeit und zum Vergnügen.
Mario Testino, geboren 1954 in Lima, arbeitet vor allem für wichtige Modemagazine, wie beispielsweise die Vogue oder Vanity Fair. Weiterhin hat er schon für fast alle großen Modelabels Kampagnen fotografiert. Dazu gehört beispielsweise das Label Versace. Hier zeichnete Testino sich u.a. für eine Kampagne mit Popsängerin Madonna verantwortlich. Eine weitere bekannte Fotostrecke von Testino wurde im Jahr 1997 von dem Magazin Vanity Fair veröffentlicht. Es handelte sich dabei um eine Coverstory über Prinzessin Diana. Die Aufnahmen wurden später auch als Buch veröffentlicht.
Campari verpflichtete Mario Testino, für den Firmenkalender 2009 den Hollywood-Star Jessica Alba in 12 verschiedenen Motiven abzulichten. Für Testino ist es bereits die zweite Arbeit für Campari: 2007 stand Salma Hayek als Kalendermotiv für den Fotografen vor der Linse.
Aktuell findet man Bilder von Mario Testino in der Vogue Deutschland inkl. Backstage Movie.
As a photographer, so it forms known continuously, looking for new ideas, draws inspiration from other photographers, artists and fashion designers, etc. Therefore, I have done a few days ago the film of the fashion photographer Melissa Rodwell to mind. I must admit that it is through and through a good taste and a very exciting design concept has with her photographs, websites, blog and the film. It runs through the so-called Red Thread, which is very convenient for the user and especially optically excited.
Who is Melissa Rodwell?
She is a Fashion Photography. Melissa lives in New York City with their Pitbull Mia. She works for renowned fashion labels such as Ralph Lauren, Nike, Coca Cola, HONDA, NBC and Dell Computer. Your EDITORIAL’s seen in magazines like Harpers BAZAAR, KURV, JIMON, FLAUNT more.
More about Melissa and her career can be found here: melissarodwell.com
Fashion Photography Blog
In 2008 she launched the Fashion Photography Blog. In a short time she gathered with her blog a large following of subscribers and readers. Melissa shares her knowledge about fashion photography and gives its readers an insight into the coveted world of fashion photography.
EXPOSED – Fashion Photography
And now the film, which will be created in the highest quality and offered for sale. Ordered as a DVD or as a download. The film sends his regards Hollywood. Very good quality content and the whole presentation. In the film, she explains various light settings with which it works itself. From Rembrandt to elaborate settings. They discussed the pros and cons. She speaks about the industry and the nature of Photographers. Very exciting and profitably are interviews with a modeling agency and a magazine chief editor. For the site where the film is put on sale, she even won a prize. The design is excellent and the entire site consists of only one page. World class! Only the price of the film can swallow the photographer Junkie twice … well … it is worth it. Good know-how will be paid.
“La Provocation” is my first big, own photo project that I create is not for customers, but on their own. My personal goal is to be able to complete this project by the end-2013.
With this photo project, I would like the issue of provocation, such as the promising Tiel suggests, deal and deal. The provocation in pictures I would like to combine with my Main Business, Fashion, Glamour and Beauty Photography. This I will visualize in different small stories, such as bribery, corruption, etc … Each of these story refers to a temporal event and maladministration in our society. I make use of the Photography as my mouthpiece.
Something like: The seven deadly sins of our time …
One of my ambitious goals is to consult very special venues and selected models and people for each short story. The project will start for me is already in the planning and is an exciting challenge, according to the motto: The journey is the destination and the final product is the culmination.
At the end I would like to make a photo book and a calendar arise. Moreover, I hope hundreds of small making-of movies and Blog Posts publish and many people to be able to inspire it.
Another major challenge will be for me that I want to win for my “provocative book project” on Kickstarter.com other people. I’ll let advertise the project in the coming days and weeks. My experience, which I collect it, I will, of course, here with each wants to share.
So I’m excited to see where I will lead my little idea … and I appreciate all the support and every contact, which I can get to know in this way.
Today I have inveigled me an online seminar from Felix Rachor. Topic of live shootings was “Sensitive Portraits”. These types of images are in the fashion industry currently very hip and almost a must. So very trendy.
Felix has built several sets and presented to different variants for this effect. He started … With crumpled transparent folio front of the lens, etc … What I always thrilled that Felix scored with a 2-second exposure time, then backlit with simple means a big impact. Technically everything very simple but with even more creativity. Made really great.
As usual, shows Felix followed in a few steps, as he brings the images in Capture One and with Photoshop up to scratch. Lets look at.
For me, the online seminars are from the Fotomafia always a treat. These two hours of rain on my own creativity and ideas bubbling just so … Hopefully soon there more such online seminars.
To Fotomafia: LINK
On Saturday, 04.27.2013 and Sunday, 04.28.2013 I attended a Fashion Photography Workshop at Winterthur. The workshop was held in the Viewfinder Center.
In this workshop, I have very special happy, because it was directed by Duncan Blum, a renowned fashion photographer. The workshop lasted two days. Saturday morning started with a theoretical introduction Duncan in the fashion world. With impressions of many different well-known fashion photographer, he showed us that behind every fashion photography a story lies. Every picture has its own story. Inspiration and origin.
In the afternoon came the female model now. Sira Topic. She works at home and abroad as a fashion model and was among other things, known for the film “The Missen massacre” and will in the coming Swiss film “Attention ready WK” take over the lead role. We were on Saturday afternoon various light settings recreate in the studio. The main message from Duncan Blum was: Less is more …
On Sunday we worked us a little storyboard for an editorial. Our theme was: Paradise! Adam and Eve … The results speak for themselves thoroughly. Originally there were to be eight pictures. Man and woman know each other, are happy … seduction. Then the apple comes into play, which are isolation, loneliness follows. The images were shot outdoor, each with a flashlight. A hard light.
I’ve learned a lot this weekend. Especially in the area of the discovery story, I realized that every image needs a story. This is one of the keys for good pictures.
To the website of ViewFinder Center: Link
To the website of Duncan Blum: Link
To the website of Sira Topic: Link