Case Study: Tourism, Fashion and ‘The Other- Fallon Wilson

As stated in the Case Study: Tourism, Fashion and ‘The Other,’ “Fashion photography… is blatantly concerned with the constructed photograph.” In class we spoke about Stieglitz and Steichen’s photographs of the Flatiron Building, and it was said that while we cannot directly question the photographers about their intensions, it is probable that everything seen in the frame was intentional based upon their experience. Similarly, in Chair Abstract, there was an obvious intention to obscure the subject, creating patterns and shapes that would normally be seen as shadows and highlights.  Both of these approaches would essentially create a “constructed photograph,” however, fashion photography is approached in a different manner. 

While the technical aspects of fashion photos are carefully mapped out, just as in the photos previously mentioned, it is much more about the message the photograph is sending to the viewer. Everything tends to be exaggerated, from the makeup, to the props, to the lighting, creating a fantasy-esque feel. There is a distinct effort to make the viewer lust for the things they do not have.

While “…photographers have moved between areas of anthropological and fashion photography”, making it possible to include “…articles about ethnography without losing the tone of the fashion magazine,” pairing fact and fiction so closely can be dangerous. It no longer is obvious what is constructed and what is based in fact. Especially in commercial work, fashion photographers shoot to catch and keep a buyer’s attention. If a photo is overlooked, or only glimpsed at briefly, it will be of no use to the company attempting to sell their product. This forces many models to be placed in very strange settings, outfits and situations, often creating offensive and demeaning scenes for non-white women. Many readers do not think about this aspect though, as the articles and interest sections of the magazine are based upon truth. The case study even states, “…there is no distinct line between the advertisement and editorial photograph.”