Fashion week has
\nchanged significantly during the global pandemic, no more so for the
\ncatwalk photographers capturing the collections. Shutterstock fashion and
\nentertainment photographer Anthony Harvey tells FashionUnited about what
\nbeing a London Fashion Week fashion photographer entails and the current
\nimpact of Covid-19 on his work.<\/p>\n
Harvey who has been covering fashion week for 20 years, and has shot
\nmodels like Kate Moss and Naomi Campbell, discusses his career, the
\ndynamics in the photographers’ pit, what makes a show special, and how to
\ncapture the perfect shot. <\/p>\n
As a press photographer in London, you can cover a wide variety of jobs
\nand events from the world of news and entertainment. Fashion is part of a
\npress photographers calendar like the BRIT Awards or the BAFTAs—you know
\nthat you are going to have a fashion week to prepare for in spring and
\nautumn and that you are going to be hopping across the capital covering
\nnumerous shows. <\/p>\n
I got into the fashion photography realm by working for the leading
\nphoto agencies in the world who required me to be able to shoot the catwalk
\nas well as my everyday press events.<\/p>\n
I think the best shows are the ones that are different from the norm,
\nthe ones that instantly stand out on the page. This could be because of the
\nover the top outfits, weird and wonderful headgear and make-up, something
\nquirky or an unusual location like a church. <\/p>\n
Over the years you learn it is going to be special when you hear that a
\ncertain supermodel is walking the runway and you look forward to what
\noutfit they are going to wear hoping it’s enough to make tomorrow’s
\npapers.<\/p>\n
I can’t remember my first show; I have been covering London Fashion Week
\nfor 20 years, but many things have changed over time. Access has been
\nharder to get for the big shows, the introduction of mobile phones and
\nsocial media has given photographers different challenges to overcome and
\nthe space we work in keeps getting smaller.<\/p>\n
The fashion looks the same, the set is the same, but it feels like the
\nsoul has been taken away. In the pit, photographers are given the same
\nspots, however, there are less of us due to the need for social distance
\nand travel restrictions not permitting our friends from overseas to attend.
\nLike so many things, when the audience is taken away and the atmosphere,
\nanticipation and buzz are lost, you can feel the difference.<\/p>\n
Ideally you want to be front and central with a clear line down the
\nrunway. It is normally a first come first serve basis and spots are marked
\nup before shows. When there is a main hub, the markup is days before the
\nfashion starts and you know your spot for the week. <\/p>\n
Having a different brief can also determine where you want to be—if you
\nare shooting every outfit you like to be central, but if you are looking
\nfor something different then you like the freedom to be able to move around
\nand float on the outskirts of the pit. Covid has reduced the number of
\nphotographers allowed into shows, so there is not as much pressure to
\narrive early, and the pens are also slightly more spread out for social
\ndistancing.<\/p>\n
My job is unrecognisable at the moment due to the pandemic. The normal
\nevents that I cover have been postponed or cancelled and I am adapting to
\ncover different jobs. The entertainment world is big—big stars, big crowds,
\nbig events, big productions—and these have all had to be put on hold. The
\nevents I have covered have been on a much smaller scale, with social
\ndistancing, masks and very limited access.<\/p>\n
As photographers we are used to editing on the go. Working without a hub
\nmeans we do more remote editing, sending to an editor off-site or editing
\nourselves once the show has finished.<\/p>\n
I prefer to shoot the catwalk, I enjoy the show with the lights,
\naudience and atmosphere making each show different where anything can
\nhappen. You can get a lift from the audience and their anticipation of the
\nshow and you know when it’s going to be a good one.<\/p>\n
It becomes more difficult when the catwalk is not a straight line
\nheading towards the photographers because you could have models coming from
\ndifferent directions, audience blocking sightlines and uneven lighting. I
\nlike it when designers step outside of the box and find unique and quirky
\nvenues that add another layer to the shoot.<\/p>\n
I think a good catwalk photo captions the moment, the model, the outfit,
\nthe show and the atmosphere, making the reader feel like they were there.
\nFrom a photographic point of view, you want the light to be right, a clean
\nrunway and an outfit that jumps out at you—the more outrageous the better.
\nIf you are lucky enough to have a supermodel wearing one of these outfits
\nand capture it on camera, then the image can create a global reaction and
\ninterest that people talk about for days.<\/p>\n
Due to the current travel restrictions, I don’t think I’m going to Milan
\nor Paris this year. I have in the past covered both the Paris and Milan
\nFashion Weeks and have enjoyed the experience. If I had to pick a
\nfavourite, I would push for Paris—it has always attracted a lot of interest
\nand celebrity following which I think adds to the job.<\/p>\n
Images: courtesy of Anthony Harvey\/Shutterstock<\/p>\n