Few industries in the world can use their creativity and commerciality rather than fashion as photography to completely subvert people's perception of society. However, one of the spells that have often been repeated in fashion over the past decade has been “paper media is deadâ€. As an industry professional or first-hand experience, there may be compelling stories available for this, but after all, there is no need for discussion, although this topic has been mentioned by countless articles, conferences, and casual conversations. But it seems that there has been a more interesting and positive response. The key is not that “paper media is dead†(this is not the case). The point is how we will go beyond still images to expand and develop the tradition of creative image production in the fashion industry.
For most of the past, the fashion industry has always used print as the main means of communication. Graphic magazines, especially those under the direction of legendary editors and art directors, have led readers from generation to generation. Without the extraordinary photographers who are famous for their interpretations of fashion and inscribed in our memory, this rich heritage will never prosper and it will not capture our collective imagination. I will never forget the first time I saw the classic Avedon or the classic Penn masterpiece. It filled me with incredible optimism and the willingness to communicate through photography.
When it comes to short films, it was the music video of the 1980s that made me realize this new form of media and its potential for the first time. Interestingly, many of the most interesting videos of that era were taken by fashion photographers such as Stephane Sednooui, Jean-Baptiste Mondino and Bruce Weber.
But the history of moving images in the fashion world is much shorter than the history of still images. Yes, there are some early visionaries, such as Guy Bourdin, who accepted the video earlier than most fashion photographers, but the foundation of our industry—and the culture as a whole—has not yet been perfected to display his work. It wasn't until 2003 that Bourdin's film was published online with the help of Nick Knight and SHOWstudio.
Bourdin may not have thought of it that year, but Nick Knight certainly understands that the screen will become the dominant form of future media. Advances in equipment and screen technology have fundamentally changed people's lifestyles and perceptions of the world.
From a personal and professional point of view, the film making process is quite easy for photographers: better digital sensors make camera and lighting technology easier, so they are easier to use in film. As a result, the creative process becomes more flexible and costs are greatly reduced. All I hope will be a chance for a beginner to capture the action.
There is no turning back, which is why fashion must face the most pressing and exciting content opportunities it faces in the digital age.
It's only natural that creative people don't accept new media right away, because you can easily feel that you are moving away from the original favorable position. In my opinion, embracing new things is essential to truly cherish and appreciate old things. There really is no conflict, they all need to stand side by side and respect each other. The existence of both print and film requires the same creativity, and they are not mutually exclusive.
If we consider all the greatest fashion magazines and brands, we have touched our lives, enriched our culture, a clear feature, and combining them is their commitment to publishing innovative photography. Great, memorable photos give the brand and magazine authority.
Just as traditional TV viewers are attracted by high-quality streaming media, the print audience in the fashion world is also attracted by the Internet and social media. The TV revolution is important not because of any particular new platform or new program, but because these platforms are facing the future together, with a strong drive, infused with a sense of entertainment culture, new discoveries and progress.
Considering that we are just beginning to see how screen technology will affect fashion and motion graphics. For example, I think social media in its infancy is changing the way we shoot, edit, and watch videos. Although its standard format used to be 16x9, it has evolved into a square and current vertical format relative to Instagram, and even our cinemas, computer monitors or televisions have not been able to compete with them.
We have also seen the development of new LED screens that can be cut into any two-dimensional shape or curved into three-dimensional form. According to LED developers, the technology will become so cheap that we will no longer see traditional outdoor media posted on paper and glue. Electronic billboards, kiosks and other forms of venue-specific media will be remotely controlled from the central hub. It is worth noting that the light emitted by the screen is more likely to attract our attention than the landscape of paper. The moving picture became almost impossible to escape today.
The essence of fashion is often seen in the past: find references and starting points, and make new things from it. But the reference itself is essentially old.
When I saw an artist's work, whether it was a painter, a sculptor or a director – no matter who they were – I was impressed by the fact that those enduring works were often considered experimental at first. of.
The innovative visual platform is urging fashion to respond to the sport in new ways. The plane is not dead, but even if it declines, we should not look short. We must embrace the incredible creative prospects of our ever-changing ecosystem.
Finally, media and brands that can break through the boundaries and break through the new horizon can successfully retain and attract people's attention. Without a doubt, the event image will be a medium for creating new and super creative ideas.
The responsibility to inject the fashion dynamic picture into history needs to be borne by us.
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