I heard it on a youtube video by a fashion photog that was shooting about 20 years with multiple covers. He mentions the best way to network for fashion photography is fashion runway shows. Which makes sense as every creative is there, but shooting it bothers me as it is completely different style, equipment, and skills in doing a decent job, not great since we as the photographers generally do not control the light at the event. Plus networking there I'd assume would be pure chaos as its super fast pace and very stressful to everyone. Anyone have first hand experience in networking at these? Is it truly worth shooting and renting or buying equipment specifically network with key professional creatives at the runway events?
I agree that runways were a great tool for networking.Have been shooting catwalk for well over twenty, and more, years, and still love doing it http://www.pbase.com/paul_k/20150626_kabk .
But at the risk of sounding cynical, that nowadays, with every GWC who can afford a DSLR and 'pro looking' zoom (and that seems to have become the standard equipment for that category) posing as a photographer, and 'claiming' his spot at a runway show, has become a bit stale and something of a platitude.
At occasions I have actually seen elbow fights between officially invited photographers and pretentious, five shows per years shooting amateurs (yes, had my share of fights with that kind of amateurs too), who tried to force their way to a better spot even thus harming the shooting opportunities of the 'official' photographers
The reality is that it really didn't pay much in the past to begin with, and nowadays with plenty of wannabee photographers handing out free, maybe technically OK, but imagewise low quality pictures, even less.
Young designers don't have the money to buy pictures, and instead beg for, and at times steal, pictures (same too often also goes for stylists and make up artists). While the 'established' names often don't have the money either, or have their own 'in house' photographers, or even 'expect' to be given pictures for free.
Magazines often work with an established select group of photographers, which is hard to become part of, as it usually also part of a lot of 'being a friend of'. So if you don't know the 'right' person before the show already, it's not realistic to expect editors to have an open mind and ear for some odd photographer (one of the multitude around) approaching them before of after the show (during the show of course is not done, drawing their attention then absolutely will not be appreciated). Apart from needing an invitation to be allowed into the VIP area.
Shooting backstage has become questionable (too many sleazy wannabee photographers around only trying to shoot a model naked while she's changing outfits. E.g. at the Amsterdam Fashion Week on of those guys later was arrested and eventually sentenced as a pervert for a.o. shooting hidden pictures of young girls in shower rooms of sportsclubs).
Model agencies get offered plenty of pictures for free from wannabee, starting, of befriended photographers, so it's hard to get noticed if you try to get an entry that way.
So I would shoot runway shows for the fun of it to begin with, a great excuse to meet again with already established contacts, and if anything else comes from that, consider that a welcome and unexpected windfall, rather then having high expectations of new possibilities to begin with. And for the rest do the networking the old fashioned way, try to meet new contacts at any type of event where that might be possible (so not only runway shows)
Technically speaking you really don't need 'specialist' equipment to shoot a runway show. Modern DSLR's go easily up to 6400 ASA which makes shooting with the usual stage light a piece of cake, a 'standard' pro zoom 70-200 usually is 2.8, while AF sure makes life easy (and you don't need 9 fps for shooting runway).
I remember with little nostalgia shooting a manual focus F2 with a 4.5/80-200 manual zoom on Kodak EPJ, push processed to ASA 250, or Tri-X at 800 ASA, followed by all nighters to have the contacts ready next morning in order too try and make a sell.
Thank you for the very, very insightful response Paul! Yea, I'd personally wouldn't enjoy shooting a runway but thought if it would get my foot in the door into publications (as my marketing strategy to getting noticed by bigger commercial clients) I'd do it, heck even rent those $10-$20k lenses for the day(s). But if my chances are that slim maybe investing that rental/travel costs into mailers would be better... Yea, I don't need those specialist lenses but I want the best shots to really make a great impression onto every important contact at those events, looking the part and having the best results would help even though I already know the vets there would out shine me, but at least I can outshine the amateurs with kit lenses or such.
I was actually thinking of renting a Canon EF 600mm f/4L IS II USM Lens or Canon EF 400mm f/2.8L IS II USM, and 2nd camera with a 70-200 2.8 for wider shots. Maybe being the after party photog the other door I can open instead?
A 600mm is in my experience way too long even for the larger venue events.
A 2.8/400 is nice but considering the high ISO capabilities of the top range DSLR's like the Canon 1DX or Nikon F4s or D810 IMO not really a necessity. Also the fixed focal length is, again IMO, quite limiting.
My 'standard' set up is two bodies, and if I am going to a large venue where I know I can expect professional level lighting a 2.8/70-200 and a 4/200-400 zoom.
Although it took Canon several years after the announcement in 2011 the EF 200-400 zoom finally became available in 2013 and from what I've superfically read about (being a Nikon shooter it didn't really interest me) it is well worth its indeed steep price tag.
I own and have been shooting with the Nikon model already since 2007, for catwalk
http://www.pbase.com/paul_k/20110618_antwerpen_deel_1
and sports (surf), and even with the by nowadays standards 'outdated' D3 have gotten great results.
Becoming the 'after party' photographer will demand the same kind of network as becoming an 'official' runway photographer, and will most likely meet even more competition since the talent demanded for that type of photography isn't exactly very high. And of course everybody has smartphone these days, so it's a job very low on the priority list anyway.