I am really thrilled this month to bring you an interview with
Kendra-Paige ! Kendra Paige is a wonderfully inspiring fashion photographer currently located in South Florida. Her high quality fashion work never fails to impress and I hope you'll find her work as inspiring as I do!
What made you decide to photograph fashion? And were people the first subject in front of your lens?
The first time I picked up a camera was to photograph classmates in high school, so people and portraits were always a focus for me. I dabbled in cosplay photography afterward, as it was a great way to further develop my technical skills and creative eye with willing subjects. Fashion, however, became my end goal. While I loved portraiture, photographing fashion and beauty editorials allowed me to blend the two things I love most: writing and photography. Fashion editorials are visual storytelling, with alluring subjects and limitless possibilities.
Please, briefly describe your fashion photography style.
My fashion photography is vibrant, sophisticated, and clean. Thematically, I like to focus on female empowerment, often capturing fashion photographs that showcase female subjects through the lens of power and their ability to overcome adversity through transformation. Personally, my style is still a work in progress.
Are you self-taught or formally educated in photography? And if you're self-taught, what resources have you found to be the most helpful on your journey?
I am self-taught, and have amassed a compendium of photography and post-production resources. For photography, Cambridge in Colour is a wonderful resource for understanding the mechanics behind it. For post-production and retouching, Retouching Academy is filled with tons of useful tools and tutorials.
Aside from seeking educational materials, there’s no better teacher than practice. I have learned much more behind the camera at a photoshoot than I have reading or watching videos, and can’t stress how important “just shoot!” is for learning.
Do you think in this age of technology that photography is "easier" or more "accessible?" And does this matter for the industry?
Absolutely. There are more photographs and photographers in the world than ever before, thanks to the low barrier to entry. Digital photography has absolutely brought photography to the masses, which has drastically changed the industry. Because photography is in the hands of so many, its perceived value has been lowered. It has become paramount for fashion photographers to brand themselves and market their work consistently, as well as to develop a style that will help them to stand out and attract clients.
What do you find most inspirational for your creativity?
I really can’t put my finger on just one thing, but visuals will often spark ideas for me. I can be watching a film, where there is a landscape and a certain color scheme that inspires me to develop a story around those elements. Music, film, video games, and music videos also tend to motivate me to create.
Do you plan out your photoshoots extensively beforehand? Or are you a bit more spontaneous when creating a fashion series?
I love team management, and find a lot of joy in casting models and organizing a creative team for every photoshoot. For editorials and campaigns, especially, there is extensive planning with moodboards and shot lists. I do foster an environment of collaboration, however, and let my team suggest ideas or go off script when necessary.
Model tests tend to be more spontaneous, as they’re an opportunity for me to get to know the talents of the people I am testing with.
What has been the most important piece of advice you've been given on photography? And what advice would you give to a fashion photographer trying to start out?
“Get used to rejection,” was probably the most important piece of advice I received. In fashion photography, you really have to leave your ego at the door, because everything is subjective. Agencies, models, creative team members, magazines, galleries, and potential clients may reject you and your work one month, and then hire you the next. There are so many elements that go into a photograph that impact a viewer’s reaction to it. In the case of fashion editorials, a magazine may reject a story because the framing was too tight, or the color scheme wasn’t season-friendly enough, or the model wasn’t ideal, the retouching too polished, or the lighting was too dramatic, there are so many reasons why an editor or curator may not like a certain set.
But that doesn’t mean that you give up, take it personally, or try to get revenge. Separating oneself from one’s work is probably the most difficult thing to do as an artist, but it was a necessary lesson for me to learn.
My advice to a fashion photographer just starting out, would be: “accomplish one thing a day.” Every single day, you have to either take a fashion photograph, e-mail a potential client, pitch an idea to a publication, share a photo on social media, retouch images, network - anything. Make a habit of doing at least one thing to further your photography every day, and that effort will be rewarded in spades.
What is your favorite and/or most successful photo-shoot you've created?
One of my recent cover stories, “The Birth of Venus,” shot for Scorpio Jin Magazine is at the top of my list. It was unfamiliar territory as it was my first time working with body paint, but the story was another tale of transformation and female empowerment. The creative director and lead makeup artist, Amanda Marie Robinson, really helped to bring the concept alive and trusted me with her original vision.
The Birth of Venus was my fourth cover story for Scorpio Jin Magazine. Having repeated commissions from a client and fostering a great relationship with them really makes you grateful, and I could not have been happier with the final images for that story.
Putting together teams for photoshoots can be difficult, and many new photographers don't know where to start. How do you find people to work with? What kinds of qualities do you look for in a creative team?
Model Mayhem was my go-to when I was first getting my feet wet in fashion, but now I find most of the people I work with through Instagram, modeling agencies, or as referrals. I test as often as possible with new people, as every person has a unique skill set and specializes in something different.
The qualities I look for are strong communication skills, technical skill, ability to receive feedback, creativity, connections, and a positive attitude. I like to build high-energy teams, so if a person is too negative or not passionate about what they do, it’s unlikely that I’ll include them in a production.
How do you connect with your models when they're in front of the camera? Do you do lots of model directing on photoshoots?
Building rapport is the first priority when working with a model, so I’ll often try to make light conversation and joke with them while they’re getting hair and makeup done. I will actively direct a model on set, but it depends on the model’s experience and the type of shoot. Newer models I will direct more, while experienced models I may allow more freedom. Models for a beauty editorial I will direct more actively than models for a fashion editorial, as the tighter frame of beauty images requires more precision and careful composition.
Whenever shooting in-studio, I shoot tethered to a large television, which helps models receive instant feedback, and course-correct accordingly.
What kind of goals are you currently working towards with your photography?
Currently, I am further diversifying my portfolio, improving my technical skills, mentoring others, and pursuing larger clients and publications.
