As photographers, creativity is in our nature. Whether we’re shooting glossy fashion editorials or capturing intimate moments on a couple’s big day, how you dress is important. There are some rules you absolutely must follow – no white at weddings, nothing that limits your movement, and never dress so avant-garde that you might be mistaken for the model. What no one ever asked for or needed (surely?) was a suit designed specifically for photographers to wear on shoots.

Is it rational for me to feel this irritated about a black suit? No, probably not, but am I anyway? Yes, absolutely. In all my years working as a photographer I have never heard of such a ridiculous product, but I have three main issues with Unix Tokyo’s Shooting Suits being sold by Bic Camera in Japan.

My first and biggest complaint is that they’ve tried to reinvent a timeless classic. When you get down to the nitty-gritty, it is just a black suit – though it’s made of four-way stretch material (which screams that it’s going to feel cheap) and includes larger pockets for storing an extra lens. The waistband is elasticated for comfort, and the trousers are tapered to fit, but ultimately you are buying a glorified tracksuit. 

It’s also disgustingly expensive for what it is. The jacket alone costs  ¥37,400 (approximately $255 / £200 / AU$390) and the trousers will set you back a further ¥20,900 ($140 / £110 / AU$215) – all for a non-branded suit. In the UK, men can buy a Ted Baker or Boss suit for not a great deal more, and you can be sure that the quality and fit would be far superior. 

You can also buy a plain white t-shirt for ¥11,000 Yen ($75 / £60 / AU$115) and a pair of knit shoes for ¥16,600 ($110 / £85 / AU$165) – which is more than a pair of all-black Converse. 

Last but not least, this suit is ugly – and that’s the cold, hard truth. You might not be the most fashion-savvy photographer, and that’s fine, but no one is so uncreative that they have to resort to a photographer’s uniform. While women have the luxury of choice when it comes to what to wear on photoshoots (think jumpsuits, baggy straight-leg trousers, long sleeve tops) for men a plain colored shirt and slacks are almost always appropriate. 

Most people will already own multiple outfits that would be suitable to wear on a photography job without having to invest in something purpose-made. 

I admit, I am shocked by how much this suit nonsense has riled me up. I am a self-confessed lover of fashion; I love how clothes are a form of expression, I love shooting fashion photography, and I love spending lazy Sunday mornings lost in the glossy pages of Vogue. I also love second-hand slow fashion, so this suit pretty much goes against everything I believe in. 

However, if you still want to see the suit for yourself and happen to be in Japan, the Shooting Suit will be on display on the first floor of the Bic Camera Store in Yurakucho, Tokyo, until March 31.

For more practical clothing items, check out the best gloves for photographers, the best waterproof jackets for photographers, and the best photo vests.

Vogue Philippines taps several creatives to give tips, share advice, and inspire others who are interested in following a similar career path.

Photographer Artu Nepomuceno has shot over 50 magazine covers in the span of a decade-long career–including the cover for Vogue Philippines’ February 2024 issue.

I entered the De La Salle-College of Saint Benilde as a culinary arts student; I didn’t think photography was anything more than a hobby. Long story short, I found myself incredibly lacking in my course and knew as early as then that success was not around the corner if I continued my path. Winning a small photography contest against a bunch of AB-Photo and MMA students led me to believe I had a better chance in the arts building, and so I got my application form to switch to Digital Film; again, I had no faith that there was a career in photography. 

I won’t forget the dinner with my parents and Wowo (that was what we called my grandfather at home) when I told them I wanted to switch courses. I looked to my grandfather and said, “I want to become a filmmaker like you.” He looked at me, dead serious, and said, “Take photography.” As a short tempered teenager, I asked him why, and from there he said the one line that changed my perspective forever: “In order to create a movie of a thousand images, you must be able to create a story in a single image first.” Since then, I have been constantly hunting for stories in single images.

I grew up with my grandfather, Luis Nepomuceno, who was an award winning Filipino filmmaker. He directed iconic films such as Dahil sa Isang Bulaklak and Igorota. His father, Jose Nepomuceno, has been honored as the country’s Father of Philippine Cinema. As a kid, my grandfather taught me how to understand light through daily exercises; from observing how light bounced off different buildings, to seeing the effects of fog, the clouds, or smoke. He used to ask me to find the light source of certain reflections; or even explain to him why there were rays of light on SLEX at certain times of the day. When we didn’t discuss light, we discussed his adventures in the world of cinema. We talked about the tricks he used to do in his movies, or how he would tell a story with very few words. By highschool, Wowo gifted me with my first point and shoot—an introduction to photography. Right before college, I had a pretty strong understanding of the technicalities of the craft.

After finishing my studies in 2012, I found myself shooting gigs, concerts, birthdays, corporate events and what not. After doing that for a little more than a year (and unhappy with the work I was putting out), I decided to take a break and find my footing. My wife Meg, who back then was a friend working in the magazine industry, saw potential in my work and helped me mount a series of test shoots, which then became my portfolio to submit to the different magazines in the country. From there I started scoring small gigs, which then led me to bigger features in different publications, which led me to my first set of covers, which led me to advertorials, and so forth. In no time I had a portfolio with an impressive set of personalities, who then also started getting me to shoot their own businesses. The magazine industry became the greatest calling card I could ever ask for, bringing me to brands and people I could only dream of shooting. I am humbled to have a wonderful list of people I have the opportunity to work with today, and the story is still unfolding.

The Value Of Mentorship

I couldn’t afford interning under a photographer after college, so I jumped straight to work and tried to figure things out on my own. Along the way, I came across some incredible people who I looked to as teachers: Ryan Vergara, Louie Aguinaldo, Gee Plamenco, Brian Bravo, Jason Quibilan were some that kept me in check as I progressed. I drowned myself in online material, subscribing to photography newsletters, watching behind-the-scenes of photographers, looking through magazines and collecting photography books. I was obsessed with western photography—Peter Lindbergh, Avedon, Robert Capa, Annie Leibovitz, and so forth. I wanted to be like them, but in the Philippines. Later on I found myself learning even more through collaborations with Pam Quiñones, Ria Prieto, Bea Ledesma, and so many other forces in the industry.

As late as can be, I recently found a mentor in Sharif Hamza. I had the wonderful opportunity of assisting him when he photographed the maiden cover of Vogue Philippines, and since then have learned a lifetime of knowledge from him and his work ethic.

Empowering The Next Generation

Do the work, keep your head down, and be kind. Photography is a beautiful medium, a craft that breeds wonderful storytelling. But at the end of the day, your choice of using photography as a means to survive means you must do the work. When the good and the great come along the way, ground yourself as the fall is hard if you fly too close to the sun. When the bad comes along, find peace knowing that trauma can’t defeat you. More importantly, respect those before you and absorb the stories they’re willing to tell. Be kind and courteous to everyone—you never know when your presence can hurt someone, or how your kindness can change someone’s life.

Non-philosophical advice: don’t catch GAS (gear acquisition syndrome). Borrow/rent equipment before buying it yourself—be smart about your money. Invest in education more than anything—invest in assisting and in finding a mentor. Build strong portfolios, present it to your friends and family, and after improving it, send it to agencies, magazines, and clients you want to work with. Work with people who need to build their portfolios too, and grow together. Attend workshops, ask questions. Don’t look too far away; the local industry has so much to offer.

With the coverage of football in the United Kingdom growing over recent years, many new up-and-coming creators are emerging.

One young photographer who has burst onto the scene as of late is University of Gloucestershire student Charlotte Murden. In just over two years of watching the sport from behind the lens, the 21 year-old has photographed for multiple teams, from the likes of the Bristol Aztecs and London Warriors to the BUCS University All-Star teams.

Charlotte’s contribution to the Britball scene puts her among the top photographers in the landscape, and she hopes to continue to capture the growth of the game in the UK.

We spoke to Charlotte about her experiences in photographing American football and her hopes for the future.

AFI: How did you get into photography? 

Charlotte: My passion for photography ignited during my school years, when I was offered the opportunity to participate in a county wide photography competition. Successfully winning the competition, I was awarded a voucher prize, allowing me to purchase my first camera. This fueled my passion for photography; leading to my further development of knowledge and skills through A-Level photography and a degree in BA Photography.

AFI: What made you start photographing football? 

Charlotte: In my first year of university, I met the Gloucestershire Gladiators team at the Freshers Fayre, after chatting to them they asked if I would be interested in attending their training sessions, even though I had no prior experience with sports photography. Because of this interaction, I began practicing and learning from Pete Wilson who has been photographing the team for many years. In addition to this, I attended their classroom session to develop my understanding of the game and to anticipate the players movements. This then developed to shooting photos of adult teams such as the Bristol Aztecs where I met other amazing photographers such as Martin Preedy and Alexxander F Chan who have helped me develop. This has led to a passion and love for American Football and the people within its community.

AFI: Is photography a hobby of yours or do you see it becoming a career? 

Charlotte: I aspire to immerse myself in the American football community, contributing my passion and skills to the heartbeat of this industry. 

AFI: What is the part you find the most satisfying about your role? 

Charlotte: I find that the most satisfying part of my role is seeing the joy that people experience when looking at and sharing my photos, in addition to when I perfectly time my shots to capture an intense moment in the game.

AFI: Tell us a bit about your typical game day. 

Charlotte: In anticipation of a game, I prepare my equipment and research the team that I am shooting images for so that I am fully equipped for the task.  

Upon arrival at the sports venue, I kick off my coverage by capturing images of the players during warmups, which allows me to get a sense of their movement and how they play as a team. When the game starts, I maneuver myself into positions that optimize my equipment and will allow me to capture the plays in an effective way.  

Post game, I start the extensive editing process of thousands of images and then share them to the teams, in addition to posting them on my social media.

Kwanzambi Beni hurdling a Portsmouth defender. Image courtesy of Charlotte Murden.
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Kwanzambi Beni hurdling a Portsmouth defender.

AFI: What are some of your most memorable experiences? 

Charlotte: 

– Being a part of the 2023 Student GB All Stars game  

– My first ever match with the Gloucestershire Gladiators 

– Bristol Aztecs win over London Warriors 

– Working with a supportive community of teams, photographers and coaches. 

AFI: What have been some of your favorite teams to work with? 

Charlotte: 

– Bristol Aztecs  

– Bournemouth Bobcats  

– Gloucestershire Gladiators

In our continuing series about the photographers who diligently cover our game throughout Europe, we have arrived in Great Britain. We have also posted interviews with Sweden’s, Stefan Akander and Jonas Domfors as well as Germany’s Sarah Philipp, Finland’s Jari Turunen, Italy’s Gioli Busi, Lola Morales from Spain, Denmark’s Mikkel Bo Rasmussen and Michael Freitag also from Germany,  Austria’s Peter Kramberger and Hannes Jirgal as well as Sergio Brunetti from Switzerland.

In the vibrant city of Tucson, Arizona, a tale of artistic revival unfolds as Palmira Miro Gutierrez, a seasoned photographer, breathes new life into the historic art of wet-plate collodion photography. This mid-1800s technique, known for producing monochromatic images with imperfect edges and profound expressions, finds a contemporary home in Gutierrez’s dedicated hands.

Collodion Photography: A Historical Perspective

The wet-plate collodion process is a relic of photography’s nascent years, a complex technique involving several meticulous steps. It begins with coating a tin plate with collodion, a flammable and quick-drying solution, before making it light-sensitive through a silver nitrate bath. The plate is then exposed in a camera and developed in a darkroom, culminating in a distinctive image that is sealed with varnish for preservation.

Since Gutierrez learned this method through the Western Photographic Historical Society, they have skillfully employed it, producing around 100 wet-plate photos with vintage cameras from the early 1900s and 1950s. The result is a collection of images steeped in history, each bearing the signature imperfections and serious expressions characteristic of this photographic technique.

Portraits of Reality and Raw Beauty

Gutierrez’s work transcends the conventional picturesque scenes often associated with photography. They are particularly drawn to industrial landscapes and graffiti, influenced by their photography roots in Detroit, Michigan. However, their primary focus is portraiture. Here, they aim to capture the raw beauty of their subjects, weaving compelling narratives through their lens. Gutierrez’s portrait sessions are thorough, involving mood boards and multiple tin-type photos, each telling a unique story.

Photography as an Expression of Identity

Beyond being a creative outlet, Gutierrez’s work serves as a tangible, concrete expression of their identity. It mirrors their journey from a strict upbringing in a traditional Mexican household, through struggles with substance abuse, to embracing their queer heritage. The images they capture are deeply personal, often featuring friends whose stories resonate with their own. As Gutierrez continues to seek inspiration from their community and the desert, they are planning to showcase their wet-plate photographs in an upcoming show focused on intimacy and sensuality.

With an unyielding commitment to their art, Gutierrez is also exploring opportunities to apply for residencies and grants. Their work, a modern testament to a historical photographic technique, continues to reflect reality and raw beauty, offering a unique perspective on the world around us.