Bruce Smith is a top-level freelance fashion photographer offering commercial fashion photography to a very broad spectrum of clients. Bruce has been a professional photographer shooting for over 30 years. He has shot in some of the most luxurious and demanding locations across the globe.
Bruce's objective is to help young photographers, initially to produce single fashion shots and eventually to produce fashion stories fit for today's fashion magazines. He realizes the need for such courses and the invaluable lessons that can be learned from being taught "hands on".
He began his 30-year career by getting fired as a photo assistant after two years of brewing tea, sweeping the studio floors and fetching equipment for several studio photographers. He decided to go solo and set up my own photo studio, specializing in shooting models' portfolios, portraits and the occasional fashion shoot.
Take a look at some of Bruce's dynamic images here : http://www.brucesmithphotographer.com/
He was inspired by the photographers from the ‘30s to the ‘60s, including Cecil Beaton, Norman Parkinson, David Baily, Barry Lategan, John F French, Horst P Horst, William Klein, Irving Penn, Richard Avendon, George Hoyningen-Huene, and many more.
His first big break in fashion photography came while setting up a test shoot with a model, he arranged to borrow some Fifties' style gowns from a top fashion designer that sold her clothes through exclusive stores such as Harrods in London. This test shoot became a commission, and the pictures that he produced were published in Avante Guard, one of the UKs leading fashion magazines, at the time.
He switched to shooting just fashion and set off to London in the early Eighties. Confident and adventurous he was on the ladder to establishing myself as a freelance fashion shooter. The next few years were spent developing his own style and reputation, test shoots with models and endless appointments with fashion editors, art directors, designers and potential clients.
He mailed samples of his work to the couture and bridal wear designers, and was picked up by Catherine Raynor - a leading UK bridal wear couture designer who had previously worked with some of the world's most prestigious photographers including Norman Parkinson, Terrance Donavan and John Swanell. Raynor commissioned me to shoot her next collection. Her status within the bridal wear industry, and the success of the images that I had produced for her, created a chain reaction with a queue of top bridal wear and couture designers clambering at my studio door to shoot their collections.
The next major step came with a commission from a leading UK bridal wear consumer magazine to shoot two editorial stories for them on location in Tobago. This led to many years of shooting high fashion for some of the top designers, and manufacturers of couture and bridal wear., including Catherine Raynor, Margaret Lee Lyn Ashworth, Eleni Costi plus many other top names in couture and designer bridal wear.
Inspired by some of my classic fashion images, an art director from top London design consultancy asked him to present his portfolio to them, with the view to shooting an image brochure for a leading lingerie company in the UK. This began a long list of lingerie, hosiery and swimwear clients commissioning him to shoot their collections including, Charnos, Lapel, Silhouette, MissKini, Panache, etc etc
He has shot many ad campaigns, image brochures and catalogues, producing fashion shoots in some of the worlds most beautiful and exotic locations from Alaska to Kenya. Shooting on location, with all of its challenges, taught him to shoot fast with available light. He receives commissions to arrange complete production for major fashion shoots, including the sourcing of the production teams, location managers, catering, location transport, even helicopters and arctic supply vessels.
In the late 90s he began shooting in digital. There are so many benefits, its speed of production for press and post-production regarding retouching, etc, which is now in his own hands, ensuring his images get reproduced how he envisage them to be.