Edited by Josh Linam on
Orlando Behar‘s photography can be found in places like Elle, The New York Times and on WWD. In his time as a fashion photographer, Orlando has built a solid clientele, shooting for the likes of Victoria’s Secret Pink, Phoebe Couture and Trilogy, among many other brands. Read our exclusive interview with Orlando here…
With steady, prominent clients in his pocket Orlando now prefers the role of a flexible freelancer. He splits time between New York City and Miami, lending his photography skills to both high fashion and more avant-garde companies.
Recently I was granted the chance to quiz Orlando about his career and views of the fashion industry. The following is how our chat went down.
Josh Linam: What’s your passion for photography? What draws you to it?
Orlando Behar: I’m motivated by fashion itself. I’m a fan of beautiful clothes, and I enjoy interpreting fashion for others in lighting and in a narrative I control. I get paid to do what I love.
JL: How did you get your start?
OB: I studied advertising in Miami at Florida International, but I realized that I didn’t like that side of the process. I started at the bottom as a studio assistant washing windows and taking out the trash. I didn’t think I could make money as a photographer initially. But, eventually, I moved up to shooting. Now I know the freedom of a freelancer.
JL: How would you describe your photography style?
OB: Much of what I do is editorial as a narrative. It’s a love story between the models and attire from a cinematic viewpoint. It’s my duty to take a story beyond just models and pretty clothes on hangars. Simple is always best in my opinion. I always use one main light source in my shoots because that approach models real life; it models the sun.
JL: Off the top of your head, what’s your favorite shoot you’ve done in recent times?
OB: I did an editorial a couple years ago that enabled me total control; it was a shoot for Noise Magazine. Everything came together. The model was cool and very laidback. The stylist pulled together amazing clothes and stunning jewelry. She fashioned a homemade turban. It was very cool. You don’t have to have a Prada label to come up with an amazing outcome, but it doesn’t hurt.
JL: How did you develop your style? Who have you worked with previously?
OB: I started assisting for George Kamper, an ad photographer who shoots some fashion as well. He knows lighting set-ups that range from one basic light to lighting a set with 20 plus.
Elliston Lutz is another photographer I worked with that influenced my take on fashion photography. He has a completely different style; he’s an organic shooter. He keeps it simple with natural light from one main source.
Personally, I like the look of having dark shadows, which you can always modify for an Art Director.
JL: What are some ways you think fashion photography has evolved and will evolve in the next decade?
OB: Digital has taken the industry by storm. People can use a consumer-grade camera and deliver beautiful results. It gives creative power to the people.
In the next 10 years video will be huge. GQ used a Red camera to shoot Megan Fox in an editorial. This will be a trend that continues to evolve as the technology is further developed and becomes more affordable and accessible.
For more on Orlando’s work, stop by his Web site.