Splash! Big, Bold Fashion Statement

Whether he’s creating edgy ad campaigns for LSpace swimwear or celebrity images for Scene Magazine, Steven Khan has the on-set manner and fashion flair to deliver high-impact images that clients crave.

Jump-starting his career with an internship about 14 years ago at Smashbox Studios in Culver City, CA, Khan worked his way up to shooting Smashbox cosmetics ad campaigns and album covers; gradually building a celebrity clientele including Beyoncé, Donald Trump, Cindy Crawford, Janet Jackson, Fergie and Quentin Tarantino. His work has been published in Us Weekly, Allure and Vanity Fair, and he has served as contributing photographer for The Tyra Banks Show.

“When I started at Smashbox Studios in 1994, I was fortunate to have three mentors in different areas of photography,” says Khan. “Brian English, head of the equipment room (at the time), taught me the basics of photography, from how to manipulate lighting to using equipment to its fullest potential. Davis Factor, co-founder of Smashbox Studios and Cosmetics, opened my eyes to the results that are possible if you allow yourself to explore totally unexpected concepts. I also took cues from him on how a respected photographer should carry himself on set. From Dean Factor, Davis’ brother and co-founder, I gained a great understanding of the day-to-day operations of a photo studio.” Khan offers a slice of advice for up-and-coming photographers: “When you’re just starting out, it’s smart to assist as many photographers as you can. It will open you up to all kinds of styles and techniques.”

Fashion Forward
Moving from product to fashion proved an easy transition for Khan. His product background actually helped him make the move. “Whether I’m shooting a product or a piece of clothing, I ask the same question: ‘How can I make this look the best it possibly can?’ That’s the starting point for anything I shoot,” says Khan.

Attending Fashion Week since its debut in Los Angeles also helped smooth the transition for Kahn. “The event helped me gain a clearer picture of what designers look for in a photographer,” he says. “Being there helped me meet with people who would give me a chance to show what I could do. Sometimes it’s hard to put yourself out there to people more experienced than you, but I’m glad I did. Once designers see you are genuinely interested, they become more open to letting you see what they are making and what inspires them.”

Describing his style as “big, bold and beautiful,” Khan takes that energy to the fashion and celebrities he shoots. “My job is to create images that make sense with the clothes,” he explains. “I have no set game plan as far as lighting, color, composition, etc., because it’s always different. The clothing dictates everything.”

Shoot Day Strategy
Khan’s clients generally select the models for their shoot, but, as he explains, “Fortunately, I’m able to work with experienced models who know how to get the job done. There is nothing worse than having to teach a model how to pose while you have a client over one shoulder and a deadline resting on the other.” To develop rapport with the models on set, he gives them the objective and the motivation for the shoot up front. “We keep the small talk to a minimum and I give them direction throughout the shoot,” says Khan. “I make sure we’re playing music that keeps the models motivated and energized. Coffee also helps.”

To keep clients comfortable on set, Khan never lets them see him sweat. “You have to confirm that they made the right decision in hiring you,” he says. “For me that means keeping my attitude positive, working in an efficient way, and staying in control—even when you’re not. Because in the end, there’s always Photoshop.”

Prior to a shoot, he generally meets with a client several times. “It’s a collaborative process,” says Khan. “Smaller clients rely on my experience more because they are usually working with a smaller budget and don’t always have a clear vision of what they want the final images to look like. Clients with a larger budget often want more control because they want to make sure their budget goes to good use. I’ll use magazine tear sheets as a storyboard guide for how the photo shoot should go. The sheets help me refocus when I start to stray from a concept.”

Clients generally determine where a photo shoot will take place. Although Khan shoots on-location and in-studio, he’s developed an ease and comfort shooting in-studio from his years at Smashbox Studios. As he explains, “Location shoots require much more planning and don’t always allow the spontaneity that comes with experimenting on the spot. Location shoots are filled with unexpected elements. You can get more done in the studio because you’re not fighting
Mother Nature.”

Creative M.O.
In the first half of 2008, Khan completed 28 fashion assignments and various other projects, and began an ad campaign for Post’age Denim. Recently, he finished shooting back-to-back ads for Grai, Krma Clothing and Made By Lu, which he describes as “a fun challenge that forced me to think outside of the box to make each shoot look completely different.” A closer look at some of these images sheds some light on his style and creative methodology.

For the Grai photo shoot, held at Smashbox Studios in West Hollywood, CA, the client and Khan came up with a gothic, anime feeling with cool, chilly tones. Says Khan, “The line of jackets reminded me of winter, when all you want to do is wrap yourself away from the bite of bitter cold wind. In one image (above), I kept her face very pale to show the dark contrast of the jackets.” Captured with a Canon EOS-1D Mark II and a 100mm Canon lens, the image was lit with two 1.2k HMIs on the background and two large Chimera strip banks set on either side of the model with a Profoto 2400-watt pack. The images were saved to an Apple Mac Quad using Capture One software.

“I shook the camera slightly to give the model a blurry edge and used the light strip to freeze her in the picture,” says Khan. “I asked the model to use exaggerated poses to match the edginess of the clothing and not to look at the camera, because the line had so much of its own personality. I like this shot because she looks like the vampire from Nosferatu. We came up with her hairstyle to emphasize the gothic feel. I also like the other Grai image, from the same shoot, because that jacket was my favorite piece in the collection.” The shoot was for a lookbook and magazine ads, which haven’t appeared in public at press time.

For the Made by Lu shoot, held at Smashbox Studios in Culver City, CA, the client wanted a classic look. “In contrast to the Grai shoot, this one had a looser feel,” says Khan. “The hair was down to allow movement and the makeup was natural. A fan gave her hair movement, which enhanced the light, breezy feel of the clothes.”

This image was also captured with a Canon EOS-1D Mark II with a 100mm lens, lit with a Profoto head with a 2400 watt-second pack and large Photek umbrella set up high in front of the model, and saved to his Mac. Says Khan, “I think the look captured the simple, classic look the client wanted.” This image is one of his favorites because of the model’s pose
and attitude.
 
Business Matters
Having recently emerged from a slow August and September, Khan’s studio is gearing up for busy season, which extends from December through July. He says, “During the slow times I hibernate. When I’m not catching up on sleep, I’m reconnecting with friends. I let my rep, Brandon Menchen of View From the Lens Productions, do his thing and promote my work.” Satisfied clients and a powerful website (www.stevenkhanphotography.com) are his other primary marketing tools. “The website has been great because it takes the place of shipping around a portfolio. I can be on the phone with a client as he or she checks out my work.”

Besides his rep, Khan relies on his in-house photo assistants, his retoucher and several messengers, who get his images where they need to go. Smashbox Studios supplies his studio and equipment rentals; Samy’s Camera, his consumables; and Photography Machine, his production and motor homes.
“The best advice I ever received was from photographer Wayne Maser, who said that when it comes to fashion photography, 50 percent is about the clothes—the material, cut, stitching—and the other 50 percent is the image the photographer creates with the clothes,” says Khan. “Americans buy into the image they see and don’t necessarily know the details of the clothing. Coming from a product background, I focus on making the clothes look the best they can, which makes designers happy.”

Alice B. Miller is the founder of Plum Communications (www.plumcomm.com), an editorial services resource for the photoimaging industry. Formerly editor of Studio Photography magazine, Alice has a clientele that includes photographers, manufacturers, publications and associations. She is a vice president and board member of the International Photographic Council.