Equipment Used in Photo Shoot

Cameras	Mamiya RZ Pro ID
Lenses	Mamiya RZ 75mm
Digital Backs	PhaseOne P65+ Back
Computers	MacPro 8 Core Tower with (2) Eizo 4" Monitors
Accessories	Pocket Wizard Set (1)

Lighting and Grip

• (1) Profoto Pro 8 Air 2400 Pack Head with Chimera Medium Strip Bank for Fill
• (1) Profoto Pro 8 Air 2400 Pack Head with Pro-Globe on a Megaboom from Above
• (7) Profoto Pro 8 Air 2400 Pack
• (6) Profoto Heads with Umbrellas on c-Stand & Super Clamps with Studs for Background
• (1) Head with Magnum Reflector on a Bogen Superboom and Matthews Cranckovator for Subject
• (4) 4 x 8 in. B&W Foamcore V-Flats
• (1) 12' White Seamless on Steel Crossbar
• (2) Medium Rollers w/ Big Ben Clamps
• (2) 4x8 white Plexiglass for Bottom Reflection

ABOUT PHOTOGRAPHER

Jamaican-born Walter Chin is a product of a bygone era. Handpicked and mentored by an influential editor from French Elle, China€™s fashion photography career took off in Paris during the 1980s at the height of the fashion industry, when every player involved reaped huge benefits. This was, after all, the era when supermodels could demand $10,000 to get out of bed, when fashion houses reigned supreme and fashion magazines thought nothing of flying an entire crew around the world for two weeks just to get a cover shot. It was a time of excess (in many respects) for everyone involved.

Still considered a go-to photographer, China€™s days are busy ones, with editorial clients such as Vogue, GQ, and Vanity Fair. Like the fashion industry, Chin himself is different now. Recognizing the amazing opportunities his career has awarded him, but still wanting to retain a sense of self, Chin has broken the mold of how a superstar photographer should behave. He may drive the fancy sports car, but hea€™s driving it home everyday at quitting time, making sure he draws a firm line between work and personal life. Straight from a gig, he sat down to talk about how the industry differs today and why he still gets nervous before a shoot.

INTERVIEW

Interview by Charlie Fish, Resource Magazine

What was your first big break?

Ia€™d been hanging out with Fouli Elia, a photographer who was about to retire. He was quite a character. He was an Egyptian Jew, and as my family is Jewish too, we had stuff to talk about, whether it was religion or art. He was like my mentor. He was around seventy but full of vigor and staminaa€”he had all the young girls! One day I got a message from him saying that I had to show up at a studio on Monday. a€?Dona€™t bring anything, just yourself. Ia€™ll have it all set up. You can take my assistant and all you have to do is shoot.a€? The shoot was for French Elle with Carine Roitfeld, who was then one of their editors. Elia called in sick and I ended up filling in for him. From that shoot on it just escalated.

How has the fashion photography changed in the past twenty years?

The business is not as well funded as it used to be. First of all, the economy after 9/11 changed quite a bit. People held back and were afraid. Back in the 80s, you had so much flexibility and artistic freedom (still within limits). It was all about aesthetics. Today you have to sell the clothes. Youa€™re told what you have to show; you cana€™t obscure certain things. Thata€™s very unfortunate for the young people who are working now.