Cinematic Fashion & Editorial Photography in New York
I frame fashion as a story, not just a product. From NYC street style to studio editorials, I use cinema-inspired techniques to build a mood around your brand.
Capturing the energy of New York City using a slow shutter speed to create motion blur. This was part of a men's fashion shoot, contrasting the stillness of the subject with the city's constant movement.
A men's street style shot for Tods in New York. The focus is on the texture of the coat and the confident posture, using the natural light of the city.
Another look from a street style shoot with Tods. This shot captures the subject in motion, giving the image a candid, in-the-moment feel that is central to my editorial work.
A moody shot taken in a New York subway station. The framing through the foreground railing and the dark tones emphasize the texture of the shearling jacket and create a sense of urban solitude.
Using the architecture of a New York building to frame a fashion shot. The repeating columns create leading lines that draw the eye to the subject, while the pop of autumn color adds contrast.
A creative product shoot for Chanel beauty. Instead of a simple product shot, we created a dynamic scene that feels like a moment from a film, highlighting multiple lipstick shades in a playful way.
A studio campaign shot for the brand Naadam. The concept was to create a relaxed and slightly provocative scene that felt personal and unposed, showcasing the clothing in a more lifestyle-oriented context.
A studio portrait for Lorettidesign jewelry, shot in Aruba. The goal was clean, direct lighting to highlight the intricate details of the necklace. Post-production was done in Lightroom using Elinchrom lights.
A minimalist black and white portrait. By stripping away color, the focus shifts entirely to form, texture, and emotion. This style is effective for creating timeless and powerful fashion images.
A portrait of Kiara Arends in New York, using strong directional light to create dramatic shadows. This technique sculpts the face and adds a layer of mood and mystery to the photograph.
About Fashion & Editorial
Before we start, we build a visual narrative moodboard to define the story. My process is cinematic—using natural light, shadows, and candid motion to make your look feel lived-in and real, rather than overly staged.
I don't just take pictures; I build a world around your subject. My approach to fashion and editorial work is rooted in classic cinema. Whether we are shooting in the grit of a New York subway station or controlled studio lighting, the goal is to create an image that feels like a still from a film.
The Workflow
- Pre-production: We start with the concept. I help with location consultation and develop a moodboard to ensure the aesthetic aligns with your brand identity.
- The Shoot: I primarily work with the Sony A1 or Leica Q3 to get the texture and clarity I need. I focus on natural light, but I am comfortable in the studio when the project demands precision. I bring in a lighting assistant to manage the setup so I can focus entirely on the frame.
- Post-production: I handle all my own color grading in Lightroom. I aim for a moody, cinematic finish—often playing with contrast and shadows to give the photos a distinct, timeless feel.
Why it matters
Modern campaigns need to stop the scroll. If you look at my work with brands like Tod's or Naadam, you will see a focus on texture, confident posture, and environment. We aren't just selling clothes; we are selling a vibe. If you need something wild, like underwater fashion or movement-heavy street style, I have the gear and the freediving background to pull that off. Let's create something that actually looks like a story.
David Courbit
I’m David, but most people just call me Jetlag. I don't do standard product shots; I tell stories with a camera. Whether I'm chasing light in a subway station or setting up a studio shoot, I’m obsessed with the cinematic details that make an image stick.
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