The distinct style of fashion photographer Zander Opperman
Born and raised in Krugersdorp, Johannesburg, Zander Opperman’s journey into photography began out of sheer curiosity. What started with picking up a family camera out of boredom quickly evolved into a lifelong passion. Driven by his love for the craft, he made his way to Cape Town at a young age, where he eagerly assisted various photographers, captured his own images, and immersed himself in a creative community, which contributed to improving and building his own work during that period.
Inspired by the style of filmmakers such as Ridley Scott, and editorial shoots, Zander’s own photography evolved into signature grungey, moody aesthetic.
His dedication and distinctive style soon caught the eye of major players in the fashion industry. One of the pivotal moments in his career came during lockdown when Dior reached out to him with an offer to collaborate, accompanied by a detailed PDF showcasing his work and expressing their admiration.
This landmark opportunity not only affirmed his unique vision, but also established him as a prominent figure in the fashion world, where he continues to make waves with evocative and powerful imagery.
GQ: What initially drew you to fashion photography, and how has your passion for it evolved over the years?
There used to be a magazine reseller in a run- down strip mall near where my parents lived that sold back issues of i-D and V magazines.
I used to buy gaming magazines there, but the fashion magazine covers always caught my eye. Eventually, I started buying them, ripping out the pages and making my own magazines.
I think I found an escape in those editorials and realised I could do that myself—create a world and share it with people, which I did. First on MySpace, then on every social platform I could find. Steven Klein and
Annie Leibovitz inspired me a lot. They had completely different styles of photography, but somehow it felt like the intent behind their image-making was the same.
When I was younger, I thought I needed more in my images to make them striking— more clothing, more makeup, just more. But now I feel like I’ve stripped a lot of that back and let the images speak for themselves. I didn’t want to become a cliché of a queer photographer who wants every image to be a Vogue production, you know? Even though I have that in me!
GQ: How do you remain inspired and keep your work fresh in an industry that’s constantly evolving?
I’m not sure I keep my work fresh all the time... I guess we all get stuck sometimes. I always look at the amazing photographers who have come before us—their styles are timeless. Having a ‘trendy’ style will fade, but if you find a style that speaks to you and feels authentic, stick with it. Keep refining and building on it. Not obsessing over your own work to the point of crippling yourself also helps—although I’m still working on that!
GQ: You’ve been described as a ‘rebel of SA photography’. Would you say this is an accurate title?
Someone once said I have an unconventional approach, but I somehow always get the image. I don’t know why that stuck with me—at the time, I felt offended, but over time I realised it’s a good thing. I got the image, right?
I think I struggled for a long time with the idea that I needed to be a certain way to be a photographer, but everything in me always resisted that.
No matter how hard I tried, I couldn’t conform to that expectation. I’ve always followed my gut feeling. Sometimes there are mistakes, but in those mistakes there’s always something to learn and apply to the next thing I photograph. Maybe I have been described as a rebel because I follow my own path? I hope that doesn’t sound too wanky...
GQ: What’s your creative process when planning a fashion shoot?
It usually depends on the brief. If it’s with Condé Nast, we typically work closely with the fashion editor. They’ll provide us with their idea or treatment, and we try to apply our own style to that concept.
For editorials, there’s a bit more freedom in terms of who we’re shooting, and we’re able to give more input. With covers, we’re usually told who we’re shooting, and the creative part comes in how we approach the shoot— deciding on the location, playing with lighting, and finding ways to make it unique.
GQ: What do you think is the most misunderstood aspect of fashion photography?
That it’s frivolous and not as important as other types of photography.
GQ: Who or what are your biggest influences in photography?
Living in the city is quite inspiring to me. I’m a hermit, so if I’m not watching films, which are also a source of inspiration, I usually walk around the city with a coffee and point- and-shoot in hand.
GQ: What do you love most about fashion photography?
I love that we’re allowed to push ourselves creatively and that there is an element of playfulness to it, no matter how seriously a lot of people take it.
GQ: How do you think photography can contribute to cultural and social conversations around identity, diversity and representation?
I think fashion photography, or the fashion industry as a whole, sometimes takes flak for making certain subjects or people trendy; people with a certain type of look. But if it wasn’t for the fashion industry, no one would see that on billboards and be exposed to it, making it normal and not strange or weird, but just beautiful. It shows that there’s beauty in diversity.
GQ: What are three key elements that make a fashion photograph iconic?
I don’t know if I can give you three! Perhaps just one: it should evoke a strong feeling in you when you look at it.
GQ: How do you know when you’ve captured the perfect moment?
I guess if you know what it is you want in the moment or for that specific job, you’ll know once you see it. You just have to trust yourself and your gut
GQ: What advice would you give to aspiring fashion photographers?
Be willing to work hard, assist photographers and develop a thick skin. It’s an amazing industry to be in. Don’t get too deterred by other people’s accomplishments and focus on your own path.
