How to rip the sound track from a DVD (2013)

* Rip the whole DVD into chapter VOB files using SmartRipper (NO stream processing)

* DeMux the VOB files into AC3 using VOBEdit

* Convert AC3 to MP3 using BeLight

How Much Do Models Make?

* Median salary:  $32,920 a year

* Highest salary:  electronic shopping & mail-order

* Most lucrative:  fragrance & designer ad campaigns

* Models can make money from modeling and from personal appearances & merchandise (calendars & exercise videos)

* Fashion catalog:  $200-$300 per hour, or $1,200 to $3,500 per day

* Typical catalog shoot lasts 2-5 days

* Fashion print ad campaign:  $250 per hour

* Non-fashion ad campaign:  $500 to $1,200 per day

* Lifestyle print:  $400 to $950 per day

* Swimwear & lingerie editorial:  $400 per day

* Swimwear & lingerie catalog:  $7,000+ per day

* High-end ad campaigns:  $40,000 to $1,000,000

* Fragrance ad campaigns:  $100,000 to $1,000,000

* Cosmetic contracts:  $300,000 to $2 million per year

* Multi-year contract with Victoria's Secret as an Angel is the most prestigious

* Men's high-end catalog:  $8,000 to $15,000 per day

* Men's catalog shoot lasts 1 day

* Most famous male models can make $200,000 to $500,000 per year

* Video commercials:  $2,000+ per day plus residuals (length of campaign and location)

* Runway:  $250+ per hour

* Models can walk up to 20 shows in one fashion week

* Top models can make $200,000 per season

* Part model:  $300 to $500 an hour

* Fit model:  $150.00+ per hour

* Promotional model:  $1,000-$4,000 per day

* Real people promotional model:  $15-$30 per hour, $200 per day

* Real people commercial print:  $75-$150 per hour, or $400-$950 per day

* Real people ad campaign:  $500-$1,200 per day

* Real people average annual salary:  $10,000-$40,000 per year

* Glamour editorial:  $600

* Non-union extra glamour actress:  $64 per day

* Art modeling:  $25 per hour

Ten Reasons to Date a Fashion Girl

10 REASONS TO DATE A FASHION GIRL

As if you needed one...

By Kerry Pieri

Nov 22, 2013

1. You'll never wear an embarrassing outfit again. We know you've just been waiting for someone to finally make you throw away those cargo khakis.

2. Cool parties, restaurant openings and impossible to get into clubs will become your regular evening plans. And not that you'll even care, because you'll be dating your gorgeous fashion girl, but you will regularly be standing next to supermodels at the bar.

3. Your BFA photo number will sky rocket. If you're into a little exposure for that pet project/app/e-commerce site you've been thinking of launching, it certainly can't hurt.

4. And in turn, your Google ranking will increase. That embarrassing photo of you from 2004 from your company site will no longer hold the number one spot in your Google image search.

5. She always looks perfect for any occassion. Aprés ski? Check. Brunch? Check. Meeting the parents? Check.

6. Your mom will love her for all the free beauty products.

7. Two Words: Press Trips. Two more words: Editor Discounts.

8. Years of climbing the ladder, attending events, industry dinners and market appointments make her well-versed enough to talk to just about anyone—and great company at cocktail parties.

9. Stamina. She can go to work all day, party all night and still make it to her Soul Cycle/SLT/Yoga class in the morning.

10. People are constantly underestimating her because she works in a seemingly frivolous industry—but she's well-educated, hard-working, intelligent and cultured, and she'll defy expectations every time.

How Much Do Adult-Movie Actors Make?

Most male performers in heterosexual porn are paid less than their female counterparts. Ron Jeremy has commented on the pay scale of women and men in the sex film industry: in 2003 "Girls can easily make 100-250k per year, plus stuff on the side like strip shows and appearances. The average male makes $40,000 a year." and in 2008, "The average guy gets $300 to $400 a scene, or $100 to $200 if he's new. A woman makes $100,000 to $250,000 at the end of the year."

In 2011, the manager of Capri Anderson said, "A contract girl will only shoot for one company, she won't shoot for anyone else. Most actresses in the adult industry are free agents – they'll shoot for anyone. Most contract girls make $60,000 a year. In one year, a contract girl will shoot, on average, four movies and each movie takes about two or three weeks to shoot."

The Los Angeles Times reported that the pay rates for a female actress performing male and female scenes were $700 to $1,000.

Some state that gay male porn generally pays men much more than heterosexual porn. Men who identify themselves as heterosexual but perform in gay pornography are said to do gay-for-pay (notably Wolf Hudson). This means they perform in gay movies only for the paycheck.

According to producer Seymore Butts, who runs his own sex-film recruitment agency, as well as producing sex films; "depending on draw, female performers who perform in both straight and lesbian porn earn more than those who do [just heterosexual scenes] usually make about US$200–800 while those who only do oral sex (blow job) usually only make about US$100–300 for the scene". It was also noted in an interview conducted by Local10 news of Florida that individuals were offered $700 for sexual intercourse while shooting a scene of the popular series Bang Bus in 2004. According to Videobox, a porn website, actresses make these rates: Blowjobs: $200–$400; Straight sex: $400–$1,200; Anal sex: $900–$1,500; Double Penetration: $1,200–$1,600; Double anal: $2,000. For more unusual fetishes, women generally get 15% extra.

In 2001, actress Chloe said of pay-rates; "In Gonzo, you're paid not by the picture, but by the scene. So it's girl-girl: $700, plus $100 for an anal toy. Boy-girl: $900. Anal: $1,100. Solo: $500. DP: $1,500."

Additionally, besides appearing in films, porn stars often make money from endorsements and appearance fees. For instance, in 2010, some night clubs were paying female porn stars and Playboy Playmates to appear there to act as draws for the general public; Jesse Jane was reported to have been paid between $5,000 to $10,000 for one appearance by a Chicago club.

How to Become a Fashion Photographer

How to Become a Fashion Photographer

A career in fashion photography doesn't have to be an impossible dream. Three industry insiders tell Ben Widdicombe their tips for getting started. 

With its huge audience, high pay-checks and glamorous international lifestyle, fashion photography may seem like one of the world's most sought-after professions. But for every fashion photographer who makes it through the door of a top magazine, a thousand others find their niche fashion advertising, art photography, celebrity portraiture or even paparazzi work to make a living. 

Allure magazine photo editor Clio McNicholl, photo agent Gloria Cappelletti and New York fashion photographer Eva Mueller agree that breaking into the industry can be hard. But they have some tips for beginners on setting up a portfolio, submitting work to magazine picture editors, choosing the right photo agency and even getting shown in a gallery. 

Setting Up a Portfolio

A photographer's most important tool is her portfolio, and this is particularly true for beginners who don't have an established reputation. 

"Having been around, I know how hard it is to get in the door," says Allure magazine photo editor Clio McNicholl, who receives around 50 unsolicited portfolios a month. Conde Nast's Allure, with a monthly circulation of almost 900,000, is a prime target for beginners wanting to get their work seen. "If I don't know who the person is, I ask them to send me some promotional material. Generally I only see people who are coming with a direct recommendation from somebody I know," she says. 

Many photographers find that websites offer an inexpensive way to showcase a relatively large quantity of images. Eva Mueller (www.evamueller.com), a Munich-born fashion and beauty photographer who has been living and working in Manhattan for ten years, points out that computer editing is also a method of keeping down retouching and printing costs. 

But despite the medium's advantages, most industry professionals will still need to see an old-fashioned book before they hire you. By all means use the web as your calling card, but have something to show them when they call you in for a meeting. 

Many fashion photographers find the sharp, bright imaging of 4 x 5" transparencies show off their work to best effect. Tear-sheets (literally, pages ripped from a magazine) are great if you've been published, but good quality, 8 x 10" prints are also OK. Have at least 20 in your book, and be prepared to leave them for at least a week. 

"I like to see a common thread throughout the book," says Clio McNicholl, who says she can tell within three images whether she likes a photographer's style. "Tell a story: not necessarily having all the pictures relating to each other, but I like to have some sort of sense at the end of it that I've seen that photographer's personality come through in the pictures." 

The images you choose to showcase in your portfolio should be thematically linked to the job you're trying to get – still-lifes or product shots if you're going for an advertising gig, for example. But also throw in one or two other images to demonstrate your range. Strong portraits are always a safe bet, as they tend to stay in the mind of the viewer. 

Once you've got your portfolio together, the next challenge is to get the picture editor to use you. 

Picking Your Picture Editor

"Most people who cold call me haven't done their research, which is the world's biggest mistake," says Clio McNicholl. "The single biggest thing that people should do is their research. They should know what the magazine does, and see how you can apply that to what you do. And they should at least know the name of the photo editor." 

When you submit work to photo editors, remember that you're "showing" rather than "selling". Editors almost never buy the specific image they see before them; they're looking for a photographer who can execute future commissions. You'll need to be persistent in sending out your work, and ruthless in editing what you choose to show. 

The best way to grab an editor's attention is to show previously published work. But there's a down-side. "Because there's such an over-supply of photographers, a lot of magazines really take advantage of that fact," says Eva Mueller. "Some mags have a decent budget, but a lot of magazines just cover your expenses, they don't pay for your time or anything. And a lot of magazines don't pay at all." McNicholl says Allure's rates start at $350 a day for unknown photographers, up to $130,000 for a fashion spread. 

A photograph is a document just as much as an article or an essay, and picture editors are looking for concise images which clearly communicate an idea or an emotion. Celebrity portraiture, for example, should reveal an aspect of the subject's character, preferably one that is in harmony with the accompanying written profile. Women's magazines all over the world buy hundred of stock shots every month – typically young women having fun with their boyfriends, hanging out with friends, or maybe moping home alone with their stuffed toys – all of which express a sentiment commonly dealt with in feature articles. If your work speaks clearly, you'll stand a much better chance with picture editors than with vague or ambiguous images. 

When you're submitting your work, remember: 

- Call the magazine ahead and get the name of the person to whose attention the submission should be marked - Label everything with your name and telephone number - Send working prints or transparencies, not originals - Include a stamped, self-addressed envelope if you want the work back 

Eve Mueller has one last warning about dealing with magazines: "Another bad thing is not getting paid in ages – months and months and months. Some clients really take advantage of the fact that there are so many photographers out there: they make you pay for the whole shoot, they alter your pictures and don't tell you when they drop the story. Sometimes they're just really disrespectful toward the photographer." 

There is a way to avoid having to deal with photo editors, however: and that's to have a photo agency do the selling on your behalf. 

Finding a Photo Agent

Photo agencies exist to liaise with clients and sell photographers' work on their behalf. They benefit everyone from start-out photographers, who may not have many industry contacts, to seasoned professionals, who are too busy to take care of business dealings themselves. 

Gloria Cappelletti is an agent with the Management Artists' Organization (MSO) in Manhattan, which represents a stable of prominent fashion photographers including Stevein Klein, Michelangelo di Battista, Stefan Sedanoui and Alexei Hay. 

"First of all, it's vital to be known, and an agency is in daily contact with clients and publications," she says. "That's the best way for a young photographer to be able to have a connection with them, because usually the photographer is busy taking pictures, and the agent is busy talking to clients. And that's the way it should be. Usually the photographer doesn't have enough time to take care of everything." 

Agencies can also re-sell your work in several different markets, acting as a mini publicist and giving career advice. There are so many agencies – and so many photographers – that Cappelletti says it's important to research which one may be right for you before making an approach. 

"The young photographer has to understand their target, in terms of their personal goals the direction the photographer wants to take," she says. "Everyone is different." 

Agents recommend treating your first contact with them as seriously as if it were a job interview. You should also consider whether they already represent someone whose style is significantly similar to your own – there may not be enough work for both of you, and the other photographer could resent the competition. 

A photo agency is not the only place that can sell your work. If you're more interested in concentrating on your personal vision than taking commercial work, you can also considering exhibiting in a fine art photography gallery. 

Getting a Gallery

Once derided as a scientific curiosity with no artistic value, photographs are now one of the hottest growth areas in the international fine art market. 

While gelatin silver prints are the staple of fine art photography, you'll find a healthy interest both in contemporary photos using antique methods (such as Chuck Close's daguerreotypes), as well as modern printing methods, including Cibachromes and C-prints. 

Like any artistic undertaking, art photography is unlikely to pay you a living wage for many years. Although many artists sell their work directly from the Internet, critical attention and the strongest sales come from a relationship with a Gallery. While there is now at least one photo gallery in most major cities, the center of the world art photo market is New York. Manhattan boasts around 100 galleries dealing in photographic prints, and prices there tend to be strongest. A comprehensive list of New York and international galleries is available at the websites of the bimonthly listings guide Photograph, as well as the Association of International Photography Art Dealers. 

Before approaching any gallery with your work, you should telephone and request details of their submissions policy. Many galleries review new work only at set times of the year, and even to get in the door of some places you will need the recommendation of somebody known to the gallery directors. (Sometimes it helps to drop the name of a well-known critic or museum director, even if your connection to them is tenuous.) 

If a gallery is interested in taking you on as an artist, they'll probably want to see a representative sampling of your work. Even if you have one or two knock-out images in your portfolio, a gallery will want to know that you have a mature body of work with a consistent standard throughout. Remember that many artists join a gallery simply by having their work go into the back-room inventory, where it will be shown to specific collectors, rather than having a public exhibition. Not everyone is offered a solo show. 

The most important thing to remember about working with a gallery is to maintain a proper business relationship. Every print you give to a gallery should be inventoried by you – not them – and you should understand when and how you can expect payment in the even of a sale. Industry standard is that the artist receives 50% of the retail price of a photo. 

You should also discuss whether you are free to have relationships with other galleries, or if your gallery expects exclusivity. If you have a New York gallery, for example, but then arrange to have a show in Los Angeles, sometimes the New York gallery will expect a cut (typically 10%). However, in return for that, they are expected to deal with details like paperwork and shipping. Each relationship between artist and gallery is unique, and you should get as much as possible in writing at the beginning. 

Understanding the Business

Unfortunately, it's not enough for a designer to be creative; you also have to have some business sense. As fashion gets more and more corporate driven, it's important to be aware of the business climate and understanding the mechanics behind it. By religiously reading trade papers like "Women's Wear Daily" you will get a lot of valuable information. If you want to run your own company, you need to be extremely organized and learn at least the basics of economics. A lot of fashion schools are currently increasing business classes in their curriculum. "Our students have to be smart enough to know how to negotiate a contract, or to pick a business partner," says Carol Mongo. It's perhaps telling that many of the designers that are really successful today, like Calvin Klein or Tom Ford, are involved in every aspect of the business -- from licensing strategies to ad campaigns to actually designing the clothes. 

http://www.fashion.net/howto/fashionphotographer

Victoria's Secret Fashion Show 2012

Victoria's Secret Fashion Show 2012

Taped:  November 7, 2012

Aired:  December 4, 2012

Location:  Lexington Avenue Armory, New York City, New York

Broadcaster:  CBS

Viewers:  9.48 million

Performers:

Rihanna

Bruno Mars

Justin Bieber

Fantasy Bra:  Floral Fantasy Bra

Worn by Alessandra Ambrosio

Value:  $2,500,000

Models (37):

Adriana Lima

Alessandra Ambrosio

Barbara Fialho

Barbara Palvin

Behati Prinsloo

Bregje Heinen

Cameron Russell

Candice Swanepoel

Cara Delevingne

Constance Jablonski

Dorothea Barth Jorgensen

Doutzen Kroes

Elsa Hosk

Erin Heatherton

Frida Gustavsson

Hilary Rhoda

Ieva Laguna

Isabeli Fontana

Izabel Goulart

Jacquelyn Jablonski

Jasmine Tookes

Jessica Hart

Joan Smalls

Jourdan Dunn

Karlie Kloss

Lily Aldridge

Lily Donaldson

Lindsay Ellingson

Liu Wen

Magdalena Frackowiak

Maud Welzen

Miranda Kerr

Shanina Shaik

Sharam Diniz

Shu Pei

Sui He

Toni Garrn

Themes (6):

Circus

Dangerous Liaisons

Calendar Girls

Pink Is Us

Silver Screen Angels

Angels in Bloom

Circus

Adriana Lima

Candice Swanepoel

Karlie Kloss

Doutzen Kroes

Miranda Kerr

Toni Garrn

Erin Heatherton

Izabel Goulart

Barbara Fialho

Alessandra Ambrosio

Liu Wen

Joan Smalls

Dangerous Liaisons

Behati Prinsloo

Lily Donaldson

Constance Jablonski

Miranda Kerr

Shanina Shaik

Magdalena Frackowiak

Isabeli Fontana

Bregje Heinen

Sui He

Doutzen Kroes

Calendar Girls

Erin Heatherton

Candice Swanepoel

Hilary Rhoda

Cameron Russell

Frida Gustavsson

Lindsay Ellingson

Lily Aldridge

Barbara Fialho

Izabel Goulart

Behati Prinsloo

Karlie Kloss

Barbara Palvin

Performance

Justin Bieber

PINK Is US

Jessica Hart

Ieva Laguna

Elsa Hosk

Dorothea Barth Jörgensen

Shu Pei Qin

Cara Delevingne

Sharam Diniz

Jacquelyn Jablonski

Maud Welzen

Jourdan Dunn

Silver Screen Angels

Lindsay Ellingson

Sui He

Doutzen Kroes

Hilary Rhoda

Bregje Heinen

Cameron Russell

Joan Smalls

Magdalena Frackowiak

Lily Donaldson

Miranda Kerr

Angels In Bloom

Candice Swanepoel

Shanina Shaik

Alessandra Ambrosio

Wearing "Floral Fantasy Bra & Gift Set" (Value: $ 2,500,000)

Jasmine Tookes

Isabeli Fontana

Adriana Lima

Lily Aldridge

Karlie Kloss

Behati Prinsloo

Constance Jablonski

Toni Garrn

Victoria's Secret Fashion Show 2011

Victoria's Secret Fashion Show 2011

Taped:  November 9, 2011

Aired:  November 29, 2011

Location:  Lexington Avenue Armory, New York City, New York

Broadcaster:  CBS

Viewers:  10.30 million

Performers:

Maroon 5

Kanye West

Jay-Z

Nicki Minaj

Fantasy Bra:  Fantasy Treasure Bra

Worn by Miranda Kerr

Value:  $2,500,000

Models (37):

Adriana Lima

Alessandra Ambrósio

Anais Mali

Anja Rubik

Anne Vyalitsyna

Behati Prinsloo

Bregje Heinen

Cameron Russell

Candice Swanepoel

Caroline Brasch Nielsen

Caroline Winberg

Chanel Iman

Constance Jablonski

Doutzen Kroes

Elsa Hosk

Emanuela de Paula

Erin Heatherton

Flavia de Oliveira

Ieva Laguna

Izabel Goulart

Jacquelyn Jablonski

Jessica Clarke

Joan Smalls

Julia Stegner

Karlie Kloss

Karmen Pedaru

Laís Ribeiro

Lily Aldridge

Lily Donaldson

Lindsay Ellingson

Liu Wen

Maryna Linchuk

Miranda Kerr

Shanina Shaik

Shannan Click

Sui He

Toni Garrn

Segments:

Ballet

Candice Swanepoel

Anja Rubik

Lily Aldridge

Alessandra Ambrosio

Chanel Iman

Doutzen Kroes

Toni Garrn

Sui He

Lais Ribeiro

Bregje Heinen

Miranda Kerr

Super Angels

Adriana Lima

Lindsay Ellingson

Shannan Click

Izabel Goulart

Karlie Kloss

Joan Smalls

Karmen Pedaru

Behati Prinsloo

Anja Rubik

Erin Heatherton

Passion

Alessandra Ambrosio

Candice Swanepoel

Maryna Linchuk

Lily Donaldson

Doutzen Kroes

Julia Stegner

Bregje Heinen

Lais Ribeiro

Flavia de Oliveira

Adriana Lima

Aquatic Angels

Miranda Kerr

Sui He

Constance Jablonski

Caroline Winberg

Lindsay Ellingson

Anne Vyalitsyna

Liu Wen

Anais Mali

Erin Heatherton

Joan Smalls

Maryna Linchuk

Karlie Kloss

I Put A Spell On You

Doutzen Kroes

Alessandra Ambrosio

Karmen Pedaru

Lily Donaldson

Izabel Goulart

Toni Garrn

Emanuela de Paula

Cameron Russell

Candice Swanepoel

Shanina Shaik

Anja Rubik

Adriana Lima

Miranda Kerr

Club PINK

Erin Heatherton

Ieva Laguna

Behati Prinsloo

Lais Ribeiro

Shannan Click

Jessica Clarke

Caroline Brasch Nielsen

Chanel Iman

Elsa Hosk

Jacquelyn Jablonski

Lily Aldridge

Lindsay Ellingson

Karlie Kloss

Victoria's Secret Fashion Show 2010

Victoria's Secret Fashion Show 2010

Taped:  November 10, 2010

Aired:  November 30, 2010

Location:  Lexington Avenue Armory, New York City, New York

Broadcaster:  CBS

Viewers:  9 million

Performers:

Katy Perry

Akon

Fantasy Bra:  Bombshell Fantasy Bra

Worn by Adriana Lima

Value:  $2,000,000

Models (34):

Adriana Lima

Alessandra Ambrósio

Anja Rubik

Anne Vyalitsyna

Behati Prinsloo

Candice Swanepoel

Caroline Winberg

Chanel Iman

Constance Jablonski

Edita Vilkeviciute

Emanuela de Paula

Erin Heatherton

Fabiana Semprebom

Flavia de Oliveira

Gracie Carvalho

Heloise Guerin

Isabeli Fontana

Izabel Goulart

Jacquelyn Jablonski

Jessica Stam

Julia Stegner

Karolína Kurková

Katsia Damankova

Laís Ribeiro

Lily Aldridge

Lily Donaldson

Lindsay Ellingson

Liu Wen

Magdalena Frackowiak

Martha Streck

Maryna Linchuk

Rosie Huntington-Whiteley

Selita Ebanks

Shannan Click

Segments:

Tough Love

Adriana Lima

Lily Donaldson

Alessandra Ambrosio

Anja Rubik

Magdalena Frackowiak

Maryna Linchuk

Rosie Huntington-Whiteley

Julia Stegner

Candice Swanepoel

Country Girls

Candice Swanepoel

Edita Vilkeviciute

Rosie Huntington-Whiteley

Alessandra Ambrosio

Lindsay Ellingson

Lily Aldridge

Jessica Stam

Maryna Linchuk

Constance Jablonski

Gracie Carvalho

Anne Vyalitsyna

Game On

Erin Heatherton

Izabel Goulart

Chanel Iman

Karolina Kurkova

Lais Ribeiro

Behati Prinsloo

Adriana Lima

Liu Wen

Shannan Click

Isabeli Fontana

Heavenly Bodies

Chanel Iman

Magdalena Frackowiak

Lily Donaldson

Anja Rubik

Izabel Goulart

Katsia Damankova

Martha Streck

Flavia de Oliveira

Adriana Lima

Candice Swanepoel

Julia Stegner

Wild Things

Alessandra Ambrosio

Rosie Huntington-Whiteley

Erin Heatherton

Selita Ebanks

Lais Ribeiro

Emanuela de Paula

Isabeli Fontana

Anne Vyalitsyna

Liu Wen

Caroline Winberg

Karolina Kurkova

PINK

Behati Prinsloo

Jessica Stam

Lindsay Ellingson

Edita Vilkeviciute

Shannan Click

Heloise Guerin

Fabiana Semprebom

Maryna Linchuk

Jacquelyn Jablonski

Lily Aldridge

Constance Jablonski

Chanel Iman

Age of Consent in the US

Average age of consent in the US:  16.6

By Age:

* 16 (30): Alabama, Alaska, Arkansas, Connecticut, District of Columbia, Georgia, Hawaii, Indiana, Iowa, Kansas, Kentucky, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Montana, Nevada, New Hampshire, New Jersey, North Carolina, Ohio, Oklahoma, Rhode Island, South Carolina, South Dakota, Vermont, Washington, West Virginia

* 17 (9): Colorado, Illinois, Louisiana, Missouri, Nebraska, New Mexico, New York, Texas, Wyoming

* 18 (12): Arizona, California, Delaware, Florida, Idaho, North Dakota, Oregon, Pennsylvania, Tennessee, Utah, Virginia, Wisconsin[47]

By State:

Alabama:  16

Alaska:  16

Arizona:  18

Arkansas:  16

California:  18

Colorado:  17

Connecticut:  16

Delaware:  18

District of Columbia:  16

Florida:  18

Georgia:  16

Hawaii:  16

Idaho:  18

Illinois:  17

Indiana:  16

Iowa:  16

Kansas:  16

Kentucky:  16

Louisiana:  17

Maine:  16

Maryland:  16

Massachusetts:  16

Michigan:  16

Minnesota:  16

Mississippi:  16

Missouri:  17

Montana:  16

Nebraska:  17

Nevada:  16

New Hampshire:  16

New Jersey:  16

New Mexico:  17

New York:  17

North Carolina:  16

North Dakota:  18

Ohio:  16

Oklahoma:  16

Oregon:  18

Pennsylvania:  18

Rhode Island:  16

South Carolina:  16

South Dakota:  16

Tennessee:  18

Texas:  17

Utah:  18

Vermont:  16

Virginia:  18

Washington:  16

West Virginia:  16

Wisconsin:  18

Wyoming:  17

California Penal Code 314 PC - Lewd or obscene conduct; indecent exposure

Every person who willfully and lewdly, either:

[1]. Exposes his person, or the private parts thereof, in any public place, or in any place where there are present other persons to be offended or annoyed thereby;

or, [2]. Procures, counsels, or assists any person so to expose himself or take part in any model artist exhibition, or to make any other exhibition of himself to public view, or the view of any number of persons, such as is offensive to decency, or is adapted to excite to vicious or lewd thoughts or acts,

is guilty of a misdemeanor.

Every person who violates subdivision 1 of this section after having entered, without consent, an inhabited dwelling house, or trailer coach as defined in Section 635 of the Vehicle Code, or the inhabited portion of any other building, is punishable by imprisonment in the state prison, or in the county jail not exceeding one year.

Upon the second and each subsequent conviction under subdivision 1 of this section, or upon a first conviction under subdivision 1 of this section after a previous conviction under Section 288, every person so convicted is guilty of a felony, and is punishable by imprisonment in state prison.

How to get sharp photos

* Use a sharp lens:  This is the #1 factor in getting the sharp images.  In general, a good-quality (like the Canon L lens) gives at least twice (sometimes 4x) the resolution of a bad-quality lens;  a fixed lens is at least twice as sharp as a zoom lens.

* Don't use a filter:  Most people use filters to protect the lens and for special effects, but most filters are not good-quality and diffuse light too much.

* Clean the lens well:  especially the front-end.

* Use a higher-resolution camera:  A 25MP camera has 2x the resolving power (per dimension) than a 6MP camera.

* Use a tripod.

* Use higher shutter speeds:  As a rule of thumb, for hand-holding, use a shutter speed of at least 1/[focal length];  for example, if the lens is 100mm, use speed of at least 1/100".

* Use anti-shake (image-stabilized) lens:  This is a cheap way of getting sharp images.

* Hand-hold lens carefully:  Keep elbows close to body;  hold breath when clicking shutter.

* User lower ISO:  Don't use a higher ISO than you have to.  Higher ISOs tend to introduce more noise into the photos.

Eight Ways to Wear Knee-High Boots

8 Ways to Wear Knee-High Boots

August 20, 2013

Knee high boots are a great fashion statement. Though they were originally not made as a fashion statement, knee high boots are now taking over in various fashion trends. Knee high boots can add to anyone's wardrobe, but many don't know the various ways to wear them to the most flattering effect. This guide will address what a knee high boot is, where they originally came from, the different types of knee high boots, eight different ways to wear knee high boots, and the various types of knee high boots available to buy. Knowing this information will help any woman know which knee high boots to add to her shoe collection.

What are Knee High Boots?

Knee high boots are boots that rise up to the knee or right underneath the knee. They are typically tight around the calf of the leg and ankle. A knee high boot can be made out of synthetic rubber, suede, leather, or various other materials. There are slip-on knee high boots as well as those that lace up or buckle. They can be worn as a fashion statement or as a way to protect the feet.

History of the Knee High Boot

Originally, knee high boots were used by fishermen, dairy workers, stable hands, duck farmers, and the like to protect the person's feet from mud, manure, and water as well as to provide traction on slippery surfaces. These boots tended to be slip-ons; however, some of them had laces and buckles. Knee high boots were also worn by cadets in the military. The boots were custom fit to each person for dress wear or cavalry wear.

Today, there are many knee high boots in the fashion industry. These boots have made a fashion statement of being chic, classy, edgy, and sexy. Knee high boots have been a part of the fashion world since the 1950s and still hold as the fashion statement today.

Types of Knee High Boots

There are various types of knee high boots in the fashion world, and it is important for women to be aware of the different choices when choosing knee high boots for their wardrobe. The following are a few style choices one can choose from:

Zip-Up Boots

Zip-up knee high boots are just as they sound: they zip all the way up the side of the calf. The important part is finding a pair that fit around the calf. For thinner calves, there can be gapping, but for muscular calves, the zipper may squeeze too tightly. It is important to find a pair that fit correctly in order for them to look trendy.

Pull-On Stretch Boots

Pull-on stretch knee high boots are often an easier choice. They are made smaller with the intent of stretching. Thus, they fit snugly around even the thinnest calves yet stretch for the most muscular calves as well.

Lace-up Boots

Lace-up knee high boots are usually a crowd pleaser. With lace up boots, the woman can adjust how loose or tight she wants the boots to be. They are great for fitting one's own personal comfort level. There are various styles available from military to gothic looking.

Cowboy Boots

The cowboy knee high boots are of course looser around the calves than other types of knee high boots. Therefore, if there is quite a bit of space between the calf and the leather, it is no big deal, and if they fit snug around the calves that is not a problem either. They are kind of like a one size fits all kind of boot.

Picking a knee high boot greatly depends on the size of the calves, whether one wants form fitting boots, or whether one has thin calves or muscular calves. It is important to choose a knee high boot that fits around the leg the way it should.

Tips for Choosing Knee High Boots

Knee high boots offer a great deal of benefits to the woman's silhouette. Here are few tips to get the perfect pair of boots for any figure:

For women who have thick calves, they will look thinner in sleek styles and dark colors.

For women with thin calves, they will gain bulk in cowboy boots, slouchy styles, and prints.

Women should play around with different boot styles as the heel and toe have more to do with what her silhouette will look like than the actual height of the knee high boots.

For women who are looking to elongate their legs, a pair of pointed black stiletto boots would add length. However, a narrow wedge knee high boot is better for more visual balance if calves are a little thicker.

For women with thinner calves, they should stay away from knee high boots with skinny heels just like women with thicker calves should stay away from thinner boots.

Following these few tips can really transform a woman's silhouette.

Knee high boots can look classy, chic, sophisticated, and much more. However, it is important that one know how to wear knee high boots in a way that is flattering. Here are a few trendy ways to wear knee high boots:

1. Wear Knee High Boots for an Equestrian Look

To don the equestrian look, which is basically the epitome of high-class casual, a woman should pick her favorite pair of knee high boots and combine them with skinny bottom pants such as skinny jeans or leggings. A fitted blazer or waistcoat over a simple top gives the full equestrian look. Accessories such as pearls or diamond studs add to the overall look.

2. Wear Knee High Boots for an Office Look

To give off a classy business look, a woman should pair knee high boots with a skirt that hits just below the knee or right above the knee. If the skirt is on the shorter side, black tights are most appropriate. To top of the office look, add a simple fitted T-shirt with a pea coat or a vintage trench.

3. Wear Knee High Boots for a Retro Look

To get a cute retro look, a woman can take inspiration from Andy Warhol and Twiggy. Simply pick out a little black dress and an A-line skirt and combine it with a pair of white knee high boots for a classy retro look. To top off the attire, add a hobo bag or clutch and hoop or chunky vintage earrings.

4. Wear Knee High Boots under a Skirt

For those who want an alternative to wearing heals to work, which leave the legs bare to the elements when wearing a skirt, try boots instead. A pencil skirt that hits at the knee paired with knee-high boots that eliminates a gap of skin showing equals instant elegance, which is perfect for the workday.

5. Wear Knee High Boots over Skinny Jeans

Wearing knee-high boots over skinny jeans is a great way to look casual, yet sexy at the same time. It shows that while the wearer wanted to be comfortable, showing off the flirty side is important too. This look also transitions well from a day at the office to an intimate dinner with friends.

6. Wear Knee High Boots over Leggings

Leggings make for a great way to give the appearance of slimmer longer legs. Pair leggings with an oversized T-shirt and some knee high boots for a cute bohemian look. To achieve the comfy casual look that leggings give off, it is important to pair them with boots that match that factor. Knee high boots made of leather or ones with lots of buckles and embellishments will drag down the look and throw it off balance.

7. Wear Knee High Boots under Dressy Capris

Just because the seasons have changed to a little cooler weather, doesn't mean it's time to put up that summer attire. Wearing knee high boots under dressy capris allows the legs to stay warm while giving a classy unique look. The trick to this look is to make sure the capris are long enough and the boots tall enough that there isn't any skin showing. Also, it looks best when wearing form fitting capris because if one wears baggy capris, the entire outfit will look sloppy.

8. Wear Knee High Boots with Shorts

For women who like a little daring edge to their wardrobe, they can really dress up some shorts with a pair of knee high boots. For the summer, wear shorter shorts that allow a little skin to show. However, if it is a little cooler out, a woman can wear tights under the shorts and knee high boots on top of the tights. This is a fun look that is great to experiment with.

When choosing what outfit to wear with knee high boots, remember, the overall effect is to look taller and slimmer so choose outfits that complement the boots while making the body look sleek, slim, and sexy.

Once you have found the pair of knee high boots you are looking for, you can learn more about the seller by asking the seller questions such as how tall the boots are or what the width of the boot is. You can also look at the seller's ratings and reviews to determine how satisfied other customers were with the seller's service. Getting to know your seller will ensure you receive exactly the pair of boots you want.

Conclusion

Like many boots, knee high boots were once made as a protective wear; however, the fashion industry has managed to pull together trendy styles and looks from the once protective attire. Now there are various styles, colors, and types of knee high boots, and various ways to wear them. Knowing what to wear with knee high boots as well as how to wear them with class is essential in choosing a pair of knee high boots for any wardrobe. It is also important to know which style boots to wear for each person's body type.

Photographing Runway Fashion Shows [Fashion Week, NYC]

Photographing Runway Fashion Shows [Fashion Week, NYC]

by Theano Nikitas

January 2010 (updated June 2010)

Fashion photographers can spend more than six months on the road each year circumnavigating the globe from the twice-yearly Fashion Week in New York to London, Milan, Paris and continuing on around the world to such diverse cities and countries as Berlin, Mumbai, Johannesburg, Tokyo, Sydney and New Zealand. Even in the U.S., there are more than a few Fashion Week events including those in Miami (swimwear), Atlanta, Los Angeles, Brooklyn, Montreal, Portland (Oregon) and even Washington, DC. But New York, London, Milan and Paris are the "big four" and attract the hottest designers and the most important editors and buyers. Over the years, celebrities, socialites and, especially in New York, reality TV personalities have become front-row regulars at the shows.

Spring/summer collections are shown in the fall and fall/winter collections are shown in the spring, to give buyers and editors plenty of lead time. For example, from February 11-18, 2010, fall/winter 2010 collections will be shown at Mercedes Benz Fashion Week in New York [see www.mbfashionweek.com/newyork] the 2011 spring/summer collections will be shown in September, 2010.

The Shows

I've only photographed New York Fashion Week (NYFW), so I can't speak directly to experiences in other cities but, after chatting with photographers who cover international cities, and from what I've read, the set-up and scheduling at the major shows is similar to New York's. With the economic downturn and the upcoming move in September 2010 of NYFW from its traditional venue at Bryant Park uptown to Damrosch Park at Lincoln Center, certain aspects of Fashion Week are evolving, but the basics remain the same.

In NY, collections are shown either at the main Tents or off-site. The Tents offers a trio of spaces: the Tent (the largest), the Promenade and the Salon. Off-site shows are held at various venues, which can include photography studios, art galleries, designers' showroom, huge spaces like the Hammerstein Ballroom and hotels. The occasional show may even be held outdoors at a park.

Registration for photographer passes starts at least a couple of months before Fashion Week at the title sponsor's website (in this case, Mercedes Benz). Accreditation requires proof that you'll be shooting the shows for a publication, whether you're on staff or a freelancer. Detailed information can be found on the Mercedes Benz website. Invitations can also be provided by individual designers, but only for their shows.

If you're just starting out or don't have an assignment to get a photo pass, explore local fashion events to gain experience and expand your portfolio. Community organizations and schools often stage runway shows and will probably be happy to have you photograph their events.

In the Tents

The first show of the day in the Tents generally starts at 9am (10am on Saturday/Sunday), with shows running every hour, on the hour, with a couple of one hour breaks at around noon and 4pm. The last models walk the runway at either 7pm or 9pm, so it's a very long day if you, like many photographers, are covering all of the shows in Bryant Park. Unfortunately, there are few amenities for photographers in the Tents other than wireless, a press room and public port-o-potties.

Sponsors, including Mercedes Benz, exhibit their products in the lobby of the Tents with some giveaways including water and the occasional snack. In the past, UPS gave away yummy brownies (brownies are brown, just like the UPS uniforms), Fage distributed Greek yogurt and Haviana created custom flip-flops for free, if you had the patience to wait in line. But for real food, you'll have to run to one of the nearby delis, bring something with you or both. Whether you're shooting in the Tents or off-site, it's always a good idea to bring some water and snacks to keep you going throughout the day.

Prior to the Fashion Week start date, photographers wait in a group outside at the Tents to pick up their badges and, once in the Tents, use tape to mark their spot on the risers. Shows generally run anywhere from about 15-20 minutes, depending on the number of looks in the collection. Photographers who don't have all-access passes that allow them to go backstage and onto the photo risers early, wait in a group outside until security lets them in. At that point, it's a mad rush to get a good position in the aptly-named photographers' "pit." There's a definite hierarchy in the Tents, with the house photographer (who is shooting for the designer or for IMG, the producer of Fashion Week) getting the prized center positions, along with photographers shooting for high profile publications and clients, as well as those who have been covering NYFW for years.

That doesn't leave much space for the first-timer and that's something you'll have to live with—even if it means sitting on the floor (not ideal because you're shooting up at the model when she or he poses at the end of the runway) or standing off to the side.

Being in the photographers' pit isn't quite as bad as it's made out to be—I've met some really nice people, from all over the world, by standing next to them during the shows. Occasionally tempers may flair, particularly at the end of a long day or after a pressure-filled week of being elbow-to-elbow, and hip-to-hip with so many people. A little respect, a calm demeanor and a few polite words go a long way when trying to find a place to shoot from. If you stand in a spot that has been taped off, don't be surprised if the photographer comes in at the last minute and asks (or tells) you to move.

In addition to having a good attitude, be sure to have your gear organized beforehand. You won't have much (if any) room to dig in your bag to set up your camera.

Most runway shows are configured with a single runway down the middle. A few, however, may be set-up in a U-shape with additional rows of chairs in the center. Your best bet is to get as close to the first runway (on your left, when you're facing the runway). Occasionally, models will walk down both runways, but you may not know this ahead of time so assume that the models will walk down one side and up the other. If you get stuck in the middle, facing the chairs, you can still get decent shots when the model poses at the end of the runway.

Lighting in the Tents is generally good, although not always. Betsy Johnson, who stages the most interesting and fun shows, will sometimes use colored lights in the background and have spotlights follow the models down the runway. It's a bit of a challenge but well worth the effort. Don't forget to be ready for her signature cartwheel at the end of the show.

When a show ends, be ready to run to the next show or, at the very least, get out of the way of the other photographers who need to move quickly. Photographers not only have to shoot back-to-back shows but have to file their images as well, so the pace is pretty intense.

Off-site

Off-site shows are usually a little different from those held in the Tents. With only a few exceptions, the venues tend to be smaller and runways—when they're used—are shorter. Lighting is often more challenging than the Tents as well. And, many of the off-site shows are presentations, with static models arranged on platforms or, on occasion, clothes displayed on mannequins. While the badge for the Tents will generally get you into off-site shows, an invitation from the designer is all you need for his or her show.

One of the things I love about off-site shows is that I often get to photograph less well-known, but interesting, designers. Other than off-site shows in huge venues, there are usually fewer photographers on the riser. It can still get crowded, though but it's a little less stressful than shooting in the Tents. Except, of course, when you have to run uptown, then crosstown and then back downtown to get to the different venues.

If you look at the show schedule, you can usually tell if it's a runway show or a presentation since the latter will usually list a start and an end time, while a runway show just lists the start time.

Even presentations can vary. It may be a group of models posed on a platform or on couches and chairs; they might change outfits during the presentation (be sure to find out when you get there so you don't miss any looks), or simply stay in the same outfits throughout. Occasionally, a designer will repeat a runway show several times during the 1-3 hours allotted. Once you have your shots, then you're off to the next assignment.

As I mentioned, lighting can be a challenge off-site. Over the past 6 years, I've shot under all kinds of conditions including a catwalk show in an historic 19th century mansion lit by dim chandeliers and a single window, a dark and dingy cement room on the Bowery with a single spotlight, and runway shows where the end of the runway was two stops brighter than the far end. Of course, you sometimes get lucky and photograph a bright, evenly lit show. Lighting for static presentations is often pretty good.

Gear and Shooting Tips

Now that you have an idea of the conditions and settings you may encounter at Fashion Week, it's time to talk about what gear you'll need and how to use it.

You'll need a DSLR, of course; preferably two (one for back-up). I prefer full-frame cameras but have shot Fashion Week with everything from the Olympus E-3 to the Canon 30D, 1D Mark III, 1Ds Mark III and, for the past few seasons, the Nikon D700 and the D3. Whatever camera you decide to use, make sure you know how to use it and can change settings intuitively—you don't have time (or enough light) to stop and figure out what to do next. Since you'll be shooting verticals most of the time, a vertical grip makes life easier.

Two zoom lenses should cover just about every situation, as long as they're fast. My ideal is a 24-70mm/2.8 and a 70-200mm f/2.8, particularly for full-frame cameras. If you're not shooting full-frame and you're faced with a short runway, you may want to opt for the 24-70mm lens instead of the 70-200mm, depending on the length of the runway and your camera-to-subject distance when the model poses in front of the riser.

The 24-70mm lens works well when photographing static presentations since, more often than not, you'll be relatively close to the models. These presentations can get crowded with guests, so you'll need to maneuver around people who are there to view the collection but it's rarely a problem.

Most of the time you'll rely on available light when you're shooting Fashion Week. Flash is never used for runway shows in the Tents, although people sitting in the audience will snap some shots with flash. For off-site runway shows, flash is only used when it's really dark (as in too dark for autofocus to work reliably). A good rule of thumb is, if all or most of the photographers aren't using flash, then you shouldn't either.

However, flash is commonly used for static presentations, backstage and for pre-show front-row shots (you'll need special credentials for the latter in the Tents). Forget your camera's on-board flash (if it has one)—you may end up with redeye, harsh shadows and, when you shoot vertically, lighting may be uneven. Instead, use a flash like the Nikon SB-900 Speedlight or the Canon 580EX II Speedlite. The most useful—and versatile—flash equipment includes a diffuser as well as a sync cord and/or bracket set-up so you can use the flash off-camera.

Depending on the weight of your camera/lens combination and your ability to hold the camera steady, you may or may not want to bring along a monopod. Just be sure you can mount the camera vertically. Also, be aware that you should stand on one of the riser steps and not on floor level.

Of course, you'll need plenty of media cards, especially if you're shooting RAW. I generally carry enough cards—plus a few extras—to dedicate one for each show I'm covering that day. Most of my cards are high speed and high capacity; I rarely use anything smaller than a 4GB card and prefer 8, 16 and 32GB CF cards. After each show, I place the card in a Think Tank Photo Pixel Pocket Rocket card holder, labeled with a small piece of paper.

Pack extra batteries for your cameras and strobe. A lens cloth, brush and blower bulb will help keep your lens and LCD clean, while a tiny flashlight comes in handy when searching in your bag or looking for something you dropped on the floor.

There may be times when you'll need something to stand on in order to shoot over the person in front of you or, if you're on the floor, you may need something to sit on, especially if there's a double-row of photographers down in front. Some photographers cart their gear around in hard cases that can be used for sitting or as a platform to stand on. Others carry a folding step stool like the plastic Turtle Stool for the same purposes.

Shooting Tips

Your job during Fashion Week is to capture images that show off the designer's clothes. For runway shows, the general rule of thumb is to shoot at least one full length, one ¾ and a close-up. If you're shooting from a distance or from an angle, you may be able to get a full-length shot when the model poses at the end of the runway. It takes some practice to get the ideal shot with the model's feet flat on the ground and arms at her/his side.

I also often shoot the backs of the outfits as the model is walking away and will sometimes shoot the sweep of a hemline, an interesting shoe or accessory if there's time. Unusual make-up and/or hairstyles also deserve attention, as long as you have the main shots.

During the finale, all the models walk down the runway, which can make for some interesting shots with selective focus. The designer may walk the runway with the last model in line. More likely, he or she will make a quick appearance (be ready for the shot) at the far end of the runway after the models exit.

For static presentations, models are usually grouped together and, depending on the arrangement, it may be difficult to photograph individual looks. Instead, you can use a wide angle lens, like a 24-70mm, to capture several outfits at one time. Just be aware of distortion at wide angle—models at the edge of the frame can look pretty bad.

Not everyone has access to shoot backstage before a show but if you have the opportunity to go behind the scenes, you'll be well-rewarded with candid shots of make-up artists and hair stylists preparing the models for the show. Backstage is usually crowded, noisy and hectic but it's fun and you may run into a celeb or two.

Technical Tips

Camera settings will, of course, depend on your camera and the lighting conditions but here are some suggestions to get you started for shooting the runway:

Aperture priority or manual exposure mode (I tend to use the latter)

Wide open aperture for shallow depth-of-field (e.g., f/2.8 or f/4)

Minimum shutter speed of 1/250th second (increase the ISO if necessary)

Center-weighted metering (wide area metering can be fooled by dark or bright areas surrounding the model)

Continuous AF to track models

Single or continuous shooting (I prefer single shots but shoot continuous as well, particularly when the show is fast paced and the models are walking very quickly)

White balance can be a little tricky, especially when the lighting is mixed, so I generally shoot in RAW + JPEG, with a preset (usually tungsten) white balance or a Kelvin temperature of around 3000-3200. I know a few photographers who use auto white balance. If you're there early enough for the run-through, you can evaluate your settings and make adjustments before the show starts.

Theano's Current Gear Bag

1 Nikon D700

1 Nikon D3 (soon to be D3s)

Extra batteries for each camera

1 AF-S Nikkor 24-70mm f/2.8G ED

1 AF-S VR Zoom-Nikkor 70-200mm f/2.8G IF-ED

1 Think Tank Photo Pocket Rocket CF card holders with ten 4-32GB SanDisk and Lexar Cards

1 Nikon SB-900

2-3 sets of rechargeable AA's

1 NIKON SC-29 synch cord

1 Custom Bracket CB Junior

1 Gitzo monopod

1 Acratech GP Ballhead

1 Lens Pen

assorted lens cloths, blower bulb and other miscellaneous accessories

Conclusion

Shooting fashion shows is hard work. The hours are absurdly long particularly if you attend any of the afterparties and have a 9am show the next morning. And the job is physically demanding—you're on your feet almost non-stop and when you're not standing still (or figuring out how to squeeze into that 3"x3" space on the riser), you're lugging your gear up and down subway steps. Yes, shooting Fashion Week can be tough. But it's also really exciting and exhilarating. From the minute I photographed my first runway show at Bryant Park six years ago, I was hooked. If you have the opportunity to photograph a runway show, go for it. You'll probably either hate it or love it. My money's on the latter.

http://photo.net/learn/runway-fashion-photography/fashion-week-nyc

Top 10 Online Fashion Magazines

Top 10 Online Fashion Magazines

BY IMRAN AMED, EDITOR

28 APRIL, 2008

LONDON, United Kingdom - While taking a whirl around the Internet these days you're bound to bump into an online fashion magazine – or ten. Everyone from Richard Mortimer of Boombox fame to Net-a-Porter's Natalie Massenet is getting in on the action – and looking for ways to monetise it.

For a long time, content developers had a hard time creating a distinction between simple websites and bonafide online magazines. But, in the past year, a plethora of online magazines have emerged with three common threads:

Multimedia:   The new magazines are a veritable multi-media festival. For some content consumers, particularly younger tech-savvy types, a multi-media experience is the only way to capture (and keep) their attention: lots of videos, blogs, and communities.

Integration: The trick here has been to create a truly integrated experience across different channels — for example,  how do you make an offline page really come alive on the Internet? Creating complementary content that can be consumed separately, and together, satisfies even the most demanding multi-tasker.

Convergence:   Style.com meets Neiman Marcus.com. Content companies are integrating commerce models into their sites while commerce companies are creating their own content, and thereby, becoming content destinations in and of themselves. 

To mark the surge of online magazines, we've compiled a list of ten of the most interesting concepts to watch:

1. NY Times T Magazine (http://www.nytimes.com/pages/style/t/index.html): With thought-provoking editorial, sharp images and full page advertisements, this is the place to find the experience that most closely captures that of reading a great offline magazine. But, it doesn't end there. T also kicks things into a whole new gear with seamlessly-integrated video and a daily blog, "The Moment", resulting in a true multi-media experience. We think this one is a winner, and by the sounds of it, the advertisers are loving it too.

2. Net-a-Porter Notes (http://www.net-a-porter.com/Content/Magazine/Contents): Did you know that Net-a-Porter puts out a new edition of its online magazine every single week? Last week, Natalie Massenet told me that "Net-a-Porter Notes" is a key part of making Net-a-Porter an online fashion destination with both content and commerce. Just click on the  magazine images or trends, and you are magically transported to the Net-a-Porter commerce site. How efficient!

3. Vogue.co.uk (http://www.vogue.co.uk): London's fashion community descended on a pre-launch breakfast for the new Vogue.co.uk last week. Editor Dolly Jones tells us that the new site will launch in a few weeks and will be "completely different" from the current site. Vogue.com devotees will have already noticed that the site has been using more and more video content in recent months – a sign of things to come? Will there be a commerce play too? Stay tuned.

4. Ponystep.com (http://www.ponystep.com): A couple of weeks ago I met East London impresario Richard Mortimer and asked him about Ponystep.com which just launched today. I can see why Richard described it as a project of passion, "working with people I like." This may be why there is no apparent business model. However, this think-about-money-later formula has worked for Richard in the past – Boombox spawned a book, was invited to replicate itself in Milan and Paris, and drew attention (read: money) from big brands like Burberry. 

5. New York Look (http://nymag.com/fashion/look): The second issue of New York Look magazine has hit the stands, with the online version to hit the site in the next couple of weeks. We reviewed the launch issue in the Autumn, and enjoyed its insider perspective and interesting editorial. Case and point: the new issue features Janet Ozzard's interview with Cathy Horyn on the end of the runway show in an "online-only" fashion world.

6. BBC Thread (http://www.bbc.co.uk/thread): Seizing the zeitgeist for ethical fashion, the BBC launched an online fashion magazine earlier this month, targeted at young, socially conscious consumers interested in self-described "eco-fabulous" style. The magazine's content runs the gamut from environmentally friendly to ethically-conscious and for once, has a definition of what this actually means.

7. HintMag (http://www.hintmag.com): Hintmag has developed a cult following for its in-depth 'Hinterviews' with hard-to-pin-down fashion royalty. This month, Stephen Jones, London's legendary milliner, reveals what its like to work on designing runway-worthy headgear for fashion designers ranging from Rei Kawakubo to Marc Jacobs to John Galliano.

8. Fashion156.com (http://www.fashion156.com): Every 156 hours, Fashion156 releases a new issue of its online magazine, in keeping with fast fashion, in the most literal sense of the word. With Susie Bubble as a key contributor and a desire to make Fashion156 a platform for new talent, this site has a fresh take on all things fashion — including a clever model that includes links to commerce partners, which likely create revenue from affiliate sales and commissions.

9.Very Elle (http://www.veryelle.fr): Earlier this month, Elle France launched this new integrated online/offline magazine property which takes the offline magazine and replicates it verbatim online — complete with full-page advertisements. Its en français, but you can still get a feel for how some offline magazines may try to get into this space to directly leverage their content online, while maintaining the feel of a real magazine.

10. Iconique (http://www.iconique.com): First launched in 2000 (and therefore, a pioneer in this space), Iconique magazine is the  brainchild of of Joost van Gorsel. Designed using flash, which is not necessarily great for quick download times, the site still manages to evoke real moods and tantalise with its virtual catwalks, stylish podcasts and a sexy welcome message.

http://www.businessoffashion.com/2008/04/fashion-20-top-10-online-fashion-magazines.html

Top 10 Model-Producing Nations

Top 10 Model-Producing Nations - Per Capita:

1. Estonia
2. Iceland
3. Lithuania
4. Denmark
5. Latvia
6. Sweden
7. Netherlands
8. Slovakia
9. Norway
10. Czech Republic


Top 10 Model-Producing Nations - Overall:

1. USA
2. Brazil
3. Russia
4. UK
5. Netherlands
6. Canada
7. Germany
8. Poland
9. Australia
10. France

The Ideal Model

Height:  5'11"
Weight:  117 Pounds
Measurements:  34-24-34
Hair:  Dark Blonde
Eyes:  Blue
Skin:  Fair