Q. When it comes to fashion shoots, can you give an insight into how you conceptualise them? What’s the process for you?

It really depends on what the shoot is. A lot of the time, if I’m shooting for someone who already has a specific look or concept in mind, that gives me a starting point and from there I like to add my own twist to it. I can usually visualise in my head how I want things to look pretty early on, especially once I know the direction or vibe we’re aiming for.

For me, it usually comes back to the people I’m working with. If I know who the model is beforehand, I can already picture them in a certain vibe—whether it’s a specific location, styling, or mood that I feel would suit them. I’m really inspired by the energy people bring to a shoot, and I like building concepts that feel personal or tailored to them in some way.

That said, there have definitely been times where I’ve shown up to a shoot with no clear plan, and just being on set is what sparks the inspiration. Sometimes it’s the clothes, the weather, the light, or even a random moment that sets the tone. I think that’s part of the fun—you don’t always need a full concept mapped out, as long as you stay open to what’s in front of you and trust your instinct.

Q.  In your experience, are there any misconceptions about being a fashion photographer?

Definitely. One of the biggest ones is that it’s all super glamorous and effortless, that you’re just turning up, taking a few photos of cool outfits, and heading home. But there’s a lot that happens behind the scenes that people don’t see. Shoots don’t always go to plan. Sometimes the clothes don’t sit right on the model, or the styling doesn’t translate how you imagined it would on camera. The lighting might change, locations fall through, or the vibe just isn’t hitting and you’ve got to just figure it out on the spot. It takes a lot of creative problem-solving, quick thinking, and flexibility to pull everything together and still create something you’re proud of. It’s not always polished or perfect, but that’s where the magic usually happens.

Another big misconception is that photographers just press a button and that’s it. In reality, we’re setting the tone for the entire shoot. You’re directing the model, helping them feel comfortable and confident, managing the energy on set, and making sure everything visually aligns with the vibe you’re going for. A lot of the time, you’re reading the room, adapting on the spot, and making creative calls in the moment. There’s a whole emotional and intuitive side to it that people don’t realise, you’re not just capturing the image, you’re shaping it from the very start. But gosh sometimes I wish it was just as easy pressing a button.

Q.  Do you have a process, or mindspace, or planning, or work by instinct, for your non-music photography work - the brand work and fashion photography?

I definitely have a mindspace I like to get into when I’m preparing for a fashion shoot. Music is a big part of that, I’ll put my headphones on, play something that matches the vibe I’m going for, and it really helps me get into a creative flow. That’s usually when the ideas start forming clearly in my head.

I also love making mood boards. They help me visualise everything—from the colours and styling to the mood and energy I want to capture. It’s like putting together a visual map of how I see the shoot playing out. Even if things change on the day, having that starting vision helps keep everything focused.

Once I’m on set though, it becomes a collaboration. I really feed off the energy of the people I’m working with, whether it’s the model, stylist, or anyone else involved. Sometimes the direction shifts in the moment based on those interactions, and I actually love when that happens. It makes the whole process feel more alive and less rigid, and the results are usually way more real.

Q. What sense of peace/reward/fulfillment do you get from photography?

For me, the most rewarding part of photography is being able to bring someone’s vision to life. Whether it’s a stylist, a model, or anyone else on the team, it’s incredibly fulfilling to take an idea that started in someone’s head and actually make it real through images. Being the person who helps that concept come together and capturing it in a way that feels true to their vision is something I don’t take for granted.

I also find so much joy in making people feel beautiful and seen. When someone looks at a photo we’ve created together and feels confident or empowered, that’s the best feeling. It’s more than just taking a good photo; it’s about creating a moment where someone feels strong in their skin and proud of how they’re being represented.

Q. Looking to the future. What would an exhibition of your work look like? Everything from where it would be, and the work you would like to include.

This is something I’ve definitely thought a lot about. The future of my photography really excites me, I’ve even found myself walking past empty buildings and imagining what I could do with the space. If I could create my dream exhibition, I think it would be something really personal and meaningful.

One of my biggest goals is to go overseas, experience life and work creatively in different parts of the world, and use photography as a way to document that journey. Melbourne is the first stop into those overseas adventures, and I’m really looking forward to how that new environment will shape and push my work. Being able to bring all of those experiences back home to New Zealand one day, and create a big exhibition of everything I’ve captured along the way, that would be incredible. I’d love to showcase how those experiences shaped me and my style, and share that with the people and places that first supported me.

In terms of the actual space, I’m pretty minimalistic. I imagine a big, clean white room with large-scale prints blown up across the walls, nothing too overdone, just letting the images speak for themselves. Something simple but powerful. A space that feels calm, open, and completely focused on the work.

To be able to stand in that space one day, surrounded by the journey I’ve taken, and share it with the people who believed in me from the start, that would be the most fulfilling moment of all.

Q. Final question. You can create your dream fashion shoot. What would it look like? Where would it be? And who might it be for?

This is a really tough question and to be honest, I’ve never really thought much about it, but if I was to choose something as of right now, my dream fashion shoot would be something personal and timeless, with a strong focus on mood and storytelling. I’d want to shoot in a minimal studio space or a clean, industrial location. Somewhere with natural light, strong shapes, and a bit of edge. I usually shoot in black-and-white and I love the simplicity and emotion it brings out.

While I’ve only used film a couple of times, I’m really keen to learn more about it and expand my knowledge, so I think the ultimate dream would be to shoot this entirely on film. The styling would be built around vintage and archive pieces from designers like early Gaultier, 90s Margiela, and Yohji Yamamoto, pieces that feel unique, worn in, and full of character. I’d want the energy on set to feel calm and natural, capturing quiet, in-between moments rather than overly posed shots. The final images would ideally live in a printed format, maybe a small zine or an exhibition—something physical that people can hold onto.

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You can view examples of Dani Gleeson’s work, and find details about how to make a booking, over at: danigleeson.com

READ MORE: INTERVIEWS WITH ARTISTS