ABSTRACT
In Chapter 4 I showed that fashion photographers have developed two different meaning structures in relation to markets. One is connected to editorial photography, and the other to advertising photography. I also showed that the fashion photographers distinguished among themselves by referring to two ideal types, which I called high-fashion photographers and low-fashion photographers. In Chapter 5, I also described two types of consumers, the fashion editors at magazines and art directors at advertising agencies. Each of these has a distinctive internal orientation. Most of the distinctions found among the photographers can also be found among the consumers (for example between editorial photography and advertising photography). In this respect, the two meaning structures of the consumers correspond to the two meaning structures of the photographers.
