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Chris Ladewig
Dossier Magazine
Model and photographer Chris Ladewig has made his mark on this year's Dossier Magazine with multiple standout editorials, proving he's just as compelling behind the camera as he is in front of it.
We caught up with Chris to talk about his role in this year's issue, his creative process, and what it takes to balance life on both sides of the lens.
Q: Which came first: Modelling or photography?
A: I got my 1st camera before I had my first casting, so I would have to say photography.
Q: What are the differences between life in front of and behind the camera?
A: Both are great places to be and I enjoy both. The only difference is that there is so much more life behind the camera than in front of it. When you are the photographer, there is a lot that goes on behind the scenes. There are hundreds of variables from creating the concept, choosing models, your creative team, locations, gear check, pack and setup, the actual shot (direction, composition, lighting, mood) and finally post production, retouching and follow up. Any change in any of these variables can wildly alter the outcome or final result. Meaning as a photographer, it's more work, but you have so much more creative control and when you get the formula right, and the shots are awesome, it's incredibly fulfilling and rewarding.
Q: Tell me about your work with Dossier Magazine, how was this relationship formed?
A: I did a shoot as a model for the previous 2025 Dossier Annual Magazine, during and after the shoot got talking to the editor Mia and realised we have quite a bit in common. Ultimately that was the start of the friendship. I was quite surprised and honoured when she asked me if I would like to shoot an editorial for the magazine as a photographer. I accepted, we planned, we shot it, and that then later turned into 3 more editorials for the issue.
Q: You have made significant contributions to the latest issue of Dossier Magazine . Which location and editorials speak to you the most?
A: Each editorial had its beautiful moments and challenges, but the one which stands out the most, would be the very 1st editorial we shot. We shot the story on board the Rovos Rail over 4 days, taking it easy, trying our best not to disturb the other passengers. Making the most of the experience, the views, the stops, the sun and the simplicity of a small team in a limited location. We had to get shots of Sema, and myself as a model. Just Mia, Sema and myself, we made it work. This will always be important to me as it was my 1st editorial I shot for Dossier as a photographer.
Q: How has your experience as a model influenced the way you photograph other people?
A: That's a good question. I think most models that have become or are photographers will generally give you a similar answer. Our experience as models has allowed us access and opportunities to work with some of the best creative teams in the world. Being on set with super talented photographers, creative directors etc: seeing how they shoot, the discussions, how they direct, what images end up being used, is what every up and coming photographer dreams of. That experience is invaluable. No college or school will ever teach what you learn on set working with the best. I also think working as a model myself over 21 years, I understand what models are going through. So I know how to be in their shoes, and direct them to get the most out of them. Being on both sides is definitely an advantage.
Q: What inspires you creatively outside of fashion and editorial photography?
A: Nature. Moments. Light. If you just open your eyes you can see infinite sources of inspiration around you. I also get super inspired by photographers from other genres. Landscape photographers like Pat di Fruscia, or travel photographer legends like Steve McCurry. Also some photographers/artists like Greg Swales just have it. You will often find those photographers who are skilled in painting or drawing end up making the best photographers.
Q: What's been the most memorable moment from one of your Dossier Magazine assignments?
A: The most memorable moment from the entire experience was meeting up with Mia after the magazine was printed, her handing me a physical copy, flipping through my pages and seeing our work printed in my hand was just something special. It reminded me of my first time as a model seeing my images printed in a high end fashion magazine. It's a feeling that can only be explained by experiencing it.
Q: Which creative mediums would you like to explore next?
A: I shoot a wide variety of images, from fashion, to fine art, to bridal/weddings, to landscapes and travel/documentary style portraiture. Ideally in the near future I would like to have my fine art work or travel work exhibited in a gallery. To have my work curated, printed and beautifully exhibited has always been a goal of mine. Also to shoot some incredible advertising campaigns and see my photography work on a billboard would be quite cool
EditorialFashionModels
Model and photographer Chris Ladewig has made his mark on this year's Dossier Magazine with multiple standout editorials, proving he's just as compelling behind the camera as he is in front of it.
We caught up with Chris to talk about his role in this year's issue, his creative process, and what it takes to balance life on both sides of the lens.
Q: Which came first: Modelling or photography?
A: I got my 1st camera before I had my first casting, so I would have to say photography.
Q: What are the differences between life in front of and behind the camera?
A: Both are great places to be and I enjoy both. The only difference is that there is so much more life behind the camera than in front of it. When you are the photographer, there is a lot that goes on behind the scenes. There are hundreds of variables from creating the concept, choosing models, your creative team, locations, gear check, pack and setup, the actual shot (direction, composition, lighting, mood) and finally post production, retouching and follow up. Any change in any of these variables can wildly alter the outcome or final result. Meaning as a photographer, it's more work, but you have so much more creative control and when you get the formula right, and the shots are awesome, it's incredibly fulfilling and rewarding.
Q: Tell me about your work with Dossier Magazine, how was this relationship formed?
A: I did a shoot as a model for the previous 2025 Dossier Annual Magazine, during and after the shoot got talking to the editor Mia and realised we have quite a bit in common. Ultimately that was the start of the friendship. I was quite surprised and honoured when she asked me if I would like to shoot an editorial for the magazine as a photographer. I accepted, we planned, we shot it, and that then later turned into 3 more editorials for the issue.
Q: You have made significant contributions to the latest issue of Dossier Magazine . Which location and editorials speak to you the most?
A: Each editorial had its beautiful moments and challenges, but the one which stands out the most, would be the very 1st editorial we shot. We shot the story on board the Rovos Rail over 4 days, taking it easy, trying our best not to disturb the other passengers. Making the most of the experience, the views, the stops, the sun and the simplicity of a small team in a limited location. We had to get shots of Sema, and myself as a model. Just Mia, Sema and myself, we made it work. This will always be important to me as it was my 1st editorial I shot for Dossier as a photographer.
Q: How has your experience as a model influenced the way you photograph other people?
A: That's a good question. I think most models that have become or are photographers will generally give you a similar answer. Our experience as models has allowed us access and opportunities to work with some of the best creative teams in the world. Being on set with super talented photographers, creative directors etc: seeing how they shoot, the discussions, how they direct, what images end up being used, is what every up and coming photographer dreams of. That experience is invaluable. No college or school will ever teach what you learn on set working with the best. I also think working as a model myself over 21 years, I understand what models are going through. So I know how to be in their shoes, and direct them to get the most out of them. Being on both sides is definitely an advantage.
Q: What inspires you creatively outside of fashion and editorial photography?
A: Nature. Moments. Light. If you just open your eyes you can see infinite sources of inspiration around you. I also get super inspired by photographers from other genres. Landscape photographers like Pat di Fruscia, or travel photographer legends like Steve McCurry. Also some photographers/artists like Greg Swales just have it. You will often find those photographers who are skilled in painting or drawing end up making the best photographers.
Q: What's been the most memorable moment from one of your Dossier Magazine assignments?
A: The most memorable moment from the entire experience was meeting up with Mia after the magazine was printed, her handing me a physical copy, flipping through my pages and seeing our work printed in my hand was just something special. It reminded me of my first time as a model seeing my images printed in a high end fashion magazine. It's a feeling that can only be explained by experiencing it.
Q: Which creative mediums would you like to explore next?
A: I shoot a wide variety of images, from fashion, to fine art, to bridal/weddings, to landscapes and travel/documentary style portraiture. Ideally in the near future I would like to have my fine art work or travel work exhibited in a gallery. To have my work curated, printed and beautifully exhibited has always been a goal of mine. Also to shoot some incredible advertising campaigns and see my photography work on a billboard would be quite cool
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