Adam Katz Sinding, an American-born, Copenhagen-based photographer, is one of the first in the realm of street-style photography. Since 2003, Adam Katz Sinding spends the majority of every year capturing contemporary fashion scenes across four corners of the world. His roster of clients is a notable one, featuring the likes of Ann Demeulemeester, Fendi, Rick Owens, Stine Goya, Chloé, Wood Wood, Givenchy, Mykita, Tom Ford, Vogue, L’Officiel, Glamour, Harper’s Bazaar, Qompendium and countless others.
Adam Katz Sinding’s new visual identity encompasses a wordmarque, signet, typography suite and website relaunch. The typeface suite consists of a grotesque typeface to pinpoint the fashion zeitgeist of the decade and a newly designed website, which will equip Adam Katz Sinding with a digital platform to transcend street-style photography into many of his extensions – from travel to prints and his own fashion ventures.
An entire launch campaign has also been rolled out, focusing on the world of fashion and Katz Sinding’s fine eye for fashion campaigns and editorials. The launch campaign visualises how Adam Katz Sinding documents singular moments of an entire scene – merging the fashion brand with the model and environment. Each glyph combines to create the new wordmarque, which is animated by utilising Adam Katz Sinding’s vast photography archive. An atmospheric backdrop and cinematic composition are met with a ticking timer and camera shutter that can be audibly heard, capturing these fleeting yet grand capsules in time.
The Adam Katz Sinding website is succinctly sectioned off into Fashion, Portfolio and Travel and features prominently in stark black with white typography, transforming his online portal from low key to high key. The majority of the website is punctuated by full-bleed images to capture his work in its full capacity and the archive is arranged in a grid layout for quick searches and intelligent filtering.
Adam Katz Sinding is featured on Qompendium, a magazine on philosophy, art, culture and science, where he discusses his nearly two decades long work and his #NoFreePhotos movement which has become increasingly important for all photographers as a collective. Read extended feature here.