Fashion Shoot: Tips from a Pro
Preparing for the shoot
No matter how talented a photographer you are, preparation is key to ensuring the shoot goes smoothly and that your client leaves satisfied with the results. And it all begins well before the day of the actual shoot.
The first step is model selection and I usually do this by holding a dedicated model casting for each shoot. The main objective here is to select the right model or models, but it is also useful to spend some time with the client. Before this meeting of course I will have interpreted the client brief and given though to how the final photos should look. But the model casting is often the best opportunity to ensure that you and the client are on the same page as far as the creative objectives.
It's also a chance to get to know the client and work out the dynamics within their team. For example, you might learn that while the owner of the business is in charge of the money, it’s actually someone lower down the pecking order who calls the shots when it comes to the creative decisions. Things like this are good to know in advance.
|At a model casting you can meet prospective models face to face, but it is also allows you to get to know the clients more and discuss the forthcoming shoot.|
A successful model casting doesn't happen by accident. My number one rule is never cast first thing in the morning. I don’t know if it’s true about models not getting out of bed for less than $10,000, but for model castings (where there is only a small chance of each model getting the job) most seem to prefer a schedule that starts after midday. I therefore always cast in the afternoon.
Whatever time I tell the models to arrive from I’ll tell the client to arrive an hour earlier. This allows time to have an initial chat and also be ready to meet any models who may show up early. The key is to keep the pace moving. You can't realistically control when each model arrives, no matter how meticulously you've scheduled them. All you can do is to ensure that each is interviewed as quickly as possible and prevent a big queue from building up.
I always instruct clients to spend the least time possible looking through the portfolios of models who clearly don’t fit the bill. This keeps the casting flowing smoothly and avoids missing out on meeting the most suitable models. If an experienced and in-demand model arrives at a casting and sees a long, slow-moving queue, she’ll very likely skip the wait and head off to her next casting instead.
|With the camera tethered to a laptop, I record all the models who arrive at the studio and have an assistant add the model’s name and agency details to the Caption metadata. I use these photos to refer to later when choosing which model or models to book.|
In the old days I used to shoot Polaroid photos of each model. Now of course, it is easy to capture digital photos instead. The models should arrive with little or no makeup, which makes it easier to make selections when reviewing the photos. The composite cards models leave are all very nice, but clients, as well as myself usually find it easiest to compare the photos that have been taken on the day of the casting itself.
(a model's) Time is money
For me, organising a studio shoot schedule has become second nature. You need most of the crew to arrive at the same time in the morning, but crucially, you’ll want the models to arrive at staggered times throughout the shoot day. That way you only end up paying for the number of hours each model is actually needed. I don’t know about other countries, but here in London, model tardiness is a constant problem and one that’s not helped by the model agencies, who seem to take the view 'heads we win, tails you lose' when it comes to their services.
|Extreme wide-angle lenses can be used to good effect when photographing people.|
If a model turning up late causes overruns, it is assumed the photographer will absorb these costs. If a model ends up going into overtime because of lateness, they expect to be paid overtime. I often end up in arguments with the agencies over this. To be on the safe side it is best to start with the most experienced model first. They are more likely to know how to arrive to the studio on time. More importantly, they can help get the day’s shoot off to a flying start. If you are working with a new client, or there is a substantial amount of money riding on a job there can be a lot of nervousness at the beginning of the day. The last thing you want is to kick off with a model who is relatively inexperienced and consequently find yourself struggling to establish a good start to the shoot.
Once you are able to show clients a strong image on the computer display you can feel the tension lighten all round and the rest of the shoot is far more relaxed. The ideas that evolve from the first sets of photos can also be used to inspire the models who you are shooting with later.
When it comes time for the model to step in front of the camera, that is when all the pieces in the jigsaw should come together neatly. The photographer’s job is simply not to screw it all up with poor lighting or upsetting the model.
|There are times when a complex lighting setup is necessary to achieve a distinct look. But there are limitations and consequences that need to be carefully taken into account. This shot became the cover image for a book I wrote about Adobe Photoshop Lightroom 3.|
Seriously, the bit where you take the photographs shouldn’t be that hard to do. If it does become hard work it’s probably because you didn’t manage the earlier stages as best you could, and no matter what you try to do with the lighting (or Photoshop) ain’t going to help improve things much.
Keep it simple, and if you can't, stay in control
One of the classic mistakes I see is where photographers over-reach by trying to get too technical with the lighting. When a model is prepped and ready to shoot you don’t always have much time before the hair will start to drop or the makeup loses its freshness. It is critical that you do all your lighting tests in advance and that you are in control of all the technical details. When studio lights fail to work or the lighting balance goes awry it's incredibly frustrating for everyone on set. I have been known to work with complicated setups myself (see below), but with experience you can afford to work under more challenging conditions, as long as you know how to keep everything under control and react quickly.
No matter how well you've prepared, sometimes there are things that are simply out of your control, leading to days you'd rather forget. I remember a makeup artist walking out on me on location in the middle of London’s Docklands. I had been given a big budget and decided to choose a star name rather than choose one of my trusted, regular makeup artists. For some reason this makeup artist decided that was the day he was going quit the fashion business forever. Well, more fool me.
Establish a rhythm
When you photograph a model it can be like recording a performance. Most models have a repertoire of moves and poses they like to use (and a good photographer may be able to teach them some new ones as well). On a typical shoot a model may get into position for you ready to shoot and once they hear the shutter go off switch to a new pose. Try to quickly establish a mutual rhythm and make sure you can keep up with whatever the model is doing.
|As I mention above, photographing a model can be like shooting a performance and as a photographer you need to be ready to capture each pose the model offers you. The important things to note here are to make sure the equipment is all working OK and get into a flow with your subject, showing that you are able to respond quickly to everything that's happening in front of the camera.|
Sometimes you may need to slow things down a bit, but I believe it helps to maintain a synchronised flow of communication - verbal or otherwise - between yourself and the model. This isn't limited to fashion of course. It holds true for portraiture as well.
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|Sunflower Field by GrannyMeg|
from An impressionist piece
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|SAND SCULPTURE by duskman|
from Landscape - Black and White #4